Homage to the Square: Amalgamating - Josef Albers
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A classic example of Josef Albers' Homage to the Square series, exploring the optical interaction of colour through nested geometric forms.
Josef Albers began his Homage to the Square series in 1950, continuing the project until his death in 1976. This specific work, Amalgamating, demonstrates his rigorous investigation into the interaction of colour. The composition consists of three nested squares, arranged to create a sense of spatial depth through the manipulation of chromatic relationships rather than traditional perspective.
Albers applied paint with a palette knife directly onto the masonite surface, avoiding visible brushstrokes to maintain a flat, uniform appearance. This technique removes the artist's hand from the final image, allowing the viewer to focus entirely on the optical effects produced by the adjacent hues. In this piece, the transition from a cool, pale grey outer border to a warm, luminous yellow centre creates a subtle vibration at the boundaries where the colours meet.
His approach was informed by his tenure at the Bauhaus and his subsequent teaching career at Black Mountain College and Yale University. Albers sought to demonstrate that colour is relative, changing its character based on the presence of neighbouring tones. By using a consistent geometric structure, he provided a stable framework for these experiments. The work functions as a study in perception, where the viewer observes how light and temperature shift across the surface of the board. The simplicity of the form serves to isolate the colour experience, stripping away narrative or representational elements to reveal the mechanics of visual perception.
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Care and materials
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
Homage to the Square: Amalgamating - 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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