約瑟夫·亞伯斯

Sidney Janis Gallery, New York
David Herbert Gallery, New York
Galerie Christel, Stockholm
Acquired from the above by the late owner in 1983

Williamstown, Williams College Museum of Art, Williams Alumni Loan Exhibition, 1962
Stockholm, Galerie Christel, Albers: A Collection of Paintings, 1980, no. 5

The board is stable. There is no evidence of retouching visible under ultra-violet light. Apart from a very tiny loss to the lower right corner, and some very minor spots of discolouration in the central square, this work is in very good original condition. Colours: Overall fairly accurate in the printed catalogue illustration, although brighter and more luminous in the original.
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'My squares move forwards and backwards, they seem to penetrate and to recede, to grow and to shrink' (Josef Albers, quoted in Josef Albers (exhibition catalogue), Galerie Karsten Greve, Cologne, 1989, p. 21).

Study for Homage to the Square: Allegro is a superb example from Josef Albers' iconic series of the same name, in which a profound investigation into the potentials of colour and geometric form reaches its apotheosis. The warm tones of the two central squares contrast to brilliant effect with the cool hues of the outer square: vibrant orange and luminous yellow juxtaposed against neutral grey. The result is a work of immense power and strength that appears to fulfil the artist’s declaration that: 'My squares move forwards and backwards, they seem to penetrate and to recede, to grow and to shrink.' (J. Albers, quoted in Josef Albers (exhibition catalogue), Galerie Karsten Greve, Cologne, 1989, p. 21). The choice of its distinguishing title – Allegro, translating as ‘cheerful’ or ‘happy’ – imbues the work with joyful connotations that are further reinforced by the glowing central colour tones.

Albers began creating his 'Homage to the Square' series in 1950, towards the latter part of his career, as a means of transcending the spatial and colouristic limitations of traditional painting. The artist followed a carefully determined method when painting, consistently working within four different quadrilateral formats composed of either three or four squares which were positioned at precise numerical intervals on the panel. Albers employed several coats of white liquitex as a base in order to achieve as smooth a finish as possible, ensuring that the drama of the colour combinations would not be interrupted by textural anomalies. Painstaking care was taken over the choice of each precise colour tone and the symbiotic relationship between each hue, as Albers declared: '… Colours influence and transform each other' (the artist, quoted in ibid., p 21). Ultimately, in its powerfully distinctive combination of oranges and greys Study for Homage to the Square: Allegro magnificently encapsulates Albers’ most important artistic aims and ideals.