Josef Albers: Primary Colors | David Zwirner

Josef Albers: Primary Colors

David Zwirner is pleased to present Primary Colors, an exhibition of work by Josef Albers (1888–1976). On view at the gallery’s Hong Kong location, this will be the first solo presentation of Albers’s work in Greater China. Curated by Brenda Danilowitz, chief curator of The Josef and Anni Albers Foundation, the show is a focused examination of how the primary colors red, yellow, and blue, along with black, encompassed an infinite range of chromatic possibilities for Albers, which he explored throughout his career in stunning combinations presented in his signature visual formats. The exhibition coincides with a major retrospective exhibition of Albers’s and his wife and fellow artist Anni Albers’s art at the Institut Valencià d’Art Modern (IVAM), Valencia, Spain, which debuted at the Musée d’Art Moderne de Paris in 2021.

卓納畫廊欣然呈現藝術家約瑟夫·阿爾伯斯(又譯:約瑟夫·亞伯斯,Josef Albers,1888–1976)的作品展《原色》。舉辦於畫廊香港空間的展覽,將是阿爾伯斯作品在大中華區的首次個展。由約瑟夫與安妮·阿爾伯斯基金會的首席策展人布蘭達·丹尼羅威茨(Brenda Danilowitz)策劃,聚焦於紅、黃、藍、黑等原色是如何為阿爾伯斯的創作帶來了無限的色彩可能性。藝術家在整個職業生涯中持續對色彩進行探索,並以標誌性的視覺形式呈現出令人驚嘆的構圖組合。此次展覽恰逢西班牙IVAM瓦倫西亞現代藝術館正在為阿爾伯斯及其妻子、藝術家安妮·阿爾伯斯的藝術創作舉辦大型回顧展,該展覽於2021年首展於巴黎的市立現代美術館。

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Image: Josef Albers, Study for Homage to the Square, 1963 (detail).
約瑟夫·阿爾伯斯,《<向方形致敬>的習作》,1963 年(細節)

Josef Albers Primary Colors on view in Hong Kong

Installation view, Josef Albers: Primary Colors, David Zwirner, Hong Kong, 2022. 展覽現場圖,《約瑟夫·阿爾伯斯:原色》,卓納畫廊香港空間,2022年

Installation view, Josef Albers: Primary Colors, David Zwirner, Hong Kong, 2022. 展覽現場圖,《約瑟夫·阿爾伯斯:原色》,卓納畫廊香港空間,2022年

“If one in a group says ‘red,’ we can be sure that there are as many different conceptions of red as there are individuals in that group.”

—Josef Albers

「如果某個群體中的人說『紅色』,我們就可以肯定,群體中有多少個體,就會有多少種關於紅色的不同理解。」

——約瑟夫·阿爾伯斯

A painting by Josef Albers, titled Study for Homage to the Square, dated 1963.

Josef Albers

Study for Homage to the Square, 1963
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 5/8 x 16 5/8 inches (42.2 x 42.2 cm)

 

約瑟夫·阿爾伯斯

《<向方形致敬>的習作》,1963年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:42.2 x 42.2 x 3.2 厘米



Primary Colors is the first solo presentation of Josef Albers’s work in Greater China. Curated by Brenda Danilowitz, chief curator of The Josef and Anni Albers Foundation, the show examines how primary colors encompassed an infinite range of chromatic possibilities for Albers, which he explored throughout his career in stunning combinations.

Read an accompanying essay by Danilowitz, from which the following texts are excerpted.

《原色》是約瑟夫·阿爾伯斯的作品在大中華地區的首次個展。展覽由約瑟夫與安妮·阿爾伯斯基金會的首席策展人布蘭達·丹尼羅威茨(Brenda Danilowitz)組織策劃,聚焦了原色是如何為阿爾伯斯帶來了無限的色彩可能性。在藝術家的整個職業生涯中,他持久不懈地對色彩進行探索。

請閱讀以下丹尼羅威茨文章的部分節選。

That red, yellow, and blue are “primary” colors is based on the idea that the creation of an exhaustive array of color and color nuances occurs when red, yellow, and blue paints are mixed, but that the pigments themselves result from pure, unmixed sources.

紅、黃、藍被視為「原色」是基於這樣一種想法:即,當紅色、黃色和藍色的顏料混合時,就會產生一系列詳盡豐富、差別細膩的色彩,而這幾個顏色本身則是純粹的、未經混合的。

 

A painting by Josef Albers, titled Homage to the Square, dated 1969.

Josef Albers

Homage to the Square, 1969
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)
 

約瑟夫·阿爾伯斯

《向方形致敬》,1969年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.5 厘米

A portrait of Josef Albers sitting in his studio, dated 1960

Josef Albers in his studio, 1960. © 2021 The Josef and Anni Albers Foundation/DACS. 約瑟夫·阿爾伯斯在他的工作室中,1960年。© 2021 約瑟夫與安妮·阿爾伯斯基金會/DACS

Josef Albers in his studio, 1960. © 2021 The Josef and Anni Albers Foundation/DACS. 約瑟夫·阿爾伯斯在他的工作室中,1960年。© 2021 約瑟夫與安妮·阿爾伯斯基金會/DACS

Albers understood that “primary colors” were an idealized version of what color is: that color identity was a subjective phenomenon and contingent on the individual viewer. Color wheels and color charts were attempts to codify color in scientific ways that had little relevance for him, and he avoided them.

阿爾伯斯視「原色」為色彩的理想形式:色彩的身份是一種主觀的現象,而且取決於個體的觀看者。顏色輪盤及色譜表試圖以與他無關的科學方式編纂色彩,而他對此則避而遠之。

 

 
A painting by Josef Albers, titled Homage to the Square: Decided, dated 1951.

Josef Albers

Homage to the Square: Decided, 1951
Oil on Masonite
32 x 32 inches (81.3 x 81.3 cm)

 

約瑟夫·阿爾伯斯

《向方形致敬:決定》,1951年

梅森耐特纖維板上油彩

81.3 x 81.3 厘米



Albers, who had followed how theories about the nature of color played out at the Bauhaus, did not take up the challenge of color until he arrived in the United States and launched the first-ever color course in an American art school, at Black Mountain College, in 1934.

阿爾伯斯一直遵循在包豪斯發揮作用的那套色彩本質的理論,直至他移居美國後才開始真正接受色彩的挑戰,並且於1934年在黑山學院開設了首個色彩課程。

 

Photo of Josef Albers teaching students at Black Mountain College

Josef Albers teaching at Black Mountain College, 1944. Photo by Josef Breitenbach. Courtesy The Josef and Anni Albers Foundation. 約瑟夫·阿爾伯斯在黑山學院教書,1944年。攝影/ Josef Breitenbach 圖片致謝約瑟夫與安妮·阿爾伯斯基金會

 

Josef Albers teaching at Black Mountain College, 1944. Photo by Josef Breitenbach. Courtesy The Josef and Anni Albers Foundation. 約瑟夫·阿爾伯斯在黑山學院教書,1944年。攝影/ Josef Breitenbach 圖片致謝約瑟夫與安妮·阿爾伯斯基金會

 

In teaching color, he invoked the emphasis on studies of materials and trial-and-error experimentation that he had perfected the previous decade in teaching the Preliminary Course at the Bauhaus. In his simultaneous practice as an artist, Albers applied to his own work the methods and goals to understanding color that he prescribed for his students.

在教授色彩的過程中,他完善了自己過去十年來在包豪斯教授的初級課程,強調對材料研究和反覆試驗的重視。與此同時,在身為藝術家的實踐中,阿爾伯斯將他為學生設置的色彩理解的研究方法和目標應用到自己的工作中。

 

A painting by Josef Albers, titled Homage to the Square, dated 1964.

Josef Albers

Homage to the Square, 1964
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)

 

約瑟夫·阿爾伯斯

《向方形致敬》,1964年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.2 厘米




“[The colors] are juxtaposed for various and changing visual effects. They are to challenge or to echo each other, to support or to oppose one another … in order to make obvious how colors influence and change each other; that the same color, for instance—with different grounds or neighbors—looks different.”

 

—Josef Albers

「(色彩)並置在一起從而產生各種變化的視覺效果。它們互相挑戰、或作出呼應;彼此支撐、或相互反對......這樣的動態、反饋與互動——或者說彼此依賴——使得色彩的相互影響與變化變得鮮明;同一種顏色,會因為被放置在構成各異的背景或相鄰色之間而顯得全然不同。」

 

——約瑟夫·阿爾伯斯

 

A photo of Josef Albers reviewing his artwork taken by Rudy Burckhardt

Photo by Rudy Burckhardt © Estate of Rudy Burckhardt/Artists Right Society (ARS), New York. 攝影/Rudy Burckhardt © 魯迪·伯克哈特(Rudy Burckhardt)藝術遺產基金會/ARS藝術家權利協會,紐約

Photo by Rudy Burckhardt © Estate of Rudy Burckhardt/Artists Right Society (ARS), New York. 攝影/Rudy Burckhardt © 魯迪·伯克哈特(Rudy Burckhardt)藝術遺產基金會/ARS藝術家權利協會,紐約

A red painting was never simply a red painting, and he would prove it by using three or four different reds in a single Homage to the Square painting and repeating this practice with a range of reds, over and over again. 

一幅紅色的繪畫從來不只是一幅紅色繪畫,他會在一件《向方形致敬》的作品中採用三四種不同的紅色,並反覆地使用各種紅色一遍遍地實踐,以此來證明這一點。

 

A painting by Josef Albers, titled Homage to the Square, dated 1970.

Josef Albers

Homage to the Square, 1970
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)

 

約瑟夫·阿爾伯斯

《向方形致敬》,1970年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.2 厘米


“Although Albers may not have used known religious imagery, what he evoked through color is magical and intensely spiritual.”

 

—Nicholas Fox Weber, director of the Josef and Anni Albers Foundation 

「儘管阿爾伯斯可能沒有採用任何已知的宗教性意象,但他通過色彩喚起的正是神奇而又強烈的精神性。」

 

——尼古拉斯·福克斯·韋伯,
約瑟夫與安妮·阿爾伯斯基金會總監

 

A painting by Josef Albers, titled Treble Clef G n, 1932 to 1935.

Josef Albers

Treble Clef G n, 1932-1935
Gouache and graphite on paper
15 x 10 1/8 inches (38.1 x 25.7 cm)
Framed: 22 7/8 x 16 1/2 inches (58.1 x 41.9 cm)
 

約瑟夫·阿爾伯斯

《高音譜號G n》,1932-1935年

紙本水粉和石墨

作品尺寸:38.1 x 25.7 厘米

裝裱尺寸:58.1 x 41.9 x 3.8 厘米


“He didn’t teach you how to ‘do art.’ The focus was always on your personal sense of looking.... Color was about the flexibilities and the complex relationships that [colors] have with one another.”

 

—Robert Rauschenberg


「他没有教你如何『做藝術』。重點總是放在你個人對觀看的感受上……色彩則事關不同顏色之間彼此靈活而複雜的關係。」

 

——羅伯特·勞申伯格

A painting by Josef Albers, titled Modified Repetition, dated 1943.

Josef Albers

Modified Repetition, 1943
Oil on Masonite
15 1/2 x 25 1/2 inches (39.4 x 64.8 cm)
Framed: 20 7/8 x 31 inches (53 x 78.7 cm)

約瑟夫·阿爾伯斯

《修改的重複》,1943年

梅森耐特纖維板上油彩

作品尺寸:39.4 x 64.8 厘米

裝裱尺寸:53 x 78.7 x 4.8 厘米

The exhibition coincides with a major retrospective exhibition of Albers’s and his wife and fellow artist Anni Albers’s art at the Institut Valencià d’Art Modern (IVAM), Valencia, Spain, which debuted at the Musée d’Art Moderne de Paris in 2021.

與此次展覽同期,西班牙IVAM瓦倫西亞現代藝術館正在為阿爾伯斯及其妻子、藝術家安妮·阿爾伯斯的藝術創作舉辦大型回顧展,展覽於2021年首展在巴黎市立現代美術館。

Installation view, Anni et Josef Albers: L’art et la vie, Musée d’Art Moderne de Paris
Installation view, Anni et Josef Albers: L’art et la vie, Musée d’Art Moderne de Paris, 2021. Photo by Sipa/L.Joly. Courtesy of the Musée d’Art Moderne de Paris. 展覽現場圖,《安妮和約瑟夫·阿爾伯斯:藝術與生活》,巴黎市立現代美術館,2021年。攝影/ Sipa/L.Joly。圖片致謝巴黎市立現代美術館
 
Installation view, Anni et Josef Albers: L’art et la vie, Musée d’Art Moderne de Paris, 2021. Photo by Sipa/L.Joly. Courtesy of the Musée d’Art Moderne de Paris. 展覽現場圖,《安妮和約瑟夫·阿爾伯斯:藝術與生活》,巴黎市立現代美術館,2021年。攝影/ Sipa/L.Joly。圖片致謝巴黎市立現代美術館
 
A painting by Josef Albers, titled Cordovan Façade, 1957 to 1965.

Josef Albers

Cordovan Façade, 1957-1965
Oil on Masonite
22 1/4 x 29 3/8 inches (56.5 x 74.6 cm)
Framed: 22 7/8 x 30 inches (58.1 x 76.2 cm)

 

約瑟夫·阿爾伯斯

《科爾多瓦外立面》,1957-1965年

梅森耐特纖維板上油彩

作品尺寸:56.5 x 74.6 厘米

裝裱尺寸:58.1 x 76.2 x 3.8 厘米

“What interests me most now is how colors change one another according to the proportions and quantities.… Greens become blue, neutral greys become red violet.… Dark colors become light.… Opaque colors appear transparent only as a result of the way they are combined.… [It is] terribly exciting.”

 

—Josef Albers 

「我現在最感興趣的是色彩如何根據彼此的比例及數量而產生變化......綠色變成了藍色、中性的灰色變成了紫紅色......深色變成淺色......不透明的顏色因為組合方式的不同而變得通透......(這)太令人興奮了。」

 

——約瑟夫·阿爾伯斯

 

A painting by Josef Albers, titled Adobe: Yellow Front, dated 1959.

Josef Albers

Adobe: Yellow Front, 1959
Oil on Masonite
22 x 26 1/8 inches (55.9 x 66.4 cm)
Framed: 22 1/2 x 26 3/4 inches (57.2 x 67.9 cm)

 

約瑟夫·阿爾伯斯

《黏土系列:黃色前景》,1959年

梅森耐特纖維板上油彩

作品尺寸:55.9 x 66.4 厘米

裝裱尺寸:57.2 x 67.9 x 3.2 厘米

At the end of 1946, on an extended sabbatical in New Mexico and Mexico, Albers was primed to focus on his painting. His focus would be “a strict painting diet” of color—the element of painting that was to be his overriding passion for the next three decades.

1946年底,在前往新墨西哥州和墨西哥的教職休假期間,阿爾伯斯準備專注於自己的繪畫。他專注地對色彩進行如「嚴格節食般的繪畫計劃」——色彩也在此後三十年間成為了對他而言最重要的繪畫元素。

A painting by Josef Albers, titled Study for Graphic Tectonic (Ascension), dated 1941.

Josef Albers

Study for Graphic Tectonic (Ascension), 1941
Ink and graphite on paper
22 1/8 x 17 1/8 inches (56.2 x 43.5 cm)
Framed: 26 1/4 x 21 1/4 inches (66.7 x 54 cm)

 

約瑟夫·阿爾伯斯

《<圖形構造>(上升)的習作》,1941年

紙本水粉和石墨

作品尺寸:56.2 x 43.5 厘米

裝裱尺寸:66.7 x 54 x 3.8 厘米

“The work is exceptionally intriguing and presents a conception of multiple distinctions within a single context, itself in turn manifold.“

 

—Donald Judd


「這些創作極具吸引力,在單一的語境下呈現了多重差異的觀念,而且其本身是多樣的。」

 

——唐納德·賈德

 

 

Josef Albers paintings on view on the Metropolitan Museum of Art

Installation view, Josef Albers at the Metropolitan Museum of Art, The Metropolitan Museum of Art, 1971. 展覽現場圖,《約瑟夫·阿爾伯斯在大都會藝術博物館》,紐約大都會藝術博物館,1971年

 

Installation view, Josef Albers at the Metropolitan Museum of Art, The Metropolitan Museum of Art, 1971. 展覽現場圖,《約瑟夫·阿爾伯斯在大都會藝術博物館》,紐約大都會藝術博物館,1971年

 
A photo of an installation view exhibiting Josef Albers in Mexico painting

Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo by David Heald. © Solomon R. Guggenheim Foundation, 2017. 展覽現場圖,《約瑟夫·阿爾伯斯在墨西哥》,紐約古根海姆美術館,2017年。攝影/David Heald © 所羅門·R·古根海姆基金會,2017年

Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo by David Heald. © Solomon R. Guggenheim Foundation, 2017. 展覽現場圖,《約瑟夫·阿爾伯斯在墨西哥》,紐約古根海姆美術館,2017年。攝影/David Heald © 所羅門·R·古根海姆基金會,2017年

A photo of an Installation view, Josef Albers in Mexico at the Guggenheim Museum in New York

Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo by David Heald. © Solomon R. Guggenheim Foundation, 2017. 展覽現場圖,《約瑟夫·阿爾伯斯在墨西哥》,紐約古根海姆美術館,2017年。攝影/David Heald © 所羅門·R·古根海姆基金會,2017年

Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo by David Heald. © Solomon R. Guggenheim Foundation, 2017. 展覽現場圖,《約瑟夫·阿爾伯斯在墨西哥》,紐約古根海姆美術館,2017年。攝影/David Heald © 所羅門·R·古根海姆基金會,2017年

Installation view of Josef Albers Interaction painting in Germany

Installation view, Interaction, Villa Hügel, Essen, Germany, 2018. © Kulturstiftung Ruhr. Photo by Laurenz Berges. 展覽現場圖,《互動》,埃森山丘别墅,德國,2018年。© 魯爾文化基金會。攝影/Laurenz Berges

Installation view, Interaction, Villa Hügel, Essen, Germany, 2018. © Kulturstiftung Ruhr. Photo by Laurenz Berges. 展覽現場圖,《互動》,埃森山丘别墅,德國,2018年。© 魯爾文化基金會。攝影/Laurenz Berges

The mechanics of color and vision might be firmly based in physics but true seeing transcended reason and led to an awareness of what Albers described as “the discrepancy between physical fact and psychic effect”—the unpredictable point, beyond words, where all the elements coalesce in a painting that mysteriously and magically attains sublimity.

色彩和視覺的運行機制或許深深地植根於物理學中,但真切的觀看會超越理性,並直抵阿爾伯斯稱之為「物理事實與心理效應間的差異」的意識——那是難以言表而無法預測的,所有元素匯聚於一幅繪畫中,神秘、魔幻地達自崇高之地。

 

A painting by Josef Albers, titled Study for Homage to the Square, dated 1967.

Josef Albers

Study for Homage to the Square, 1967
Oil on Masonite
40 x 40 inches (101.6 x 101.6 cm)
Framed: 40 1/4 x 40 1/4 inches (102.2 x 102.2 cm)

 

約瑟夫·阿爾伯斯

《<向方形致敬>的習作》,1967年

梅森耐特纖維板上油彩

作品尺寸:101.6 x 101.6 厘米

裝裱尺寸:102.2 x 102.2 x 3.5 厘米

“[H]ow a color is used and related to others … is decisive in art.”

 

—Josef Albers

「某種色彩如何被使用、如何與其他色彩產生關聯......是藝術中最具決定性的要素。」

 

——約瑟夫·阿爾伯斯

 

Josef Albers Primary Colors on view in Hong Kong

Installation view, Josef Albers: Primary Colors, David Zwirner, Hong Kong, 2022. 展覽現場圖,《約瑟夫·阿爾伯斯:原色》,卓納畫廊香港空間,2022年

 

Installation view, Josef Albers: Primary Colors, David Zwirner, Hong Kong, 2022. 展覽現場圖,《約瑟夫·阿爾伯斯:原色》,卓納畫廊香港空間,2022年

 

Inquire about works by Josef Albers

A painting by Josef Albers, titled Homage to the Square, dated 1970.

Josef Albers

Homage to the Square, 1970
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)

 

約瑟夫·阿爾伯斯

《向方形致敬》,1970年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.2 厘米


A painting by Josef Albers, titled Homage to the Square, dated 1976.

Josef Albers

Homage to the Square, 1976
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/8 x 16 1/8 inches (41 x 41 cm)


約瑟夫·阿爾伯斯

《向方形致敬》,1976年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41 x 41 x 3.2 厘米



A painting by Josef Albers, titled Homage to the Square, dated 1963.

Josef Albers

Homage to the Square, 1963
Oil on Masonite
24 x 24 inches (61 x 61 cm)
Framed: 24 1/2 x 24 1/2 inches (62.2 x 62.2 cm)


約瑟夫·阿爾伯斯

《向方形致敬》,1963年

梅森耐特纖維板上油彩

作品尺寸:61 x 61 厘米

裝裱尺寸:62.2 x 62.2 x 3.8 厘米

A painting by Josef Albers, titled Color study for a Homage to the Square, circa 1966 to 1970.

Josef Albers

Color study for a Homage to the Square, c. 1966 - 1970
Oil and pencil on blotting paper
13 1/16 x 11 5/16 inches (33.2 x 28.7 cm)
Framed: 16 5/8 x 15 5/8 inches (42.2 x 39.7 cm)


約瑟夫·阿爾伯斯

《<向方形致敬>的色彩習作》,約1966-1970年

吸墨紙上油彩及鉛筆

作品尺寸:33.2 x 28.7 厘米

裝裱尺寸:42.2 x 39.7 x 3.5 厘米



A painting by Josef Albers, titled Color study for a Homage to the Square [K-G, Early Fusion], circa 1966.

Josef Albers

Color study for a Homage to the Square [K-G, Early Fusion], c. 1966
Oil and pencil on blotting paper
13 1/8 x 11 15/16 inches (33.3 x 30.3 cm)
Framed: 16 3/4 x 15 1/2 inches (42.5 x 39.4 cm)


約瑟夫·阿爾伯斯

《<向方形致敬>的色彩習作 [K-G,早期融合]》,約1966年

吸墨紙上油彩及鉛筆

作品尺寸:33.3 x 30.3 厘米

裝裱尺寸:42.5 x 39.4 x 3.5 厘米



A painting by Josef Albers, titled Color study for a Homage to the Square, n.d.

Josef Albers

Color study for a Homage to the Square, n.d.
Oil and pencil on blotting paper
12 1/16 x 13 1/16 inches (30.6 x 33.2 cm)
Framed: 15 3/4 x 16 5/8 inches (40 x 42.2 cm)

 

約瑟夫·阿爾伯斯

《<向方形致敬>的色彩習作》,未標註創作時間
吸墨墨紙上油彩及鉛筆

作品尺寸:30.6 x 33.2 厘米

裝裱尺寸:40 x 42.2 x 3.5 厘米


A painting by Josef Albers, titled Homage to the Square: Decided, dated 1951.

Josef Albers

Homage to the Square: Decided, 1951
Oil on Masonite
32 x 32 inches (81.3 x 81.3 cm)

 

約瑟夫·阿爾伯斯

《向方形致敬:決定》,1951年

梅森耐特纖維板上油彩

81.3 x 81.3 厘米



A painting by Josef Albers, titled Study for Homage to the Square, dated 1963.

Josef Albers

Study for Homage to the Square, 1963
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 5/8 x 16 5/8 inches (42.2 x 42.2 cm)

 

約瑟夫·阿爾伯斯

《<向方形致敬>的習作》,1963年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:42.2 x 42.2 x 3.2 厘米



A painting by Josef Albers, titled Homage to the Square, dated 1969.

Josef Albers

Homage to the Square, 1969
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)
 

約瑟夫·阿爾伯斯

《向方形致敬》,1969年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.5 厘米

A painting by Josef Albers, titled Cordovan Façade, 1957 to 1965.

Josef Albers

Cordovan Façade, 1957-1965
Oil on Masonite
22 1/4 x 29 3/8 inches (56.5 x 74.6 cm)
Framed: 22 7/8 x 30 inches (58.1 x 76.2 cm)

 

約瑟夫·阿爾伯斯

《科爾多瓦外立面》,1957-1965年

梅森耐特纖維板上油彩

作品尺寸:56.5 x 74.6 厘米

裝裱尺寸:58.1 x 76.2 x 3.8 厘米

A painting by Josef Albers, titled Study for Lozenge Horizontal, circa 1942 to 1946.

Josef Albers

Study for Lozenge Horizontal, c. 1942-1946
Oil and graphite on blotting paper
19 1/8 x 24 inches (48.6 x 61 cm)
Framed: 26 3/8 x 37 inches (67 x 94 cm)


約瑟夫·阿爾伯斯

《<水平菱形>的習作》,約1942-1946年

吸墨紙上油彩及石墨

作品尺寸:48.6 x 61 厘米

裝裱尺寸:67 x 79.1 x 3.8 厘米

A painting by Josef Albers, titled Treble Clef, circa 1932 to 1935.

Josef Albers

Treble Clef, c. 1932-1935
Gouache and graphite on paper
15 5/8 x 11 1/2 inches (39.7 x 29.2 cm)
Framed: 22 7/8 x 16 1/2 inches (58.1 x 41.9 cm)

約瑟夫·阿爾伯斯

《高音譜號》,1932-1935年

紙本水粉和石墨

作品尺寸:39.7 x 29.2 厘米

裝裱尺寸:58.1 x 41.9 x 3.8 厘米

A painting by Josef Albers, titled Treble Clef G g, 1932 to 1935.

Josef Albers

Treble Clef G g, 1932-1935
Gouache and graphite on paper
14 7/8 x 10 1/8 inches (37.8 x 25.7 cm)
Framed: 22 7/8 x 16 1/2 inches (58.1 x 41.9 cm)


約瑟夫·阿爾伯斯

《高音譜號G g》,  1932-1935年

紙本水粉和石墨

作品尺寸:37.8 x 25.7 厘米

裝裱尺寸:58.1 x 41.9 x 3.8 厘米

A painting by Josef Albers, titled Treble Clef G n, 1932 to 1935.

Josef Albers

Treble Clef G n, 1932-1935
Gouache and graphite on paper
15 x 10 1/8 inches (38.1 x 25.7 cm)
Framed: 22 7/8 x 16 1/2 inches (58.1 x 41.9 cm)
 

約瑟夫·阿爾伯斯

《高音譜號G n》,1932-1935年

紙本水粉和石墨

作品尺寸:38.1 x 25.7 厘米

裝裱尺寸:58.1 x 41.9 x 3.8 厘米


A painting by Josef Albers, titled Homage to the Square, dated 1964.

Josef Albers

Homage to the Square, 1964
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)

 

約瑟夫·阿爾伯斯

《向方形致敬》,1964年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.2 厘米




A painting by Josef Albers, titled Homage to the Square, dated 1963.

Josef Albers

Homage to the Square, 1963
Oil on Masonite
16 x 16 inches (40.6 x 40.6 cm)
Framed: 16 1/4 x 16 1/4 inches (41.3 x 41.3 cm)
 

約瑟夫·阿爾伯斯

《向方形致敬》,1963年

梅森耐特纖維板上油彩

作品尺寸:40.6 x 40.6 厘米

裝裱尺寸:41.3 x 41.3 x 3.8 厘米

A painting by Josef Albers, titled Adobe: Yellow Front, dated 1959.

Josef Albers

Adobe: Yellow Front, 1959
Oil on Masonite
22 x 26 1/8 inches (55.9 x 66.4 cm)
Framed: 22 1/2 x 26 3/4 inches (57.2 x 67.9 cm)

 

約瑟夫·阿爾伯斯

《黏土系列:黃色前景》,1959年

梅森耐特纖維板上油彩

作品尺寸:55.9 x 66.4 厘米

裝裱尺寸:57.2 x 67.9 x 3.2 厘米

A painting by Josef Albers, titled Treble Clef G l, dated 1935.

Josef Albers

Treble Clef G l, 1935
Gouache and graphite on paper
15 x 10 3/8 inches (38.1 x 26.4 cm)
Framed: 23 x 17 inches (58.4 x 43.2 cm)


約瑟夫·阿爾伯斯

《高音譜號G l》,1935年

紙本水粉和石墨

作品尺寸:38.1 x 26.4 厘米

裝裱尺寸:58.4 x 43.2 x 3.2 厘米

A painting by Josef Albers, titled Treble Clef G b, dated 1932 to 1935.

Josef Albers

Treble Clef G b, 1932-1935
Gouache and graphite on paper
15 x 10 3/8 inches (38.1 x 26.4 cm)
Framed: 22 7/8 x 16 1/2 inches (58.1 x 41.9 cm)


約瑟夫·阿爾伯斯

《高音譜號G b》,1932-1935年

紙本水粉和石墨

作品尺寸:38.1 x 26.4 厘米

裝裱尺寸:58.1 x 41.9 x 3.8 厘米

A painting by Josef Albers, titled Study for Homage to the Square, dated 1967.

Josef Albers

Study for Homage to the Square, 1967
Oil on Masonite
40 x 40 inches (101.6 x 101.6 cm)
Framed: 40 1/4 x 40 1/4 inches (102.2 x 102.2 cm)

 

約瑟夫·阿爾伯斯

《<向方形致敬>的習作》,1967年

梅森耐特纖維板上油彩

作品尺寸:101.6 x 101.6 厘米

裝裱尺寸:102.2 x 102.2 x 3.5 厘米

A painting by Josef Albers, titled Modified Repetition, dated 1943.

Josef Albers

Modified Repetition, 1943
Oil on Masonite
15 1/2 x 25 1/2 inches (39.4 x 64.8 cm)
Framed: 20 7/8 x 31 inches (53 x 78.7 cm)

約瑟夫·阿爾伯斯

《修改的重複》,1943年

梅森耐特纖維板上油彩

作品尺寸:39.4 x 64.8 厘米

裝裱尺寸:53 x 78.7 x 4.8 厘米

A painting by Josef Albers, titled Study to Kinetic VII, dated 1945.

Josef Albers

Study to Kinetic VII, 1945
Oil on Masonite
16 x 23 inches (40.6 x 58.4 cm)
Framed: 16 3/4 x 24 1/4 inches (42.5 x 61.6 cm)

約瑟夫·阿爾伯斯

《<動力學 VII>的習作》,1945年
梅森耐特纖維板上油彩
作品尺寸:40.6 x 58.4 厘米
裝裱尺寸:42.5 x 61.6 x 3.8 厘米
A painting by Josef Albers, titled Study for Graphic Tectonic (Ascension), dated 1941.

Josef Albers

Study for Graphic Tectonic (Ascension), 1941
Ink and graphite on paper
22 1/8 x 17 1/8 inches (56.2 x 43.5 cm)
Framed: 26 1/4 x 21 1/4 inches (66.7 x 54 cm)

 

約瑟夫·阿爾伯斯

《<圖形構造>(上升)的習作》,1941年

紙本水粉和石墨

作品尺寸:56.2 x 43.5 厘米

裝裱尺寸:66.7 x 54 x 3.8 厘米

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          Primary Colors

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