The German artist worked in printmaking and stained glass during his early years. Moreover, he's known famously for his abstract paintings and contribution to colour theory. This research focuses on the series of paintings titled 'Homage to the Square.' Working with the same shape and size of canvas for each piece the focus is on the interaction of colour and space. Albers was exploring the relationships that colours cause each other.
Upon reflection, there are similar ideas emerging from restricting my use of colour to blues, whites and mustardy yellows. It's something I'm becoming closer to establishing figuring out as the work is evolving. The practice has begun investigating why these colours work together to evoke the sense of place I'm creating. Which then contributes to my overall understanding of painting as an artist.
Albers insisted his art was not representational but actually presentational. He described colour as being like actors on stage. When used and applied in various forms, like what we see in the Homages to the Square, they take on roles the same way performers do. Albers believed colour interaction could be referenced to human relations to society. He discusses the strenuous task of isolating 'pure' colour by relating the theory to the struggle a person may have with allowing relationships with other individuals or subjects.
This is important for me as an artist to understand colour theory if the paintings I'm working on are to ever become successful and established. I feel as the work is developing through colour and its application through various media my understanding is more solidified. I've been learning how to achieve the desired and correct shades through pressure and mixing. Achieving this means the colours work harmoniously in the way Albers is describing.
Overy, P. (1988). Exhibitions: Josef Albers. Available: https://search.proquest.com/openview/7ddff8ac428efbfbd1f6a2bf42a155f7/1?pq-origsite=gscholar&cbl=2026363. Last accessed 26th Nov 2020.
Albers, J. Homage to the Square: Departing in Yellow. 1964. The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London.
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