Counter composition XIII - Theo van Doesburg
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A 1929 geometric abstraction by Theo van Doesburg, featuring diagonal planes of colour that exemplify his transition into elementarism.
Counter composition XIII, painted in 1929, represents the later phase of Theo van Doesburg's exploration of geometric abstraction. As a founder of the De Stijl movement, van Doesburg initially adhered to a strict vocabulary of horizontal and vertical lines. However, he eventually broke from this orthodoxy by introducing diagonal elements, which he termed 'elementarism'. This shift allowed for a more dynamic sense of tension within the picture plane.
The composition is defined by large, flat planes of colour, including black, white, grey, red, and a touch of yellow. By placing these shapes at angles, van Doesburg creates a sense of movement that contradicts the static nature of the canvas. The work avoids any reference to the external world, focusing instead on the relationship between form, colour, and space. The diagonal lines cut across the frame, creating sharp triangular and trapezoidal segments that interact with one another.
This piece demonstrates the artist's interest in the mathematical precision of art. The lack of brushwork or texture ensures that the viewer's attention remains on the structural arrangement of the planes. The colour palette is restricted, yet the contrast between the dark black and the lighter tones creates a clear visual hierarchy. Van Doesburg intended for such works to exist as autonomous objects, free from the constraints of representation. The result is a rigorous study of balance and imbalance, where the diagonal orientation forces the eye to traverse the surface in a non-linear fashion. This approach marked a departure from the earlier, more balanced compositions of his contemporaries, reflecting his desire to push the boundaries of abstract painting toward a more active, energetic state.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Counter composition XIII - Theo van Doesburg
Artist Biography
Theo Van Doesburg
He was born in Utrecht in 1883. After encountering Mondrian's work around 1915, he sought him out and together they launched the magazine De Stijl in 1917, along with Bart van der Leck, Vilmos Huszar, J.J.P. Oud and Antony Kok. Van Doesburg was the movement's organiser, publicist and ambassador, travelling across Europe to promote Neoplasticism while Mondrian stayed in his studio.
In 1922 he moved to Weimar and set up an unofficial school near the Bauhaus to attract students to Constructivist and De Stijl ideas. Walter Gropius acknowledged the influence but refused to give Van Doesburg a teaching post. The rivalry was productive: Bauhaus design absorbed De Stijl principles without crediting the source.
The break with Mondrian came over diagonals. Mondrian insisted on strictly horizontal and vertical lines; Van Doesburg introduced the diagonal in his Counter-Compositions, arguing for dynamic rather than static geometry. They stopped speaking. In 1929 they met accidentally in a Paris cafe and reconciled.
He married three times. His third wife, Nelly van Moorsel, was an artist, pianist and choreographer. He died in Davos in 1931, at forty-seven, from a heart attack. De Stijl ended with him.
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