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Josef Albers, in front of one of his 'Homage to the Square' paintings | |
Born | March 19, 1888 |
---|---|
Died | March 25, 1976 (aged 88) |
Nationality | German-American |
Education | Königliche Bayerische Akademie der Bildenden Kunst |
Known for | Abstract painting, study of color |
Movement | Geometric abstraction |
Josef Albers (/ˈælbərz, ˈɑːl-/; German: [ˈalbɐs]; March 19, 1888 – March 25, 1976)[1] was a German-born American artist and educator whose work, both in Europe and in the United States, formed the basis of modern art education programs of the twentieth century.
- 1Life and work
- 8See also
Life and work[edit]
Albers was born into a Roman Catholic family of craftsmen in Bottrop, Westphalia, Germany.[2] He worked from 1908 to 1913 as a schoolteacher in his home town; he also trained as an art teacher at Königliche Kunstschule in Berlin, Germany, from 1913 to 1915. From 1916 to 1919 he began his work as a printmaker at the Kunstgewerbschule in Essen. In 1918 he received his first public commission, Rosa mystica ora pro nobis, a stained-glass window for a church in Essen.[2] In 1919 he went to Munich, Germany, to study at the Königliche Bayerische Akademie der Bildenden Kunst, where he was a pupil of Max Doerner and Franz Stuck.[3]
Albers enrolled as a student in the preliminary course (Vorkurs) of Johannes Itten at the WeimarBauhaus 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.[4] 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, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among 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, arranged for Albers to be offered a job as head of a new art school, Black Mountain College, in North Carolina.[5] 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.[6] Albers produced many woodcuts and leaf studies at this time.
Josef Albers, Proto-Form (B), oil on fiberboard, 1938, Hirshhorn Museum and Sculpture Garden
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.[7] Albers worked at Yale until he retired from teaching in 1958. At Yale, Richard Anuszkiewicz, Eva Hesse,[8]Neil Welliver, and Jane Davis Doggett[9][10] 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 façade 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.
In 1963, he published Interaction of Color which presented his theory that colors were governed by an internal and deceptive logic. The very rare first edition has a limited printing of only 2,000 copies and contained 150 silk screen plates. This work has been republished since and is now even available as an iPad App. 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.[11] He was elected a Fellow of the American Academy of Arts and Sciences in 1973.[12] Albers continued to paint and write, staying in New Haven with his wife, textile artist, Anni Albers, until his death in 1976.
Homage to the Square[edit]
Accomplished as a designer, photographer, typographer, printmaker, and poet, Albers is best remembered for his work as an abstractpainter and theorist. He favored a very disciplined approach to composition. Most famous of all are 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 406×406 mm to 1.22×1.22 m.[13]
Murals[edit]
Albers 'Wrestling' (1977) in Sydney
In 1959, a gold-leafmural by Albers, Two Structural Constellations was engraved in the lobby of the Corning Glass Building in Manhattan. 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.[14] 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 in c. 2000. Before his death in 1976 Albers left exact specifications of the work so it could easily be replicated.[15] In 1967, his painted mural Growth (1965) as well as Loggia Wall (1965), a brickrelief, were installed on the campus of the Rochester Institute of Technology. Other architectural works include Gemini (1972), a stainless steel relief for the Grand Avenue National Bank lobby in Kansas City, Missouri, and Reclining Figure What we do in the shadows 2014. (1972), a mosaic mural for the Celanese Building in Manhattan destroyed in 1980. At the invitation of a former student, the architect Harry Seidler, Albers designed the mural Wrestling (1976) for Seidler's Mutual Life Center in Sydney, Australia.
Style and influences[edit]
He was known to meticulously list the specific manufacturer's colours and varnishes he used on the back of his works, as if the colours were catalogued components of an optical experiment.[16] His work represents a transition between traditional European art and the new American art.[17] It incorporated European influences from the Constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European,[17] but his influence fell heavily on American artists of the late 1950s and the 1960s.[17] 'Hard-edge' abstract painters drew on his use of patterns and intense colors,[18] while Op artists and conceptual artists further explored his interest in perception.[17]
In an article about the artist, published in 1950, Elaine de Kooning concluded that however impersonal his paintings might at first appear, not one of them 'could have been painted by any one but Josef Albers himself.'[2] Although their relationship was often tense, and sometimes, even combative, Robert Rauschenberg later identified Albers as his most important teacher.[19]
Quotes of the artist[edit]
- - 'Every perception of colour is an illusion. .we do not see colors as they really are. In our perception they alter one another.'[20] [c. 1949, when Albers started his first 'Homage to the Square' paintings]
- - 'THE ORIGIN OF ART: The discrepancy between physical fact and psychic effect. THE CONTENT OF ART: Visual information of our reaction to life. THE MEASURE OF ART: The ratio of effort to effect. THE AIM OF ART: Revelation and evocation of vision.'[21] [1964, from his text 'Homage to the square']
- - 'For me, abstraction is real, probably more real than nature. I'll go further and say that abstraction is nearer my heart. I prefer to see with closed eyes.'[22] [1966]
- - 'Art is not to be looked at. Art is looking at us. .To be able to perceive it we need to be receptive. Therefore art is there where art meets us now. The content of art is visual formulation of our relation to life. The measure of art, the ratio of effort to effect, the aim of art revelation and evocation of vision.[23] [1968, in 'Oral history interview with Josef Albers]
- - 'I made true the first English sentence [Albers came from Germany] that I uttered (better stuttered) on our arrival at Black Mountain College in November 1933. When a student asked me what I was going to teach I said: 'to open eyes'. And this has become the motto of all my teaching.'[24] [1970, in 'A conversation with Josef Albers']
Exhibitions[edit]
In 1936, Albers was given his first solo show in Manhattan at J. B. Neumann's New Art Circle.[25][26] He participated in documenta I (1955) and documenta IV (1968) in Kassel. A major Albers exhibition, organized by the Museum of Modern Art, traveled in South America, Mexico, and the United States from 1965 to 1967.[25] In 1971 he was the first living artist to be given a solo show at the Metropolitan Museum of Art in Manhattan.[13] In 2010, a show of 80 oil works on paper, many never exhibited before, was mounted by the Pinakothek der Moderne in Munich, later travelling to other venues, including Centre Pompidou in Paris, and The Morgan Library & Museum in Manhattan. In 2014, an exhibition at the Elliott Museum in Stuart, FL called 'Albers and Heirs' featured the work of Albers, Neil Welliver, and Jane Davis Doggett.[9][10]
Legacy[edit]
The Josef Albers papers, documents from 1929 to 1970, were donated by the artist to the Smithsonian Institution's Archives of American Art in 1969 and 1970. In 1971 (nearly five years before his death), Albers founded the Josef and Anni Albers Foundation,[27] a nonprofit organization he hoped would further 'the revelation and evocation of vision through art.' Today, this organization not only serves as the office for the estates of both Josef Albers and his wife Anni Albers, but also supports exhibitions and publications focused on the works of both Albers. The official foundation building is located in Bethany, Connecticut, and 'includes a central research and archival storage center to accommodate the Foundation's art collections, library and archives, and offices, as well as residence studios for visiting artists.'[28]
The executive director of the foundation is Nicholas Fox Weber.[29] Later the foundation was instrumental in having four fakes from Italy, represented as the work of Albers and on sale in auction houses and galleries in France and Germany, seized by the police.[2]
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In 1997, one year after the auction house, Sotheby's, had bought the Andre Emmerich Gallery, the Josef and Anni Albers Foundation, the main beneficiary of the estates of both artists, did not renew its three-year contract with the gallery.[30] Currently, the foundation is represented by David Zwirner in New York,[31]Waddington Custot in London, and the Alan Cristea Gallery in London, and now, a large part of his estate is held by the Josef Albers Museum in Bottrop, Germany, where he was born.[32]
Criticism[edit]
Joseph Albers' book Interaction of Color is widely influential but, according to Alan Lee, has not received close critical attention. Lee undertakes to refute Albers' general claims about colour experience (that colour deceives continually) and to show that Albers' system of perceptual education is fundamentally misleading (Albers 'places practice before theory'). Four topics in Albers' account of colour are examined critically: additive and subtractive colour mixture, the tonal relations of colours, the Weber-Fechner Law and simultaneous contrast. In each case Albers is shown to have made fundamental errors with serious consequences for his general claims about colour and his pedagogical method. It is suggested that Albers' belief in the importance of colour deception is related to a misconception about aesthetic appreciation (that it depends upon some kind of confusion about visual perception). It is suggested that the scientific colour hypothesis of Edwin H. Land should be considered in lieu of the concepts held by Albers. Finally, there are implications for a reassessment of Albers' artworks that might follow a loss of faith in his colour concepts that seem to have been their foundation.[33][34]
Value on the art market[edit]
Several paintings in his series 'Homage to the Square' have outsold their estimates. Homage to the Square: Joy (1964) sold for $1.5 million, nearly double its estimate, during a 2007 sale at Sotheby's.[35] More recently, 'Study for Homage to the Square,R-III E.B.' also sold for around twice the estimated $545,000–$700,000, eventually reaching $1.22 million at auction.[36]
See also[edit]
- Architype Albers (large typeface based on Albers 1927–1931 experimentation with geometrically constructed stencil types for posters and signs)
Noted students of Albers[edit]
- Richard Anuszkiewicz (painter)
- Ruth Asawa (sculptor)
- John Day (painter)
- Norman Carlberg (sculptor)
- Robert Engman (sculptor)
- Erwin Hauer (sculptor)
- Gerald Garston (painter)
- Eva Hesse (sculptor)
- Victor Moscoso (graphic artist)
- Charles O. Perry (sculptor)
- Joseph Raffael (painter)
- Robert Rauschenberg (painter and sculptor)
- Harry Seidler (architect)
- Richard Serra (sculptor)
- Robert Slutzky (1929–2005) painter, teacher of painting and architecture, co-author, with Colin Rowe, of Transparency: Literal and Phenomenal, Parts I and II
- Julian Stanczak (painter)
- Cora Kelley Ward (painter)
- Neil Welliver (painter)
- Jane Davis Doggett (graphic artist and designer of airport wayfinding signage systems)
- Varujan Boghosian (collage artist and sculptor)
- Irving Petlin (painter)
- Adolph Rosenblatt (painter and sculptor)
- A. B. Jackson (painter)
- Ronald Markman (painter and sculptor)
References[edit]
- ^'Josef Albers, Artist and Teacher, Dies'. New York Times. 26 March 1976. p. 33. Retrieved 2008-03-21.
- ^ abcdRoderick Conway Morris (October 21, 2011), Making of a Bauhaus MasterNew York Times.
- ^Josef AlbersArchived 2013-11-04 at the Wayback MachineCrystal Bridges Museum of American Art, Bentonville.
- ^Holland Cotter (July 26, 2012), Harmony, Harder Than It Looks – ‘Josef Albers in America: Painting on Paper,’ at the MorganNew York Times.
- ^Pepe Carmel (June 25, 1995), A Modern Master of Bottles, Scraps and SquaresNew York Times.
- ^Robert Ayers (March 29, 2006). 'Susan Weil'. ARTINFO. Archived from the original on March 8, 2008. Retrieved 2008-04-22.
- ^Rob Roy Kelly (June 23, 1989). 'Origins: Yale years'. Retrieved 2010-02-09.
- ^'Josef Albers, Eva Hesse, and the Imperative of Teaching | Tate'. www.tate.org.uk. Retrieved 11 August 2017.
- ^ ab'Josef Albers and Heirs exhibit on view at The Elliott Museum in Florida'. Retrieved April 7, 2014.
- ^ ab'Elliott Museum presents 'Albers & Heirs: Josef Albers, Neil Welliver, and Jane Davis Doggett''. Martin County Times. Martincountytimes.com. 2013-11-09. Retrieved 2014-05-14.
- ^Masheck, Joseph (December 2009 – January 2010). 'ALBERS' RECORD JACKETS: Doing an Artful Job'. The Brooklyn Rail.
- ^'Book of Members, 1780–2010: Chapter A'(PDF). American Academy of Arts and Sciences. Retrieved 6 April 2011.
- ^ abJosef AlbersMuseum of Modern Art, Manhattan
- ^David W. Dunlap (June 17, 2002), Press 'L' for Landmark; Time & Life Lobby, a 50's Gem, Awaits RecognitionNew York Times.
- ^Carol Vogel (July 9, 2001), A Familiar Mural Finds Itself Without a WallNew York Times.
- ^Josef Albers: February 28 — March 27, 2007 Waddington Custot Galleries, London.
- ^ abcdPiper, David. The Illustrated History of Art, ISBN0-7537-0179-0, p469.
- ^Piper, David. The Illustrated History of Art, ISBN0-7537-0179-0, p470.
- ^Christopher Knight (May 14, 2008), Robert Rauschenberg, 1925 – 2008: He led the way to Pop ArtLos Angeles Times.
- ^https://en.wikiquote.org/wiki/Josef_Albers
- ^https://en.wikiquote.org/wiki/Josef_Albers#'Homage_to_the_square'_(1964)
- ^https://en.wikiquote.org/wiki/Josef_Albers
- ^https://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_214202
- ^https://en.wikiquote.org/wiki/Josef_Albers#'A_conversation_with_Josef_Albers'_(1970)
- ^ abJosef AlbersArchived 2012-02-12 at the Wayback MachineSolomon R. Guggenheim Museum, New York.
- ^J.B. Neumann Papersin The Museum of Modern Art Archives
- ^The Josef and Anni Albers Foundation websiteArchived July 8, 2008, at the Wayback Machine
- ^The Josef and Anni Albers Foundation: Mission StatementArchived July 15, 2008, at the Wayback Machine
- ^'randomhouse.com'. randomhouse.com. Retrieved 2014-05-02.
- ^Carol Vogel (October 3, 1997), Sotheby's Loses Albers EstateNew York Times.
- ^David Zwirner (May 20, 2016) 'The Josef And Anni Albers Foundation Is Now Exclusively Represented by David Zwirner.' David Zwirner Gallery. (Retrieved 12-1-2016.)
- ^Josef AlbersArchived 2012-06-23 at the Wayback MachineFondation Beyeler, Riehen.
- ^Lee, Alan. 'A Critical Account of Some of Josef Albers' Concepts of Color.' Leonardo (1981): 99–105.
- ^Jameson, Dorothea. 'Some Misunderstandings about Color Perception, Color Mixture and Color Measurement'. Leonardo, vol. 16, no. 1, 1983, pp. 41–42. JSTOR, www.jstor.org/stable/1575043.
- ^J.S. Marcus (December 18, 2010), Re-Examining a Famed TeacherWall Street Journal.
- ^[1]
Further reading[edit]
- Albers, Josef (1975). Interaction of Color. New Haven: Yale University Press. ISBN978-0-300-11595-6.
- Bucher, François (1977). Josef Albers: Despite Straight Lines: An Analysis of His Graphic Constructions. Cambridge, Massachusetts: MIT Press.
- Danilowitz, Brenda; Fred Horowitz (2006). Josef Albers: to Open Eyes : The Bauhaus, Black Mountain College, and Yale. Phaidon Press. ISBN978-0-7148-4599-9.
- Darwent, Charles: Josef Albers : life and work, London : Thames and Hudson, [2018], ISBN978-0-500-51910-3
- Diaz, Eva (2008). 'The Ethics of Perception: Josef Albers in the United States'. Volume XC Number 2 (June): The Art Bulletin.
- Harris, Mary Emma (1987). The Arts at Black Mountain College. Cambridge, Massachusetts: The MIT Press.
- Weber, Nicholas Fox; Licht, Fred (1988). Josef Albers: A Retrospective (exh. cat.). New York: Guggenheim Museum Publications. ISBN978-0-8109-1876-4.
- Weber, Nicholas Fox; Licht, Fred; Danilowitz, Brenda (1994). Josef Albers: Glass, Color, and Light (exh. cat., Peggy Guggenheim Collection, Venice). New York: Guggenheim Museum Publications. ISBN978-0-8109-6864-6.
- Wurmfeld, Sanford; Rector, Neil K.; Ratliff, Floyd (August 1, 1996). Color Function Painting: The Art of Josef Albers, Julian Stanczak and Richard Anuszkiewicz. Contemporary Collections. ISBN978-0-9720956-0-0.
- Cleaton-Roberts, David; Fox Weber, Nicholas; Williams, Graham; Harrison, Michael (2012). Abstract Impressions: Josef Albers, Naum Gabo, Ben Nicholson. London: Alan Cristea Gallery. ISBN978-0-9569203-5-5.
External links[edit]
Wikiquote has quotations related to: Joseph Albers |
- Art Signature Dictionary, examples of genuine signatures by Josef Albers
- Brooklyn Rail, record jackets
- Josef Albers collection at the Israel Museum. Retrieved September 2016.
- Josef Albers at the Museum of Modern Art
- 'Bauhaus in Mexico', article about the Albers, their trips to Mexico, and the Guggenheim show in 2018. NYRB, February 25, 2018
- 'Josef Albers Papers, 1933–1961', The Frick Collection/Frick Art Reference Library Archives.
Archives of American Art collection:
Works by Josef Albers
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Josef_Albers&oldid=903418994'
Category:Art & Photography The author of the book:Josef Albers Format files: PDF, EPUB, TXT, DOCX The size of the: 764 KB Language: English ISBN-13: 9780300179354 Edition: Yale University Press Date of issue: 2 July 2013 |
Description of the book '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 edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today PDF as when Albers first created it. Fifty years after Interaction's initial publication, this new edition presents a significantly expanded selection of close to sixty color studies alongside Albers's original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers's contribution, this landmark edition will find new audiences in studios and classrooms around the world.Reviews of the Interaction of Color
So far regarding the publication we have now Interaction of Color responses customers have never still remaining their own review of the action, or otherwise not see clearly still. Nevertheless, for those who have already check this out guide and you are therefore willing to help make their findings convincingly have you spend time to go away an evaluation on our website (we can easily post equally negative and positive reviews). Put simply, 'freedom connected with speech' Most of us completely reinforced. The feedback to book Interaction of Color -- different readers is able to come to a decision in regards to a book. These assistance can certainly make people far more Joined!Josef Albers
Regrettably, at present do not have got details about your artisan Josef Albers. Nonetheless, we'd get pleasure from in case you have almost any info on it, and are prepared to give that. Send the item to all of us! The ways to access every one of the verify, of course, if everything tend to be correct, we're going to publish on our web page. It is significant for many people that every real in relation to Josef Albers. We many thanks ahead of time for being happy to check out meet all of us!Download EBOOK Interaction of Color for free
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Download ePUB: | interaction-of-color.epub |
Download TXT: | interaction-of-color.txt |
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Josef Albers’s Interaction of Color is a masterwork in twentieth-century art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.
Originally published by Yale University Press in 1963 as a..more
Originally published by Yale University Press in 1963 as a..more
Published May 15th 2006 by Yale University Press (first published 1971)
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Jul 08, 2018Vivian rated it really liked it · review of another edition
Excellent color theory reference. Highly recommended for anyone in graphic, applied, and fine arts. Much might seem intuitive to a sensitive and attuned individual, but there are exercises that clarify concepts that seem impossible and/or counterintuitive. Engaging and examples are provided to illustrate the concepts.
'A strong challenge to a class is to work with 3 or 4 given colors selected by a teacher or student. This and a continued use of disliked colors will teach that preference and disl..more
Apr 27, 2016Yuki rated it really liked it · review of another edition'A strong challenge to a class is to work with 3 or 4 given colors selected by a teacher or student. This and a continued use of disliked colors will teach that preference and disl..more
Shelves: friends-with-benefits, non-fiction, read-in-english, art-reviews, art, to-purchase, american, german, need-to-re-read
One of the paintings in the series Abstract, by Clare Rojas.
Aug 26, 2007Erik Mallinson rated it it was amazing · review of another edition
Josef Albers rolls away the color wheel and brings in relational color theory. An example of this is shown on the cover, where one brown looks totally different when placed next to warm or cool tones.
From my years of experience as a picture framer before I read this book I found myself in total agreement with Albers. If the color wheel is memorizing multiplication tables Interaction of Color is doing experimental equations. The color world of Josef Albers is hands on, real, as art is.
From my years of experience as a picture framer before I read this book I found myself in total agreement with Albers. If the color wheel is memorizing multiplication tables Interaction of Color is doing experimental equations. The color world of Josef Albers is hands on, real, as art is.
The book definitely inspires readers to think more deeply about color, and there are ideas that I found valuable. But overall, it's hard to say that I really got anything from Interaction of Color. There isn't much concrete information that you feel like you're learning and could use. A lot of it is composed of specific examples, but not a helpful base of ideas that one can use to jump into thought and practice with.
Also, it's very text heavy, which is weird for a book about color. There are ex..more
Also, it's very text heavy, which is weird for a book about color. There are ex..more
Feb 22, 2014Karen rated it it was amazing · review of another edition
Of course, I was introduced to the Interaction of Color in art school in the latter 1970s. This is one of the most important works on color theory. I would go so far as to call it mind-altering as it will have some bearing on any work you do after reading it. If you are a young artist, please consider this necessary reading. If you are older, it will be stimulating to your work. I know I should reread it.
Dec 01, 2017Kevin rated it liked it Shelves: artsy-graphic-esque, nonfiction-or-memoir
I may not be smart enough to get all this, but I really liked the parts about how certain colors together can make us see things differently--even if the change is slight.
Dec 14, 2014Rachel rated it it was amazing
Really cool exploration of color theory from 1963. Still relevant and still engaging. The prose is written in a concise, almost poetic way, and very easy to read. The plates look great, but my only complaint is that in the 50th anniversary edition they should have reorganized the book so you didn't have to keep flipping to the back to see the color plates.
Feb 04, 2014Maura rated it it was amazing · review of another edition
50+ years after its release, this still WOWS. Every color exercise brings a new concept forward. There's an interactive app, too. Combines moving color plates, text and audio for a full surround-sound experience. This book is a gem!
not so much a lecture as it is poetry. My silly graphic arts prof. for my graduate certificates couldn't think of a book to read for the class. I guess instead of being polite, I should have mentioned this.
Jan 31, 2018Tam G rated it really liked it Shelves: artisan, education, psychology-psychological, the-arts
I'll be honest..I think a lot of this went over my head. Even though I read slowly and thoughtfully I often felt there was nuance in the definition of the words (because I'm not an artist and not fluent in German) that went beyond what was being written.
Chapters are deceptively simple and organized for teaching. This is an older book (at least my edition) so the plates are in the back. You have to keep a separate marker for your chapter number and the chapter plates.
Lots of interesting though..more
Chapters are deceptively simple and organized for teaching. This is an older book (at least my edition) so the plates are in the back. You have to keep a separate marker for your chapter number and the chapter plates.
Lots of interesting though..more
Pretty foundational, opened my eyes literally to color effects.
Mar 02, 2017Alex added it · review of another edition
Josef Albers is a brilliant teacher, he provides enough instruction for a student reading the book to explore, but not too much as to prevent them from thinking flexibly about color. His pedagogy for color is also applicable for other aspects of Design. After reading the book, it feels like my eyes have opened up to a whole new world. He draws your attention to the subtle ways that color interact with each other.
I really enjoyed his writing style. He writes poetically and beautifully about colo..more
I really enjoyed his writing style. He writes poetically and beautifully about colo..more
This book would be a great way of introducing students to philosophical questions about color. It's written as a kind of experiment-based lesson plan for an art class on color, but the reader gets the benefit of a bunch of beautiful color plates illustrating Albers's experiments. Albers shows how to make two pieces of the same color paper look like two different colors when placed against different backgrounds, how to make three colors look like two, how to make two different colors look identic..more
Interaction of Color stands out as the one book and class that changed and expanded the way I see and use color. It gave me an appreciation abstract art, which had never resonated for me prior to my participatory immersion in the challenges Albers creates. It also gave me a much deeper understanding of the ways people experience color. This book is a game changer for any artist who physically does all the exercises and has the benefit of seeing and hearing other students' reactions.
NOTE: I was..more
NOTE: I was..more
Apr 21, 2013Doug Mccallum rated it really liked it
This is not a casual read. It is a textbook that discusses the way we see color and how colors interact with each other when we look at them. It does provide some interesting and useful information for the artist and about how the colors you choose can have a big effect on the overall 'feel' of a painting.
Although Albers is the genius of color his writing is beige. Even informative/expository writings can be entertaining.
great book on color theory
Interaction of Color is comprised of two halves. The first half of the book contains the main text and is printed in black and white. The second half consists of color “plates” which showcase specific examples from the main text, along with some supplementary text of its own. This format requires keeping two bookmarks—one for your position in the reading, and one for the corresponding illustrations some 100 pages later. For a book devoted to the study of color, this is baffling and mildly infuri..more
Mar 25, 2019Paul rated it really liked it · review of another edition
So first, the back story – in Mexico City, we visited the incredibly beautiful Casa Gilardi, designed by Luis Barragán. Our guide Eduardo, who grew up in the house, cited Josef Albers, and this book in particular, as sources of inspiration for Barragán’s use of color – sure enough, there are plenty of instances in the house where Barragán was clearly thinking about simultaneous contrast, film vs. surface colors, and other color effects Albers describes. I think “helped inspire the colors of Casa..more
Jan 27, 2018Bernie rated it really liked it · review of another edition
I managed to do all the studies in this book and I have learnt a lot in the process. My samples are not as pristine as Albers versions, but he did get his students to do them for him. As a painter I found a lot of the studies centered on theories I use in my work intuitively but I would not have been able to put into words until now. It has given me a better understanding of colour and how it is used.
I highly recommend artists/colourists to read and try doing at least some of the studies which w..more
I highly recommend artists/colourists to read and try doing at least some of the studies which w..more
Oct 21, 2017Mochammad Yusni rated it it was amazing
Another a must-read book for anyone who wants to understand color interactions and effects. Different with The Art of Colors by Itten which filled with a lot of theories, this book suggests that practice should precedes the understanding of colors, not through theory. The only limitation to really do the practices of this book, is where the hell can i find very broad range of colored papers in Jakarta? Might be very useful to teach the students with that. Overall highly recommended! But I sugges..more
Jun 27, 2019Paul rated it really liked it · review of another edition
Re-read this to see how the full-format version compared to the paperback – hooray for libraries! It's beautifully printed, and there are a few exercises that seem to work better, either because of the larger format or thanks to additional flaps/loose-leaf bits. But there are also exercises that are a bit more comprehensible in the smaller format, and two giant hardbound volumes was a little unwieldy. Glad I checked it out, but I'll probably save a couple hundred bucks and stick with the paperba..more
Jun 07, 2017Matthew rated it liked it · review of another edition
5 stars for the 'Interaction of Color' but only 3 for this 1970s edition. I appreciate that colour plates add to production costs but producing a black and white edition of an exemplified book on colour theory without the colour examples, then sticking a whole 8 token colour plates at the end, is ridiculous. Whatever the happy medium between a $200 silk screened edition, and an accessible study aid should have been, it wasn't this.
Dec 31, 2018Andy Dobbie rated it really liked it · review of another edition
Have I read it? Yes. Did I understand it? Some, but definitely not all, of it. I've heard the best approach to this book being described as to treat it as a meditation on colour. I wanted to read it because it's such an iconic book, but if you're after a slightly more easily digestible introduction to colour, I would highly recommend Colour: A workshop for artists and designers by David Hornung.
Apr 02, 2019Alice rated it really liked it · review of another edition
I think you'd get the most out of this book by actually doing the exercises yourself with pieces of color paper (though those may be harder to find these days as published magazines die off). Also the way this book was structured was really confusing - I didn't realize the example plates were in the back as there was no indication or page numbers for where to find them.
Apr 26, 2019Ginny Kestel rated it it was amazing · review of another edition
Simple, yet profound. Excellent resource on the subject of color and how it interacts with other colors to create illusions. Albers provides the reader with various situations of color based on student studies that involve the reader visually. This exploration of color relativity is a must-read for all artists or anyone interested in the amazing world of color.
Feb 17, 2019Amelia Blackburn rated it it was amazing
This book blew my mind so many times. Really interesting look at the relativity of color, offers exercises that illustrate the different ways in which the interaction of color alters our perception. Josef is the man.
May 16, 2018Lynne Redmond rated it really liked it
After seeing Albers work again (at the NC Art Museum) I found my copy of Interaction of Color from college and was reminded again how profoundly his color exercises affected my color perceptions then and now. I'm ready to do another set of his color studies- 40 years later!
I didn't actually finish this book. It was geared way too much for a teacher to use as a teaching manual. I didn't have the pieces of paper to do the little experiments, so it wasn't fun like it should have been.
Jun 25, 2019Claudiu Pascalau rated it it was amazing
Josef Albers Color Exercises
Highly recommend read if you work with colours (graphic design or any art form in general), or have an interest in the theory of how colours work. It’s a book I often come back to when I design something new (I work in fashion).
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Josef Albers was a German-born American artist and educator whose work, both in Europe and in the United States, formed the basis of modern art education programs of the twentieth century.
“..Good teaching is more a giving of right questions than a giving of right answers.” — 2 likes
“Usually, we think of an apple as being red.
This is not the same red as that of a cherry or tomato.
A lemon is yellow and an orange like that of its name.
Bricks vary from beige to yellow to orange,
and from ochre to brown to deep violet.
Foliage appears in innumerable shades of green.
In all these cases the colors named are surface colors.
In a very different was, distant mountains appear uniformly blue,
no matter whether covered
with green trees or consisting of earth and rocks.
The sun is glaring white in daytime, but it is full red at sunset.
The white ceiling of houses surrounded by lawns or the white-painted
eaves of a roof on a sunny day appear in bright green, which is
reflected from the grass on the ground.
All these cases present film colors.
They appear as a thin, transparent, translucent layer between the eye and an object, independent of the object's surface color.” — 0 likes
More quotes…This is not the same red as that of a cherry or tomato.
A lemon is yellow and an orange like that of its name.
Bricks vary from beige to yellow to orange,
and from ochre to brown to deep violet.
Foliage appears in innumerable shades of green.
In all these cases the colors named are surface colors.
In a very different was, distant mountains appear uniformly blue,
no matter whether covered
with green trees or consisting of earth and rocks.
The sun is glaring white in daytime, but it is full red at sunset.
The white ceiling of houses surrounded by lawns or the white-painted
eaves of a roof on a sunny day appear in bright green, which is
reflected from the grass on the ground.
All these cases present film colors.
They appear as a thin, transparent, translucent layer between the eye and an object, independent of the object's surface color.”
Category:Art & Photography The author of the book:Josef Albers Format files: PDF, EPUB, TXT, DOCX The size of the: 764 KB Language: English ISBN-13: 9780300179354 Edition: Yale University Press Date of issue: 2 July 2013 |
Description of the book '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 edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today PDF as when Albers first created it. Fifty years after Interaction's initial publication, this new edition presents a significantly expanded selection of close to sixty color studies alongside Albers's original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers's contribution, this landmark edition will find new audiences in studios and classrooms around the world.Reviews of the Interaction of Color
So far regarding the publication we have now Interaction of Color responses customers have never still remaining their own review of the action, or otherwise not see clearly still. Nevertheless, for those who have already check this out guide and you are therefore willing to help make their findings convincingly have you spend time to go away an evaluation on our website (we can easily post equally negative and positive reviews). Put simply, 'freedom connected with speech' Most of us completely reinforced. The feedback to book Interaction of Color -- different readers is able to come to a decision in regards to a book. These assistance can certainly make people far more Joined!Josef Albers
Regrettably, at present do not have got details about your artisan Josef Albers. Nonetheless, we'd get pleasure from in case you have almost any info on it, and are prepared to give that. Send the item to all of us! The ways to access every one of the verify, of course, if everything tend to be correct, we're going to publish on our web page. It is significant for many people that every real in relation to Josef Albers. We many thanks ahead of time for being happy to check out meet all of us!Download EBOOK Interaction of Color for free
Download PDF: | interaction-of-color.pdf |
Download ePUB: | interaction-of-color.epub |
Download TXT: | interaction-of-color.txt |
Download DOCX: | interaction-of-color.docx |