Variant/Adobe: Southern Climate - Josef Albers
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Description
A study in geometric abstraction by Josef Albers, exploring the interaction of colour and form through his signature nested rectangle motif.
Josef Albers began his Variant/Adobe series following his travels to Mexico, where he encountered the architecture of pre-Columbian sites. This work reflects his interest in the interaction of colour and the structural simplicity of adobe dwellings. The composition relies on a series of nested rectangles, a recurring motif in his practice that allows for the systematic exploration of how adjacent hues influence human perception.
In this piece, Albers employs a palette of ochre, terracotta, and muted yellow. The arrangement of these blocks creates a sense of spatial depth, despite the two-dimensional nature of the surface. The central forms suggest the apertures or doorways of a building, yet they remain strictly geometric. By limiting his vocabulary to these basic shapes, Albers directs the viewer to focus on the chromatic relationships rather than representational content. The paint application is precise, maintaining a flat surface that avoids the distraction of brushwork.
Albers, who taught at the Bauhaus before moving to the United States, maintained a rigorous approach to his craft. His work in this series demonstrates his belief that colour is the most relative medium in art. The way the terracotta interacts with the surrounding yellow tones changes depending on the proximity of the edges. This print captures the exactitude of his original masonite panels, offering a clear view of his colour theory in action. It is a study in balance, proportion, and the optical effects produced by simple geometric forms.
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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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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
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- 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
Variant/Adobe: Southern Climate - 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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