Josef Albers

Sidney Janis Gallery, New York
Acquired directly from the above by the present owner in 1965

Josef Albers’ Homage to the Square, Midsummer 1964 is a stunning work from one of the most iconic and instantly recognisable artistic series of the twentieth century. Vivid orange dominates the centre of the composition surrounded by captivating gradations of yellow, reminiscent of a glorious sunrise in its extraordinarily concentrated hues. With the inclusion of the word ‘Midsummer’ in the title, Albers invites associations with the especially vibrant light of a sun-drenched summer morning, encouraging the onlooker to experience the warmth, beauty and almost mystical sense of possibility engendered by the long days of a northern June.

Albers was immensely disciplined regarding the painting of his Homage to the Square series – which he began in 1950 – treating their creation much in the light of a devotional ritual, the observation of which he considered crucial to the maintenance of a healthy, ordered lifestyle. Panels ranged in size from 16 by 16 inches to 48 by 48 inches, although Homage to the Square, Midsummer 1964 is a rarity in that it does not conform to one of the traditional standard sizes at 39 ½ by 39 ½ inches. To commence, the panel would be coated several times in white liquitex in order to achieve as smooth a ground as possible so that nothing could interfere with the impact of the chosen colours. The eponymous squares were then positioned at precise intervals on the panel according to four different layouts: Homage to the Square, Midsummer 1964 belongs to the distinctive four-square format as opposed to the slightly more common three-square plans. The interaction between the chosen colours was of immense importance to Albers, who was fascinated by the concept that the eye might perceive tones differently when placed together in unusual combinations: “[w]hen you really understand that each colour is changed by a changed environment, you eventually find that you have learned about life as well as about colour” (the artist cited in: Getulio Alviani, Ed., Josef Albers, Milan 1988, p. 233). In its striking combination of brilliant yellows and orange Homage to the Square, Midsummer 1964 is not only a joyful celebration of the glories of an early summer morning, but also perfectly epitomises the exquisite beauty of Albers’s unique painting style.