The German-born artist, Josef Albers, was a contrary so-and-so. Late in life, he was asked why — in the early 1960s — he had suddenly increased the size of works in his long-standing abstract series, ‘Homage to the Square’, from 16×16 inches to 48×48. Was it a response to the vastness of his adopted homeland, the United States? A reaction to the huge canvases used by the abstract expressionist painters in New York? ‘No, no,’ Albers replied.
Already a subscriber? Log in
Subscribe for just $2 a week
Try a month of The Spectator Australia absolutely free and without commitment. Not only that but – if you choose to continue – you’ll pay just $2 a week for your first year.
- Unlimited access to spectator.com.au and app
- The weekly edition on the Spectator Australia app
- Spectator podcasts and newsletters
- Full access to spectator.co.uk
Or
Unlock this article
You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.
Comments
Don't miss out
Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.
SUBSCRIBEAlready a subscriber? Log in