Josef Albers, ‘Study for Homage to the Square’, 1950, Wright

The painting is included in an appendix of lost, damaged, and destroyed works in the catalogue raisonné of the paintings of Josef Albers being prepared by the Josef and Anni Albers Foundation, Bethany, Connecticut. The catalogue description states that the work was damaged and suffered significant and irreparable losses of the painted surface, which were subsequently overpainted by a hand other than the artist’s. The work is illustrated in the catalogue with a photograph before the overpainting was done.

Signature: Signed and dated to edge 'A 50'. Signed titled and dated to reverse 'Study For "Homage To The Square" Albers 1950'.

Rose Fried Gallery, New York | Estate of Norman Ives | Private Collection

About Josef Albers

Josef Albers is best known for his seminal “Homage to the Square” series of the 1950s and '60s, which focused on the simplification of form and the interplay of shape and color. “Abstraction is real, probably more real than nature,” he once said. “I prefer to see with closed eyes.” His abstract canvases employed rigid geometric compositions in order to emphasize the optical effects set off by his chosen color palettes. Albers was highly influential as a teacher, first at the Bauhaus in Germany alongside Wassily Kandinsky and Paul Klee, and later with posts at Black Mountain College, Yale, and Harvard; he taught courses in design and color theory, and counted among his students such iconic artists as Eva Hesse, Cy Twombly, Richard Anuszkiewicz, and Robert Rauschenberg. He is often cited among the progenitors of Minimalist, Conceptual, and Op art.

German-American, 1888-1976, Bottrop, Germany, based in Dessau, Germany, Black Mountain, North Carolina and New Haven, Connecticut