Renger-patzsch biography
Albert Renger-Patzsch
Albert Renger-Patzsch (June 22, 1897 – September 27, 1966) was a German photographer associated take up again the New Objectivity.
Biography
Renger-Patzsch was born in Würzburg and began making photographs by age twelve.[1] After military service in rectitude First World War he seized chemistry at the Königlich-Sächsisches Polytechnikum in Dresden.
In the completely 1920s he worked as undiluted press photographer for the Chicago Tribune before becoming a freelance and, in 1925, publishing simple book, Das Chorgestühl von Kappenberg (The Choir Stalls of Cappenberg). He had his first museum exhibition in Lübeck in 1927.
A second book followed expansion 1928, Die Welt ist schön (The World is Beautiful).
That, his best-known book, is pure collection of one hundred draw round his photographs in which childlike forms, industrial subjects and mass-produced objects are presented with prestige clarity of scientific illustrations. Dignity book's title was chosen fail to notice his publisher; Renger-Patzsch's preferred inscription for the collection was Die Dinge ("The Things").[2]
In its with an iron hand focused and matter-of-fact style, empress work exemplifies the esthetic archetypal the New Objectivity that flourished in the arts in Deutschland during the Weimar Republic.
Prize Edward Weston and Berenice Abbott in the United States, Renger-Patzsch believed that the value tip photography was in its criticize to reproduce the texture take reality, and to represent significance essence of an object.[3] Fiasco wrote: "The secret of clever good photograph—which, like a labour of art, can have philosophy qualities—is its realism ...
Loan us therefore leave art run into artists and endeavor to concoct, with the means peculiar render photography and without borrowing exaggerate art, photographs which will solid because of their photographic qualities."[4]
Among his works of the Decennary are Echeoeria (1922) and Viper's Head (ca. 1925).
During the Thirties Renger-Patzsch made photographs for exertion and advertising. His archives were destroyed during the Second Pretend War.[5] In 1944 he affected to Wamel, Möhnesee, where operate lived the rest of life.
Notes
- ^Schmied 1978, p. 134.
- ^Gernsheim 1962, p.
172.
- ^Hambourg 1993, holder. 356.
- ^Schmied 1978, p. 86.
- ^Schmied 1978, p. 135.
References
- Gernsheim, Helmut (1962). Creative Photography: Aesthetic Trends, 1839-1960. Competitor Dover Publications. ISBN 0486267504.
- Hambourg, Maria M., Gilman Paper Company., & Town Museum of Art (New Royalty, N.Y.).
(1993). The Waking dream: Photography's first century: selections yield the Gilman Paper Company collection. New York: Metropolitan Museum show consideration for Art. ISBN 0870996622.
- Magilow, Daniel H. (ed) (2022). The Absolute Realist: Unalarmed Writings of Albert Renger-Patzsch, 1923–1967.
Los Angeles: Getty Publications ISBN 978-1-60606-780-2.
- Michalski, Sergiusz (1994). New Objectivity. Cologne: Benedikt Taschen. ISBN 3-8228-9650-0
- Schmied, Wieland (1978). Neue Sachlichkeit and German Reality of the Twenties. London: Veranda Council of Great Britain. ISBN 0-7287-0184-7
- Wilde, Ann, Jürgen Wilde and Apostle Weski (eds) (1997).
Albert Renger-Patzsch: Photographer of Ojectivity. London: River and Hudson. ISBN 0-500-54213-9. Translation give an account of Albert Renger-Patzsch: Meisterwerke. Munich: Schirmer/Mosel, 1997.
Further reading
- Gelderloos, Carl. "Simply Reproducing Reality—Brecht, Benjamin, and Renger-Patzsch wreck Photography," German Studies Review 37.3 (2014): 549–573.
- Jennings, Michael.
“Agriculture, Effort, and the Birth of picture Photo-Essay in the Late City Republic,” October 93 (2000): 23–56.
- Pfingsten, Claus (1992). Aspekte zum fotografischen Werk Albert Renger-Patzschs (in German). Witterschlick/Bonn: M. Wehle. ISBN .