GENERAL DESCRIPTION
Windows belongs to the second phase of Josef Albers’ sandblasted flashed glass production, which began around 1929. Likely inspired by photography, he reduced his palette to white, gray, and black tones. Albers started with black flashed glass (a sheet of opaque white glass coated with a thin layer of black glass) onto which he sandblasted his design. By controlling the intensity of the sandblasting, he could produce both matte gray and white forms.
True to Bauhaus principles, Albers associated his “glass paintings” with architecture. Here, the artist used both positive and negative space to suggest the forms of windowpanes. The juxtaposition and overlapping of large and small windows create the illusion of spatial depth and suggest the transparency of certain forms, in spite of their opacity. This play on the material properties of glass is evident in the work’s title and subject. While windows are typically transparent, Albers’ flashed glass panel and the windows he etched on its surface are not.
Excerpt from
DMA label copy.
NOTES
Created 1929
Checked Piction
Geography might be Weimar or Berlin
Description: NOTE: THIS WORK MUST BE PUBLICLY DISPLAYED AT THE DMA NOT LESS THAN 90 DAYS DURING EACH CALENDAR YEAR.
Catalogue essays
Artist/designers
Albers, Josef (American, born Germany, 1888-1976)
Cultures
Geography
Place of origin: Germany (nation): TGN: 7000084
Process/materials
Sandblasted opaque black flashed glass (with pressed wood frame)
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- The Modern, Fort Worth~View several of Josef Albers's paintings from his series Homage to the Square.
- The Josef & Anni Albers Foundation~Learn more about artists Josef and Anni Albers.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2016.30.1.FA
Category
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General Description
Windows belongs to the second phase of Josef Albers’ sandblasted flashed glass production, which began around 1929. Likely inspired by photography, he reduced his palette to white, gray, and black tones. Albers started with black flashed glass (a sheet of opaque white glass coated with a thin layer of black glass) onto which he sandblasted his design. By controlling the intensity of the sandblasting, he could produce both matte gray and white forms.
True to Bauhaus principles, Albers associated his “glass paintings” with architecture. Here, the artist used both positive and negative space to suggest the forms of windowpanes. The juxtaposition and overlapping of large and small windows create the illusion of spatial depth and suggest the transparency of certain forms, in spite of their opacity. This play on the material properties of glass is evident in the work’s title and subject. While windows are typically transparent, Albers’ flashed glass panel and the windows he etched on its surface are not.
Excerpt from
DMA label copy.
Fun Facts
Archival Resources
Web Resources
- The Modern, Fort Worth~View several of Josef Albers's paintings from his series Homage to the Square.
- The Josef & Anni Albers Foundation~Learn more about artists Josef and Anni Albers.
Notes
Created 1929
Checked Piction
Geography might be Weimar or Berlin
Description: NOTE: THIS WORK MUST BE PUBLICLY DISPLAYED AT THE DMA NOT LESS THAN 90 DAYS DURING EACH CALENDAR YEAR.
Catalogue essays
Artist/designers
Albers, Josef (American, born Germany, 1888-1976)
Cultures
Geography
Place of origin: Germany (nation): TGN: 7000084
Process/materials
Sandblasted opaque black flashed glass (with pressed wood frame)
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2016.30.1.FA
source file
object_notes_2_b-0324.xml.nores