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拍品专文
This work will be included in the forthcoming catalouge raisonné being prepared by the Anni and Josef Albers Foundation.
James Pearson Duffy, longtime Detroit businessman, was a consummate patron of the arts, and champion of the city's arts scene. Detroit Institute of Arts (DIA) Director Graham W. J. Beal said of Duffy: "Jim was extraordinary in so many ways. If anyone can be said to have danced to a different drummer, it was Jim. His passion for art manifested itself all the time, and over a lifetime he collected avidly. He collected widely but gave special support to Detroit artists by relentless acquisition of their works--the best sort of support that can be given. His generosity to the DIA in gifts of works of art and funds puts him in the top ranks of DIA patrons."
In the 1950s Josef Albers began the Homage to the Square series, his signature work, and continued to explore the vehicle of the square for the next twenty-five years, extrapolating on the subtleties of both color and perception. A member of the Bauhaus and an influential teacher at Black Mountain College and Yale University, Albers's influence can be felt in the works of his many exceptional students including Eva Hesse, Robert Rauschenberg, Kenneth Noland and Donald Judd.
In Homage to the Square: Sudden Spring Albers uses fresh tones of green, gray and blue to guide the viewer in a sensual exploration beyond the mechanics of vision. The varying tints and tones of color lead the viewer's eye to move in an optical progression outward from the center of the composition. The flat surface design creates an illusion of movement and the interlocking squares appear to advance or recede into space and though the composition is familiar Homage to the Square: Sudden Spring surprises with its own particular rhythm and vibration. Few artists can claim a true mastery of their particular aesthetic and fewer still have been truly liberated by the intensity of their self-imposed limitations, Albers's is an exception on both counts and Homage to the Square: Sudden Spring helps to illustrate that claim.
James Pearson Duffy, longtime Detroit businessman, was a consummate patron of the arts, and champion of the city's arts scene. Detroit Institute of Arts (DIA) Director Graham W. J. Beal said of Duffy: "Jim was extraordinary in so many ways. If anyone can be said to have danced to a different drummer, it was Jim. His passion for art manifested itself all the time, and over a lifetime he collected avidly. He collected widely but gave special support to Detroit artists by relentless acquisition of their works--the best sort of support that can be given. His generosity to the DIA in gifts of works of art and funds puts him in the top ranks of DIA patrons."
In the 1950s Josef Albers began the Homage to the Square series, his signature work, and continued to explore the vehicle of the square for the next twenty-five years, extrapolating on the subtleties of both color and perception. A member of the Bauhaus and an influential teacher at Black Mountain College and Yale University, Albers's influence can be felt in the works of his many exceptional students including Eva Hesse, Robert Rauschenberg, Kenneth Noland and Donald Judd.
In Homage to the Square: Sudden Spring Albers uses fresh tones of green, gray and blue to guide the viewer in a sensual exploration beyond the mechanics of vision. The varying tints and tones of color lead the viewer's eye to move in an optical progression outward from the center of the composition. The flat surface design creates an illusion of movement and the interlocking squares appear to advance or recede into space and though the composition is familiar Homage to the Square: Sudden Spring surprises with its own particular rhythm and vibration. Few artists can claim a true mastery of their particular aesthetic and fewer still have been truly liberated by the intensity of their self-imposed limitations, Albers's is an exception on both counts and Homage to the Square: Sudden Spring helps to illustrate that claim.