Saturday, 8 July 2017

José Heerkens / Josef Albers



Josef Albers
Homage to the Square: Lone Light
1962
oil on masonite
45,7 × 45,7 cm
1976.1.1841
(photo from the website of The Albers Foundation)



Josef Albers had no theories about color. Also he made this interesting point about color combinations: “independent of harmony rules, any color ‘goes’ or ‘works’ with any color, presupposing that their quantities are appropriate”. In his works and writings, Albers evokes to develop an eye for color. He describes ways to learn about color through experience – by the method of trial and error in his famous publication 'Interaction of Color' (1963).
In order to make color to a concrete factor that we can see, it needs a form, a shape or outline. Albers made the ingenious discovery that the square as a form could be subservient to color. He made a basic composition of three or four squares set inside one another, on masonite. This form gave him the freedom to be concerned only with color; he named it 'Homage to the Square'. In 1950, at the age of sixty-two, Albers developed this concept and would continue working on it for twenty-six years, until his death in 1976. 'Homage to the Square' would become his most important body of work. Everything I’ve learned about color started by looking at 'Homage to the Square'.
(In January 2017 'The Art Section - An Online Journal of Art and Cultural Commentary', published a special issue on Josef Albers. For this edition I wrote an essay about Albers and color: 'Color is a Whole World' and here I quoted from this essay)

In 2011 I was artist in residence at The Josef and Anni Albers Foundation in Bethany CT, USA. Being so close I also discovered that his work tells: it is not about me. And this I think, is one of the important aspects in art: it is not about me.....

José Heerkens, April 2017




José Heerkens (NL)
L18. Evensong
2016
oil on linen
150 x 150 cm
(photo: Willem Kuijpers)


Sunday, 25 June 2017

Wladimir Moszowski / Balthus



Balthus
The Mountain
1936-1937
oil on canvas
248 x 365,8 cm
Metropolitan NY



Wladimir Moszowski (BE)
Partisan's Daughter
2015
oil on canvas
115 x 160 cm


Saturday, 10 June 2017

Joseph Semah / Barnett Newman




Barnett Newman
The Name I
1949
oil paint on canvas
121,9 x 152,4 cm
collection Daros, Zwitserland



HaSheM, in Hebrew 'the Name'.
Religious Jews use the word השם HaSheM for what is unnameable, יהוה YHVH.

I read the work of Barnett Newman, The Name I, from the tradition of the source text, the Hebrew.
Right to left: we see a four-striped canvas, entitled The Name I.
The first line is very thin, the third is thicker, the second and the fourth are identical, and the thickest.
The first line stands for י YUD, the second and the fourth for ה HeH and the third for ו VaV. When we read this, from right to left, we see that Newman has painted the name YAHUVEH YHVH; Tetragrammaton.

Joseph Semah, 2017




Joseph Semah (IL/NL)
The Name השם (HaSheM)
1983
ink, pencil on paper
30 x 21 cm