Nicholas Fox Weber's Blog, page 27
April 17, 2013
Tennis near Sinthian Medial Center
…We plan to build a tennis court near the medical center of Sinthian.
My Cameroonian friend Pierre Otolo and I have long discussed the idea,
and we recently agreed that the court will be named in the memory of
his son Cris, who died at age fifteen. When the court is complete, Pierre
and I plan to give lessons there and to explain the game. (Pierre started
to play at courts near his village when he was a boy, which led to his being
discovered by Yannick Noah and being invited to go to Paris.) In the
meantime, Pierre had the idea that we could give the locals a taste of the
sport by equipping them with rackets, and so he gave me six fine new rackets
and a bag of old tennis balls to take with me on this trip.
–NFW, April 17, 2013
April 12, 2013
Albers_Perugia_1
Josef Albers
Proto Form A
1937
Oil on Masonite
58.4 x 70 cm
April 7, 2013
WASSILY KANDINSKY, Small Worlds IV, I922. Shortly after a...
WASSILY KANDINSKY, Small Worlds IV, I922. Shortly after arriving at the Weimar
Bauhaus, Kandinsky produced a series of prints in various media that remain
to this day among his best-known work.
–The Bauhaus Group Six Masters of Modernism
April 6, 2013
WASSILY KANDINSKY, study for the mural painting
of the Ju...
WASSILY KANDINSKY, study for the mural painting
of the Juryfreie Kunstschau, 1922. During his first year at the Bauhaus, Kandinsky designed murals that the students executed and that realized his lively abstract compositions on a new scale.
–The Bauhaus Group Six Masters of Modernism
April 5, 2013
Kandinsky_Too_Green
WASSILY KANDINSKY, Too Green, 1928. Kandinsky made this painting
to give to Paul Klee on Klee’s fiftieth birthday. The circle had great
spiritual significance and suggested eternity.
Kandinsky_60
12 , HERBERT BAYER
Poster For Kandinsky’s
60th birthday exhibition in Dessau, 1926.
Bayer’s design announced one of Kandinsky’s
most important exhibitions ever, a great event for
everyone at the Bauhaus Dessau
–The Bauhaus Group Six Masters of Modernism
April 4, 2013
Wassily Kandinsky, Composition VII
Wassily Kandinsky, Composition VIII, 1923. Kandinsky used vibrant colors
and bold, imaginative forms to evoke sound as well as emotion.
From The Bauhaus Group Six Masters of Modernism
March 19, 2013
Piero/Albers
“An abstract (Josef Albers) painting from the late 30’s on
your right - there are three reds but trust me no color is on
top
of another color. He’s always found the color straight
from the tube and put it on the white background and
if you think you see translucency or transparency it is an
illusion. You have something of the effect of Josef’s beloved
Piero della Francesca because there’s a discipline there.
You have an active form coming in from the left; a passive
one on the right as in The Annunciation. There’s a structure
there’s a grace to it.”
From the lecture Josef Albers in America exhibition at the Morgan Library
and Museum seen here:
http://www.nicholasfoxweber.com/video-2/morgi/
The Death of the Virgin
For Albers, the calmness and grace of Giotto’s work,
achieved as much through the consistency of the brushstrokes
as by the composition, exemplified the overriding control
fundamental to good art.
The work by Giotto that Albers knew firsthand was a single magnificent
panel in Berlin: the large Death of the Virgin, a tempera from circa 1310.
–The Bauhaus Group Six Masters of Modernism
Josef Albers, Untitled, 1921.
When he could not afford ...
Josef Albers, Untitled, 1921.
When he could not afford traditional art supplies, Albers went to
the town dump in Weimar and hacked up bottle bottoms and
other glass fragments, which he then assembled into luminous
and vibrant windows.
The glass assemblages were analogous to what the Bauhaus
facilitated: destruction and resurrection. Coaxing beauty
from what to others was nothing but refuse, he demonstrated
the possibility of transformation that was one of the Bauhaus’s
greatest offerings.
–The Bauhaus Group Six Masters of Modernism
