Study For Homage to the Square Terrassed Foliage 1960 by Josef Albers
Study For Homage To The Square Terrassed Foliage, 1960
Josef Albers’ Geometric Meditation: The Genesis of a Modern Icon
Few works in modern art distill the essence of color theory as precisely as Josef Albers’ Study For Homage To The Square Terrassed Foliage. Created in 1960, this preparatory oil study belongs to the artist’s legendary Homage to the Square series—a body of work that consumed Albers for over twenty-five years. Unlike the rigid, hard-edged squares of his later canvases, this study reveals a softer, almost organic approach to geometric abstraction. The nested rectangles, layered like stratified foliage, hint at the natural world while adhering to Albers’ strict formalist principles. As the Museum of Modern Art observes, these studies were not mere drafts but independent explorations, each a deliberate step in Albers’ lifelong investigation of chromatic interaction.
The title’s reference to “terrassed foliage” is no accident. Albers, who fled Nazi Germany for the United States in 1933, often drew parallels between his layered color fields and the stepped agriculture of his native Westphalia. Here, the warm ochre and muted olive squares evoke autumnal hillsides, yet their precise edges and mathematical proportions anchor the composition in modernist discipline. This duality—between the perceived and the constructed—lies at the heart of Albers’ pedagogy. As a professor at Black Mountain College and later Yale, he taught that color was not a static property but a relational experience, a lesson embodied in every brushstroke of this 1960 study.
From the Bauhaus to Black Mountain: Albers’ Evolution
By 1960, Josef Albers had spent nearly three decades refining the ideas first seeded at the Bauhaus. As a student—and later instructor—under Kandinsky and Klee, he absorbed the school’s ethos of uniting art with craft, yet his Homage to the Square series marked a decisive break from European modernism. Where his Bauhaus-era glassworks and furniture designs served functional purposes, these late-career studies were pure visual research. The Tate notes that Albers’ move to the United States in 1933 catalyzed this shift, as he encountered the vast, uncluttered landscapes of North Carolina, where Black Mountain College became his creative sanctuary.
This study’s earthy palette reflects that environment. The ochre and umber tones mirror the Appalachian foothills, while the subtle gradations between squares demonstrate Albers’ signature “color deception”—his term for the optical illusions created by adjacent hues. Unlike the vibrant primaries of his 1950s works, Terrassed Foliage embraces restraint, proving that chromatic complexity need not rely on brightness. It was this restraint that later influenced minimalists like Donald Judd and Agnes Martin, who cited Albers’ teachings as foundational.
Albers’ genius lay in revealing color as a verb, not a noun—each square in Terrassed Foliage doesn’t merely sit beside its neighbor but actively alters its perception, a visual paradox that rewards prolonged viewing.
The Science Behind the Squares: Albers’ Method
Composition: The Architecture of Perception
Albers’ squares were never arbitrary. In Terrassed Foliage, the proportions adhere to a 1:1.5:2 ratio, a harmonic division derived from his Bauhaus training. The outermost rectangle establishes the canvas’s edges, while the inner squares recede in precise increments, creating a rhythmic pulse. This mathematical underpinning belies the work’s apparent simplicity—each layer’s dimensions were calculated to maximize the optical vibration between colors.
Surface and Medium: Oil on Masonite
The choice of Masonite—a smooth, rigid fiberboard—was critical. Unlike canvas, its non-absorbent surface allowed Albers to apply oil paint in thin, even glazes, essential for achieving the luminous depth seen here. He often sanded between layers to eliminate brushstrokes, ensuring that color, not texture, dominated the viewer’s experience. The matte finish of the Masonite also reduced glare, letting the subtle shifts between ochre and olive register without distraction.
Own This Landmark of Color Theory
Bring Josef Albers’ revolutionary study into your space, presented in a gallery-quality frame with archival matting. Free worldwide shipping ensures it arrives ready to hang—no hidden fees, no minimum order.
Add to Cart — Ships FreeDisplaying Terrassed Foliage: A Curator’s Approach
This print’s muted palette and geometric clarity make it remarkably versatile. In modern interiors, its earthy tones bridge warm wood furnishings and cool metal accents—try positioning it above a walnut credenza or opposite a steel-framed bookshelf. For a bolder contrast, hang it against a deep navy or forest green wall; the ochre squares will appear to glow. Given the 30×40 cm dimensions, ideal placement includes:
- Above a console table in an entryway, where its structured composition sets a sophisticated tone;
- Centered over a desk in a home office, its meditative layers fostering focus;
- As part of a grid with other Albers studies, creating a chromatic “library” of his experiments.
Avoid overly busy surroundings—this work demands space to “breathe,” its quiet authority best appreciated from a distance of 1.5 to 2 meters.
What framing and materials are included?
Each print arrives in a handcrafted solid wood frame with UV-protective acrylic glazing and acid-free matting. The frame’s profile is 2.5 cm deep, designed to complement the artwork without competing for attention.
Where do you ship, and how long does delivery take?
We offer free shipping to all countries, with no minimum purchase. Delivery typically takes 5–10 business days, depending on your location. All orders include end-to-end tracking.
How long will the colors stay vibrant?
Our archival inks and UV-blocking glazing ensure resistance to fading for decades. The print is rated for 100+ years under normal lighting conditions, preserving Albers’ precise color relationships.
What is your return policy?
If you’re not completely satisfied, return the print within 30 days in its original condition. We’ll refund the full purchase price—no restocking fees, and we’ll even cover return shipping costs.
Sources & Further Reading
- The Museum of Modern Art. "Josef Albers: Homage to the Square." moma.org
- Tate. "Josef Albers: Interaction of Color." tate.org.uk
- The Josef and Anni Albers Foundation. "Chronology." albersfoundation.org
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