Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Homage to the Square (La Tehuana) - Josef Albers
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A classic example of Josef Albers' Homage to the Square series, exploring the optical interaction of nested geometric forms and saturated colour.
Josef Albers began his celebrated series, Homage to the Square, in 1950. This work, titled La Tehuana, is a characteristic example of his rigorous investigation into the interaction of colour. Albers applied paint directly from the tube onto the textured surface of masonite, using a palette knife to achieve a flat, uniform application that avoids visible brushwork. The composition consists of three nested squares, arranged to create a sense of spatial recession despite the two-dimensional nature of the medium.
In this specific iteration, Albers explores the relationship between warm, saturated tones. The outer border of golden yellow frames a middle square of deep magenta, which in turn encloses a central square of bright orange. The artist intended for these works to function as a laboratory for the viewer, demonstrating how adjacent colours modify one another. The magenta, for instance, appears to shift in intensity depending on its proximity to the yellow or the orange. By maintaining a consistent geometric structure across hundreds of works, Albers removed the distraction of narrative or representational subject matter, allowing the viewer to focus entirely on the optical effects produced by the chromatic arrangement.
Albers, who taught at the Bauhaus before emigrating to the United States, maintained a disciplined approach to his craft. His process involved meticulous planning, often noting the specific brands and mixtures of paint used on the reverse of each board. This systematic method reflects his belief that art is a matter of perception rather than expression. La Tehuana, named for the traditional dress of women from the Isthmus of Tehuantepec in Mexico, reflects the influence of the Mexican landscape and light on his later work. The piece remains a primary reference point for the study of colour theory in twentieth-century art.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Homage to the Square (La Tehuana) - Josef Albers
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Josef Albers
Albers arrived at Black Mountain College in November 1933, unable to speak English. His wife Anni spoke on his behalf; she was fluent. They had fled Germany weeks earlier. Under the Nuremberg Laws, Anni, who was Jewish, was at risk. The Bauhaus had been forced to close. Philip Johnson, then a curator at MoMA, had arranged the position.
He was born in 1888 in Bottrop, Westphalia, into a Roman Catholic craftsman's family. He worked as a schoolteacher for five years before deciding to study art, joining the Bauhaus as a student in 1920 and becoming a faculty member by 1922. He married Anni Fleischmann, a Bauhaus textile student, in 1925.
At Black Mountain, his students included Robert Rauschenberg, Cy Twombly, Ruth Asawa, and Ray Johnson. He left in 1950 to head the Department of Design at Yale, where he taught until retirement in 1958. The teaching produced Interaction of Color (1963), a text arguing that colour can only be understood in context, never in isolation. It remains a standard reference.
The Homage to the Square series occupied the rest of his life: nested squares of colour, painted obsessively, with every pigment and proportion meticulously recorded. The paintings look simple. The colour relationships within them are not. He died in 1976.
He was born in 1888 in Bottrop, Westphalia, into a Roman Catholic craftsman's family. He worked as a schoolteacher for five years before deciding to study art, joining the Bauhaus as a student in 1920 and becoming a faculty member by 1922. He married Anni Fleischmann, a Bauhaus textile student, in 1925.
At Black Mountain, his students included Robert Rauschenberg, Cy Twombly, Ruth Asawa, and Ray Johnson. He left in 1950 to head the Department of Design at Yale, where he taught until retirement in 1958. The teaching produced Interaction of Color (1963), a text arguing that colour can only be understood in context, never in isolation. It remains a standard reference.
The Homage to the Square series occupied the rest of his life: nested squares of colour, painted obsessively, with every pigment and proportion meticulously recorded. The paintings look simple. The colour relationships within them are not. He died in 1976.
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Fine Art Framed
From $119
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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