Josef Albers, ‘Gray Instrumentation I: five plates’, 1974, Christie's
Josef Albers, ‘Gray Instrumentation I: five plates’, 1974, Christie's
Josef Albers, ‘Gray Instrumentation I: five plates’, 1974, Christie's
Josef Albers, ‘Gray Instrumentation I: five plates’, 1974, Christie's
Josef Albers, ‘Gray Instrumentation I: five plates’, 1974, Christie's

PRINTS AND GRAPHICS FROM THE COLLECTION OF IRVING STENN

Each signed and titled in pencil and numbered 29/36, published by Tyler Graphics, Bedford Village, New York, each with the publisher's blindstamp and artist's copyright stamp on the reverse, with full margins, pale light- and time staining, each framed
Image: 11 x 11 in. (279 x 279 mm.)
Sheet: 19 x 19 in. (483 x 483 mm.)
(5)

Danilowitz 225.1-3, 9 & 10

About Josef Albers

Josef Albers is best known for his seminal “Homage to the Square” series of the 1950s and '60s, which focused on the simplification of form and the interplay of shape and color. “Abstraction is real, probably more real than nature,” he once said. “I prefer to see with closed eyes.” His abstract canvases employed rigid geometric compositions in order to emphasize the optical effects set off by his chosen color palettes. Albers was highly influential as a teacher, first at the Bauhaus in Germany alongside Wassily Kandinsky and Paul Klee, and later with posts at Black Mountain College, Yale, and Harvard; he taught courses in design and color theory, and counted among his students such iconic artists as Eva Hesse, Cy Twombly, Richard Anuszkiewicz, and Robert Rauschenberg. He is often cited among the progenitors of Minimalist, Conceptual, and Op art.

German-American, 1888-1976, Bottrop, Germany, based in Dessau, Germany, Black Mountain, North Carolina and New Haven, Connecticut

Solo Shows

2017
Yale University Art Gallery, 
New Haven, CT, United States,
Small-Great Objects: Anni and Josef Albers in the Americas
2016
Museum of Modern Art, 
New York, NY, United States,
One and One is Four: The Bauhaus Photocollages of Josef Albers
View Artist's CV