Medill Patterson (1962–64), an officer during WWI and the founder of the New York Daily News. Likewise, while he and his family were vacationing in Aspen, Colorado in 1963, he executed the Aspen Self Portrait, objectively capturing the artist at age sixty-six.The decades of the 1950s and 1960s featured few large-scale works by Albright, but did see him expand his horizons with travel. Between 1948 and 1964, Albright produced a number of oils and gouaches with western themes. This was in part because, through Josephine and her sister Alicia Patterson Guggenheim, the artist acquired partial ownership of a ranch in Dubois, Wyoming. The ranch was a fitting setting for a series of Western-themed artworks including Roaring Fork, Wyoming (1948), The Purist (1949), The Wild Bunch (Hole in the Wall Gang) (1951), Tin (1952–54) and The Rustlers (1959, 1963–64). Likewise, upon Alicia's passing in 1963, Ivan and Josephine inherited her plantation in Georgia, just north of Jacksonville, prompting Albright to take particular interest in the swamp as a subject. Ivan's time in Georgia between 1963 and 1965 was in part, however, out of necessity as the city of Chicago decided to tear down his studio on Ogden Avenue to make way for a shopping mall. In addition, despite having been honored with a retrospective at the Art Institute of Chicago and the Whitney Museum of American Art in 1964–65, Albright felt ostracized by the artistic community of Chicago. Contemporary art was at the time dominated by Pop-Art and Minimalism, much unlike Albright's figurative style. In part to escape this "scene", Ivan and Josephine moved to Woodstock, Vermont in 1963, but were only able to begin living there full-time in 1965 when the property was fully renovated. It was there that Albright completed what was arguably his last major work, If Life Were Life – There Would Be No Death (The Vermonter) (1966–77), using the model Kenneth Harper Atwood, a retired maple farmer and former member of the Vermont House of Representatives. While Albright was seventy-five, his eyesight began to deteriorate with the development of cataracts. The cataracts were reversed in 1977 with his first corneal transplant, which gave the artist a new sense of life. That year, he gifted much of his work to the Art Institute of Chicago, and the following year his first biography by Michael Croydon was published. Nonetheless, his health soon deteriorated. His last series of paintings