Josef Albers
Formulation: Articulation | Folio 1/ Folder 5, 1972
Color screenprint
Paper: 15 x 40 in
Paper: 38.1 x 101.6 cm
Paper: 38.1 x 101.6 cm
Edition #427/1000
Copyright The Artist
Further images
I : 5 Two versions of Homage to the Square. A quartet of four voices which are reversals of each other and which present extreme contrasts in sound and mood....
I : 5
Two versions of Homage to the Square. A quartet of four voices which are reversals of each other and which present extreme contrasts in sound and mood. Reading them in opposite directions invites one into a clarification of various ways of reporting nested colors.
The nonpainter usually notices the outer color first. The painter, since he must paint the central color first and the next color neighbor next, normally reads the outer color — last.
Some spectators are led to notice their preferred color or colors first. Others begin with “firsts” in quality (i.e., high intensities in light and hue) or “firsts” in quantity, measured either by extension or recurrence. Sometimes grouped colors (as the two blues here) get immediate attention.
When it comes to reading advancing and receding color, there will rarely be agreement – regardless of convincing decisions offered by theories based on color temperature or wave length.
Two versions of Homage to the Square. A quartet of four voices which are reversals of each other and which present extreme contrasts in sound and mood. Reading them in opposite directions invites one into a clarification of various ways of reporting nested colors.
The nonpainter usually notices the outer color first. The painter, since he must paint the central color first and the next color neighbor next, normally reads the outer color — last.
Some spectators are led to notice their preferred color or colors first. Others begin with “firsts” in quality (i.e., high intensities in light and hue) or “firsts” in quantity, measured either by extension or recurrence. Sometimes grouped colors (as the two blues here) get immediate attention.
When it comes to reading advancing and receding color, there will rarely be agreement – regardless of convincing decisions offered by theories based on color temperature or wave length.
Related artworks
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Josef Albers, Formulation: Articulation | Folio I / Folder 1, 1972 -
Josef Albers, Formulation: Articulation | Folio 1/ Folder 2, 1972
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Josef Albers, Formulation: Articulation | Folio 1/ Folder 3, 1972
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Josef Albers, Formulation: Articulation | Folio I / Folder 4, 1972
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Josef Albers, Formulation: Articulation | Folio 1/ Folder 7, 1972
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Josef Albers, Formulation: Articulation | Folio 1/ Folder 6, 1972
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Josef Albers, Formulation: Articulation | Folio 1/ Folder 9, 1972
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Josef Albers, Formulation: Articulation | Folio 1/ Folder 8, 1972
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Josef Albers, Formulation: Articulation | Folio 1/ Folder 10, 1972
