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Josef Albers
Hommage to the Square "GB 2" Screenprint, 1969

1969

$22,500

About

Color screenprint on German Etching paper, 1969 Image Size: 13 3/4” x 13 ¾” inches, full margins Initialed by artist, titled, dated and numbered 70/125 in pencil, lower margin Printed by Sirocco Screenprints, New Haven Published by Ives-Sillman, Inc., New Haven for Galerie Brusberg, Hanover A very good impression. Danilowitz 188 Josef Albers, who played a leading role in transmitting the modern design principles of the Bauhaus to the United States, was born in Germany in 1888. As a young man he was a teacher, but also spent much time visiting museums in Hagen and Munich, where he was first exposed to the paintings of Cezanne, Matisse, van Gogh, and Gauguin. In 1915, he earned a diploma from the Royal Art School in Berlin and later attended the School of Applied Arts in Essen. He moved to Munich in 1920 to study at the academy, and one year later enrolled at the Bauhaus in Weimar, where he met leaders of avant-garde art: Paul Klee, Wassily Kandinsky, Walter Gropius and Mies van der Rohe. He began to work in stained glass and printmaking and in 1923 became the first Bauhaus student promoted to the role of instructor, teaching the introductory course. When the Nazis closed the school in 1933, Albers and his wife Anni, a textile artist at the Bauhaus, were invited to Black Mountain College in North Carolina. This important school of art attracted leading artists and talented students, many of whom forged notable careers in later years. Albers is well known for his compositions that explore the relationships of color through a single. Simple form, usually the square. In choosing the square, Albers revealed his knowledge of the work of Kasimir Malevich and Peit Mondrian, both of whom had explored the form’s spiritual and formal possibilities. Albers was also aware of the Neo-Platonic significance of the square as a pure form. His main interest, though, was in color and understanding the rules guiding visual experience, and interest that had been sparked at the Bauhaus by Paul Klee’s introductory courses, where superimposed squares demonstrated compositional and spatial effects. Albers developed his own theories regarding spatial effects, contrasts, and harmonies of colors and in 1963 published an influential book Interaction of Color, which elucidated his theories. He was a key faculty member at Black Mountain College until 1948, though he also taught at times at Harvard University and lectured in Latin America. In 1950, Albers became the head of the Department of Design at Yale University. A Venerated teacher and theorist, Albers died in New Haven in 1976.

Details

  • Creator
    Josef Albers (1888 - 1976, American, German)
  • Creation Year
    1969
  • Dimensions
    Height: 26.75 in. (67.95 cm)Width: 26.75 in. (67.95 cm)Depth: 2.5 in. (6.35 cm)
  • More Editions & Sizes
    Edition 70 of 125Price: $22,500
  • Medium
  • Movement & Style
  • Period
  • Condition
    This piece is in excellent condition, it also has a brand new custom white oak frame with UV protected plexiglass. Certificate of authenticity provided upon purchase.
  • Gallery Location
    Hinsdale, IL
  • Reference Number
    Seller: #21921stDibs: LU138426296312

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  • Shipping
    $55 Standard Parcel Shipping
    to United States 0, arrives in 4-9 days.
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    Ships From: Hinsdale, IL
  • Return Policy

    A return for this item may be initiated within 14 days of delivery.

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About the Artist

Josef Albers

The German-born American painter, writer, and educator Josef Albers (1888-1976) was a pioneer of 20th century modernism, and an innovative practitioner of color theory. With his wife, the textile artist and printmaker Anni Albers (1899–1994), he shaped the development of a generation of American artists and designers through his teaching at the experimental Black Mountain College in North Carolina, and later at Yale University School of Art, where he was the chairman of the Department of Design from 1950-1958. He is widely known for his series of prints and paintings Homages to the Square, which he created between 1950 and 1975. His influential volume on color theory Interaction of Color was published in 1963. Albers was born in Bottrop, Germany, and as a young man he studied art education, earning certification from the Königliche Kunstschule in Berlin in 1915. He entered the legendary Bauhaus school in Weimar in 1920. The Bauhaus had been established by Walter Gropius in 1919, in the immediate aftermath of World War I, with the hope that its innovative curriculum would foster connections between architecture, art, and traditional crafts. In 1923 Albers began teaching the Vorkurs, the introductory class in which new students learned to work with each of the key artists’ materials, along with color theory, composition, construction, and design. Albers was a polymath, and the multidisciplinary environment of the Bauhaus was fertile ground for his artistic ambitions. When the school moved from Weimar to Dessau in 1925, he became a full professor, and in addition to glass and metal, he designed typefaces and furniture. While at the Bauhaus, Albers drew inspiration from the work of his colleagues, the color theorist Johannes Itten, and the painter, photographer, and designer László Moholy-Nagy, with whom he co-taught the Vorkurs. In 1933, the Bauhaus was shut down due to pressure from the Nazi Party, which perceived the school as being sympathetic to communist intellectuals. As Albers’ wife Anni was Jewish, the couple resolved to leave Germany, and settled in rural North Carolina. The architect Philip Johnson helped make arrangements for Albers to join the faculty of Black Mountain College as the head of the painting program, where he remained until 1949. While at Black Mountain, both Josef and Anni Albers became influential mentors to American artists including Ruth Asawa, Cy Twombly, and Robert Rauschenberg, while working alongside fellow professors Buckminster Fuller, John Cage, Merce Cunningham, and William de Kooning. In 1950, joined the faculty of the Yale University School of Art where he would head the newly established Department of Design until his retirement in 1958. In the 1950s, the Alberses began taking trips to Mexico, where the colors and forms of the local art and architecture inspired both artists. In 1971, Albers became the first living artist whose work was the subject of a solo retrospective at the Metropolitan Museum of Art. Though they worked in different mediums, Josef and Anni Albers’ work shares a fascination with color and geometry. Josef Albers’ compositions from the Homages to the Square series, such as Formulation: Articulation Portfolio II Folder 28 (B), from 1972 give deceptively simple shapes a novel vibrance as colors play off of one another. The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3-dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas. Similarly, Anni Albers’ designs for textiles use graphic design to lend a sense of dynamism to flat works. Her Study for Unexecuted Wall Hanging (Bauhaus), from 1984 is a Mondrian-like pattern for a weaving in which different colors alternately recede and advance into the foreground, giving the image a sense of complexity and uncanny depth. Josef Albers also created works of public art, including a delicate, geometric gold leaf mural called Two Structural Constellations for the lobby of the Corning Glass building in New York City in 1959. He designed a work called Two Portals for the lobby of the Time & Life Building in 1961, in which which and brown bands move towards two square panels made of bronze. Walter Gropius invited Albers to create a piece for the Pan Am Building, which he was designing with the architectural firm of Emery Roth & Sons. Albers reworked an existing glass piece from his Bauhaus days called City, and, fittingly, renamed it Manhattan.
About the Seller
5 / 5
Located in Hinsdale, IL
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