Sentences with phrase «albers earliest prints»
Albers earliest prints were made whilst studying in Essen, Germany, from 1916 — 1919.
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The first piece I bought for myself was a Josef Albers print, a yellow square, early on when I was working for a design firm.
Now, nearly 70 years later, Guggenheim Bilbao, together with the Josef and Anni Albers Foundation, is putting on a retrospective of nearly six decades of the artist - designer's work, starting with her early Bauhaus preparatory drawings, and moving through her hand - woven works and tapestries, to her later graphic prints.
Alan Cristea Gallery will present early prints by Anni Albers (b. 1899, d. 1994), one of the best - known textile artists of the 20th century.
It includes Albers's early drawings of country churches and cathedrals; «Rosa Mystica,» his stained glass window for St Michael's Church, and other glass works containing religious imagery; his abstractions of crosses and geometric abstractions with spiritually themed titles, from his Black Mountain years; his prints of Mexican gods; photographic interpretations of the theme of angels; and a selection from the Homage to the Square series.
Reflecting on her life as a designer, she chose motifs for the prints based on her work from particular years: two from the 1920s, when Albers was at the Bauhaus and met her life - long partner and later husband Josef; two from the 1940s, when the couple taught at the experimental Black Mountain College in North Carolina after having fled Nazi Germany; three from the late 1950s to the early «70s, after they resettled in Orange, Connecticut and Josef served as Yale University's Chair of the Department of Design; and two from the early 1980s, after Josef's death.
European Art, 1949 ‐ 1979 will include many other donations: a Letter to Palladio by Giuseppe Santomaso, early and late paintings by Armando Pizzinato, decoupages by Mimmo Rotella, two paintings by Lucio Fontana including a 1955 example of «holes» bequeathed in 2011, a major painting by Pierre Alechinsky, an aluminum relief by Heinz Mack, prints by Eduardo Chillida, a Homage to the Square by Josef Albers, an «extroflexed» canvas by Agostino Bonalumi, an entire room of sculptures by Mirko as well as his iconic tempera study for the Gates of the Fosse Ardeatine, a late monotype by Emilio Vedova, works by Bice Lazzari, Gastone Novelli and Toti Scialoja, and two paintings by Carla Accardi, including the magnificent Concentric Blue of 1956.