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Homage to the Square: Dedicated (Bauhaus, Minimal, Retrospective, ~34% OFF)1956
1956
$458.48
$70034% Off
£349.46
£533.5534% Off
€403.07
€615.4034% Off
CA$651.18
CA$994.2134% Off
A$699.76
A$1,068.3834% Off
CHF 375.46
CHF 573.2534% Off
MX$8,242.75
MX$12,584.8934% Off
NOK 4,721.02
NOK 7,207.9734% Off
SEK 4,312.62
SEK 6,584.4434% Off
DKK 3,012.36
DKK 4,599.2334% Off
About the Item
Josef Albers
Homage to the Square: Dedicated
1956
Silkscreen in brilliant Colors on Paper after Oil on Masonite, 1950-1956
From "Josef Albers - Paintings, Prints, Projects", 1956
Image Size: 5 x 5 inches (12.7 × 12.7 cm)
Edition: 1,500
Unsigned as issued
Publisher: Yale University Press, New Haven, CT, USA
Design by Norman Ives
Reproduction by the Department of Design, Yale University
*Good vintage condition with vibrant, deep colors. Minute wear consistent with age.
** Could come framed in a simple white or black frame with custom matte. Frame size 8 x 8 or 12 x 12 inches. Please inquire.
This screen print was created as part of a catalogue that was published in conjunction with a landmark 1956 retrospective exhibition of works by Josef Albers, presented at the Yale University Art Gallery. The exhibition surveyed fifty-nine artworks and objects created between 1921 and 1956, offering a comprehensive overview of Albers’s artistic development across Bauhaus, Black Mountain College, and his mature American period.
The publication includes a scholarly essay by George Heard Hamilton, alongside selected excerpts from Albers’s own writings, providing valuable insight into his theories of color, perception, and form. Notably, the catalogue contains two tipped-in, vibrantly colored, unsigned Homage to the Square screenprints, exemplifying Albers’s rigorous yet poetic exploration of chromatic interaction. A handsome and increasingly uncommon example, the catalogue shows mild wear and light soiling to its embossed matte white covers, consistent with age.
Josef Albers served as Chairman of the Department of Design at Yale University from 1950 to 1958, a period during which he profoundly shaped the direction of American modern art education. At Yale, Albers refined his influential teaching philosophy centered on experiential learning and perceptual investigation, emphasizing that color is relational rather than absolute. His tenure coincided with the development of Homage to the Square, a body of work that became central to his legacy and to postwar abstraction more broadly. Albers’s impact at Yale extended far beyond the classroom, influencing generations of artists, architects, and designers and helping to establish Yale as a critical center for modernist thought in the United States.
1956 retrospective, Yale University Art Gallery exhibition, Homage to the Square prints, tipped-in screenprints, Bauhaus legacy, color theory publication, modernist exhibition catalogue, George Heard Hamilton essay, mid-century abstraction, Albers writings, chromatic interaction, design pedagogy, rare art catalogue, Yale modernism
Josef Albers, Bauhaus, modern abstraction, color theory, geometric abstraction, twentieth-century art, modernist design, American modernism, art education, printmaking, minimalism, perceptual art, Yale University, museum publications, art history
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