Josef Albers
Formulation: Articulation, Folio II / Folder 6 (B)
1972

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An original screenprint on Mohawk Superfine Bristol paper by German-American artist Josef Albers (1888-1976) titled "Formulation: Articulation, Folio II / Folder 6 (B)", 1972. Unsigned as issued. Comes from the famous portfolio Formulation: Articulation. Limited edition: 1,000. Printed at Sirocco-Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, in collaboration with Harry N. Abrams, New York. Copyright 1972 harry N. Abrams, INC. and Ives- Sillman, Inc. on verso lower right. Reference: Catalog Raisonné: "The Prints of Josef Albers" by Brenda Danilowitz: Appendix C, page 196. Note: the background color is a very dark reddish brown; it resembles black, but is not a complete black. Sheet size: 15.5" x 20.25". Image size: 11.25" x 14.75". A rich impression, in excellent condition. Rare.

Formulation Articulation:

1972
set of boxed portfolios each of 33 screenprinted folders, each folder with one, two, or four images
edition of 1,000
printed at Sirocco Screenprints, New haven
published by Ives-Sillman, Inc., New Haven,
in collaboration with Harry N. Abrams, New York
signed "Josef Albers" on first title page
each folder 15 x 40 inches (38.1 x 101.6 cm), folded to 15 x 20 in. (38.1 x 50.8 cm)
paper: Mohawk Superfine Bristol

Each portfolio set is accompanied by fourteen unnumbered titled pages that include Alber's statement on "the origin of art" as well as a short preface followed by Alber's explanatory "Statements of Content" for the plates, which range from one-line descriptions to paragraph-long exegeses.

The preface explains:

Works have been selected from forty years of Albers' search and offer and unusual opportunity for study of this significant artist's direct participation in an original development of his own work. The conceptual relationships between color and form inherent in each particular work have been restudied and developed for the medium of screenprinting... No attempt has been made to present the work in chronological order; rather, for each portfolio the artist has placed the folders in a sequential order so that they may be seen and examined for their visual interaction.

Josef Albers, (born March 19, 1888, Bottrop, Ger.—died March 25, 1976, New Haven, Conn., U.S.) painter, poet, sculptor, teacher, and theoretician of art, important as an innovator of such styles as Colour Field painting and Op art.

From 1908 to 1920 Albers studied painting and printmaking in Berlin, Essen, and Munich and taught elementary school in his native town of Bottrop. In 1920 he enrolled at the newly formed Bauhaus, which was to become the most important design school in Germany. His most important creations of that period included compositions made of coloured glass, as well as examples of furniture design, metalwork, and typography. After 1925, when he became a “master” at the Bauhaus, Albers explored a style of painting characterized by the reiteration of abstract rectilinear patterns and the use of primary colours along with white and black.

In 1933, when the Nazi government closed the Bauhaus, Albers left Germany for the United States. On the recommendation of architect Philip Johnson, Albers organized the fine-arts curriculum at Black Mountain College in North Carolina, where he taught until 1949. The next year he began a 10-year tenure as chairman of the art department of Yale University. Over the course of his time at these two schools, he counted among his students Eva Hesse, Robert Rauschenberg, and Kenneth Noland.

After moving to the United States, Albers concentrated on several series of works that systematically explored the effects of perception. In his series of engravings on plastic Transformations of a Scheme (1948–52) and in the series of drawings Structural Constellations (1953–58), he created complex linear designs, each subject to many possible spatial interpretations. His best-known series of paintings, Homage to the Square (begun in 1950 and continued until his death), restricts its repertory of forms to coloured squares superimposed onto each other. The arrangement of these squares is carefully calculated so that the colour of each square optically alters the sizes, hues, and spatial relationships of the others. These works were exhibited worldwide and formed the basis of the first solo exhibition given to a living artist at the Metropolitan Museum of Art, New York City, in 1971.

Details

  • Condition
    Excellent
  • Dimensions
    15.5 in. H x 20.25 in. W
  • Dealer Location
    Charlottesville, VA
  • Reference Number
    LU12122036981
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