Oil Paint on Fiberboard: Describing the Homage to the Square Arts (Research Paper Sample)

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Artist: Josef Albers
Date: 1964
Medium: Oil paint on fiberboard.
Title: study of Homage to the Square.
Homage to the Square
An artist work is a sculpture, painting, photographs, drawings, and others that are made to be attractive and to express a key idea or a feeling. Art is not information but rather revelation, it’s an expression and not a description, and it’s not a repetition or an imitation but rather a creation. The importance of a physicality of the artwork has been destabilized since the conversion to intellectual labor from manual labor with the commencement if readymade. The artist motive is on the creativity of the work and not in the result of that investigation. The purpose of the hand of an artist has turned to be that of insertion, collection and selecting. Although the intention of this paper was to focus this discussion on current and contemporary art like installation, impermanent or short-lived artworks, and new means artworks, because in most cases they are particularly difficult for maintenance ethics and methodology. The paper aims at discussing the original intent in the concept of Homage to the Square which has taken on different meanings and value over time and the artist general ideas in the creation of this art context is a topic of contention.
Homage to the Square (1951) was the work of Josef Albers. In 1949, Albers left Black Mountain College where he was serving as the chair of Design Department at Yale University for eight years and taught Richard Anuszkiewicz and Eva Hesse. While lecturing in Yale University, Albers began his most famous body of work, the series Homage to the Square, an exercise on the optical effects of color within the confines of a uniform square shape (Max 71). In 1950, he began working towards the project that would become his signature series, the Homage to the Square. Josef Albers was influential in getting the tenets of European modernization, for the most part those linked with the Bauhaus, to America. His heirloom as an instructor of artists, as well as his wide ranging hypothetical work suggesting that color, rather than form, is the most important medium of pictographic language 1 ,intensely influenced the improvement of contemporary art in the United States during the 1950s and 1960s. He argued that instead of art he has taught philosophy and technique to him was a big word, he never taught how to do the painting and rather all his doings was aimed at people to see. In his Homage to the Square artwork, his unceasing continuous devotion to a single aspect of painting reflects his opinion that perception is only accomplished through sustained tirelessly trying and critical repetition (Robert 54). This initial work demonstrates his basic methodology an approach on seeing the sights of the flexibility of human view as well as their perception, and the kind of visual and psychosomatic2special effects that colors on its own can yield dependent on their position, closeness and proximity.
Until his death in 1976, he came up with creative ideas and produced more than hundred variations on the simple of compositional scheme of at least three to four squares, which were set inside each other, with the squares a little settling towards the lowest part of the edge. Initially the work appeared to be a very narrow conceptual framework, later shown itself as one of the astonishing perceptual complexity (Smith 87). In 1965, Josef Albers wrote of the series; he argued that they are all of altered palettes3 and later to talk of different climates. Albers chose a solitary, recurrent symmetrical figure, which he claimed was devoid of imagery and symbolism, to steadily investigate with the relativeness of color, how it deviates through association, placement, and interaction with other colors, producing the impression of attraction, movement, resistance and weight. The objective of the color chosen for use in the art work as well as their order is of interaction that influences and changes each other forth and back. Thus, the character and feelings change from painting to painting without extra addition of hand writing characters or the textures. In his earlier homochromatic and linear readings, this sequence discovers the possible of static two-dimensional means to invoke energetic three dimensional spaces (Weiner 167). However, the fundamental proportioned and quasi concentric arrangement or order of squares remains the same in all portrait paintings in quantity and placement. These identical squares categorize themselves, bond and separate in many altered ways. Alber’s theories and arts were broadly dispersed to generations and peer groups of artists and in the faculty of art school through his trainings and instructions at the Bauhaus, Black Mountain College, and Yale University, and they offered the theoretic basis during and after the age of Abstract Expressionism for the improvement of non-objective art. His work on this project exemplifies his experimentations with non-traditional resources and methods. The mechanical methodology of producing such glass pieces permitted him to attain the discipline and objectivity that he considered essential to generate nonrepresentational systems. The Homage to the Square series is also differentiated by the sensibly documented writings of ...