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Josef Albers, 1888–1976

Homage to the Square1966

Albers’s teaching methods were both innovative and shocking because he eliminated copying both from nature and from other artists. He dedicated the years from 1950 to the end of his life to his series of paintings ‘Homage to the Square’. The square was the ideal shape for his ‘Homage’ works: mathematically related in size, perfect for superimposition, a shape that never occurs in nature, assuring a man-made quality. Albers intended that the colours would react with each other when processed by the human eye, causing optical illusions due to the eye’s ability to continually change the colours in ways that echo, support, or oppose one another.

Dimensions Unframed, 34.8 x 40 cm
Credit LineIMMA Collection: Gordon Lambert Trust, 1992
EditionEdition 36/125
Item NumberIMMA.104 GL
Copyright For copyright information, please contact the IMMA Collections team: [email protected].
Image Caption
Josef Albers, Homage to the Square, 1966, Screenprint, Unframed, 34.8 x 40 cm, Collection Irish Museum of Modern Art, Gordon Lambert Trust, 1992

For copyright information, please contact the IMMA Collections team: [email protected].

About the Artist

Josef Albers 1888–1976

Born in Westphalia, Germany, the painter, printmaker and designer Josef Albers studied and taught at the Weimer Bauhaus. In 1933, Albers moved to America to teach art at Black Mountain College and in 1950 became chairman of the Department of Design at Yale. His 1963 book ‘Interaction of Color’, is considered one of the major treatises on the subject. In 1971 Albers became the first living artist to be the subject of a solo exhibition at the Metropolitan Museum of Art, New York.
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