At the current time, this mural is in storage and cannot be seen by the public. View artworks listed within the last 30 days Favorite Listings These works along with his writings are considered invaluable contributions to color theory. Formica - Lobby of the Pan Am Building (now called the MetLife Building), New York City (Removed 2000). As a student and later a professor at the Bauhaus in Weimar and later Dessau, Germany, he played a significant role in introducing the tenets of European Modernism to America when he fled Nazi Germany in 1933. These works along with his writings are considered invaluable contributions to color theory. Regarding them more as experiments than expressive statements, Albers continued adding to the series until the end of his life, "not because of the squares, but because there is no end with color." Josef Albers was an American-German artist best known for his iconic color square paintings—the Homage to the Square series. Email will be monitored during this time but responses may be delayed. Albers created the mural as a tribute to New York City, based on an early work City, a 1928 Bauhaus glass "wall painting" of interlocking rectangles that use color and placement to suggest both three-dimensionality and movement. “Abstraction is real, probably more real than nature,” he once said. Copyright © 1995-2020 eBay Inc. All Rights Reserved. Josef Albers (1888 - 1976) was active/lived in Connecticut, North Carolina / Germany. Oil on masonite - Metropolitan Museum of Art, Content compiled and written by The Art Story Contributors, Edited and published by The Art Story Contributors. Josef Albers EK Id, 1970 Color silkscreen on Hahnemühle Buttenboard paper 21 1/2 × 21 1/2 in. issue 12 Please note that artwork locations are subject to change, and not all works are on view at all times. Two Portals at the Time and Life Building, pictured here, features alternating polished nickel and bronze squares, surrounded by alternating bands of tan and white glass, to suggest receding planes, providing the illusion of depth on a flat surface. He asserted that color "is almost never seen as it really is" and that "color deceives continually", and he suggested that color is best studied via experience, underpinned by experimentation and observation. With its strong utilitarian emphasis, the Bauhaus placed equal importance on technical and artistic skills. Albers had come to his own brand of abstraction over the course of many years. Anni Albers (born Annelise Elsa Frieda Fleischmann; June 12, 1899 – May 9, 1994) was a German-born American textile artist and printmaker credited with blurring the lines between traditional craft and art.. Albers was born in Bottrop, Westphalia (Germany). Stainless steel on concrete - Art and Architecture Building, Yale University, New Haven, Connecticut. Homage to the Square is the signature series of over 1000 related works, which Albers began in 1949 and continued to develop until his death in 1976. (54.6 × 54.6 cm) Edition of 125 Tens of thousands of people passed by this mural during their daily commute to Grand Central Station until it was removed when the lobby was renovated in 2000. Josef Albers was one of the first modernist artists to focus on color theory and composition, and is credited with influencing the movements of hard-edge Op Art and Minimalism in the 1960s. The differently colored squares were introduced by Albers to help students and other This work in the Homage to the Square series was executed almost 20 years into what may be the most sustained exploration of the relational character of color in 20th-century art. Josef Albers was both an artist and a teacher and has played a significant role in the history of 20th-century art. Josef Albers is best known for his seminal “Homage to the Square” series of the 1950s and '60s, which focused on the simplification of form and the interplay of shape and color. Description: Josef Albers (1888-1976) I-S VA 2 (DANILOWITZ 192.2) Color screenprint, 1969, on Arches, signed, dated, titled and numbered 95/150 in pencil, published by Ives-Sillman, Inc, New Haven, pale lightstain, otherwise in apparently good condition, with good or full margins, framed (unexamined out of the frame). In 1905, Josef Albers began his training as a primary school teacher and was employed as such from 1908 to 1913. Such sustained attention to a single aspect of painting reflects his conviction that insight is only attained through "continued trying and critical repetition." Josef Albers believed that teaching art was not a matter of imparting rules, styles, or techniques, but of leading students to a greater awareness of what they were seeing. In 1942 Josef Albers embarked on a series of zinc plate lithographs entitled Graphic Tectonics, a title that references both the solidity of geological matter and movement. Albers said his goal as a teacher was "to open eyes." By 1908, he had discovered Matisse and Cézanne, and in Berlin he encountered work by Munch, van Gogh, the German Expressionists, Delaunay, and the Italian Futurists. Original artworks, prints, exhibition posters, monographs, books, collectibles. 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