Beginning in 1949, Albers’ Homages to the Square were to domiate his artistic production for the rest of his life. Once begun, Albers dedicated himself to this body of work, repeating with deliberate economy his variations of coloured squares in a continuous exploration of colour. “All perception of colour is decieving. We don’t see colours as they really are. We may perceive two different colours to look alike, or two equal colours to look different. Or opaque ones to appear translucent…This game of colours – the change of identity – is the object of my study” (The artist quoted in Jürgen Wißmann, ‘Josef Albers’ Homages to the Square as the Unity of Rationality and Sensitivity’, Josef Albers, Cologne, 1989, p. 21).
Albers’ artistic objective is brilliantly achieved in the present work, where his careful and deliberate choice of colours combine to create a work that seems to alter with every viewing, entirely proving his assertion that colour “is the most relevant medium in art” (Josef Albers, Interaction of Colour, Yale University, 2006, p. 1).
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