Researcher may use study prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required. Original negatives are stored off-site in cold storage and are not accessible to the public.
Collection Rights:
Copyright to photographs from the Walter Rosenblum Collection is held by the Smithsonian American Art Museum. Requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image.
Collection Citation:
Walter Rosenblum Collection, Photograph Archives, Smithsonian American Art Museum
Sponsor:
Funding for the re-housing, preservation, and digitization of the collection was provided by Smithsonian Research Resource funds, the Smithsonian Womens' Committee and the Smithsonian Collections Care and Preservation Fund (CCPF).
Erich Heckel, Holzschnitte : aus dem Kupferstichkabinett der Staatlichen Kunsthalle Karlsruhe : Ausstellung 6. Dezember 1997 bis 1. März 1998 / Susanne Richter
Author:
Staatliche Kunsthalle Karlsruhe Kupferstichkabinett Search this
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.
Biographical / Historical:
Josef Albers (1888-1976) was a painter and educator in New Haven, Connecticut.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 11 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art teachers -- Connecticut -- New Haven -- Interviews Search this
Le̕xpressionnisme allemand; Un choix de gravures, 1905-1920; Erich Heckel [et al.] Exposition au Centre culturel allemand - Goethe Institut, Paris. [Texte de Paul Vogt]
Lyonel Feininger, Karl Schmidt-Rottluff, Erich Heckel : Künstlerfreundschaften / Briefe, herausgegeben und kommentiert von Hermann Gerlinger ; Beitrag von T. Lux Feininger ; Aufsätze und Katalog-Bearbeitung von Heinz Spielmann, Gesa Bartholomeyczik und Hilde Lind
The prints of Erich Heckel : from the Los Angeles County Museum of art, the Robert Gore Rifkind Center for German Expressionist Studies : June 7-August 22, 1984
Erich Heckel : Gemälde, Aquarelle und Zeichnungen aus dem Nachlass des Künstlers : Ausstellung vom 28. August bis 21. November 1976, Brücke-Museum / [hrsg. vom Senator für Wissenschaft und Kunst, Berlin, Brücke-Museum]
Druckgraphik der Brücke-Maler. Erich Heckel, Ernst Ludwig Kirchner, Otto Mueller, Max Pechstein, Karl Schmidt-Rottluff. (Ausstellg. 19. März-22. Mai 1972. Katalog.)
The influence of Walt Whitman on the German expressionist artists Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein and Ernst Ludwig Kirchner / by Dayna Lynn Sadow
