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Final josef albers presentation
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- 3. Table of Contents Timeline BauhausPeriod Teaching Influence Work Marriage
- 4. 1925 1976 1913- 1915 1888 1916- 1919 1920 1918 1922 1923 1949- 1976 1933- 1949 1950 1963Trained asart teacher at konigliche kainstschule in Berlin Joined Bauhaus staff as craft master at glass workshop with Paul Klee as form master Born in Bottrop Germany Son of craftsmen Worked as printmaker Essen First public comission rosa mystica ora pronobis at church in Essen Enrolled as student at the Bauhaus in Johannes Itten’s preliminary course Moved to CT to become head of design department at Yale Asked to teach preliminary course at the Dessau Bauhaus Promoted to professor position and marries Anni Albers invited to be head of art program at black mountain college in north carolina Continued to write and paint until his death in New Haven, Connecticut Starts famous series homage to the square and works on it until his death Published Interaction of Color, his book on color theory
- 5. Bauhaus Period Albers enrolled at theBauhaus in 1920 He was in the preliminary course taught by Johannes Itten During his time at the Bauhaus Albers produced a lot of work in furniture design and glass
- 7. Josef Albers, Stackingtables 1927 ash veneer, black laquer, painted glass
- 8. Josef Albers, Writingdesk 1927 ash veneer, black lacquer, painted glass
- 9. Josef Albers Gitterbild, 1921 Glass,metal, and wire
- 10. Josef Albers Scherbeins Gitterbild, 1921 glass, wire, and sheet metal
- 11. Josef Albers Fabrik,1925 sandblasted flashed glass with black paint
- 12. Josef Albers Frontal,1927 sandblasted flashed glass with black paint
- 13. Albers as a teacher In1923 he was appointed by Walter Gropius to teach a preliminary course at the bauhaus. He took over the glass workshop and taught principles of handicrafts
- 14. He was teachingat the Bauhaus with artists including Oskar Schlemmer, Wassily Kandinsky and Paul Klee. Klee was the form master who taught the formal aspects in the glass workshops where Albers was the crafts master and taught the technical aspects He believed teaching art was not a matter of imparting rules, styles, or techniques, but of leading students to a greater awareness of what they are seeing. For him the building block of art education was the development of capacity to see more accurately by exploring the visual field through its key elements
- 15. In 1933 afterthe Bauhaus closed due to Nazi pressure Albers was invited to become head of the art program at Black Mountain college in North Carolina He gave courses in drawing and painting His lessons were comprised of free hand line exercises where students discovered the way that lines and shapes formed relationships, rhythms and tensions He taught students how to see what was previously unseen Space is never empty, hollows and voids were as important as the solids
- 16. In his curriculumhe place emphasis on the centrality of art to everyday life, and its integrative and collaborative approach to art-making Albers brought the theories and teaching methods of the Bauhaus to Black Mountain, but he was also influenced by the progressive educational philosophy of American philosopher John Dewey, with its emphasis on experimentation and direct experience as central to the learning experience
- 17. In 1949 Albersleft Black Mountain College to serve as the chairman of the Design Department at Yale University from 1950 to 1958 where he taught Richard Anuszkiewicz and Eva Hesse. While lecturing at Yale, Albers began his most famous body of work, the series Homage to the Square, an exercise on the optical effects of color within the confines of a uniform square shape
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- 19. Josef met AnniFleischmann shortly after her arrival at the Weimar Bauhaus in 1922. She was a student at the weaving workshop where she experimented with new materials for weaving. They married in Berlin in 1925 and were eleven years apart. Eventually, they moved to one of the masters’ houses designed by Gropius and lived there until 1933, when Josef Albers was asked to make the visual arts curriculum for Black Mountain College in North Carolina. They were a very happy couple and lived out their lives together fostering each other’s creativity and devoted to their philosophy that art was central to human existence
- 20. Albers’ interest incolor was sparked at the Bauhaus by Paul Klee’s introductory courses In choosing the square, Albers displayed heavy influence from Kasimir Malevich and Piet Mondrian, both of whom had explored the form’s spiritual and formal possibilities in their own work Influence Piet Mondrian Composition with large red plane, yellow, black, grey and blue, 1921
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- 22. Albers is wellknown for his series Homage to the Square which he began in 1949 and continued until his death in 1976. This work exemplifies his exploration of the relativity of human perception and the range of psychological effects that colors can produce. Work Although he later became well-known for his Homage to the square series His body of work included various mediums such as painting, furniture design, printmaking, glass, and drawing
- 23. Josef Albers Homageto the square, 1949-1976 This is a compilation of various canvases from the series
- 24. Josef Albers studyfor homage to the square 1948 Josef Albers study for Mantic, 1940
- 25. Josef Albers SandgrubeI, 1916 Linoleum cut Josef Albers Self-Portrait, 1917 Transfer lithograph
- 26. Josef Albers Oper/Opera,1933 woodcut
- 27. Josef Allbers HighUp, 1948 woodcut
- 28. Josef Albers TwoSupraportas, 1972 stainless steel
- 29. Josef Albers, Multiplex8 1947 Wood engraving Josef Albers, Window 1923 colored glass, Bauhaus in Weimar
- 30. Josef Albers Reds+ Ochre with Pink, 1948 oil on masonite
- 31. Josef Albers Variant/Adobe,1948 oil on masonite