In 1920, Albers joined the Weimar Bauhaus as a student and became a faculty member in 1922, teaching the principles of handicrafts. With the Bauhaus's move to Dessau in 1925, he was promoted to professor and married Anni Albers, a student at the institution and a textile artist. Albers' work in Dessau included designing furniture and working with glass, collaborating with established artists like Paul Klee. Following the Bauhaus's closure under Nazi pressure in 1933, Albers emigrated to the United States. He was appointed as the head of the painting program at the experimental liberal arts institution Black Mountain College in North Carolina, a position he held until 1949.
At Black Mountain, Albers taught students who would later go on to become prominent artists such as Ruth Asawa and Robert Rauschenberg, and invited contemporary American artists to teach in the summer seminar, including the choreographer Merce Cunningham and Harlem Renaissance painter Jacob Lawrence. In 1950, he left for Yale University to head the design department, contributing significantly to its graphic design program. Albers' teaching methodology, prioritizing practical experience and vision in design, had a profound impact on the development of postwar Western visual art, while his book Interaction of Color, published in 1963, is considered a seminal work on color theory.[3]
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In addition to being a teacher, Albers was an active abstract painter and theorist, best known for his series Homage to the Square, in which he explored chromatic interactions with nested squares, meticulously recording the colors used. He also created murals, such as those for the Corning Glass Building and the Time & Life Building in New York City. In 1970, he and his wife lived in Orange, Connecticut, where they continued to work in their private studio. In 1971, Albers was first living artist to be given a solo show at the Metropolitan Museum of Art in New York.[4] Albers died in his sleep on March 25, 1976, at the Yale New Haven Hospital after being admitted for a possible heart ailment.
Albers was born into a Roman Catholic family of craftsmen in Bottrop, Westphalia, Germany in 1888. His father, Lorenzo Albers, was variously a housepainter, carpenter, and handyman. His mother came from a family of blacksmiths. His childhood included practical training in engraving glass, plumbing, and wiring, giving Josef versatility and lifelong confidence in the handling and manipulation of diverse materials.[6][7] He worked from 1908 to 1913 as a schoolteacher in his home town; he also trained as an art teacher at Knigliche Kunstschule in Berlin, Germany, from 1913 to 1915. From 1916 to 1919 he began his work as a printmaker at the Kunstgewerbschule in Essen, where he learnt stained-glass making with Dutch artist Johan Thorn Prikker.[8] In 1918 he received his first public commission, Rosa mystica ora pro nobis, a stained-glass window for a church in Bottrop.[6] In 1919 he moved to Munich, Germany, to study at the Knigliche Bayerische Akademie der Bildenden Kunst, where he was a pupil of Max Doerner and Franz Stuck.[9]
Albers enrolled as a student in the preliminary course (vorkurs) of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form.[10] The director and founder of the Bauhaus, Walter Gropius, asked him in 1923 to teach in the preliminary course 'Werklehre' of the department of design to introduce newcomers to the principles of handicrafts, because Albers came from that background and had appropriate practice and knowledge.
In 1925, the year the Bauhaus moved to Dessau, Albers was promoted to professor. At this time, he married Anni Albers (ne Fleischmann) who was a student at the institution. His work in Dessau included designing furniture and working with glass. As a younger instructor, he was teaching at the Bauhaus among established artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called "form master" Klee taught the formal aspects in the glass workshops where Albers was the "crafts master"; they cooperated for several years.
With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Albers emigrated to the United States. The architect Philip Johnson, then a curator at the Museum of Modern Art in New York City, arranged for Albers to be offered a job as head of a new art school, Black Mountain College, in North Carolina.[11] In November 1933, he joined the faculty of the college where he was the head of the painting program until 1949.
At Black Mountain, his students included Ruth Asawa, Ray Johnson, Robert Rauschenberg, Cy Twombly, and Susan Weil. He also invited important American artists such as Willem de Kooning, to teach in the summer seminar. Weil remarked that, as a teacher, Albers was "his own academy". She said that Albers claimed that "when you're in school, you're not an artist, you're a student", although he was very supportive of self-expression when one became an artist and began on her or his journey.[12] Albers produced many woodcuts and leaf studies at this time.
In 1950, Albers left Black Mountain to head the department of design at Yale University in New Haven, Connecticut. While at Yale, Albers worked to expand the nascent graphic design program (then called "graphic arts"), hiring designers Alvin Eisenman, Herbert Matter, and Alvin Lustig.[13] Albers worked at Yale until he retired from teaching in 1958. At Yale, Richard Anuszkiewicz, Eva Hesse,[14] Neil Welliver, and Jane Davis Doggett[15][16] were notable students.
In 1962, as a fellow at Yale, he received a grant from the Graham Foundation for the Advanced Studies of Fine Arts for an exhibit and lecture on his work. Albers also collaborated with Yale professor and architect King-lui Wu in creating decorative designs for some of Wu's projects. Among these were distinctive geometric fireplaces for the Rouse (1954) and DuPont (1959) houses, the faade of Manuscript Society, one of Yale's secret senior groups (1962), and a design for the Mt. Bethel Baptist Church (1973). Also, at this time he worked on his structural constellation pieces.
Also during this time, he created the abstract album covers of band leader Enoch Light's Command LP records. His album cover for Terry Snyder and the All Stars 1959 album, Persuasive Percussion, shows a tightly packed grid or lattice of small black disks from which a few wander up and out as if stray molecules of some light gas.[17] He was elected a Fellow of the American Academy of Arts and Sciences in 1973.[18] In 1970, Albers and his wife moved to Orange, Connecticut, where they continued to work in their private studio. Albers died in his sleep on March 25, 1976, at the Yale New Haven Hospital after being admitted for a possible heart ailment.[19]
Accomplished as a designer, photographer, typographer, printmaker, and poet, Albers is best remembered for his work as an abstract painter and theorist. He favored a very disciplined approach to composition, especially in the hundreds of paintings and prints that make up the series Homage to the Square. In this rigorous series, begun in 1949, Albers explored chromatic interactions with nested squares. Usually painting on Masonite, he used a palette knife with oil colors and often recorded the colors he used on the back of his works. Each painting consists of either three or four squares of solid planes of color nested within one another, in one of four different arrangements and in square formats ranging from 406406 mm to 1.221.22 m.[20]
In 1959, a gold-leaf mural by Albers, Two Structural Constellations was engraved in the lobby of the Corning Glass Building in Manhattan.[21] For the entrance of the Time & Life Building lobby, he created Two Portals (1961), a 42-feet by 14-feet mural of alternating glass bands in white and brown that recede into two bronze centers to create an illusion of depth.[22] In the 1960s, Walter Gropius, who was designing the Pan Am Building with Emery Roth & Sons and Pietro Belluschi, commissioned Albers to make a mural. The artist reworked City, a sandblasted glass construction that he had designed in 1929 at the Bauhaus, and renamed it Manhattan. The giant abstract mural of black, white, and red strips arranged in interwoven columns stood 28-feet high and 55-feet wide and was installed in the lobby of the building; it was removed during a lobby redesign around 2000. Before he died in 1976, Albers left exact specifications of the work so that it could easily be replicated; in 2019, it was replicated and reinstalled in its original place in the Pan Am building, now renamed MetLife.[23][24] In 1967, his painted mural Growth (1965) as well as Loggia Wall (1965), a brick relief, were installed on the campus of the Rochester Institute of Technology. Other architectural works include Gemini [25](1972), a stainless steel relief for the Grand Avenue National Bank lobby in Kansas City, Missouri, and Reclining Figure (1972), a mosaic mural for the Celanese Building in Manhattan destroyed in 1980. At the invitation of a former student, the Australian architect Harry Seidler, Albers designed the mural Wrestling (1976) for the Mutual Life Centre in Sydney.
In 1963, Albers published Interaction of Color, which is a record of an experiential way of studying and teaching color. 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. The very rare first edition has a limited printing of only 2,000 copies and contained 150 silk screen plates. This work has since been republished, and is now available as an iPad App.[26] 152ee80cbc
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