Title, La interacción del color. Volume 1 of Alianza forma · Forma / Form. Author, Josef Albers. Translated by, María Luisa Balseiro. Edition, illustrated, reprint. La Interaccion del Color by Josef Albers, , available at Book Depository with free delivery worldwide. La interacción del color (Forma / Form) | Josef Albers, María Luisa Balseiro | ISBN: | Kostenloser Versand für alle Bücher mit Versand und.
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Yale University Press, First edition, one of copies.
La Interaccion del Color
Two volumes in slipcase text and plate portfoliobound in coarse cloth as issued. Very cleanly split in two. Josef Albers’s Interaction of Color is a masterwork in twentieth-century art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience. To describe colorr work is impossible, to view it is overwhelming.
This is a Masterpiece! First edition,by Josef Albersand the only edition printed, as the plates were destroyed after copies were printed. Usually only Museums, Libraries, Universities, and occasionally a bookdealer or the fortunate individual may possess this masterpiece. The attempts to replicate its contents have totally failed over the years. Volume One contains 80 pages of Colog poetic text. They are arranged to interaccinn the effects a variety of colours have on each other, together with these is a 48 page ‘Commentary’ in plain black wraps.
Many of the silk screens have flaps, cut-out overlays and other variables. Small thick folio, textured cloth in the original printed cloth slipcase.
The xlbers show a small sample of the silkscreens. If you need to see additional pictures of any particular silkscreen just send a message. This copy has escaped the ravages of time and abuse, as the condition is Excellent.
Light wear to the case. Therefore I have to be successful soon.
Two things I am planning for this year: It would have to be not a book about color but nothing less than a book of color. But Albers, charismatic, authoritative, and contagiously enthusiastic, had a interwccin following of true believers, and with Yale University Press eventually taking the lead, an unprecedented and original collaboration began.
Albers was especially eager to have his Homage to the Square paintings reproduced in a way that would innteraccin as close as possible to replicating their powerful demonstrations of color interaction. Sillman experimented with screen printing, and the first Homage to the Jksef screenprints were born as two tipped-in plates in the catalogue. Working closely with Albers, Sillman mixed an astonishing eight-hundred—plus colored inks for the plates of Interaction of Color while Ives came up with a three-part design for the publication: Albers specified an arrangement and typography that paralleled the rhythms and cadences of his speech, and he wrote the entire josdf.
Sixteen of the folders were simply unsuited to screenprinting and were completed by a combination of four-color letterpress and offset lithography.
Apart from the letterpress plates, therefore, Interaction of Color was made entirely in the U. Because of the huge scale of the project, the screenprinting was divided among three separate companies—R.
El color de Josef Albers El color de Josef Albers | Arquine
Proofing of the sixty-four screenprinted folders studies was exacting and arduous—a perfect analogue of the attention and craftsmanship Albers demanded of his students. Albers was closely involved and in several cases wrote the final commentary only after approving its related color study so that the two elements would be matched precisely. Collating and assembling the two thousand three-part volumes and the folders was no less of a challenge.
Weaver recounted how the one hundred and sixty thousand individual folders arrived at the Yale Press offices in wooden boxes specially constructed to avoid compression and possible damage to the printed surfaces.
Josef and Anni Albers Foundation
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