A striking example of Flemish Expressionism, this double portrait by Gustave de Smet uses geometric forms and a bold colour palette to depict the artist and his wife.

Gustave de Smet, a central figure in the development of Flemish Expressionism, produced this double portrait during his mature period. The composition reflects the stylistic shift he underwent after the First World War, moving away from the influence of luminism toward a more structured, synthetic approach to form. The painting displays a deliberate flattening of space, where the figures and their environment are integrated through a series of geometric planes and simplified shapes.

The artist presents himself and his wife within a domestic setting, yet the treatment of the background suggests a synthesis of interior and exterior worlds. A village scene, complete with a church spire, occupies the upper left, while a vase of flowers balances the composition on the right. The figures themselves are rendered with a characteristic lack of modelling, relying on bold outlines and flat areas of colour to define their presence. The woman, seated in the foreground, dominates the frame, her expression calm and detached. The artist appears in profile, partially obscured, creating a sense of distance between the subjects.

De Smet often utilised this method of construction to create a sense of stability and permanence. The palette is controlled, favouring primary blues and greens contrasted against the stark black of the woman's dress and the warm, wood-toned furniture. This work provides a clear example of the artist's interest in the relationship between the human figure and the constructed environment. By reducing his subjects to their essential forms, de Smet achieves a clarity that is typical of his work from the late 1920s. The painting avoids unnecessary detail, focusing instead on the rhythmic arrangement of shapes and the interplay of colour across the canvas surface.