“I did not teach painting but seeing. I concentrated on the basic courses for beginners. I taught drawing (purposely without nudes), color (without any painting as such) and design (as 'structural organization'). And so the graduate students came 'down' to the basic courses for beginners.”

—  Josef Albers

Source: Homage to the square' (1964), A conversation with Josef Albers' (1970), p. 459

Adopted from Wikiquote. Last update Sept. 14, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "I did not teach painting but seeing. I concentrated on the basic courses for beginners. I taught drawing (purposely wit…" by Josef Albers?
Josef Albers photo
Josef Albers 33
German-American artist and educator 1888–1976

Related quotes

Robert H. Frank photo

“Most students who take introductory economics seem to leave the course without really having learned even the most important basic economic principles.”

Robert H. Frank (1945) economist

"The economic naturalist writing assignment", Journal of Economic Education (2006)

“In 1923, when I had been a student at the 'Bauhaus' in Weimar…. Gropius [the director of Bauhaus] asked me to teach the basic course 'Werklehhre'. He wanted me to introduce newcomers to the principles of handicrafts. He knew that I came from that background and had appropriate practice and knowledge.”

Josef Albers (1888–1976) German-American artist and educator

Source: Homage to the square' (1964), A conversation with Josef Albers' (1970), p. 459

Phillip Guston photo

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

Frank Stella photo

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

Maimónides photo

“I have composed this work neither for the common people, nor for beginners, nor for those who occupy themselves only with the Law as it is handed down without concerning themselves with its principles. The design of this work is rather to promote the true understanding of the real spirit of the Law”

Maimónides book The Guide for the Perplexed

As quoted in The Jewish Encyclopedia (12 vols. 1901-1906) http://www.jewishencyclopedia.com/view.jsp?artid=905&letter=M
Guide for the Perplexed (c. 1190), Introduction
Context: I have composed this work neither for the common people, nor for beginners, nor for those who occupy themselves only with the Law as it is handed down without concerning themselves with its principles. The design of this work is rather to promote the true understanding of the real spirit of the Law, to guide those religious persons who, adhering to the Torah, have studied philosophy and are embarrassed by the contradictions between the teachings of philosophy and the literal sense of the Torah.

Francis Picabia photo

“Naturally, form has come to take precedence over color with me, though when I began painting color predominated. Slowly artistic evolution carried from color to form and while I still employ color, of course, it is the drawing which assumes the place of first importance in my pictures.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia, in an interview in an American newspaper, 1915; as quoted by William A. Camfield, in Francis Picabia: His Art, Life and Times, Princeton, 1979, p.77
Picabia emphasised that line took precedence over colour in his works since 1915
1910's

Alexander Rodchenko photo

“I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: it's all over. Basic colors. Every plane is a plane and there is to be no representation.”

Alexander Rodchenko (1891–1956) Russian artist and photographer

Quote in: 'The Death of Painting'; from the MoMA-website: Interactives: texts https://www.moma.org/interactives/exhibitions/1998/rodchenko/texts/death_of_painting.html
Rodchenko is looking back: in 1921 he executed what were arguably some of the first true monochromes (artworks of one color; source, Wikipedia:Rodchenko)

“Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next to each other makes it obvious that each painting is an instrumentation on its own.
This means that they all are of different palettes, and, therefore, so to speak, of different climates.
Choice of the colors used, as well as their order, is aimed at an interaction – influencing and changing each other forth and back.
Thus, character and feeling alter from painting to painting without any additional 'handwriting' or, so-called, texture.
Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways
In consequence, they move forth and back, in and out, and grow up and down and near and far, as well as enlarged and diminished. All this to proclaim color autonomy as a means of plastic organization.”

Josef Albers (1888–1976) German-American artist and educator

6 short quotes from: 'The Origin of Art'
Homage to the square' (1964)

Nikos Kazantzakis photo

“Do not say, "Draw the curtain that I may see the painting." The curtain is the painting.”

Nikos Kazantzakis book The Saviors of God

The Saviors of God (1923)
Context: "I do not know whether behind appearances there lives and moves a secret essence superior to me. Nor do I ask; I do not care. I create phenomena in swarms, and paint with a full palette a gigantic and gaudy curtain before the abyss. Do not say, "Draw the curtain that I may see the painting." The curtain is the painting.

“But besides relatedness and influence I should like to see that my colors remain, as much as possible, a 'face' –their own 'face', as it was achieved – uniquely — and I believe consciously - in Pompeian wall-paintings - by admitting coexistence of such polarities as being dependent and independent — being dividual and individual.
Often, with paintings, more attention is drawn to the outer, physical, structure of the color means than to the inner, functional, structure of the color action... Here now follow a few details of the technical manipulation of the colorants which in my painting usually are oil paints and only rarely casein paints.
On a ground of the whitest white available – half or less absorbent – and built up in layers – on the rough side of panels of untempered Masonite – paint is applied with a palette knife directly from the tube to the panel and as thin and even as possible in one primary coat. Consequently there is no under or over painting or modeling or glazing and no added texture – so-called... As a result this kind of painting presents an inlay (intarsia) of primary thin paints films – not layered, laminated, nor mixed wet, half or more dry, paint skins.
Such homogeneous thin and primary films will dry, that is, oxidize, of course, evenly – and so without physical and/or chemical complication – to a healthy, durable paint surface of increasing luminosity.”

Josef Albers (1888–1976) German-American artist and educator

4 quotes from: 'The Color in my Painting'
Homage to the square' (1964)

Related topics