Who was Josef Albers and what did he do?
Josef Albers (; German: [ˈalbɐs]; March 19, 1888 – March 25, 1976) was a German-born artist and educator. He taught at the Bauhaus and Black Mountain College, headed Yale University’s department of design, and is considered one of the most influential teachers of the visual arts in the twentieth century.
Who was Josef Albers married to in Dessau?
In 1925, the year the Bauhaus moved to Dessau, Albers was promoted to professor. At this time, he married Anni Albers ( née Fleischmann) who was a student at the institution. His work in Dessau included designing furniture and working with glass.
Why did Josef Albers teach at the Bauhaus?
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.
When did Josef Albers leave Black Mountain art?
After fifteen years he left Black Mountain and, in 1950, became chairman of the Department of Design at Yale. On Tideland, painted between 1947 and 1955, marks this transition and was painted concurrently with the earliest examples of his well-known series, Homage to the Square.
What did Josef Albers do in the Bauhaus?
He was one of the original teachers in the Bauhaus who immigrated to the US. Albers worked with large flat, geometric planes of solid colors to demonstrate theories of color contrasts and optical effects created by color.
When was interaction of color by Josef Albers published?
Interaction of Color. Josef Albers’s Interaction of Color is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers’s singular explanation of complex color theory principles. Originally published by Yale University Press in 1963 as a limited silkscreen…
When did Josef Albers paint on Tideland?
On Tideland, painted between 1947 and 1955, marks this transition and was painted concurrently with the earliest examples of his well-known series, Homage to the Square. Albers, always a careful craftsman, was concerned that future generations understand his working methods.