Series IIIb: Various Writings 1928–1971

This series contains writings by Josef Albers, with writings by others on Josef Albers, and writings by others on topics not related to Josef Albers. The bulk of the subseries is handwritten and typescript drafts and printed versions of poems, statements and general writings by Josef Albers. Often these writings appeared in various publications. Titles contained in brackets represent the first line of an untitled writing or the general topic. Highlights include the group of writings titled "I Remember," which contain various memories of Josef's and the group titled "My Book," which contains various writings put together by Josef for an unfinished book of writings; a facsimile score of Six Melodies for Violin and Keyboard (for Josef and Anni Albers) by John Cage; and an untitled statement on Walter Gropius for an unfinished book on Gropius by Xanti Schawinsky. Most handwritten and typescript versions of poems included in Poems and Drawings are in this subseries. There is a large number of loose leaves with fragments of writings and notes by Josef, both sorted and unsorted. Texts from the Black Mountain College period may also be found in Series IIa: Teaching.

Description Dates Box Folder

Translations of JA writings by F.C. Huffner (includes letter from Huffner)

1970, undated 78 7–10

[a-b] typescript photocopy

undated 79 1

“About Teaching Art,” typescript carbons with handwritten corrections
and notes (contribution to book, Art Appreciation Committee)

circa 1945 79 2

“Abstract-Presentational-Presentative,” typescript carbons and reprints
from 1946 American Abstract Artist, with handwritten notes

1946 79 3

[Achtung!], handwritten

1935 79 4

“Josef Albers,” from Nueva Vision (Buenos Aires) No. 8, clippings
(with article on JA)

1955 79 5

“Alle-Gemein,” handwritten. Dated “Santiago VI.18.53”

1953 79 6

[Alle guten Dinge], handwritten

circa 1940 79 7

[Am Charles River], handwritten

1941 79 8

“Anfang ohne Ende,” handwritten typescript and typescript carbons
with handwritten notes and corrections

undated 79 9

[On Architectural Sculpture], handwritten

undated 79 10

“Art as Experience,” reprints from Progressive Education

1935 79 11

“Art-Judgement-Criticism,” handwritten

circa 1930s 79 12(1)

[On art in general education], handwritten

circa 1950 79 12(2)

[Art is not to be looked at], 1956 handwritten postcard to AA, June
24, 1972 New Haven Register clipping

1972 79 13

[Art is the language], handwritten draft

undated 79 14

[Artists are prophets], handwritten draft

undated 79 15

“Astrology in the Fog,” typescript and typescript carbon

undated 79 16

[At night everything is gray], handwritten, typescripts and typescript
carbon, with handwritten corrections

undated 79 17

[On Bauhaus methods in America], handwritten and typescript
with handwritten corrections (in reply to October 21 1937 letter
from Lawrence Kocher)

circa 1937 79 18

“Bezügliche Farbe,” typescript with handwritten corrections,
handwritten photocopy with handwritten corrections

undated 79 19

[On Blue Reminding], handwritten

undated 79 20

“Cezanne,” handwritten

undated 79 21

[On Cezanne and the right angle], handwritten

undated 79 22

[On JA’s childhood and painting], handwritten

circa 1950 79 23

“The Color in My Painting,” typescripts, typescript carbons with
handwritten corrections and catalogue translations

circa 1954, 1964 79 24

“Color is the Most Relative Medium in Art,” typescript carbons
with handwritten corrections

circa 1952 79 25

[The concept of the nineteenth century], typescript carbons with
handwritten notes

undated 79 26

“On Co-ordination,” typescript carbons with handwritten corrections

circa 1950, 1953 79 27

[Fácil-saber. . .], typescript carbon and photocopy with
handwritten corrections

undated 79 28

[Es ist nichts Neues auf der Welt], handwritten with handwritten
corrections

undated 79 29

“Explanation of Design #1 and #2,” handwritten and typescript with
handwritten corrections

undated 79 30

[To design is], handwritten, typescript carbons, photocopies and
clippings, with handwritten corrections

circa 1958 79 31(1)

“Design is Planning,” handwritten

circa 1950 79 31(2)

[Despite these rectangular and, therefore, distinctly
flat], typescript

undated 79 32(1)

“The Direct Approach in Art,” handwritten and typescript

undated 79 32(2)

[On “Do Less and Get More”], handwritten

undated 79 33

[Do right], typescripts and typescript carbons

undated 79 34

[Don’t be pro], typescripts with handwritten corrections

undated 79 35

[On drawing], handwritten

undated 79 36

“Drunten im Hinterland,” handwritten

1937 79 37

[On education], handwritten

1955 79 38(1)

“The Educational Value of Manual Work and Handicraft in
Relation to Architecture,” typescript carbons with handwritten
corrections and notes, photocopies of reprint from New
Architecture and City Planning

1944 79 38(2)

“Einigkeit macht stark,” handwritten

circa 1940 79 39

[An eleventh amendment], handwritten

undated 79 40

“Emphasis and selection in art,” handwritten and typescript

circa 1930s 79 41

“Erwachsene abzähl-reime,” handwritten and typescripts with
handwritten corrections

1940s 79 42

[Every perceivable thing has form . . . ], typescript carbons

undated 79 43

“Formalism Functionalism,” handwritten with drawings of bicycles

1949 79 44

[From paint to painting], typescript carbons with handwritten
corrections and handwritten version by Anni Albers

undated 79 45

"Fugue," The Structurist No. 4 Special issue on Art and Music

1964 79 46

[On glass painting], typescript

1940 79 47

“Graphic Tectonics (synopsis),” typescript carbons with handwritten
notes, 1942 and “Tektonische Graphic,” typescript for Cincinnati
1949 exhibition catalogue

1942, 1949 79 48

Untitled statement on Walter Gropius, typescripts and typescript
carbons with handwritten corrections and notes written for
unfinished book on Gropius by Xanti Schawinsky

circa 1950 79 49

[Grosse Vorbilder], typescript and typescript carbons

undated 79 50

[On teaching at Harvard], handwritten

undated 79 51

“Heroisch,” typescript carbons with handwritten corrections

undated 79 52

“On my Homage to the Square,” typescripts and photocopies of
various published translations

circa 1954 79 53

“Zu Meinen Homage to the Square,” handwritten with drawing

undated 79 54

[I am a Westphalian from the Ruhr], reprints from
New Mexico Quarterly

1953 80 1

[I don’t think], handwritten

undated 80 2

“I Remember,” handwritten. (Includes notes on Bauhaus and JA’s
Bauhaus colleagues Klee, Kandinsky, Schlemmer and others;
Black Mountain College and Richard Lippold, John Rice, John
Dewey and Albert Barnes; Mexico; Yale; and art works)

undated 80 3

[Ich glaube, dass sinnvolle formgebung für ein architektonisches],
photocopy from Spirale 5

1955 80 4

[Ich sage “perceptuale” Effekte], handwritten and photocopy with
handwritten corrections

circa 1965 80 5

“Idea and Spirit,” handwritten

circa 1930s 80 6(1)

[If history is study of human conduct], handwritten

circa 1945 80 6(2)

[If we care to listen, we can hear repeatedly] typescript with
handwritten corrections

undated 80 7

“Im Spiegel,” handwritten

undated 80 8

“Re: Imbedded Linear Constructions,” typescript

circa 1971 80 9

“In a collection of emblems, two visual formulations of the past
deserve reference,” reprints from Eight Symbols by Norman Ives

1960 80 10

“In Behalf of Structured Sculpture,” typescript carbons and
photocopies with handwritten corrections and notes (written for
Art in America No. 3 1961)

circa 1961 80 11

[In my painting], handwritten

undated 80 12

“Indicating Solids-Never Before,” handwritten (with photocopies
of Tyler Workshop brochure and related statements)

1976 80 13

“Inheritance/Erbmasse” (Heritage-Inheritance/Erbmasse-
Massenerbe), handwritten, typescript and typescript carbons

undated 80 14

“It is always gratifying to see development,” handwritten and typescript

circa 1940 80 15

[It is an old painter’s rule that landscape], handwritten

undated 80 16

“It seems that there is still development,” handwritten and typescript

circa 1940 80 17

[On Kandinsky], photocopy of XXe Siècle Paris 1966 and
unidentified photocopy

undated 80 18

“Kausalität (Weltanschauung des Marktes),” handwritten

1937 80 19

[Keine Zeit ist/Walls and doors/Allen guten Dinge], handwritten

undated 80 20

“Kommunication,” handwritten

undated 80 21

“Less Works More/Weniger wirkt mehr,” handwritten and typescript
photocopies with handwritten notes

undated 80 22

[Man denkt], handwritten

1938 80 23

[Man Kämpft für], handwritten

1941 80 24

“Materialformen,” handwritten with drawings

circa 1930s 80 25(1)

“Mehr Bauen als Malen,” handwritten

undated 80 25(2)

“Negro Art,” handwritten

circa 1940 80 26

[The new art term, “optical painting”], typescript with handwritten
corrections

circa 1964 80 27

“Nightingale in the Fog/Nachtigall bei Nebel,” typescript and
typescript carbons

undated 80 28

“Not But Yet/Doch wie Nicht,” handwritten, typescript and typescript
carbons with handwritten corrections

undated 80 29

“A Note on the Arts in Education,” typescript and clippings from
The American Magazine of Art, April 1936

1936 80 30

[Nothing “neo”], handwritten

undated 80 31

[OK, Amateurs], handwritten statement on teaching

undated 80 32

“O-O-O,” typescripts

undated 80 33

[Oftmals denk ich], handwritten, typescript and typescript carbons

1941 80 34

“On Art,” table of contents from One Quarter Scale, University of
Cincinnati, March 1953

1953 80 35

“On My Work” [When I paint and construct], typescripts, typescript
carbons with handwritten corrections, circa 1959 and reprints of
Daedalus, Winter 1960

circa 1959, 1960 80 36

[One can suffocate from knowledge], typescripts
and typescript carbons

undated 80 37

[One is walking], handwritten

undated 80 38

[Only the Goal/Nur das Ziel], handwritten typescripts with
handwritten corrections

undated 80 39

“Op Art and/or Perceptual Effects,” typescripts, typescript carbons
and handwritten photocopy

circa 1965 80 40

“Op Art and/or Perceptual Effects,” Yale Scientific November 1965
and reprints with handwritten notes

1965 80 41

[The origins of art/Der Ursprung der Kunst],
handwritten, typescript, typescript carbons and photocopies
with handwritten corrections (includes list of publications)

circa 1940 80 42

“Owl By Sunlight/Eule bei Sonnenschein,” typescripts and typescript
carbons with handwritten corrections

undated 80 43

[On perceptual effects], handwritten

undated 80 44(1)

[The physio-psychological phenomenon of the so-called after-image],
typescript mimeography

undated 80 44(2)

“Plato II (For a Dialectician)/Plato II (An einen Dialektiker), handwritten,
typescript and typescript carbons with handwritten corrections

1936 80 45

“Plus = Minus / + = -,” typescripts, typescript carbons, typescript
photocopies with handwritten notes, clipping from Ulmer
Monatsspiegal
July 1955 and photocopy of Ord und Bil No 4
1967 (includes “More or Less”)

1955, 1967, undated 80 46

“Present and/or Past,” reprints from Design with handwritten
notes. April, 1946

1946 80 47

[The ratio of effort to effect is], typescript mimeograph

circa 1950 81 1

[On the reds in the paintings of the Janis Collection] handwritten
with corrections (written for 1968 Dorothy Miller catalogue)

1968 81 2

“Reductio ad absurdum,” typescript carbon and “Structural
Constellation,” photocopy with handwritten corrections

undated 81 3

[On religious edifices], handwritten with drawings

undated 81 4

“Schöne Wirtschaft,” typescript with AA handwritten notes and
typescript carbon

undated 81 5

[The search of science], handwritten

undated 81 6

“Seeing Art/Kunst Sehen,” typescripts, typescript carbons with
handwritten corrections and photocopies

circa 1952 81 7

“On Seeing Art,” handwritten and typescript

circa 1940 81 8

[So far a suspected noun], typescript with handwritten note

1964 81 9

“The So-Called Artist,” typescript and handwritten

undated 81 10

[About my Structural Constellations], typescript, typescript carbon
and handwritten

undated 81 11(1)

“Structural Sculpture” [(It is more than 40 years], exhibition catalogues
and photocopies with handwritten notes (Erwin Hauer and
Robert Engman)

1960, 1966, undated 81 11(2)

[On structure, facture, texture], photocopy of telegram
November 26, 1938 [see Box 25 Folder 2]

1938 81 12

[On talking about art], handwritten

undated 81 13

“On Taste,” typescript and handwritten

undated 81 14

[There is no world without a stage/Keine Welt hat Kein Theater],
typescript and typescript carbon with handwritten corrections

undated 81 15

[To distribute material possessions/Austeilen materieller Güter],
handwritten, typescript and typescript photocopies with
handwritten corrections (includes “Plus=Minus”)

circa 1938 81 16

[To educate is to adjust the individual to the community],
handwritten and typescript carbons

circa 1940 81 17(1)

“To Me (So Far)/Fuer Mich (soweit),” typescripts and typescript
carbons

circa 1952 81 17(2)

“To some particular promoters,” handwritten, typescript and
typescript carbons with handwritten corrections

undated 81 18

“To Those [Some/The/Their] Creators,” handwritten corrections

undated 81 19

[Two reduced posters/Zwei verkleinerte Plakate], handwritten
and photocopies

undated 81 20

“Unbelievable, But True/Unglaublich, aber Wahr,” typescripts and
typescript carbons with handwritten notes

undated 81 21

[On Variants on a Theme], handwritten, typescripts, typescript
carbons and photocopies with handwritten corrections and notes

circa 1940 81 22

[Verbal analysis of a graphic presentation], typescript carbons
with handwritten corrections (regarding Container Corporation
logo) [see Box OS20 Folder 11(1)]

undated 81 23

“Verwünschter Wunsch,” handwritten, typescript and typescript
carbon

undated 81 24

“A Very Short Story/Schweigend Verstehen,” handwritten, typescript
and typescript carbons with handwritten corrections and notes
(includes “To distribute material possessions”)

circa 1945 81 25

“von Farbe zu Malerei,” handwritten

undated 81 26

“Vorkurs 1923,” typescript with handwritten corrections

1938 81 27

[Was ich nicht habe], handwritten

1941 81 28

“We Construct and Construct/Konstruieren und Konstruieren,”
handwritten, typescripts and typescript carbons

1943 81 29

[We had forgotten-but learned again/Wir haben verlernt-aber wieder
gelernt], handwritten, typescript, typescript carbons and
photocopies with handwritten corrections and notes

1963 81 30

“Weltanschauung,” handwritten, typescripts, typescript carbons
with handwritten notes, translation handwritten by Anni Albers

undated 81 31

“werklicher formunterricht,” Bauhaus 2/3. Offprints and
photocopies (with English translation and handwritten excerpt)

1928, undated 81 32

[What I am aiming at in fundamental design], typescript carbon

undated 81 33

[What I want to do in my painting] handwritten

undated 81 34

[When I paint/Wenn ich male], handwritten typescripts, typescript
carbons with handwritten corrections and photocopies of
published versions

undated 81 35

[When our words, wishes, worlds], handwritten

undated 81 36

“White/In Praise of White,” handwritten and typescript with
handwritten corrections

undated 81 37

[On White Line Squares], typescript

undated 81 38

[With false premises/Mit falschen Prämissen (Swischen den Kulissen)],
handwritten, typescript and typescript carbons with handwritten
corrections

undated 81 39

“Zur Konference/Es gibt,” handwritten, typescripts and typescript
carbons

undated 81 40

Untitled statement published in “Contemporary American Painting,”
catalogue, University of Illinois Urbana, typescript carbons with
handwritten notes

1952 81 41

Untitled statement on JA at the Bauhaus, handwritten and
handwritten photocopy with handwritten corrections

undated 81 42

Quotations from JA’s writing

undated 81 43

Miscellaneous writings and notes, handwritten (includes notes on
typologies of form)

circa 1920–1930s 82 1

Miscellaneous writings and notes on education handwritten
(including notes on Black Mountain College)

circa 1940s–1960s 82 2

Miscellaneous writings and notes, handwritten

circa 1930–1960s 82 3

Writings by others on Josef Albers

1938–1978

Acha, Juan “Josef Albers: Homage to the Square,” for Cultura
Peruana
October-December, 1964

1964 85 1

Albrecht, Hans Joachim “Josef Albers: Homage to the Square,” for
Kaiser Wilhelm Museum, April 1971 Krefeld exhibition catalogue

1971 85 2

Apollonio, Umbro “Albers,” for Graphic Tectonics (German
translation by Elisabeth Navarini)

undated 85 3

Arp, Hans/Jean “Josef Albers,” (English translation by Anni Albers)
(includes 2 copies of der technische akademiker nos. 7 and 8,
1958, in which Arp’s poem is published, as well as an illustration
of a Structural Constellation and an accompanying article
“Test auf Vorurteile” by “Ro” probably the journal’s editor Bruno
Rothschuh)

1957 85 4(1)

Baljeau, Joost “The Hegelian Romantic Negation in Modern
Plastic Art”

undated 85 4(2)

Barnstone, Willis “For Josef Albers” (on the occasion of JA’s
Yale University retirement)

1958 85 5

Beckmann, Hannes “Formative Years”

undated 85 6

Boyden, Katrina “The Background of the Bauhaus and the Word of
Josef Albers,” Senior thesis Bennington College, June

1952 85 7

Chanes, Rafael “Ode to the Square”

1964 85 8

Charlot, Jean “Nature and the Art of Josef Albers,” reprint from
College Art Journal, Spring 1956

1956 85 9(1)

Clay, Jean “Albers: Three Stages of Logic,” typescript incomplete,
typescript photocopy and photocopy of article in Rhobo
Spring 1958

1958 85 9(2)

Conant, Howard “The Pursuit of Excellence: An Address delivered
by Professor Howard Conant Chairman, Department of Art
Education, New York University, to the National Committee on
Art Education at the Museum of Modern Art on 2 May 1963”
(includes letter from Conant to JA, November 15 1963)

1963 85 10(1)

Crespo de la Serna, Jorge Juan “Josef Albers y lo Abstracto en
la Arte”

circa 1934 85 10(2)

Culley, John H. Untitled, August 14, 1938, for catalogue of
exhibition “Josef Albers” at the Artists Gallery,New York,
December 6–31, 1938 (see Box 45 Folder 8)

1938 85 11(1)

Degand, Léon “Albers,” from Aujour d’hui No. 15

1958 85 11(2)

Diament de Sujo, Clara “Josef Albers” May 1966. Spanish with
English translation by Bonnie Lee Thompson

1966 85 12

Dörner, Alexander Untitled, February

1942 85 13

Duault, Alain “Albers” (à Ernest Beyeler) May 5, 73

1973 85 14

Farrell, Nancy “Prismatic II,” (verbessert bei Frau Moellenhoff)
A short appreciation of a painting by Josef Albers written in
German. Farrell was a student at BMC ca. 1935–37. Anno
Moellenhoff was a faculty member.

1937 85 15(1)

Folds, Thomas. Untitled January 6, 1952

1952 85 15(2)

Fuller, Buckminster “Josef Albers 1888–1976”

1978 85 16

Gerstner, Karl “Aphorismen zu 80 Jahre Albers,” October 27, 1967

1967 85 17(1)

Golden, Fred. Untitled (includes JA handwritten note)

undated 85 17(2)

Graham (possibly John), Untitled, for catalogue of exhibition “Josef
Albers” at the Artists Gallery, New York, December 6–31, 1938
(see Box 45 Folder 8)

1938 85 18

Greene, Balcomb. Untitled, for catalogue of exhibition “Josef Albers”
at the Artists Gallery, New York, December 6–31, 1938
(see Box 45 Folder 8)

1938 85 19

Grohmann, Will. Various

1957–1965, undated 85 20(1)

Hildebrandt, Hans “Josef Albers”

undated 85 20(2)

Huffner, Fritz C. Various. (includes notes by JA)

1957–1971, undated 85 21(1)

Imdahl, Max “On Josef Albers’s Structural Constellations"

undated 85 21(2)

Jaffé, Hans “Josef Albers: Studie voor “homage to the square: blue
depth,” Gemeente-museum den Haag

undated 85 22(1)

Johns, Jasper “Homage to Albers,” for March–April 1973 Galerie
Beyeler, Basel

1973 85 22(2)

Le Ricolais, Robert “Bertrachtungen über die Graphiken von
Josef Albers“ for Art International March 20 1968

1968 85 23

Lord, James “Josef Albers: The Exercise of Integrity”

undated 85 24

Mérida, Carlos. Untitled, for catalogue of exhibition “Josef Albers”
at the Artists Gallery, New York, December 6–31, 1938
(see Box 45 Folder 8)

1938 85 25

Morris, George L.K. Untitled, for catalogue of exhibition “Josef
Albers” at the Artists Gallery, New York, December 6–31, 1938
(see Box 45 Folder 8)

1938 85 26(1)

Mokry, Uvod 1928 lecture on Bauhaus and JA (includes photocopy
of original lecture and transcript translation with 1968 letter from
translator, Zdenka Pospisil)

1928, 1968 85 26(2)

Nakahara, Yusuke “Homage to the Square: Albers and Abstract Art,”
from Sekai, September 1964

1964 85 27

Nilson, Karl-Gustaf “Josef Albers: Interaction of Color"

1966 86 1–2

Rogo, Elsa. Untitled, for catalogue of exhibition “Josef Albers” at the
Artists Gallery,New York, December 6–31, 1938 (see Box 45
Folder 8)

1938 86 3

Aline B. Saarinen Quote from New York Times October 31, 1954

1954 86 4

Schmied, Wieland

“Josef Albers,” for Neue Zürcher Zeitung

1972 86 5

“Fifteen Statements for Josef Albers”

undated 86 6

“Experiences with Josef Albers”

undated 86 7

“Homage to Josef Albers,” for Kerstner-Gessellschaft, Hannover
May–June 1968

1968 86 8

Von Eckardt, Wolf “What the Bauhaus Taught: Obsolete or Viable”
for Horizon, November 1961. Typescript.

1961 86 9

Unidentified Introduction for JA lecture at Virginia Museum of Fine
Art November 21 1966

1966 86 10

Unidentified “The Square Affair”

undated 86 11(1)

Unidentified “Reflections on the Graphisms of Josef Albers”

1967 86 11(2)

Unidentified

undated 86 12

Notes on Ed Barnes, Paul Beidler and “PM”s words on JA

undated 86 13
Notes on

Other artists, architects and writers includes Ed Barnes (anecdote
about JA's painting "Legendary Pasture"), Paul Beidler (anecdote
about JA as a teacher) Max Beckmann, John Cage, Marcel
Duchamp, van Doesburg, Clement Greenberg, Will Grohmann
(includes German obituary), Walter Gropius and the Bauhaus
(includes clipping on Gropius), Wassily Kandinsky, Paul Klee,
Henry Moore, Jackson Pollock, Tut Schlemmer, Frank Lloyd Wright

undated 82 4

Basic Design

undated 82 5

Bauhaus

undated 82 6(1)

Bauhaus Archiv

undated 82 6(2)

Color and black and white

undated 82 7

Education

undated 82 8

Gestalt theories of perception

undated 82 9

Elliot Kone

undated 82 10

Movement and color

undated 82 11

“My Book”

undated 82 12

Painting and color

undated 82 13

Poetic creation

undated 82 14(1)

Repetition

undated 82 14(2)

Si Sillman and Norman Ives

undated 82 15

Systemics

undated 82 16

Quotations by and about Josef Albers

undated 82 17

Miscellaneous notes from a disassembled folder (includes notes
about Black Mountain College)

undated 82 18

Notes for a speech at opening of JA exhibition at the
Metropolitan Museum of Art, New York, November 18 1971
[see IIc. Solo Exhibitions Box 48 Folder 20]

1971 82 19

Notes on student Elinor Evan’s MFA thesis, “Implications of Some
Gestalt Perception in a Group of Contemporary Paintings”

undated 82 20
Unsorted handwritten notes

Notes on work titles and miscellaneous

circa 1945–1975 83 1–3

Notes (includes photocopies of early JA writings, drafts and published
poems, writings on art and artists, diagram for folded paper
beard, notes for statement in print portfolio Never Before)

circa 1930s–1970s 83 4

Notes (includes preparatory work for JA teaching at Harvard, notes
on Black Moutain College, note on Japanese art, notes on
John Andrew Rice, lists of addresses, notes on press about Black
Mountain College, notes on exhibitions, preparatory notes for
lectures or classes)

circa 1930s–1960s 83 5

Notes (includes notes on paintings and other artworks, notes on
gifts and loans of works, notes on criticism of JA work as
“degenerate”, lists of recipients for holiday cards, to do lists,
lists for titles, drafts of letters, notes on Bauhaus by Hans
Wingler, list of talks and writings from Black Mountain College)

circa 1930s–1970s 83 6

Notes (includes notes on translations, notes on glass works, notes
on text for Interaction of Color and Formulation : Articulation,
notes on titles, notes on paintings and prints, invitation to 1947
exhibition of work by Josef Albers in Denton Texas, notes on
color circles, notes on Documenta III, notes on Mexican
Lithographs, to do lists)

circa 1940s–1970s 83 7

Notes (includes lists of gifts, to do lists, notes on Paintings, lists
of stained glass windows, notes on Bauhaus by Hans Wingler,
notes on other artists and institutions, notes on loans and
exhibitions)

circa 1950s–1970s 83 8

Notes (includes notes on paintings and collectors, lists of recipients
for holiday cards, lists of addresses, notes on prints, lists of titles,
notes about László Moholy-Nagy)

circa 1940s–1970s 83 9

Notes on Anni Albers (two items: Paul Klee reproduction, and sheet
of paper with “Anni Albers” written on it)

undated 83 10

Puzzles and Games (mostly press clippings)

circa 1950s–1970s 83 11

Blank Paper

undated 83 12
Writings not on Josef Albers by others

Benne, Kenneth. “Intelligence as an Aim of Art Education”

undated 86 14

Cage, John. “Forerunners of Modern Music”

undated 86 15

Dreier, Katherine. Untitled

undated 86 16

Dwight, Edward. Untitled

undated 86 17

Gropius, Walter “Speech delivered at the Harvard Club of Boston at
the Alumni Dinner for Walter Gropius’s 75th Birthday,” May 24

1958 86 18(1)

von Herrmann, Rolf-Dieter "Uber das Gesellschaftliche sein
des Kunstlers."

1968 86 18(2)

Lippold, Richard. “On the Appropriateness of Materials”

undated 86 19

Lippold, Richard. Untitled writings

1947–1948 86 20

Matisse, Henri. Untitled letter to Henry Clifford February 13 1948,
(published in Perspecta 4, 1957)

1948 86 21

Mayer, Ralph. “The Newer Paint Materials and a Report on Art”

1968 86 22

Meyer, Hannes. “Creative Education” (includes handwritten JA note)

undated 86 23

Prager, Oscar. “Betrachtungen zur Asthetik der Gartenkunst”

1959 86 24

Rebay, Hilla. “New Age”

1949 86 25

Ringel, Fred. “America Seen by Americans”

1932 86 26

Wagner, Martin. “The Build of the Builders”

undated 86 28

Quotations by others

undated 86 28

Breuer, Martha. “Revision of the Genus Rhynchosciara Rübsaamen
(Diptera, Sciardae) in the Neotropical Region”

1969 118 14