Simultaneous Counter Composition 1929

Editor: Here we have Theo van Doesburg’s “Simultaneous Counter Composition” from 1929, currently held in a private collection. It’s an oil painting, and what strikes me is the tension between the sharp geometric forms and that bold primary colour palette. What do you see in this piece, beyond just the obvious geometric forms? Curator: Beyond, eh? Well, imagine being van Doesburg. He was practically buzzing with ideas – De Stijl, elementarism, challenging Mondrian’s dogma… Look at those diagonals! So rebellious, weren't they? For him, it was about disrupting that static harmony, injecting some dynamism. Do you feel the movement? Editor: I see the tilted squares fighting for space. What does the "simultaneous" part mean? Curator: Ah, good question! "Simultaneous" gets at this idea of experiencing multiple viewpoints at once, like looking at a city with all its chaos and intersecting perspectives. It's not just shapes, it’s a visual manifesto! Van Doesburg was attempting to create a new kind of visual language; think about music… syncopation, dissonance, the push and pull of rhythm. He wasn’t just painting squares; he was composing a modern symphony. What would you call that musical style if it were music and not paint? Editor: Jazzy, maybe? Complex, but still has structure. Curator: Exactly! I would agree that the painting feels almost like an avant-garde musical score made manifest, visualised... This painting dares you to engage, not just passively observe. It definitely takes confidence to produce artwork so full of emotion, wouldn't you say? Editor: Absolutely, and to look at it too! I get the music analogy more clearly now - thanks. Curator: My pleasure, finding those resonances makes the viewing feel more active to me!