To view works by Albert Bloch, several museums and foundations maintain collections of Bauhaus art and related materials. These institutions are located worldwide. In Germany, you can visit the Bauhaus-Archiv, Museum für Gestaltung (Berlin), Stiftung Bauhaus Dessau, Stiftung Meisterhäuser Dessau (Dessau), Klassik Stiftung Weimar/Bauhaus-Museum (Weimar), and Bauhaus-Museum Weimar. In Switzerland, the Zentrum Paul Klee Bern holds relevant works. In the United States, consult the Busch-Reisinger Museum (Cambridge, Massachusetts), the Josef and Anni Albers Foundation (Bethany, Connecticut), and the Moholy-Nagy Foundation (Ann Arbor, Michigan). Finally, in Japan, both the Utsunomiya Museum of Art and the Misawa Bauhaus Collection (Tokio) may have pieces available for viewing. Please check each institution's website or contact them directly for current exhibition details and collection access.

Printmaking has a long history, with early examples on paper appearing in China after the second century. By the end of the fourteenth century, the practice had become common in Europe. Woodcuts served many purposes; they were used for book illustration, religious icons, souvenirs, and even playing cards. Printmaking was initially seen as a craft, but masters such as Dürer, Mantegna, and Goya elevated graphics to high art. During the late nineteenth century, prints gained recognition as a major artistic medium. The quality of individual impressions became more important. Artists began signing their prints to distinguish original graphics from reproductions. They also started limiting edition sizes, numbering prints, and using handmade papers, all of which added to the aesthetic value and helped control quality and price. Original prints allowed artists to reach a wider audience because they could be produced in greater quantities and at a lower cost than other art forms.

Albert Bloch was an American^[1] artist associated with German Expressionism^[1], particularly the group Der Blaue Reiter. His importance today lies in his contribution to the Expressionist movement and his later defence of it against criticism. Bloch was a friend of the Marxist critic György Lukács. Bloch challenged Lukács's negative views of Expressionism, arguing that it was a valid form of resistance against the elimination of the individual in modern society, especially under fascism. Bloch saw Expressionism as challenging traditional values in art and society, drawing from folk art and embracing complex spatial and temporal elements. Interest in Der Blaue Reiter has continued into the twenty-first century, with artists referencing the group's ideas. For example, Chris Ofili created a series of works titled "The Blue Rider" in homage to the group. The Lenbachhaus in Munich commissioned contemporary artists to respond to works by Der Blaue Reiter artists, and Julie Mehretu has expressed interest in Kandinsky’s concept of a 'Great Utopia'. Bloch's work, and his defence of Expressionism, contributes to the continuing interest in the movement.

Albert Bloch worked with various techniques, including glass painting and printmaking methods such as etching, woodcut and lithography. In glass painting, Bloch developed a specific method using opaque glass. This involved using a single pane, making the artwork movable like a small easel painting. The technique he employed was sandblasting on flashed glass, which typically consisted of a milk glass body covered with a thin coating of another colour, often black or red. Sandblasting was used to grind a relief into the glass, similar to how tombstone carvers engrave names. The glass was covered with a stencil, and the design was cut out to expose the areas to be sandblasted. This process allowed Bloch to create contrasts between the flashed coating and the milk glass body. He also used glass painters' colours, which were made permanent by burning them in a kiln.

It is difficult to identify specific individuals directly influenced by Albert Bloch. However, some connections can be drawn between Bloch and other artists, movements, and trends. Bloch's work incorporated symbolist and Post-Impressionist influences early in his career. He was working during a period when Impressionism and Post-Impressionism were gaining traction, as seen in Vienna's art scene, with exhibitions of French masters and modernists. Later, the American^[1] Abstract Expressionists of the 1950s, such as Clyfford Still, are seen to have indirectly drawn from Impressionism. The scale and painterly approach of Monet's late waterlily paintings are often cited as a possible influence on this movement. The acquisition and display of Monet's waterlilies by the Museum of Modern Art in New York in the 1950s further popularised this connection.

Albert Bloch was associated with the Blaue Reiter group, so it is reasonable to assume he was influenced by its founders. Vasily Kandinsky, who was born in Moscow in 1866, studied art in Munich, and later taught at the Bauhaus. He produced his first abstract painting in 1911^[1]; in 1912, he founded the Blaue Reiter group and published a book with the same title. Paul Klee, born in Berne, Switzerland, in 1879, studied at the Academy of Munich. He joined the Blaue Reiter in 1912 and exhibited at the Berlin Autumn Salon in 1913. Both artists were associated with the Sturm group in Berlin as well. Bloch was also acquainted with Albert Gleizes, who was born in Paris in 1881. Gleizes participated in the Cubist movement around 1911 and co-founded the Section d’Or in 1912. He was also a member of the Sturm group in Berlin. From 1915 to 1917, during a journey to the United States, he created Cubist pictures of New York. After 1916, his paintings became abstract.

It is difficult to name one single "most famous" work by Albert Gleizes, as his notability rests on his role as a theorist and as an early Cubist, rather than for one specific, universally recognised painting. Gleizes co-authored *Du Cubisme* in 1912^[1], with Jean Metzinger, which was an early and influential text on the subject. His paintings from the 1910s show his exploration of metaphysical principles. Key works include *The Bather (La Baignetise)*, 1912; *Head in a Landscape*, 1913; and *Portrait of an Army Doctor*, 1914-15. *Portrait of an Army Doctor* depicts Dr Lambert, a surgeon whom Gleizes met while serving in the army during World War I. Gleizes executed several studies for the portrait, most of which are now in the Guggenheim Museum collection. Later in his career, Gleizes received commissions for large murals, including works for the Paris World's Fair in 1937. He also created a fresco, *Eucharist*, for a chapel at Chantilly in 1952.

Albert Bloch is associated with Expressionism^[1], a movement that arose before the First World War and continued afterwards. Expressionism sought to express a new form of life, moving from the individual to the typical, and attempting to capture the spirit of the times. Expressionist art often features bold colours, simplified forms, and surface qualities that convey a sense of urgency and emotional experience. Artists sometimes applied paint directly from the tube and explored clashing colours to intensify expression. Key influences included the 15th-century woodcut, with its bold simplicity, and primitive art. Bloch was a friend of Georg Lukács. They had differing opinions on modern art; Bloch supported Expressionism, while Lukács leaned towards Neo-Classicism. Bloch criticised Lukács for ignoring Expressionist visual art and concentrating on theorists, arguing that Expressionism challenged traditional values and drew from folk art. He saw its spatial and temporal fissures as reflecting the transition from one age to the next.