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josef albers interaction of color

josef albers interaction of color

Albers' Interaction of Color: "transparence and space-illusion" color ...

Albers' Interaction of Color: "transparence and space-illusion" color ...

“Dreams, memories, the sacred—they are all alike in that they are beyond our grasp. Once we are even marginally separated from what we can touch, the object is sanctified; it acquires the beauty of the unattainable, the quality of the miraculous. Everything, really, has this quality of sacredness, but we can desecrate it at a touch. How strange man is! His touch defiles and yet he contains the source of miracles.” ― Yukio Mishima, Spring Snow

“Dreams, memories, the sacred—they are all alike in that they are beyond our grasp. Once we are even marginally separated from what we can touch, the object is sanctified; it acquires the beauty of the unattainable, the quality of the miraculous. Everything, really, has this quality of sacredness, but we can desecrate it at a touch. How strange man is! His touch defiles and yet he contains the source of miracles.” ― Yukio Mishima, Spring Snow

Josef Albers’ The Interraction of Color: Art School In Your Hands

Josef Albers’ The Interraction of Color: Art School In Your Hands

Nathan Hylden. Untitled (2009), acrylic on aluminum, 196.85 x 144.78 cm

Nathan Hylden. Untitled (2009), acrylic on aluminum, 196.85 x 144.78 cm

Color mixture in digital paper, from Josef Albers Interaction of Color App

Color mixture in digital paper, from Josef Albers Interaction of Color App

Raf Simons Redux

Raf Simons Redux

The theory is complex and evolved over the years, but during his career, Albers produced a prodigious number of color-field paintings, beginning with a series called “Homage to the Square” in 1949 (we’re showing “Homage to the Square Ascending,” 1953). These works make perfect paint palettes for today’s rooms, from the bright and sunny to the introspective and demure.

The theory is complex and evolved over the years, but during his career, Albers produced a prodigious number of color-field paintings, beginning with a series called “Homage to the Square” in 1949 (we’re showing “Homage to the Square Ascending,” 1953). These works make perfect paint palettes for today’s rooms, from the bright and sunny to the introspective and demure.

Richard Anuszkiewicz (artist), TransluminiaTurquoise 1986 serigraph on paper image: 24 x 24 in. Smithsonian American Art Museum

Richard Anuszkiewicz (artist), TransluminiaTurquoise 1986 serigraph on paper image: 24 x 24 in. Smithsonian American Art Museum

Interaction of Color: Josef Albers

Interaction of Color: Josef Albers

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