Albers Quotes

I don't think he [ Josef Albers ] ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended... I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing – I didn't want color to serve me, in other words. (Robert Rauschenberg)

1948 Black Mountain College N. C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's.

Robert Rauschenberg

Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking... I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.

Robert Rauschenberg

It is my own personal psychosis that it is only by the background that you can see what is in front of you. Only be accepting all that surrounds you can you be totally self-visualized. And at the same time, your self-visualization is a reflection of your surroundings. Albers was right about that. That's why I like Cezanne so much. Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks.

Robert Rauschenberg

I discovered soon that teaching has the handicap of retrospection. And that I don't believe in. So I started [at the w:Bauhaus in Dessau] instead a method of handling material with the material itself. So that was my main change. Whereas Itten before [Itten left the Bauhaus in 1923 and Albers followed him as art-teacher] had only spoken about the appearance, 'matiere' - (the French word) and I said I would turn from 'matiere' - the outside - to the inside, to the capacity of the material, before the appearance. And that changed the attitude basically I think.

Josef Albers

That question is so big that there is no end [Albers refers here to the relationship between colors and the source of light]. You see, they have just you cannot participate with it if you have not lubricated your eyes very thoroughly to see the little changes produced in our eye that has another action than any optical apparatus like photography. We must know that we have two ways of seeing. For instance, when we are indoors another part of the retina is engaged compared with when we are outdoors. If we are in warm light or cool light, in higher light or lower light.

Josef Albers

And I learned very early [Josef Albers was then ten years old] how to make imitation of wood grain. This is something I have in common with Georges Braque. Braque also learned very early from his father how to imitate marble or wood grain. So I could easily make the appearance of oak or walnut on pine. That is very easy; a very simple technique. And I learned how to imitate marble. I never made such a good joke as Braque did. When he was in the Mediterranean he fooled his friends. He painted a rowboat that had wood on one side and marble on the other side. You see, when he'd row out of the city it looked as if he were in a boat of a different material than when he came back, you see, one side was imitation wood and the other side was imitation marble.

Josef Albers

But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..

Franz Kline

The final test of painting, theirs, mine, any other, is; does the painter's emotion comes across?.. ..Procedure is the keyword.. ..The difference is that we don't begin with a definite sense of procedure. It's free association from the start to the finished state. The old idea was to make use of your talent. This, we feel, is often to take the line of least resistance.. ..painters like Rothko, Pollock, Still, perhaps in reaction to the tendency to analyze which has dominated painting from Seurat to Albers, associate with very little analysis. A new form of expressionism inevitably followed. With De Kooning the procedure is continual change, and the immediacy of the change. With Jackson, it's the confidence you feel from the concentration of his energy in a given picture.. (1958)

Franz Kline

Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next to each other makes it obvious that each painting is an instrumentation on its own. This means that they all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colors used, as well as their order, is aimed at an interaction – influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional 'handwriting' or, so-called, texture. Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways In consequence, they move forth and back, in and out, and grow up and down and near and far, as well as enlarged and diminished. All this to proclaim color autonomy as a means of plastic organization.

Josef Albers

I made true the first English sentence [Albers came from Germany] that I uttered (better stuttered) on our arrival at Black Mountain College in November 1933 [right after the closing of the Bauhaus art school in Dessau Germany, by the Nazi's] When a student asked me what I was going to teach I said: 'to open eyes'. And this has become the motto of all my teaching [famous pupils of Josef Albers at Black Mountain College were for instance the young generation starting American artists, like Robert Rauschenberg, Helen Frankenthaler, Cy Twombly, Ray Johnson and Susan Weil. (Josef Albers)