Introitus
Print
1942 (made)
1942 (made)
| Artist/Maker | |
| Place of origin |
Josef Albers became one of the most influential artists of the 20th century avant-garde.
He is best known for his later works, but his systematic presentation of spatial ambivalence and paradox, made through endless variations on geometric themes and juxtapositions of colour, went through many articulations before he arrived at his characteristic, hard-edged rectangles within rectangles of flat colour.
Throughout the 1940s, while teaching. at Black Mountain College in California, he made frequent trips to Mexico. He was inspired by the architecture and artefacts seen there and absorbed their abstract, formal qualities into his prints made during the 1940s. After experimenting with modulated line, in a series of drypoints, Albers went on to make a series of lithographs collectively titled 'Graphic Tectonic' with very precise linear structures but, which through repeated and closely drawn parallel lines, and the use of right-angles, create powerfully ambiguous visual illusions of space and volume.
He is best known for his later works, but his systematic presentation of spatial ambivalence and paradox, made through endless variations on geometric themes and juxtapositions of colour, went through many articulations before he arrived at his characteristic, hard-edged rectangles within rectangles of flat colour.
Throughout the 1940s, while teaching. at Black Mountain College in California, he made frequent trips to Mexico. He was inspired by the architecture and artefacts seen there and absorbed their abstract, formal qualities into his prints made during the 1940s. After experimenting with modulated line, in a series of drypoints, Albers went on to make a series of lithographs collectively titled 'Graphic Tectonic' with very precise linear structures but, which through repeated and closely drawn parallel lines, and the use of right-angles, create powerfully ambiguous visual illusions of space and volume.
Object details
| Category | |
| Object type | |
| Title | Introitus (assigned by artist) |
| Materials and techniques | Lithograph on paper |
| Brief description | Josef Albers: lithograph: Introitus. From the group of 8 plates 'Graphic Tectonic. 1942 |
| Physical description | The image is an outline of a rectangle, with the longer sides vertical (so portrait format); the space inside the rectangle is articulated with a series of ever decreasing rectangles of the same proportions as the outer one. The shape is repeated 11 times, leaving a small blank rectangle in the centre. the lines defining the rectangles are of two different widths, and of course, are closer together on the longer, vertical sides. |
| Dimensions |
|
| Style | |
| Copy number | 29/30 |
| Marks and inscriptions | Albers 42 Introitus
29/30 (signed and dated in pencil; inscribed with title and edition number.) |
| Credit line | Given by the Josef Albers Foundation |
| Production | One of a group of eight plates collectively titled 'Graphic Tectonic' . The museum has five of the eight. |
| Subject depicted | |
| Summary | Josef Albers became one of the most influential artists of the 20th century avant-garde. He is best known for his later works, but his systematic presentation of spatial ambivalence and paradox, made through endless variations on geometric themes and juxtapositions of colour, went through many articulations before he arrived at his characteristic, hard-edged rectangles within rectangles of flat colour. Throughout the 1940s, while teaching. at Black Mountain College in California, he made frequent trips to Mexico. He was inspired by the architecture and artefacts seen there and absorbed their abstract, formal qualities into his prints made during the 1940s. After experimenting with modulated line, in a series of drypoints, Albers went on to make a series of lithographs collectively titled 'Graphic Tectonic' with very precise linear structures but, which through repeated and closely drawn parallel lines, and the use of right-angles, create powerfully ambiguous visual illusions of space and volume. |
| Associated objects | |
| Bibliographic reference | François Bucher (with captions by Albers); Despite Straight Lines. New Haven and London, 1961. illus. pp19-31
Eugen Gomringer: Josef Albers. New York 1968. p.75-6. illus. pp 84-90
Werner Spies: Josef Albers. Stuttgart, 1971. p.36. illus. pp30-32
Getulio Alviani: Josef Albers. Milan, 1988. illus. plates 70-77 |
| Collection | |
| Accession number | E.18-1994 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | December 12, 2008 |
| Record URL |
Download as: JSON
