Homage to the Square: Guarded - Josef Albers
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A classic example of Josef Albers' Homage to the Square series, this work explores the optical interaction of magenta, maroon, and grey through nested geometric forms.
Josef Albers began his Homage to the Square series in 1950, continuing this rigorous investigation of colour interaction for the remainder of his career. In 'Guarded', Albers employs his signature nested square format to explore the optical effects produced by the juxtaposition of specific hues. The composition consists of three concentric squares, each applied with a palette knife directly onto the masonite support. This method leaves a visible, textured surface that avoids the mechanical flatness often associated with geometric abstraction.
The interaction between the outer magenta field, the intermediate dark maroon square, and the central dark grey square creates a specific visual tension. Albers was interested in how the perception of a colour changes based on its proximity to another. In this work, the dark grey centre appears to recede or advance depending on the viewer's focus, demonstrating the instability of colour perception. By limiting his formal vocabulary to the square, Albers removed narrative or representational distractions, allowing the viewer to focus entirely on the physical and psychological experience of colour.
Albers, a former teacher at the Bauhaus, brought a systematic approach to his painting. He often recorded the specific brands and mixtures of paint used on the reverse of his panels, treating each work as a controlled experiment. 'Guarded' is a representative example of his later period, where the balance of weight and temperature between the chosen pigments dictates the success of the composition. The work functions as a study in chromatic relationships, where the boundaries between the squares act as the primary site of visual activity. Through this disciplined repetition, Albers demonstrated that even the most restricted formal parameters could yield a wide range of perceptual outcomes.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Homage to the Square: Guarded - Josef Albers
Artist Biography
Josef Albers
He was born in 1888 in Bottrop, Westphalia, into a Roman Catholic craftsman's family. He worked as a schoolteacher for five years before deciding to study art, joining the Bauhaus as a student in 1920 and becoming a faculty member by 1922. He married Anni Fleischmann, a Bauhaus textile student, in 1925.
At Black Mountain, his students included Robert Rauschenberg, Cy Twombly, Ruth Asawa, and Ray Johnson. He left in 1950 to head the Department of Design at Yale, where he taught until retirement in 1958. The teaching produced Interaction of Color (1963), a text arguing that colour can only be understood in context, never in isolation. It remains a standard reference.
The Homage to the Square series occupied the rest of his life: nested squares of colour, painted obsessively, with every pigment and proportion meticulously recorded. The paintings look simple. The colour relationships within them are not. He died in 1976.
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