About the Author

Josef Albers, one of the most influential artist-educators of the 20th century, was a member of the Bauhaus group in Germany during the 1920s. In 1933 he came to the United States, where he taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design. The recipient of numerous awards and honorary degrees, Albers was elected to the National Institute of Arts and Letters in 1968 and was professor emeritus of art at Yale until his death in 1976. Nicholas Fox Weber is executive director of the Josef and Anni Albers Foundation.

Reviews

“The art book of the decade. . . . Absolutely stunning. If you know anybody who loves color, or art, or ever took a color class at art school, or just has bibliophilic tendencies, they will remember you fondly forever if you give it to them.”—Felix Salmon, Reuters

“The magnificent presentation of this edition will continue to make this book indispensable to the next generation of art students and teachers alike.”—Douglas F. Smith, Library Journal

“Josef Albers’s Interaction of Color stands alone among color theory books: a classic that never fails to surprise with its continued relevance.”—Imprint

“The three-volume set of Josef Albers’s seminal work of color theory is a delight to page through, whether [one] is an artist or just deciding what color to paint the bathroom.”—New York Magazine, “Expensive Gifts for Dads That Are Actually Worth It”

“It’s important to celebrate and note that this book is a series of fabulous colour exercises. . . . It is an excellent read and beautiful to look at. . . . For the first time since its original debut, the book has been restored to its former glory—beautifully printed colour plates on lustrous warm white paper. . . . This is an essential book for anyone inspired by colour and appreciative of great art.”—Ptolemy Mann, Selvedge

“[An] easy-to-page-through and gorgeously-bound book; the only writing on each page is some small typography at the bottom which makes it very easy to cross-reference to the accompanying text book (itself a masterpiece of typography). The text on its own can be dense and difficult, but when accompanied by the illustrations, it comes to life immediately, and everything becomes clear. Meanwhile, the illustrations breathe easily on the heavy paper stock, never competing for attention with words.”—Felix Salmon, Reuters

“This lustrous work deserves a place in any ardent modernist’s library.”—Modern Magazine