Josef Albers



Josef Albers (1888-1976) is remarkably affiliated with numerous movements that have defined art history in the 20th century. Art Historians credit Albers for fusing elements of American and European abstraction while influencing minimalism, hard-edge painting, and Op art.

Albers was a student and later a professor at the Bauhaus in Germany. After the prestigious academy was closed by the Nazis, Albers and his wife Anni (a noted textile designer) emigrated to the United States.

In addition to being an influence on many artists, Albers was a significant mentor and taught major artists including Robert Rauschenberg, Cy Twombly, and Eve Hesse at Black Mountain College and Yale.

“Bands/Posts - P1, F3, I2” is an output from Alber's 1972 portfolio "Formulation: Articulation". The artwork features stark white geometric linework contrasted against a lustrous burnt-umber backdrop. 

While some of Albers' geometric compositions are straightforward and simply flat, in “Bands/Posts - P1, F3, I2” we are offered a composition to interpret. Simultaneously minimal and intricate, this piece exemplifies Albers' investigation into geometric relationships and dimensional perception.

In 2017, Albers achieved an auction record of $3 million for his 1957 painting "Homage to the Square - Temperate". 

Albers' enduring impact on modern art is celebrated worldwide with works included in permanent collections such as the Guggenheim Museum (New York), the Tate Modern (London), the Centre Pompidou (Paris), and the Museo Nacional Centro de Arte Reina Sofia (Madrid).

Questions about this piece? Contact us or call +1.416.704.1720. Visit our Toronto gallery on Thursdays or by appointment.

“Bands/Posts - P1, F3, I2” 

USA, 1972

Screenprint on Mohawk Superfine Bristol paper

From an edition of 1000

13”H 18”W (image)

15"H 20"W (sheet)


Printer: Sirocco Screenprinters

Publisher: Harry N. Abrams and Ives Sillman, Inc., New York

Very good condition

Note: An additional unframed example of this print is available for purchase.

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