Transformation of a Scheme No. 19 - Josef Albers
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Description
A geometric abstraction by Josef Albers, 'Transformation of a Scheme No. 19' explores spatial relationships through interconnected lines and planes. This work reflects Albers' interest in perception and the interplay of form.
Josef Albers (1888-1976) was a German-American artist and educator whose work, both in Europe and the United States, helped to define the course of 20th-century modernism. Albers is perhaps best known for his abstract paintings and colour theory, which he explored extensively in his series, 'Homage to the Square'. 'Transformation of a Scheme No. 19' presents a geometric abstraction rendered in a limited palette. The composition features a series of interconnected lines and planes that create an illusion of depth and spatial ambiguity. The lines, rendered in a light tone, contrast with the darker background, enhancing the geometric forms. The work reflects Albers' interest in perception and the interplay of form and colour, inviting viewers to consider the relationships between the elements and the overall structure.
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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.
Transformation of a Scheme No. 19 - Josef Albers
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Specific Features
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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
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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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