Variant/Adobe - Josef Albers
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Beschreibung
A classic example of Josef Albers's exploration of colour theory and geometric form, inspired by the architecture of Mexican adobe structures.
The Variant/Adobe series by Josef Albers represents a systematic exploration of colour interaction and spatial perception. Initiated during his time in the United States, these works draw inspiration from the architectural forms of Mexican adobe structures. Albers reduces these buildings to their essential geometric components: rectangular planes that suggest walls, doorways, and windows.
In this composition, the artist employs a restricted palette to examine how adjacent colours influence one another. The dark, earthy border frames a series of nested rectangles, creating a sense of depth despite the flatness of the application. The central orange and red tones interact with the darker surrounding hues, causing the forms to appear as if they are advancing or receding within the picture plane. Albers applied the paint directly from the tube onto the masonite surface, avoiding the use of a palette knife or brush strokes that might distract from the purity of the colour relationships.
This series is not concerned with representation in the traditional sense. Instead, it functions as a controlled experiment in optics. By repeating the same structural arrangement across multiple iterations, Albers isolates colour as the primary subject. The viewer is invited to observe the subtle shifts in tone and the way the eye perceives boundaries between different shades. The work reflects the artist's pedagogical approach at the Bauhaus and later at Black Mountain College, where he encouraged students to look beyond the surface and analyse the mechanics of vision. The precision of the edges and the deliberate choice of hues demonstrate a rigorous approach to abstraction, stripping away extraneous detail to focus on the fundamental properties of light and pigment.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Variant/Adobe - Josef Albers
Artist Biography
Josef Albers
He was born in 1888 in Bottrop, Westphalia, into a Roman Catholic craftsman's family. He worked as a schoolteacher for five years before deciding to study art, joining the Bauhaus as a student in 1920 and becoming a faculty member by 1922. He married Anni Fleischmann, a Bauhaus textile student, in 1925.
At Black Mountain, his students included Robert Rauschenberg, Cy Twombly, Ruth Asawa, and Ray Johnson. He left in 1950 to head the Department of Design at Yale, where he taught until retirement in 1958. The teaching produced Interaction of Color (1963), a text arguing that colour can only be understood in context, never in isolation. It remains a standard reference.
The Homage to the Square series occupied the rest of his life: nested squares of colour, painted obsessively, with every pigment and proportion meticulously recorded. The paintings look simple. The colour relationships within them are not. He died in 1976.
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