Identification on verso (stamped): Josef Albers pin registers one of his prints with Tamarind artisan Ken Tyler. Date based on dates on other photos of artists in the Tamarind Lithography Workshop records.
Josef Albers, Black Mountain, N.C. postcard to Marcel Breuer, Cambridge, Mass.
Albers, Josef, 1888-1976
Breuer, Marcel, 1888-1976
1 postcard : ill. ; 14 x 9 cm.
1938 or 1939
New Year's greeting from painter and Bauhaus teacher Joseph Albers. The postcard is a commercial color photograph of "The Loop," a section of winding road near Newfound Gap in the Great Smoky Mountains National Park. Over the existing image Albers has stencilled in paint, "a good '39." The "3" in 39 is formed by the road.
Oral history interview with Josef Albers, 1968 June 22-July 5
Heckel, Erich 1883-1970
Itten, Johannes 1888-1967
Kirchner, Ernst Ludwig 1880-1938
Schmidt-Rottluff, Karl 1884-1976
Stuck, Franz Ritter von 1863-1928
Transcript: 24 pages
1968 June 22-July 5
Originally recorded on 1 sound tape reel. Reformated in 2010 as 4 digital wav files. Duration is 2 hrs., 11 min.
Josef Albers (1888-1976) was a painter and educator in New Haven, Connecticut.
An interview of Josef Albers conducted 1968 June 22-July 5, by Sevim Fesci, for the Archives of American Art.
This interview was conducted in New Haven, Connecticut. Albers speaks of his childhood in the industrial area of Westphalia, Germany; his father's influence as a house painter and set designer; his young interest in technical toys; his educational history, beginning at the Royal Art School, an art teacher prep school; his education in art history in conjunction with fine arts; his brief experience teaching in public schools; his time studying at the Applied Art School in Essen while living and teaching in Berlin; and the beginning of professional career after having passed his exam in Berlin in 1915.
He discusses the influence of the European movements/artists, Die Brucke; Schmidt-Rottluff, Heckel, and Kirchner; his move to Munich and time spent working with Stuck (the teacher of Kandinsky and Klee); his eventual shift to the Bauhaus working in collage and stained glass under Itten; his refusal to do the traditional apprenticeship at the Bauhaus and surprising success with stained glass while striking out on his own; his initial experiments while working in the new studio for stained glass at the Bauhaus with frosting (a.k.a. thermometer style); his move from collage to montage; his disbelief in the use of past art as a source for current art; his distaste for the concept of art as self-expression; his use of repetitive forms in his painting as a method of "solving the problem;" his belief that the spectator makes the vision of the artist more lively; his belief that he teaches philosophy (how to see) not technique (how to paint); the fine line between influencing students and creating disciples; color as the most relative medium in art and a study of ourselves; his use of squares (the most man-made form), beginning in 1949; the role of art in society to reveal visually the attitude of our mentality; and his belief as to the future of art as being a further consideration of order.
Die Brücke (Dresden)
Stained glass artists
Transcript available on the Archives of American Art website
Josef Albers, American, b. Bottrop, Germany, 1888–1976
Oil on fiberboard
18 1/8 x 18 1/8in. (46 x 46cm) frame: 21 3/4 x 21 3/4 x 1 1/2 in. (55.2 x 55.2 x 3.8 cm)
The Artist, Black Mountain College, North Carolina, 1938- Orange, Connecticut, June/July 1968
Joseph H. Hirshhorn (via Sidney Janis Gallery, New York, 30 July 1968), 30 July 1968-1974
Gift of the Joseph H. Hirshhorn Foundation, 1974
Compiled by V. Fletcher 1979-80, amended 2009:
ARTIST'S GALLERY, NY. "Josef Albers," 6-31 Dec 1938, no. 12 (lent by the artist).
NEW ART CIRCLE, NY. "Josef Albers," 2-17 Jan 1945, no. 4.
MEMPHIS ACADEMY OF ARTS. "Twenty-Five Paintings by Josef Albers," 15-28 Jan 1947, no. 11.
CALIFORNIA PALACE OF THE LEGION OF HONOR, San Francisco. "Josef Albers," September 1947.
CINCINNATI ART MUSEUM. "Josef Albers," Oct 1949, no. 5 (lent by artist).
ALLEN R. HITE ART INSTITUTE, UNIVERSITY OF LOUISVILLE, KY. "Josef Albers," 17 April-27 May 1950, ill. on cover, listed (no. 2).
ALEXANDRIA STUDIO GROTTO (location unknown). "Josef Albers," May 1951, no. 11.
WADSWORTH ATHENEUM, Hartford. "Josef & Anni Albers," 8 July-2 August 1953, no. 11.
YALE UNIVERSITY ART GALLERY, New Haven. "Josef Albers," 25 April-18 June 1956, no. 18, catalog essay by George H. Hamilton, fig. 28, pp. 26, 47.
NORTH CAROLINA MUSEUM OF ART, Raleigh. "Josef Albers," 3 Feb-11 March 1962, no. 1 (signed LR: "A" dated 1938; lent by the artist, New Haven, 18 x 18 inches).
WASHINGTON GALLERY OF MODERN ART, Washington, DC. "Josef Albers: The American Years," 30 Oct-31 Dec 1965, no. 15. TOUR: ISSAC DELGADO MUSEUM OF ART, New Orleans, 23 Jan-27 Feb 1966; SAN FRANCISCO MUSEUM OF ART, 2-26 June; ART GALLERY, University of California, Santa Barbara, 8 July-7 Sept; ROSE ART MUSEUM, Brandeis University, Waltham, MA, 23 Sept-29 Oct 1966.
ART MUSEUM, PRINCETON UNIVERSITY, New Jersey. "Josef Albers: Paintings and Graphics 1917-1970," 5-26 Jan 1971, essay by Peter Morrin, no. 4, p. 12.
AMERICAN FEDERATION OF ARTS, New York. "Geometric Abstraction of the 1930's," 5 November-3 December 1972, no. 1. TOUR: BUTLER INSTITUTE OF AMERICAN ART, Youngstown, Ohio, 25 February-18 March 1973.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington DC. "Josef Albers," 27 September 1979-18 February 1980, no cat.
ANTIGUO COLEGIO DE SAN ILDEFONSO, Mexico City, "Anni and Josef Albers: Latin American Journeys," 6 November 2007-23 April 2008.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution, Washington, DC. "Josef Albers: Innovation and Inspiration," 13 February-11 April 2010, no cat.
FUNDACIÓN JUAN MARCH, Madrid. "Josef Albers: Minimal Means, Maximum Effect," 28 March-6 July 2014, no. 22, color ill. pg. 69.
UNSIGNED. L'Art Abstrait (Paris, Maeght, 1950), ill. (upside down).
GOMRINGER, EUGEN. Josef Albers (New York: Wittenborn, 1968), pp. 63-64, color pl. p. 72.
UNSIGNED. "Josef Albers on Tour," The New Republic (21 September 1965), p. 34.
FINKELSTEIN, IRVING. The Life and Art of Josef Albers (New York University, Ph. D., 1967), vol. 1, pp. 125-127, fig. 95 (as 1938, 18 1/2 x 12 1/2 inches, collection of the artist).
UNSIGNED. Art Museum, Princeton University, New Jersey, Newsletter (January 1971), ill. of installation with our work in foreground.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1974
Created early in his career, Josef Albers's boldly experimental 1916 self-portrait lithograph reflects the young artist's interest in the new trends, particularly expressionism and cubism. Indeed, for Albers, self-portraiture provided critical terrain for artistic experimentation. This print serves more as an exercise in the development of form than a psychological study. Although the intensity of the subject's expression is striking, one can also read in this fragmented self-representation something of the strains of World War I. Living in Germany, Albers surely observed the bandaged faces and mutilated bodies of returning veterans. With this self-portrait, he not only suggests his mastery of recent modern art, but also his focus on the future and his capacity to lead in the development of new artistic idioms.
Josef Albers: Visual Arts\Artist\Painter
Josef Albers: Education\Educator\Professor\University
Josef Albers: Visual Arts\Art Instructor
National Portrait Gallery, Smithsonian Institution; the Ruth Bowman and Harry Kahn Twentieth-Century American Self-Portrait Collection