Josef Albers

(b Bottrop, Ruhr, 19 March 1888; d New Haven, CT, 25 March 1976). Painter, printmaker, sculptor, designer, writer and teacher. He worked from 1908 to 1913 as a schoolteacher in Bottrop and from 1913 to 1915 trained as an art teacher at the K?nigliche Kunstschule in Berlin, where he was exposed to many current art movements and to the work of such Old Masters as D?rer and Holbein. His figurative drawings of the next few years, which he kept hidden and which were discovered only after his death (many now in Orange, CT, Albers Found.), show that he applied these influences to his consistent concern with the simplest and most effective means of communicating his subject; he drew rabbits, schoolgirls and the local landscape in as dispassionate and impersonal a manner as possible. After his studies in Berlin he returned to Bottrop and from 1916 to 1919 began his work as a printmaker at the Kunstgewerbeschule in nearby Essen. In 1919 he went to Munich to study at the K?nigliche Bayerische Akademie der Bildenden Kunst, where he produced a number of nude drawings and Bavarian landscapes (Orange, CT, Albers Found.).

Part of the Albers family

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Josef Albers (1888-1976) was one of the leading artists and art and design teachers of the 20th century. His emphasis was on color as a medium in its own right.

Josef Albers was born in 1888 in Bottrop in the Ruhr District of West Germany. After receiving his education at the Teachers' Training School in Langenhorst and then at the Teachers College in Büren, he began his career as a teacher in the primary grades in the public school of Bottrop. His interest in art began with a visit to Munich and its museums and galleries in 1908. By 1913 he had completed his first abstract painting, and soon after he mastered the art of printmaking, especially woodcuts and lithographs.

In 1920 Albers became a student at the Bauhaus in Weimar, founded by Walter Gropius, and remained as a teacher when the Bauhaus was relocated first to Dessau and then to Berlin. During his years at the Bauhaus, both as an artist and as a teacher, Albers was concerned with the interrelationship of the fine and applied arts. Thus he taught furniture design and calligraphy in addition to painting and drawing. Among his designs was the first laminated wood chair intended for mass production. He used commercial methods to produce glass paintings and collages, as well as stained glass windows for architectural use. In his glass paintings of the 1920s Albers explored variations in optics and perception - both concerns that would be of great importance in his art as well as his teaching.

On the recommendation of the Museum of Modern Art, Josef and Anni Albers (also an artist, whom he married in 1925) were invited to teach at the newly-founded Black Mountain College in North Carolina. He became the first of the Bauhaus teachers to leave Germany, in the fall of 1933. Albers was a mature and accomplished artist when he arrived in America, and soon after he began an active lecture and seminar tour. Through these numerous public appearances and academic presentations, his ideas and methods reached a wide audience and ideas developed at the Bauhaus were brought to the United States.

Albers left Black Mountains College in 1949 and became chairman of the Department of Art at Yale University in 1950. Here he began his well-known series of paintings and prints to which he gave the title Homage to the Square. Albers' format for these works - a structure of three or four squares superimposed over one another according to precise ratios - allowed him to explore the optical and perceptual qualities of color in a neutral, non-representational manner. The squares represent only squares; they do not refer to objects in the natural world. Within this apparently limited format he demonstrated the endless and changing effects and relationships when different colors are combined. Color was allowed to function as a medium in its own right, rather than as a means to describe or refer to natural objects. The individual and his perceptions became Albers' subject. He rejected scientific and theoretical interpretations of his work, insisting that his interest lay in the magical properties of color, or color as a means of aesthetic revelation.

Until the mid-1960s Albers was known primarily as one of the leading teachers of art and design in the United States. Then in 1965 his work was included in the important and popular exhibition titled "The Responsive Eye," presented by the Museum of Modern Art in New York. As a result of this exhibition the beauty of his paintings and prints was recognized and the historical importance of his experiments with perception was acknowledged. From then until his death in 1976 Albers' work was exhibited throughout the world, and he received numerous honorary degrees and awards.

In 1963 Albers had published Interaction of Color, the major statement of his artistic philosophy. The book is dedicated to his students, and the chapters explain problems to the reader and offer a series of visual exercises in the same way that Albers would present his ideas in the classroom. Interaction of Color represents Albers' legacy as a teacher and as an artist, the summation of a long and distinguished career.

Further Reading

Albers published his philosophy of art in an important and influential book, Interaction of Color (1963). Another major discussion of his art is F. Bucher, Josef Albers: Despite Straight Lines. An Analysis of His Graphic Constructions (1961). His paintings and prints are discussed in numerous exhibition catalogues from museums throughout the world. His contributions to the art of the 20th century are also discussed in major texts on modern art, such as H. H. Arnason, Modern Art (1977).

For more information on Josef Albers, visit Britannica.com.

(1888-1976)

An influential German designer, artist, teacher, and writer, Albers was closely associated with the Bauhaus, where he studied between 1920 and 1923, before joining the staff as an assistant to László Moholy-Nagy on the Foundation Course (Vorkurs) and technician to the glass workshop. His teaching was based on a sound knowledge of physical properti0es and visual characteristics, involving structural explorations in paper and card, as well visual communication and perception. Much experimental structural work conducted on the Foundation Course involved the use of scissors and paper. In 1925 Albers became the first Bauhaus student to become a full master at the Bauhaus and, in the same year, married a Bauhaus weave and textile design student Anni Fleischmann (See Albers, Anni). In 1928 he succeeded Marcel Breuer as head of the furniture workshops until 1929, during which period he designed bentwood and tubular steel furniture. During his period at the Bauhaus he worked across a number of design disciplines, including church seating and a wood and glass display cabinet at the Bauhaus exhibition of 1923, a tea glass (1924), and a bentwood armchair (1929). In the mid-1920s he experimented with designs for stencil lettering for advertising, built on the principles of basic geometry. The resulting letterforms, like those of a number of others at the time such as Herbert Bayer, were intended to be easily legible, visual metaphors of a modern industrial society. Following the closure of the Bauhaus by the National Socialists in 1933 and further exacerbated by the climate of political repression in Germany, Albers emigrated to the United States with his wife Anni. There, with the help of Philip Johnson, he was appointed as Professor of Painting (and Anni as an assistant professor) at the influential and experimental Black Mountain College in North Carolina (1933-49). He also taught at the Graduate School of Design at Harvard from 1936 to 1940 and at the Yale University School of Art from 1950 to 1960, where he established the graphic design programme and become the chairman of the Department of Design. He was also a visiting professor at the Hochschule für Gestaltung at Ulm from 1953 to 1954 while it still remained close to the ideals of the Bauhaus. In the 1940s, building on his analyses of form and perception as a teacher at the Bauhaus and at Black Mountain College, he continued to study colour and perception. The results of such thinking were published in his book Interaction of Colour (1963), Albers often being said to have been an important influence on Op Art.

Albers, Josef (yō'zĕf äl'bĕrs) , 1888–1976, German-American painter, printmaker, designer, and teacher, b. Bottrop, Germany. After working at the Bauhaus (1920–33), Albers and his wife, the textile designer and weaver Anni Albers, emigrated to the United States when Hitler came to power. Albers taught throughout the Americas and Europe, headed the art department (1933–49) at Black Mountain College, and was director of the Yale School of Art (1950–58), where he was responsible for major innovations in art education. An extremely versatile artist, he is best known for his Homage to the Square, a series of paintings and prints begun in 1949. These serene works, quasiconcentric squares of subtly related colors, form an extensive examination of color properties.

Bibliography

See his Interaction of Color (1963); studies by E. Gomringer (1968) and W. Spies (1971).

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