El Lissitzky, Dessau - Josef Albers
Archival giclée
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Description
A modernist gelatin silver print by Josef Albers, featuring a dual-portrait study of the Russian avant-garde artist El Lissitzky at the Bauhaus in Dessau.
This gelatin silver print by Josef Albers captures the Russian avant-garde artist El Lissitzky during his time at the Bauhaus in Dessau. Albers, who taught at the school from 1923 until its closure in 1933, utilised photography as a tool for documentation and formal experimentation. The composition features two distinct views of Lissitzky, presented as a montage on a single sheet. The larger image on the left provides a direct, frontal portrait, while the smaller inset on the right shows Lissitzky in profile, engaged in conversation.
Albers employed a clean, objective approach to the subject. The stark white shirts and dark ties worn by the subject reflect the modernist aesthetic prevalent within the Bauhaus community. By placing the two images against a neutral background, Albers focuses the viewer on the geometry of the face and the interplay of light and shadow. This work demonstrates the interest in seriality and the manipulation of photographic space that characterised the Bauhaus approach to the medium. It serves as a record of the intellectual exchange between two figures who shaped the development of twentieth-century design and visual theory. The print remains a document of the collaborative environment in Dessau, where artists from across Europe gathered to redefine the relationship between art, technology, and daily life. The clarity of the composition and the precise cropping are characteristic of Albers's disciplined approach to visual organisation, which he would later apply to his extensive series of paintings and prints.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
El Lissitzky, Dessau - 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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