Rolling After 1928 by Josef Albers
Rolling After, 1928
Josef Albers’s Radical Experiment in Glass and Light
Rolling After (1928) marks a pivotal moment in Josef Albers’s early career, created during his tenure as a master at the Bauhaus. This work belongs to his groundbreaking Sandblasted Glass Pictures series, where Albers abandoned traditional canvas in favor of frosted glass—a medium that allowed him to explore the interplay of transparency, reflection, and layered color. The composition’s undulating black lines, set against a textured white ground, demonstrate his fascination with optical vibration and the dematerialization of form. Unlike his later Homage to the Square paintings, which rely on flat color interactions, this piece engages with physical depth and the unpredictable behavior of light passing through glass.
Albers developed this technique while teaching at the Bauhaus glass workshop in Dessau, where he collaborated with artisans to refine his sandblasting process. The title, Rolling After, suggests both movement and sequence—an effect amplified by the glass’s refractive properties. As the Museum of Modern Art notes, these works were among the first to treat glass not as a craft material but as a fine-art medium capable of rivaling painting. The 30×40 cm format, intimate yet assertive, invites viewers to examine the tension between the rigid geometry of the lines and the fluid distortions caused by the glass surface.
Albers at the Bauhaus: Where Craft Met Modernism
By 1928, Josef Albers had spent nearly a decade at the Bauhaus, evolving from student to master under the guidance of figures like Johannes Itten and László Moholy-Nagy. His glass works from this period reflect the school’s core philosophy: the dissolution of boundaries between art, craft, and industrial design. Unlike his peers who focused on functional objects—such as Marianne Brandt’s teapots or Wilhelm Wagenfeld’s lamps—Albers treated glass as a site for abstract experimentation. The Sandblasted Glass Pictures series, to which Rolling After belongs, emerged from his efforts to strip the medium of its decorative associations and reposition it as a vehicle for pure visual research.
This period also saw Albers developing his theories of color interaction, which would later culminate in his 1963 masterwork Interaction of Color. In Rolling After, the contrast between the sandblasted matte lines and the smooth glass background prefigures his later studies in how adjacent hues alter one another’s perception. The work’s monochromatic palette—black on white—might appear austere, but the glass’s inherent properties introduce subtle chromatic shifts depending on the viewer’s angle and the ambient light. As documented in the Tate’s archives, Albers often described these pieces as “drawings in light,” emphasizing their ephemeral, time-based qualities.
Rolling After is less a static composition than a recorded performance—the moment Albers captured the tension between control and chance, between the artist’s hand and the material’s will.
The Making of a Glass Painting
Sandblasting as Drawing
Albers began by coating clear glass sheets with a thin layer of colored glass, then applied a resist material to protect areas he wished to remain transparent. Using stencils cut from his preliminary sketches, he exposed the glass to a high-pressure stream of sand, which etched the unprotected surfaces into a frosted matte finish. The black lines in Rolling After were achieved by sandblasting through a stencil, leaving the underlying glass untouched and thus darker in appearance. This method allowed for crisp edges but also introduced minor irregularities—subtle variations in line width that betray the handmade process.
Optical Effects and Installation
The work’s visual impact depends entirely on its interaction with light and space. When backlit, the sandblasted areas scatter light, creating a soft glow around the black lines; when front-lit, the lines appear sharper and more graphic. Albers intended these pieces to be displayed in shallow frames, suspended slightly away from the wall to cast delicate shadows. The 30×40 cm dimensions of Rolling After were deliberately modest, designed for close viewing in domestic settings rather than grand exhibition halls. This scale reinforces the intimacy of the experience, where minor shifts in the viewer’s position reveal new nuances in the glass’s refractive behavior.
Own This Bauhaus Glass Masterpiece
Each framed print of Rolling After is crafted to preserve the original’s interplay of matte and transparent surfaces. The archival inks and protective glazing ensure the work’s luminous quality endures, while the gallery-style frame complements Albers’s modernist precision. Free worldwide shipping is included with every order—no minimum required.
Add to CartWhere to Display Rolling After in Your Space
The monochromatic palette and linear abstraction of Rolling After make it remarkably versatile, but its origins in glass art demand thoughtful placement. The 30×40 cm print thrives in spaces with controlled natural light—consider a north-facing study, a minimalist entryway, or above a console table in a corridor where its graphic contrast can anchor the composition. Avoid direct sunlight, which could overwhelm the subtle textural details; instead, position it near a lamp to accentuate the interplay of matte and glossy surfaces. The work’s Bauhaus lineage pairs effortlessly with mid-century modern furniture, particularly pieces in warm woods or blackened steel. For a contemporary twist, contrast it against a deep charcoal wall to amplify the white ground’s luminosity, or let it float on a crisp white backdrop to emphasize its architectural lines.
Frequently Asked Questions
Is the frame included? What quality is it?
Yes, every print arrives with a gallery-quality frame included. The frame is crafted from solid wood with a matte black finish, designed to complement Albers’s modernist aesthetic while providing archival protection. The glazing uses UV-filtering acrylic to prevent fading.
Where do you ship, and how long does delivery take?
We offer free shipping to all countries, with no minimum order value. Delivery typically takes 5–10 business days, depending on your location. All prints are dispatched from our production facility within 24 hours of ordering.
How long will the colors stay vibrant?
The print uses archival pigment inks rated for 100+ years without fading under normal lighting conditions. The UV-protective glazing further shields the artwork from discoloration, ensuring the contrast between the black lines and white ground remains sharp.
What is your return policy?
We offer a 30-day return window for all orders. If you’re not completely satisfied with your framed print, contact our support team to initiate a hassle-free return or exchange. The print must be returned in its original packaging and condition.
Sources & Further Reading
- Museum of Modern Art. "Josef Albers: Glass, Color, and Light." moma.org
- Tate. "Josef Albers: Biography and Artworks." tate.org.uk
- The Art Story. "Josef Albers: Bauhaus Years and Beyond." theartstory.org
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Ready to Bring Albers Home?
This framed print of Rolling After arrives ready to hang, with archival materials and a precision-crafted frame that honors the original’s interplay of transparency and opacity. Free worldwide shipping is included, with delivery in 5–10 business days. No surprises—just a seamless way to own a piece of Bauhaus history.
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