Homage to the Square: Broad Call - Josef Albers
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A classic example of Josef Albers' Homage to the Square series, exploring the optical interaction of red colour fields through precise geometric nesting.
Josef Albers began his Homage to the Square series in 1950, continuing the project until his death in 1976. This specific work, Broad Call, demonstrates the systematic approach Albers applied to colour theory. The composition consists of three nested squares, arranged to create a sense of spatial recession despite the two-dimensional nature of the surface. Albers applied the paint directly from the tube onto the textured side of masonite panels, using a palette knife to ensure a flat, uniform application that minimises the appearance of brushstrokes.
In this piece, the interaction of red tones is the primary subject. Albers was interested in how adjacent colours modify the perception of one another. By placing different shades of red in proximity, he forces the viewer to observe the optical shifts that occur at the boundaries where the squares meet. The arrangement is mathematically precise, with the squares positioned according to a specific ratio that shifts the visual weight toward the bottom of the frame. This creates a subtle tension, preventing the image from appearing static.
Albers, a former teacher at the Bauhaus, maintained a rigorous discipline in his practice. He avoided personal expression in favour of objective investigation. The Homage to the Square series functions as a laboratory for his theories on colour perception, which he documented in his seminal book, Interaction of Colour. Broad Call is a representative example of his later career, where he refined his method to focus on the psychological effects of colour relationships. The work does not attempt to represent external reality, but rather invites the viewer to engage with the mechanics of sight itself. The simplicity of the geometric form allows the viewer to focus entirely on the chromatic variations and the subtle shifts in temperature between the nested squares.
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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: Broad Call - 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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