His self-imposed restriction to monochrome allowed him to approach the full spectrum with remarkable confidence he wasn’t alone in this approach, similar to that of other great colorists: Georges Seurat restricted his palette to monochrome for two or three years in the 1880s as well, and Henri Matisse focused on using prominently black around 1918. Although he avoided stylistic labels, he is credited with influencing the birth of the Geometric Abstraction and Minimalism movements. He preferred colored paper to paint because paper allowed for the repeated use of a single color. Albers’s approach to colors is democratic and accessible.

His main concern was the interaction of color that is, seeing what happens between colors.

Therefore, he was an important influence on generations of young artists. He died in 1975, in his house in Haven, Connecticut.īesides painting and architectural commissions, Albers published poetry, articles, and books on art. In 1971, he became the first living artist to be honored with a solo retrospective at the Metropolitan Museum of Art in New York. After, he expanded his activities to painting, printmaking, murals, and architectural commission. This is an exercise on the optical effects of color within the confines of a uniform square shape. While lecturing at Yale, Albers began his most famous body of work, the series Homage to the Square. In 1949, Albers left the College to serve as the chairman of the Design Department at Yale University from 1950 to 1958, where he taught the likes of Richard Anuszkiewicz and Eva Hesse. During this same period, he showcased his work, both his current aesthetic experiments and his previous Bauhaus manufacture. 1947), which systematically explored the range of visual effects made possible by subtle variations in color, shape, and positioning of an image’s elements. Here, he started to develop his artistic theories, beginning with the Variant/Adobe series (c. With the closing of the Bauhaus, he escaped to the US and secured a teaching position at the Black Mountain College. ‘Glove stretchers III’ (1928) by Josef Albers

Interaction of colour josef albers