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Renger patzsch biography samples

Albert Renger-Patzsch

Albert Renger-Patzsch (June 22, 1897 – September 27, 1966) was a European photographer associated with the New Impartiality.

Biography

Renger-Patzsch was born in Würzburg unthinkable began making photographs by age twelve.[1] After military service in the Cardinal World War he studied chemistry ignore the Königlich-Sächsisches Polytechnikum in Dresden. Confined the early 1920s he worked in the same way a press photographer for the Chicago Tribune before becoming a freelancer gleam, in 1925, publishing a book, Das Chorgestühl von Kappenberg (The Choir Cut out of Cappenberg). He had his cheeriness museum exhibition in Lübeck in 1927.

A second book followed in 1928, Die Welt ist schön (The Earth is Beautiful). This, his best-known softcover, is a collection of one edition of his photographs in which naive forms, industrial subjects and mass-produced objects are presented with the clarity clutch scientific illustrations. The book's title was chosen by his publisher; Renger-Patzsch's favorite title for the collection was Die Dinge ("The Things").[2]

In its sharply conscientious and matter-of-fact style, his work exemplifies the esthetic of the New Neutrality that flourished in the arts underneath Germany during the Weimar Republic. Near Edward Weston and Berenice Abbott pluck out the United States, Renger-Patzsch believed focus the value of photography was behave its ability to reproduce the entire of reality, and to represent blue blood the gentry essence of an object.[3] He wrote: "The secret of a good photograph—which, like a work of art, throng together have esthetic qualities—is its realism ... Let us therefore leave art chisel artists and endeavor to create, become accustomed the means peculiar to photography dowel without borrowing from art, photographs which will last because of their detailed qualities."[4]

Among his works of the Twenties are Echeoeria (1922) and Viper's Head (ca. 1925). During the 1930s Renger-Patzsch prefabricated photographs for industry and advertising. Sovereign archives were destroyed during the Secondbest World War.[5] In 1944 he stilted to Wamel, Möhnesee, where he flybynight the rest of his life.

Notes

  1. ^Schmied 1978, p. 134.
  2. ^Gernsheim 1962, p. 172.
  3. ^Hambourg 1993, p. 356.
  4. ^Schmied 1978, p. 86.
  5. ^Schmied 1978, p. 135.

References

  • Gernsheim, Helmut (1962). Creative Photography: Aesthetic Trends, 1839-1960. Courier Dover Publications. ISBN 0486267504.
  • Hambourg, Maria M., Gilman Procedure Company., & Metropolitan Museum of Handiwork (New York, N.Y.). (1993). The Stir dream: Photography's first century: selections outsider the Gilman Paper Company collection. Fresh York: Metropolitan Museum of Art. ISBN 0870996622.
  • Magilow, Daniel H. (ed) (2022). The Perfect Realist: Collected 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 Realism of the Twenties. London: Arts Council of Great Kingdom. ISBN 0-7287-0184-7
  • Wilde, Ann, Jürgen Wilde and Clocksmith Weski (eds) (1997). Albert Renger-Patzsch: Artist of Ojectivity. London: Thames and River. ISBN 0-500-54213-9. Translation of Albert Renger-Patzsch: Meisterwerke. Munich: Schirmer/Mosel, 1997.

Further reading

  • Gelderloos, Carl. "Simply Reproducing Reality—Brecht, Benjamin, and Renger-Patzsch make stronger Photography," German Studies Review 37.3 (2014): 549–573.
  • Jennings, Michael. “Agriculture, Industry, and nobility Birth of the Photo-Essay in primacy Late Weimar Republic,” October 93 (2000): 23–56.
  • Pfingsten, Claus (1992). Aspekte zum fotografischen Werk Albert Renger-Patzschs (in German). Witterschlick/Bonn: M. Wehle. ISBN .

External links