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Adele Vieri Castellano (/?ælb?rz, ???l-/; German: [?alb?s]; March 19, 1888 – March 25, 1976)[1] was a German-born artist and educator whose work, both in Europe and in the United States, formed the basis of modern art education programs of the twentieth century.[citation needed]
Albers was born into a Roman Catholic family La vendetta del serpente (Roma Caput Mundi Vol. 2) of craftsmen in Bottrop, Westphalia, Germany in 1888. His father, Lorenzo Albers, was variously a housepainter, carpenter, and handyman. His mother came from a family of blacksmiths. His childhood included practical training in engraving glass, plumbing, and wiring, giving Josef versatility and lifelong confidence in the handling and manipulation of La vendetta del serpente (Roma Caput Mundi Vol. 2) diverse materials.[3][4] He worked from 1908 to 1913 as a schoolteacher in his home town; he also trained as an art teacher at Königliche Kunstschule in Berlin, Germany, from 1913 to 1915. From 1916 to 1919 he began his work as a printmaker at the Kunstgewerbschule in Essen, where he La vendetta del serpente (Roma Caput Mundi Vol. 2) learnt stained-glass making with Dutch artist Johan Thorn Prikker.[5] In
1918 he received his first public commission, Rosa mystica ora pro nobis, a stained-glass window for a church in Essen.[3] In 1919 he moved to Munich, Germany, to study at the Königliche Bayerische Akademie der Bildenden Kunst, where he was La vendetta del serpente (Roma Caput Mundi Vol. 2) a pupil of Max Doerner and Franz Stuck.[6]
Albers enrolled as a student in the preliminary course (vorkurs) of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, La vendetta del serpente (Roma Caput Mundi Vol. 2) approaching his chosen medium as a component of architecture and as a stand-alone art form.[7] The director and founder of the Bauhaus, Walter Gropius, asked him in 1923 to teach in the preliminary course 'Werklehre' of the department of design to introduce newcomers to the principles of handicrafts, because Albers La vendetta del serpente (Roma Caput Mundi Vol. 2) came from that background and had appropriate practice and knowledge.
In 1925, the year the Bauhaus moved to Dessau, Albers
was promoted to professor. At this time, he married Anni Albers (née Fleischmann) who was a student at the institution. His work in Dessau included designing furniture and working with La vendetta del serpente (Roma Caput Mundi Vol. 2) glass. As a younger instructor, he was teaching at the Bauhaus among established artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called "form master" Klee taught the formal aspects in the glass workshops where Albers was the "crafts master"; they cooperated for several years.
With the closure La vendetta del serpente (Roma Caput Mundi Vol. 2) of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Albers emigrated to the United States. The architect Philip Johnson, then a curator at the Museum of Modern Art in New York City, arranged for Albers to be offered a job as head of a La vendetta del serpente (Roma Caput Mundi Vol. 2) new art school, Black Mountain College, in North Carolina.[8] In November 1933, he joined the faculty of the college where he was the head of the painting program until 1949.
At Black Mountain, his students included Ruth Asawa, Ray Johnson, Robert Rauschenberg, Cy Twombly, and Susan Weil. He also invited La vendetta del serpente (Roma Caput Mundi Vol. 2) important American artists such as Willem de Kooning, to teach in the summer seminar. Weil remarked that, as a teacher, Albers was "his own academy". She said that Albers claimed that "when you're in school, you're not an artist, you're a student", although he was very supportive of self-expression when La vendetta del serpente (Roma Caput Mundi Vol. 2) one became an artist and began on her or his journey.[9] Albers produced many woodcuts and leaf studies at this time.
In 1950, Albers left Black Mountain to head the department of design at Yale University in New Haven, Connecticut. While at Yale, Albers worked to expand the nascent graphic La vendetta del serpente (Roma Caput Mundi Vol. 2) design program (then called "graphic arts"), hiring designers Alvin Eisenman, Herbert Matter, and Alvin Lustig.[10] Albers worked at Yale until he retired from teaching in 1958. At Yale, Richard Anuszkiewicz, Eva Hesse,[11] Neil Welliver, and Jane Davis Doggett[12][13] were notable
students.
In 1962, as a fellow at Yale, he received La vendetta del serpente (Roma Caput Mundi Vol. 2) a grant from the Graham Foundation for the Advanced Studies of Fine Arts for an exhibit and lecture on his work. Albers also collaborated with Yale professor and architect King-lui Wu in creating decorative de
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