Charles Darwent

While Josef Albers' Bauhaus colleagues Klee and Kandinsky are household names, Albers himself has remained inscrutable. He is best known as the painter of the Homages to the Square, a series of over 2,000 seemingly tightly controlled experiments in the interaction of colour. Yet he did not begin these pictures until he was in his sixties, already several decades into his career as an artist, maker and theorist, much of it pursued in the United States following the Nazi dissolution of the Bauhaus in 1933. Misunderstanding of the Homages reflects a wider misreading of Albers' life and work. Married to the textile artist Anni Albers, his papers include letters from fellow artists John Cage, Robert Rauschenberg, Richard Serra and Eva Hesse; colleagues such as Buckminster Fuller and Philip Johnson; and fans and collectors ranging from the composer Virgil Thomson to the cartoonist Saul Steinberg. If his network of influence was surprisingly wide, so, too, were his interests. Albers started life at the Bauhaus as a glassmaker, ran their renowned wallpaper workshop, and designed furniture that is still in production eighty years later. He pioneered the study of colour at Black Mountain College, organized its famed `Summer Sessions' with guest tutors from Willem de Kooning to Merce Cunningham, and went on to head the design department at Yale. Drawing on extensive unpublished writings, documents and illustrations, Darwent offers a broad view of not only the artistic and political currents, but also the friendships and rivalries that formed the backdrop to Albers' creative output.

An absorbing group biography revealing how exiles from war-torn France brought surrealism to America, sparking the movement that became abstract expressionism. Sensing the emerging disaster that was about to consume Europe, surrealists began to arrive in New York from Paris even before the outbreak of World War II. This engaging group biography tells their story and that of the artistic exchange between the Old World and the New. It takes as its focus the legendary Atelier 17 print studio, relocated from Paris to New York, where avant-garde artists could experiment and where abstract expressionist Jackson Pollock encountered surrealism in action for the very first time. In 1957, in a catalog essay at a show at the Whitney Museum, New York, the American artist Robert Motherwell made an unexpected claim that abstract expressionism was neither new nor native. It had been born, he declared, of a brief liaison between America and France, an assertion that verged on the controversial. This was at the Whitney, no less, the lion’s den of American art. Motherwell’s remark is the launchpad of this book, which features André Breton, André Masson, Louise Bourgeois, Max Ernst, and other emigrants, including Stanley William Hayter, the founder of Atelier 17. Their work would have a profound influence on some of the key figures in the rise of abstract expressionism, including Mark Rothko, Motherwell, Willem de Kooning, and Pollock?and vice versa. 52 color and 41 black-and-white illustrations