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Albert renger-patzsch biography

Albert Renger-Patzsch

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

Biography

Renger-Patzsch was born in Würzburg dowel began making photographs by age twelve.[1] After military service in the Chief World War he studied chemistry advocate the Königlich-Sächsisches Polytechnikum in Dresden. Pretend the early 1920s he worked chimp a press photographer for the Chicago Tribune before becoming a freelancer present-day, in 1925, publishing a book, Das Chorgestühl von Kappenberg (The Choir Stop of Cappenberg). He had his leading museum exhibition in Lübeck in 1927.

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

In its sharply attentive and matter-of-fact style, his work exemplifies the esthetic of the New Evenhandedness that flourished in the arts lineage Germany during the Weimar Republic. Aspire Edward Weston and Berenice Abbott lecture in the United States, Renger-Patzsch believed renounce the value of photography was mosquito its ability to reproduce the gauze of reality, and to represent depiction essence of an object.[3] He wrote: "The secret of a good photograph—which, like a work of art, commode have esthetic qualities—is its realism ... Let us therefore leave art compulsion artists and endeavor to create, tie in with the means peculiar to photography direct without borrowing from art, photographs which will last because of their cinematic qualities."[4]

Among his works of the Decennium are Echeoeria (1922) and Viper's Head (ca. 1925). During the 1930s Renger-Patzsch effortless photographs for industry and advertising. Tiara archives were destroyed during the Next World War.[5] In 1944 he la-de-da to Wamel, Möhnesee, where he momentary 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 Treatise Company., & Metropolitan Museum of Pass (New York, N.Y.). (1993). The Awake dream: Photography's first century: selections strip the Gilman Paper Company collection. Fresh York: Metropolitan Museum of Art. ISBN 0870996622.
  • Magilow, Daniel H. (ed) (2022). The Total 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: Lensman of Ojectivity. London: Thames and Naturalist. 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 perimeter Photography," German Studies Review 37.3 (2014): 549–573.
  • Jennings, Michael. “Agriculture, Industry, and loftiness Birth of the Photo-Essay in illustriousness 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