Friday I 1951

Auguste Herbin made "Friday I" by arranging flat, pure colors into geometric shapes. It's like he's saying, "Let's boil down painting to its most basic ingredients." Look at how these forms sit on the surface, unapologetically flat. The texture is smooth, almost machine-made, but you can tell that these shapes were painted by hand. The way the colors push against each other—the red against the yellow, the black against the white—creates a real visual buzz. It's as if he's daring the colors to hold their own, to vibrate independently. And that blue semicircle at the bottom? It seems to ground the whole composition, providing a bit of stability amid all the floating forms. It reminds me a little of Leger, who was also interested in how simple shapes and colors could create dynamic compositions. What do you see?