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Simultaneous Contrasts (French: Contrastes simultanés) is the title of a series of paintings created by Sonia Delaunay, beginning in 1912. The series was inspired by Eugène Chevreul's theory of simultaneous contrast, according to which the perception of color is affected by the presence of adjacent colors.

Background
The Simultaneous Contrasts series grew from the ideas of "simultanism" established by Sonia and her husband, Robert Delaunay, in the early 1910s. While shaped by Chevreul's theories, the concept of simultanism also integrated other aspects of perception tied to modern urban life.

Chevreul's The Laws of Contrast of Colour, were based on the idea that an individual's perception of colors would change based on their position relative to other colors. In particular, for the creation of "simultanism," Delaunay looked to Chevreul's works as a "learning experience... to find even more harmonies based on contrasts, dissonances, that is to say rapid vibration that provoke a colors greater exultation due to the juxtaposition of certain warm and cool colors."

During this period, Sonia's interest in light and color was shaped by a variety of factors. The growing prevalence of electric lighting in Paris was one major source of inspiration. Another influence was her connection with experimental poets, most notably Blaise Cendrars, whose work explored the effect of startling juxtapositions. One critic commented on this: "Blaise Cendrars and Mrs. Delaunay-Terk have made a first attempt at written simultaneity where color contrasts caused the eye to become accustomed to reading an entire poem at one glance."

Content
Several of Delaunay's paintings in the series include identifiable architectural motifs, such as parts of the Eiffel Tower. But they are largely abstract works, often without any recognizable subjects. In this aspect, her series differs from the work of her husband, Robert Delaunay, whose exploration of simultaneous contrasts was more integrated with subjects such as windows and the Eiffel Tower. Robert Delaunay's painting, Simultaneous Contrasts, Sun and Moon was painted around the same time as Sonia Delaunay's Simultaneous Contrasts.

Exhibition
After the birth of her son, Delaunay began to focus more working on fashion and design. However, she still continued to paint. She also included messages within these works. For Simultaneous Contrasts, Delaunay removed any commercial references. In fact, Simultaneous Contrasts, could be created at home. She refused to exhibit the painting until 1961, to prevent critics from either praising or criticizing her work.

Contentions
There appear to be at least two versions of the painting. The first was signed and dated in 1912, however another version was described as being dated in 1913. One belongs to the Museé national d'art modern, the other belongs to the Thyssen-Bornemisza Collection.

In addition to various versions of the painting, further questions are raised in regards to the orientation of the painting. The signature placement indicates its vertical orientation, however a photo of the painting in Sonia Delaunay's archives shows the painting without a signature. However, when considering other works during 1913, it would appear that the painting is meant to be horizontal. On the version dated 1912, the orientation could be horizontal or vertical. The measurements described in Delaunay's catalogue would indicate that the painting is horizontal.

Versions
Slight differences exist in the two versions of the painting. In the Thyssen-Bornemisza Collection's version, there is a deep magenta color. However, in the version in the Museé national d'art moderne's version, there is a dull yellow in the same space.

More significant differences are seen as well. In the Thyssen-Bornemisza Collection's version, the green triangle is shorter and vertical. It is also a blue color. On the other hand, the same triangle is yellow and pink.