En un carta a su amigo Franz Perdekamp en Septiembre de 1947, Albers Escribió:
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| Color Studies for Homage to the Square |
"Desde enero, he pintado un solo tema en unos setenta estudios. Lo que más me interesa ahora es ver cómo se modifican los colores unos a otros según las proporciones y cantidades.
Me siento especialmente orgulloso cuando los colores pierden su identidad y se tornan irreconocibles. Los verdes se convierten en azules, los grises neutros en rojos violáceos, etcétera. Los colores oscuros se aclaran y viceversa. Y lo asombroso de todo esto es que empleo los colores exactamente como salen del tubo. Es una manera de trabajar muy restringida y desde luego muy unilateral. Pero tremendamente emocionante. Los colores opacos parecen transparentes sólo como resultado de la manera de combinarlos. Los colores ligeros pesados y al contrario, los brillantes, mates."
In a letter to friend Franz Perdekamp in September 1947, Albers wrote:
Since January (I have painted) only one theme in about seventy studies. What interests me most now is how colors change one another according to the proportions and quantities (I use)
I'm especially proud when (I can make) colors lose their identity and become unrecognizable. Greens become blue, neutral grays become red-violets and so on. Dark colors become light and vice versa. And what is amazing about all this is that I use colors exactly as they come out of the tube. I mix only pink and purple which don't exist in the tube. Those are the only colors in which I use white. It's an extremely restricted and certainly very one-sided method of working. But terribly exciting. Opaque colors appear transparent only as a result of the way they are combined. Light (colors) heavy and the other way around, shiny (colors) matt, etc."
Me siento especialmente orgulloso cuando los colores pierden su identidad y se tornan irreconocibles. Los verdes se convierten en azules, los grises neutros en rojos violáceos, etcétera. Los colores oscuros se aclaran y viceversa. Y lo asombroso de todo esto es que empleo los colores exactamente como salen del tubo. Es una manera de trabajar muy restringida y desde luego muy unilateral. Pero tremendamente emocionante. Los colores opacos parecen transparentes sólo como resultado de la manera de combinarlos. Los colores ligeros pesados y al contrario, los brillantes, mates."
In a letter to friend Franz Perdekamp in September 1947, Albers wrote:
Since January (I have painted) only one theme in about seventy studies. What interests me most now is how colors change one another according to the proportions and quantities (I use)
I'm especially proud when (I can make) colors lose their identity and become unrecognizable. Greens become blue, neutral grays become red-violets and so on. Dark colors become light and vice versa. And what is amazing about all this is that I use colors exactly as they come out of the tube. I mix only pink and purple which don't exist in the tube. Those are the only colors in which I use white. It's an extremely restricted and certainly very one-sided method of working. But terribly exciting. Opaque colors appear transparent only as a result of the way they are combined. Light (colors) heavy and the other way around, shiny (colors) matt, etc."
Me encanta esta reflexión.
ResponderEliminarI too am fascinated with color. One of the reasons I return again and again to your work for inspiration!
ResponderEliminarI found one of your pieces today in some old clippings I had saved. I had written a note that says "Color Slash". It's a pin or pendant in a rich brown and black. Is this a term/technique you formulated? It may be explained entirely by looking at the piece, but wondering if there is some more information behind it?
Keep up the good work. Thank you!
Jan Gontard, Minneapolis Minnesota, USA