Posts Tagged ‘August Sander

07
Aug
22

Exhibition: ‘Germany / 1920s / New Objectivity / August Sander’ at Centre Pompidou, Paris

Exhibition dates: 11th May – 5th September 2022

 

Ludwig Meidner (German, 1884-1966) 'Selfportrait' 1913 (installation view)

 

Ludwig Meidner (German, 1884-1966)
Selfportrait (installation view)
1913
Oil on canvas
Hessisches Landesmuseum Darmstadt
Photo: Aubrey Perry

 

 

A portent of things to come…

In Germany, the years 1919-1933 were an extraordinary period of turbulence, emancipation, depravation and creativity. After the humiliation of defeat at the end of the First World War, revolution swept Germany which led to the establishment of democracy through the Weimar Republic, which was born out of the struggle for a new social order and political system.

The flowering of German Expressionism (modern art labelled by Hitler Entartete Kunst or “Degenerate Art” in the 1920s) in painting and sculpture took place under the Weimar Republic of the 1920s and the country emerged as a leading centre of the avant-garde. This exhibition focuses on the art and culture of the Neue Sachlichkeit (New Objectivity), a style which was a challenge to Expressionism and which advocated a return to realism and social commentary in art. “As its name suggests, it offered a return to unsentimental reality and a focus on the objective world, as opposed to the more abstract, romantic, or idealistic tendencies of Expressionism.”1

This multidisciplinary exhibition is structured into eight thematic sections corresponding to the groups and sociocultural categories created by August Sander in his seminal work Menschen des 20. Jahrhunderts (People of the 20th century), “intended, as he stated, to be “a physiognomic image of an age,” and a catalogue of “all the characteristics of the universally human.””2 In other words, Sander focused more on “archetypes” than on individuals, using his photographs to classify groups of people, to create a taxonomic ordering of society. At the time physiognomy (the art of discovering temperament and character from outward appearance) – today classified as a pseudoscience but at the time regarded as a genuine science – used photography to classify individuals and groups, notably used by the Nazis to classify Untermensch, that is, “non-Aryan “inferior people” notably Jews, Roma, and Slavs (Poles, Serbs, Ukrainians, and Russians). The term was also applied to Mixed race and Black people. Jewish, Polish and Romani people, along with the physically and mentally disabled, as well as homosexuals and political dissidents were to be exterminated in the Holocaust.” (Wikipedia)

“[Johannes] Molzahn, [László] Moholy-Nagy and others anticipated photography’s eventual achievement of a universally accessible and highly efficient form of communication. Germany’s immediate future did not fulfil such emancipatory predictions. By the end of the Weimar Republic, it was clear that one of photography’s most significant achievements was repackaging physiognomy, the ancient practice of identifying and classifying people according to racial and ethnic type, as a modern visual language… Declarations of photography as a new universal language and its revival of physiognomic looking went hand in hand with the racialized and metaphysical pursuits of National Socialist photography. This continuity points to uncomfortable connections between Weimar modernism and the fascist ideology of totalitarian regimes. As Eric Kurlander points out … scholars acknowledge that National-Socialist-era culture developed from – rather than broke with – Weimar aesthetic traditions.”3

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The Weimar Republic and its culture is full of contradictions. On the one hand you have changes in gender norms, such as the open appearance of homosexuality, the emergence of the emancipated female, the establishment of Magnus Hirschfeld’s Scientific-Humanitarian Committee and World League for Sexual Reform which carried out “the first advocacy for homosexual and transgender rights”, and the disclosed existence of people such as Lili Elbe, who was a Danish painter and transgender woman, and among the early recipients of sex reassignment surgery. At the time of Elbe’s last surgery, her case was already a sensation in newspapers of Denmark and Germany. “Artists are also interested in changes in gender norms, like August Sander, who photographs “La femme” in Menschen des 20. Jahrhunderts. With an almost sociological eye, they construct a typology of the emancipated Neue Frau (New Woman): Bubikopf (short variant of the bob cut), cigarette, wearing of a shirt or even a tie become recurring attributes in the female portraits of the time.” (Text from the exhibition)

On the other hand you have male artists whose depiction of women – and not just the emancipated female – is highly misogynistic. Women are seen as a threat to men … and in many art works from this period, women’s bodies are mutilated, decapitated and hung. These art works attest to the misogyny of many male artists,4 to the desire of men to control women, to see them as fantasies (to be disfigured or killed), or to see them as unfit for purpose.

For example, Rudolf Schlichter’s smiling / grimacing Mutilated proletarian woman (1922-1923) who is missing a hand and half her forearm whilst still holding a child (which can just be seen in an installation image below), presages against her ability to be a “good” mother; Schlichter’s Der Künstler mit zwei erhängten Frauen (The Artist with Two Hanged Women) (1924) focuses on private fantasies of sexualised murder which was a recurrent theme within this period and the public interest in the rise of suicide; Otto Dix’s group of Lustmord (Sex Murder) paintings (one of which is pictured below) “attest to the anxieties of ’emasculated’, defeated men toward newly independent women. Such depraved fantasies of control, accomplished not by gunshots but gashes, were exploited and sensationalized in the rightwing press”5; and Heinrich Maria Davringhausen’s The Dreamer (1919, below) “is an especially surreal example: a grey-faced figure sits at a table, staring out; a bloody straight razor lays by his hand, while in the corner is a woman with her throat cut; above, the ceiling phases into a beach.”6

“The post-war period saw an emancipation of women, which influenced fashion towards masculinity: short hair, shirt, tie and flat chest. you see women active in all the technical fields previously reserved for male heroes. But… these are exceptions reserved for a certain urban high society because the traditional woman remains KKK (Kirchen, Küchen, Kinders: church, kitchen, children).

It is also the time of a liberation of morals, where Jeanne Mammen draws lesbian encounters… and Christian Schad of boys lovingly entwined… But, an opposite current is born towards a biological determinism of homosexuality, artists make violent reminders of the norm and Rudolf Schlichter, Karl Hubbuch or Otto Dix, for example, multiply the representations of sexual crimes by patients: the emancipated female is seen as a threat.”7

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The interwar German interregnum was a period of incredible sensitivity and brutality at one and the same time. It was a period of disease (Spanish Flu), disfigurement (homecoming soldiers after the First World War), and economic depression and inflation (especially during the Great Depression of 1929). It was a period of the rise of the machine (machine gun, tank, aeroplane, total war). It saw the rise of aerodynamics, modernist architecture, graphic design, new typography, and photography (notably through the Bauhaus) as prolific forms of visual communication in which reading would be an obsolete skill. ‘”Stop reading! Look!” will be the motto in education,’ Molzahn wrote, ‘”Stop Reading! Look!” will be the guiding principle of daily newspapers’.”8 The period also saw the development of archetypes as socio-cultural norms, of the montage of “things” and their standardisation and rationalisation as utilities to be used (and abused).9

In Europe, the interwar period was one of the most wonderful eras of creativity the world has ever seen, the one to which I would most like to return if I had the possibility of going back in time. It was a period of transgression and experimentation, in which the new possibilities and new points of view opened up to the inquiring mind. The cabaret of life was in full flow in Europe in the interwar years: revolution and street battles, poverty and perversion, living for the moment… for tomorrow might never come, evidenced by the brutality a disillusioned society had witnessed during the First World War. The advances to social freedom and female emancipation which occurred during the period were only the scab that covered a gaping wound beneath, a wounding that would be brutally exposed anew during the repression, genocide and conflagration leading up to and during the Second World War. The depictions of life and death, of the i/rational, in the “objective” art of Neue Sachlichkeit were a portent of things to come…

Dr Marcus Bunyan

Word count: 1,235

 

Footnotes

  1. Anonymous text. “New Objectivity,” on the German Expressionism MoMA website Nd [Online] Cited 07/08/2022
  2. Anonymous text. “August Sander: People of the Twentieth Century. A Photographic Portrait of Germany,” press release on the Metropolitan Museum of Art website 2004 [Online] Cited 07/08/2022
  3. Pepper Stetler. “Photo Lessons: Teaching Physiognomy during the Weimar Republic,” in Christopher Webster (ed.,). Photography in the Third Reich, Open Book Publishers, 2021, p. 15-28 [Online] Cited 07/08/2022
  4. “During the years following World War I, and until the consolidation of the Nazi party in 1933, paintings and drawings of butchered, semi-nude women proliferated in the art galleries and publications of the Weimar Republic.2 This phenomenon coincided with the sensationalized serial killings of women and children by men who were known as – among other names – Lustmörders. Lustmord, a term derived from criminology and psychology, was the label assigned to this sensational genre.3 The Weimar Lustmördes clearly bother modern scholars, who are faced with the challenge that Weimar critics failed to comment on how these paintings represented the disfiguring of women. The misogyny of these works, uncommented upon in their own time, has become the central focus of much modern Lustmord scholarship, which ultimately defines this treatment of the female form as implicit attacks on the so-called New Woman, a name given to middle- and upper-class women pushing against the traditional roles and restrictions imposed upon them by society.”4
    Stephanie Bender. “Lady Killers and Lust-Murderers: The Lustmord Paintings of Weimar Germany,” in Athanor XXIX (Vol. 29), 2011, pp. 77-83. Florida Online Journals [Online] Cited 07/08/2022
  5. Travis Diehl. “New Objectivity,” in Frieze magazine 10 March 2016 [Online] Cited 07/08/2022
  6. Ibid.,
  7. Anonymous text. “la Nouvelle Objectivité, Allemagne années 20,” on the Almanart website Nd [Online] Cited 04/08/2022 (translated from the French by Google translate)
  8. Johannes Molzahn. ‘Nicht mehr lessen! Sehen!’ Das Kunstblatt 12: 3 (1928), p. 80, quoted in Pepper Stetler, Op cit.,
  9. “Rationality is an important aspect of literary representations of Lustmord, and the suggestion of the metropolis as a rational sphere is linked to the role of the male protagonist.14 The male figure is depicted as intellectual and cultured, and even though he commits Lustmord, it is because his rational foundation has been somehow destroyed.15 The manifestation of this violence, this monstrosity that overtakes the rational male, is rooted in the feminine and consequently lashes out at women.”
    Jay Michael Layne. “Uncanny Collapse: Sexual Violence and Unsettled Rhetoric in German-Language Lustmord Representations, 1900-1933” (PhD diss., University of Michigan, 2008, pp. 60-671) quoted in Stephanie Bender. “Lady Killers and Lust-Murderers: The Lustmord Paintings of Weimar Germany,” in Athanor XXIX (Vol. 29), 2011, pp. 77-83. Florida Online Journals [Online] Cited 07/08/2022

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Many thankx to the Centre Pompidou for allowing me to publish some of the images in the posting. Thankx also to Aubrey Perry for the use of most of the installation photographs of the exhibition (except the five noted below)

 

0 – Introduction
1 – Prologue

2 – Standardisation

What is standardisation? The singularities are erased, in favour of recourse to models, standardised types, simple forms reproducible in series. Here we see paintings like those of George Grosz, with his faceless figures, schematic human beings with neutral expressions set in empty towns. This corresponds, in architecture, to the launch in Germany of major programs of housing estates, as in Frankfurt, for which the habitat is designed from standardized models. Here we see engravings made by Gernd Arntz, where people are schematized and geometricized. The silhouettes appear in a simple and subtle game of black and white: the stripes of a prisoner play with the grid, the attitudes of the workers are repeated to the rhythm of the wheels of the machine.

[Anglea Lampe, curator of the exhibition]: The attention of the artists is focused on the social belonging of the people. The sociological notion becomes important, especially with the group which was created in Cologne with the artists Gerd Arntz, Heinrich Hoerle, Franz W. Seiwert, who form the Cologne Progressives group with whom  August Sander exhibits. Arntz produced the series of engravings Häuser der Zeit (12 Houses of the Time), where he represents social classes according to a set of codes. It’s a very political speech of the time. Arntz continues to develop this approach with the philosopher and economist Otto Neurath, who works in Vienna: he develops a universal visual language, called isotype. Isotype is the acronym for “international system of typographic picture education”, in other words it is the precursor of the pictogram or emoticons.

In the 1920s, there was the desire, this dream to create universal languages. These pictograms, which are associated with a colour code, make up, for example, a typology of professions, social categories or elements of daily life, for a democratization of knowledge. Economic and societal problems could be visualised and broadcast thanks to this new visual system… it really is a system of infographics before the letter.

 

3 – Visages de ce temps (Face of our time)

[Florian Ebner, curator of the “August Sander” section]: This two-part exhibition explores the dialogue between August Sander and the Progressive artists of Cologne. We see on the wall the portraits that Sander dedicated to artists and next to it, paintings by artists like Heinrich Hoerle, Franz Seiwert and Anton Räderscheidt. We see how much Sander is inspired by their art and it is a magical moment.

We see on a large table the exchanges between Sander and the Progressives of Cologne: the letters, but also the reproductions he made of their paintings. And at that moment, there is an opening in the picture rail which gives the perspective on the Sander corridor and we see the first group, Les Paysans (Farmers). We see these two forces that run through his work, both rooted in the land – he comes from Westerwald – and revolutionary energy. These are twelve sources of energy that make part of the productive tensions that marked his work.

“By seeing, observing and thinking, with the aid of the photo apparatus and adding a date indication, we can fix universal history and, thanks to the expressive possibilities of photography as a universal language, influence all of humanity.” ~ August Sander

[Florian Ebner]: To return to photography as a universal language, the 1920s in Germany are marked by discussions on the different types of society. It is a society that has asked many questions about itself.

“The fundamental idea of ​​my photographic work People of the Twentieth Century, which I began in 1910 and which contains about five to six hundred photos, a selection of which was published in 1929 under the Antlitz der Zeit (Face of Our Time), is nothing but a profession of faith in photography as a universal language and the attempt to paint a physiognomic portrait of the German man, based on the optical-chemical process of the photography, therefore on the pure shaping of light.” ~ August Sander

[Florian Ebner]: I think Sander’s portraiture embodies something specific in photography: he invites people to stage themselves in front of his camera, to take a posture for several seconds. It is therefore a “self-portrait assisted”, according to photography historian Olivier Lugon, and at the same time he assigns these people a place in his theory of society.

The idea of ​​editing society is exactly that: then in his photographic archives, he assigns models and their images a place in these seven groups and 45 portfolios. Face of our time, his book, allows people to understand in a subtle and fine way the class differences of the Weimar Republic.

 

4 – Montage

Photomontage appeared during the war among Dada artists. A few years later, this technique is taken up in painting, photography, cinema, literature, to be put at the service of the analysis of society. The mix of patterns or information, dissociated in reality, allows artists to offer a form of visual synthesis of the time.

 

5 – Les Choses (Things)

The scrutinising gaze of New Objectivity artists brings them take objects as models. Due to its supposedly objective technique, photography seems adapted to the precise rendering of things in their materiality. A dialogue is established between the two arts, painting and photography.

[Angela Lampe]: The paintings are animated by this tension between this inert plant and this bare and geometric environment which gives the false appearance of a bourgeois interior but which is completely artificial and fictitious. Architecture, geometric, abstract, these are the attributes that fascinate artists.

[Sophie Goetzmann]: No photo is objective from the moment there is a framing, a choice of motif, a choice of object photographed, we are in the order of choice. There is a whole practice of plant staging, sometimes point-based original views, close-ups, with attention to rendering detail and matter of these plants. These plants are photographed truly as objects. We are not interested in plants as living beings; they have no vividness, whether in paintings or photographs, they are very rigid, they are placed in neutral and empty environments. They are still life very dead!

 

6 – Persona froide (Cold persona)

The four murderous years of the war that ended in defeat cause general disappointment. Humiliation breeds a culture of shame. In the 1920s appears what the university specialist in culture German Helmut Lethen calls the “cold persona”.

[Sophie Goetzmann]: Helmut Lethen explains that guilt and shame are two different things. Guilt is having made a mistake and racking your brain, torturing yourself with this mistake to try to fix it; so the guilt, according to him, has to do with interiority.

Shame is having made a mistake but, instead of going into introspection, it’s about thinking outward, to think, “What are people going to think of me? How do I save face with others, how do I erase this shame?”. This is what he calls the culture of shame, people are dominated by a shame of ideas that they never had before the First World War, in particular because everyone had gone merrily to war. The war was a real moment of patriotism in Germany as in France, and all these people found themselves face to face with the reality of war: mutilation, dead, traumatised, bereaved families. At the end of the First World War there is a kind of shame that takes hold people compared to their ideas of four years ago.

How is it transcribed in portraits and in attitudes in general? Through a new way of being, of playing the detached person, of protecting oneself using a mask of indifference. In portraits, people don’t smile, do not display any particular expression, are detached on a neutral background. At the same time, portraits say something about people. In place to express their interiority, they show their position in the social order or their occupation. New Objectivity artists put people in boxes and represent people according to their profession, their place of work.

The portraits say something in general, which is to hide one’s feelings. In this section, there is a portrait of a woman putting on makeup. The make-up is a symbol of this new social attitude which is to put a layer of make-up on oneself so as not to reveal one’s torment, one’s feelings to others, it becomes something embarrassing to do that. Another example is the painter Otto Dix who represents the journalist Sylvia von Harden without complacency, as a typical emancipated intellectual of the Weimar Republic. She has short hair, wears a monocle, smokes and drinks a glass of alcohol. His sentimental torments are reflected in the choice of attributes: her bottom is undone, her pose is constrained, she is uncomfortable in a feminized pink universe. Its interior is exposed.

[Florian Ebner] There is a second meeting point where the two paths intersect. This is Chapter 6: The Cold Persona for the New Objectivity Exposition and  group 3 of Sander dedicated to the woman. For women, he thinks about five portfolios that attempt to describe the role of women in society. The first three describe the woman passively; it is always someone else who defines the woman: The Woman and the Child, The Woman and the Man, The Family. It’s still a quite conservative design about society and the role of women. The last two portfolios, The Elegant Woman, The Intellectual Woman underline the new role and type of woman, the Neue Frau, the new woman. We can see together, the very beautiful portrait painted by Otto Dix of the journalist Sylvia von Harden and that of a German radio secretary photographed by Sander: the game of gestures, the hand, the cigarette, the clothes, they could be sisters, twins.

It is a conception of the portrait that no longer speaks of the interiority of a person but how to describe a person by external attributes, by gesture, accessories, the habitus. At this point, the dialogue between the painted portraits and the photographs of August Sander is very rich.

 

7 – Rationalité (Rationality)

After the war, it was the economic crisis in Germany, which experienced hyperinflation. In 1924, the Dawes Plan aimed to help Germany reconnect with the growth, thanks to the injection of American capital. It then develops in Germans a fascination for America which has invested generously. The model society of the United States is methodical, harmonious, innovative because it is governed by technology. It is in this context that rationalisation infuses culture in Germany, from how to organise interiors to popular entertainment, through graphic design.

[Angela Lampe]: The rationalisation of work developed by Taylor is imported into German companies, leading to rapid industrialisation and a mechanisation of tasks. The principle of rationalisation soon becomes a new norm that structures social and cultural life itself. For example, the graphic designer Paul Renner develops the Futura font, based on geometric shapes elementary. This new standard of rationality also applies to the development interior. Viennese architect Margarete Schütte-Lihotzky, who works in Frankfurt, designs a modern and functional kitchen.

 

8 – Utilité

New musical styles imported from America appear in Germany in the 1920s and became very popular. especially jazz and dance music like foxtrot. Composers Ernst Krenek, Kurt Wild or Paul Hindemith drew inspiration from it to create a new musical genre, the Zeitoper, in French: topical opera. The plots take place in the contemporary world, the sets incorporate modern machines like trains, cars, telephones. The opera then addresses a wide audience and draws its references from popular culture.

[Angela Lampe]: There is a great democratisation of this, let’s say, elitist medium, which was the opera. An important figure in the theatre of the 1920s was Bertolt Brecht. At the antipodes of the lyrical outpourings of expressionism it was he, Bertolt Brecht, with the director Erwin Piscator, who developed new forms of theatre, what is called epic theatre, episches theater. In fiction, they introduce scenic devices into their plays that allow the viewer to analyse the plot in order to participate in its awakening Politics. They work from the effects of distancing. The introduction, for example, of the narrator or the break in the unity of the action are all elements generating a distance that encourages reflection. The goal is really to make the spectator.

There are other moments, which can be called moments of neo-objectivity, so Neue Sachlichkeit, in Brecht. It is the theme of sport, he is keen on sport. Moreover, he compares the theatre to sporting events, especially boxing, which really becomes a very important reference for his pieces. There is also his dry and very sober style, which distinguishes it as a representative of this New Objectivity, especially in his poetry.

It is prose that takes precedence over poetry. It’s really another form of literature, which is with an approach, let’s say, rather sociological than poetic. Brecht shares with the New Objectivity also the concern for a democratisation of art. He was interested in the possibilities offered by mass broadcasting devices. For example, he works with recorded poems and radio plays, so broadcast on the radio which spread very quickly in German homes during that time. It’s really a novelty of the mass media, as they say today, which makes it possible to disseminate and democratise culture.

 

9 – Transgressions

[Sophie Goetzmann]: We have two forms of transgression which are shown in these rooms. The transgression of gender norms, first: the idea of gender norms that will shift, especially in expression, in clothes, for example, that we are going to choose, and in particular the women of that time.

So, often, the women of the upper middle class, who live in the big cities, will resort to men’s fashion, dress boyishly, wear short hair, a flat torso, ties, to modify the feminine fashion of the time. So transgression of gender norms and transgression of heterosexuality because, in the Berlin of the 1920s, there was a whole
very important homosexual subculture, in particular through clubs, meeting places, restaurants, bars.

[Angela Lampe]: The painter and designer Jeanne Mammen creates watercolours featuring the daily life of lesbian meeting places, depicting the relationships between women with a certain tenderness, just like Christian Schad, who draws two young boys lovingly embraced. Otto Dix, in his portraits, depicts on the other hand its models according to a more heteronormative vision. The dancer Anita Berber, an openly bisexual star with multiple escapades, is caricatured as a personification of sin. All in red, she is presented as a figure really out of hell. She is truly the embodiment of Babylon, sinful.

[Sophie Goetzmann]: It is these two forms of transgression that are shown in the first two rooms. The last room in the section shows what is rather the opposite of a transgression, i.e. a reminder of the norm and the attitude of most male artists in the face of these transgressions, which is an attitude of anguish, which is an attitude of fear of seeing lesbian women who openly display their sexuality, to see gender norms that are blurred.

Doesn’t that open the door to a mix, too, of gender roles, a take on the power of women over men? So many of these men will multiply the images of women bruised, murdered, butchered, which also echoes the various facts of the time, where there is a whole phenomenon with serial killers that make the headlines, photographs of murders that are broadcast in the press. These are images that draw a lot of inspiration from this visual culture, almost, murder at that time. These are works that translate a certain anguish of these artists in the face of all these transgressions of the standards of gender and these transgressions of heterosexuality.

The shame felt by the men following the defeat of Germany after the First World War, is expressed through representations of violence against women because, too, women progressed on the social ladder during the First World War. Most of the time, positions that have been left vacant by men who went to the front were taken by women.

 

10 – Regard vers le bas (Look back)

In this last section, we are interested in artists who have been excluded, the losers from the appearance of Taylorism, who are obviously the workers who are
exploited and which become an interchangeable mass and simple cogs in enormous machinery that overtakes them. But also, all the people who live in a form of marginality, whether war-disabled, or the unemployed, or people who live on the fringes of cities and who do not go to shows, operas or Zeitoper, or Brecht’s shows which are visible in city centres, but who are completely excluded from all this entertainment and who are doomed to a form of marginality in their life, in their place of living, and who are completely crushed by the capitalist economic machinery.

[Angela Lampe]: Far from the bustling boulevards and their neon signs, the painters like Hans Baluschek and Hans Grundig paint those excluded from urban entertainment, like poor families moving through these terrains, waves relegated to the fringes of cities. During these years, there was really a gap between what we call the rich and poor, between underprivileged backgrounds and bourgeois backgrounds, even industrialised capitals. This gap was widening during these years.

[Florian Ebner]: So Sander is going to dedicate portfolio 11 to this group, La grande ville, where we also see the youth of the big city, the young high school girl, the young high school student, dressed in a very chic way, but we also see the uprooted from society, we also see the invalids of the First World War, we see the left-behinds of the system capitalist.

There is a portfolio called The People Who Came to My Door, which is as a sort of mise-en-abyme of his method. That is to say, he invites people who came to ask for money (beggars, hawkers, unemployed), to have their photograph taken in the frame of their door, in front of the entrance wall. It is a true typology of these people. And there is a very beautiful sentence, a very nice idea, where he asks himself: “Can you imagine taking in all the employment offices in Germany, at the same time, a photograph. What strong image would that give of poverty?”

“Here, the photo speaks a very cultured language that can be heard by everybody; it is another language, but just as expressive, as photography would speak if cameras were installed in the 365 existing unemployment offices today on the sole territory of the German Reich and if we made them work simultaneously. If we photographed the people in these offices, then we gathered the results thus obtained and we added the date, 1931, the tragedy of this photographic language would certainly be understandable, without further comment, by all men today and in times to come.” ~ August Sander

11 – Epilogue

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Text from the exhibition podcast transcription on the Centre Pompidou website translated from the French by Google translate

 

This exhibition on the art and culture of the Neue Sachlichkeit (New Objectivity) in Germany is the first overview presented in France of this artistic trend. Apart from painting and photography, the project brings together architecture, design, film, theatre, literature and music.

People of the 20th century, the masterwork by photographer August Sander, establishes the motif of a cross-section of a society, an “exhibition in the exhibition”, as a structural principle, the two interlinked perspectives opening up a large panorama of German art in the late 1920s.

This multidisciplinary exhibition is structured into eight thematic sections corresponding to the groups and sociocultural categories created by August Sander.

A review of German history in the context of contemporary Europe with populist movements and divergent societies in the throes of the digital revolution invites us to observe the political resonances and media analogies between yesterday’s situations and those of today.

 

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation views of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at right in the bottom image, works by Rudolf Schlichter: from left to right, Arbeiter mit Mütze (Worker with hat), 1926; Verstümmelte Proletarierfrau (Mutilated proletarian woman), 1922-1923; and  Schwachsinnige II (Imbeciles II), 1923-1924
Photos: Centre Pompidou, Paris

 

Wall text from the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

 

Les choses / Things

The artists of the New Objectivity were particularly interested in the genre of still life and represented objects with great clarity, their gaze being both scrutinising and cutting. Because of its supposed objectivity, photography seems particularly suited to the precise rendering of things in their materiality. Inspired by this hyperrealistic fidelity, the painters appropriated the visual language of photography. Rubber cacti and fig trees were very popular in 1920s Germany, where they were sought after for their exoticism. Artists are passionate about these plants then perceived as the plant equivalent of crystalline stone: architectural, geometric, abstract. Xaver Fuhr and Alexander Kanoldt paint figs with great meticulousness, in uncluttered compositions that bring out their clear structure. Georg Scholz values ​​the stiffness of the cactus, in resonance with the rigid pictorial style of the New Objectivity.

This reified nature is part of a broader fascination with the world of objects. Photographers and painters are also interested in glass objects, light bulbs and tableware, often depicted in plunging or unusual perspectives.

 

Persona froide / Cold persona

The four murderous years of the war ended in defeat engendered a form of general disillusion in Germany. According to literary historian Helmut Lethen, the humiliation inflicted by the victors gave rise to a culture of shame, characterised by widespread embarrassment about pre-war utopias. If guilt implies an introspective approach and supposes questioning oneself about one’s wrongs, shame is external and requires above all to preserve one’s image with others. In the 1920s, what Lethen called the “cold persona” appeared, a new social type that consisted of seeking to escape feelings of humiliation by displaying a mask of coldness and indifference.

This new behaviour profoundly modifies the practice of portraiture. Previously turned towards the interiority and the psychological expression of the model, it now focuses on the external signs of individuals. The artists of the New Objectivity thus represent less personalities than social types, defined by their profession. Often displayed in the very title of the work (businessman, textile merchant, doctor, etc.), it is also identifiable through attributes that allow it to be recognised.

In Menschen des 20. Jahrhunderts (People of the 20th century), August Sander devotes a group to “Socio-professional categories”, photographing less individual characters than occupations.

Like Julius Bissier, who represents himself forging his own image without emotion or affect (see below), the portraits appear cold, emptied of all feeling, in resonance with their often neutral and deserted backgrounds. The subjects appear alone and wear a detached expression, an absent, even empty gaze. Like the young girl represented by Lotte Laserstein, they seem to seek to disguise their feelings behind an impenetrable appearance.

Artists are also interested in changes in gender norms, like August Sander, who photographs “La femme” in Menschen des 20. Jahrhunderts. With an almost sociological eye, they construct a typology of the emancipated Neue Frau (New Woman): Bubikopf (short variant of the bob cut), cigarette, wearing of a shirt or even a tie become recurring attributes in the female portraits of the time.

 

Rationalité / Rationality

The economic crisis and spectacular post-war inflation were followed by a period of stabilisation and relative growth, favoured in particular by the Dawes Plan and the injection of American capital in 1924. A fascination for America and its model of society seen as methodical and harmonious, governed by technique, was born in Germany.

The rationalisation of work developed by Taylor is imported into German companies, leading to rapid industrialisation and the mechanisation of tasks. The aestheticisation of machines is found in the artists of the New Objectivity, who praise their beauty. Carl Grossberg’s paintings show sparkling clean industrial sites in clean, meticulously detailed compositions. The cult of technology continued with the appearance of the radio, a new domestic machine perceived by the painter Max Radler or the playwright Bertolt Brecht as a potential tool for emancipation.

The principle of rationalisation soon becomes a new norm that structures social and cultural life. The interior layout of the small-sized accommodation is studied by the architects and designers to optimise the space. Along the same lines, Marcel Breuer and Franz Schuster developed sleek, space-saving furniture that freed up as much space as possible. The architect Margarete Schütte-Lihotzky has designed a modern and functional kitchen in Frankfurt, organised as a workspace to limit the movements of the housewife. This concern to improve the daily life of women is part of a general desire for emancipation: the 1920s are those of the appearance of a financially independent Neue Frau (New Woman), who leaves her traditional role to confront to modern technology or to sports previously reserved for men.

 

Transgressions

In Germany, traditional gender roles were redefined after the First World War. After occupying vacant positions during the conflict, women are now established in the labor market, and obtain the right to vote in 1918. This new position leads them to adopt an androgynous appearance by appropriating the codes of masculinity: short hair, shirt, tie and flat chest, as shown in Selbstbildnis als Malerin (Self-Portrait as a Painter) (1935, below) by Kate Diehn-Bitt (1900-1978), oil on plywood.

In Berlin, in the famous Eldorado cabaret, transvestite artists push this confusion of genres even further. An important homosexual subculture develops in these clubs tolerated by the police. The painter and designer Jeanne Mammen creates watercolours that capture the daily life of lesbian meeting places, depicting the relationships between women with a certain tenderness.

The portraits of Otto Dix, on the other hand, are more imbued with the homophobic stereotypes of the time. The dancer Anita Berber, openly bisexual star with multiple escapades, is caricatured as a personification of sin. Jeweller Karl Krall appears with disproportionately scooped and wide hips, echoing physiologist Eugen Steinach’s ideas about “feminized men”.

Transgressions of heterosexuality and decompartmentalisation of genres generate anxiety in some male artists which is reflected in their works by a violent reminder of the norm. Rudolf Schlichter, Karl Hubbuch or Otto Dix multiply the representations of Lustmörder, sexual crimes showing women violently murdered by knife or hanging.

 

Regard vers le bas / Look down

The fascination for industry and machines clashes with the harsh reality of the daily life of the most modest populations. Driven by a desire to represent the reverse side of triumphant capitalism, certain artists of the New Objectivity turn their gaze towards those invisible things that technical progress excludes or condemns. Although pretending to a representation objective of the social world, they refuse political neutrality, most of them being committed to the Communist Party.

Karl Völker and Oskar Nerlinger create portraits of anonymous crowds of workers in the oppressive environment of industrial architecture: de-individuated, they are no more than simple cogs in the capitalist economic machine. Using a detached style, the artists represent the precarious populations living on the edge of large modern urban centres, showcases of German capitalism. Far from the bustling boulevards and their neon signs, Hans Baluschek and Hans Grundig paint those excluded from urban entertainment, poor families living in vacant lots on the outskirts of cities.

 

Max Radler (1904-1971) 'Der Radiohörer' (The Radio Listener) 1930

 

Max Radler (1904-1971)
Der Radiohörer (The Radio Listener)
1930
Oil on canvas

 

Wilhelm Heise (German, 1892–1965) 'Verblühender Frühling. Selbstbildnis als Radiobastler' (Faded Spring. Self-portrait as a radio amateur) 1926

 

Wilhelm Heise (German, 1892–1965)
Verblühender Frühling. Selbstbildnis als Radiobastler (Faded Spring. Self-portrait as a radio amateur)
1926
Oil on canvas

 

Raoul Hausmann (Austrian, 1886-1971) 'Mechanischer Kopf (Der Geist Unserer Zeit)' The Mechanical Head (The Spirit of Our Time) 1919

 

Raoul Hausmann (Austrian, 1886-1971)
Mechanischer Kopf (Der Geist Unserer Zeit) The Mechanical Head (The Spirit of Our Time)
1919
Assemblage
Wooden hairdresser’s puppet and various objects attached to it: telescopic beaker, a leather case, pipe stem, white cardboard bearing the number 22, a piece of a seamstress’ tape measure, a double decimeter, a watch cog, a roll of character d printing
32.5 x 21 x 20cm
Pompidou Centre collection
Purchase, 1974

 

 

“I wanted to unveil the spirit of our time, the spirit of everyone in its rudimentary state.”

Reducing the individual to a series of figures, this head criticises a harmful mechanisation revealed by the Great War. It also constitutes the announcement of a new, rational and impersonal man in tune with modern society. Anti-bourgeois and corrosive, does Raoul Hausmann reject the present or does he project himself into the future?

 

The most famous work by Hausmann, Mechanischer Kopf (Der Geist Unserer Zeit), “The Mechanical Head (The Spirit of Our Time)”, c. 1920, is the only surviving assemblage that Hausmann produced around 1919-1920. Constructed from a hairdresser’s wig-making dummy, the piece has various measuring devices attached including a ruler, a pocket watch mechanism, a typewriter, some camera segments and a crocodile wallet.

Der Geist Unserer Zeit – Mechanischer Kopf specifically evokes the philosopher George Wilhelm Friedrich Hegel (1770-1831). For Hegel… everything is mind. Among Hegel’s disciples and critics was Karl Marx. Hausmann’s sculpture might be seen as an aggressively Marxist reversal of Hegel: this is a head whose “thoughts” are materially determined by objects literally fixed to it. However, there are deeper targets in western culture that give this modern masterpiece its force. Hausmann turns inside out the notion of the head as seat of reason, an assumption that lies behind the European fascination with the portrait. He reveals a head that is penetrated and governed by brute external forces.”

Jonathan Jones. “The Spirit of Our Time – Mechanical Head, Raoul Hausmann (1919),” on The Guardian website Saturday 27th September 2003 quoted in “Raoul Hausmann,” on the Wikipedia website [Online] Cited 01/08/2022

 

Carl Grossberg (German, 1894-1940) 'Jacquard-Weberei' (Jacquard weaving workshop) 1934

 

Carl Grossberg (German, 1894-1940)
Jacquard-Weberei (Jacquard weaving workshop)
1934
Oil on wood

 

Hans Baluschek (German, 1870-1935) 'Sommernacht' (Summer Evening) 1929 (installation view)

 

Hans Baluschek (German, 1870-1935)
Sommernacht (Summer Evening) (installation view)
1929
Oil on canvas
120 x 151cm
Photo: Aubrey Perry

 

Hans Baluschek (German, 1870-1935) 'Sommernacht' (Summer Evening) 1929

 

Hans Baluschek (German, 1870-1935)
Sommernacht (Summer Evening)
1929
Oil on canvas
120 x 151cm

 

Hans Baluschek (German, 1870-1935)

Hans Baluschek (9 May 1870 – 28 September 1935) was a German painter, graphic artist and writer.

Baluschek was a prominent representative of German Critical Realism, and as such he sought to portray the life of the common people with vivid frankness. His paintings centred on the working class of Berlin. He belonged to the Berlin Secession movement, a group of artists interested in modern developments in art. Yet during his lifetime he was most widely known for his fanciful illustrations of the popular children’s book Little Peter’s Journey to the Moon (German title: Peterchens Mondfahrt).

Hans Baluschek, after 1920, was an active member of the Social Democratic Party of Germany, which at the time still professed a Marxist view of history.

Text from the Wikipedia website

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation view of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at left, Karl Hubbuch’s Twice Hilde II and Twice Hilde (c. 1929, below); and at right, Otto Dix’s An die Schönheit (Selbstbildnis) (To the beauty (Selfportrait)) (1922, below).
Photo: Centre Pompidou, Paris

 

Wall text from the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

Karl Hubbuch (German, 1891-1979) 'Zweimal Hilde II' (Twice Hilde II) c. 1929 (installation view)

 

Karl Hubbuch (German, 1891-1979)
Zweimal Hilde II (Twice Hilde II) (installation view)
c. 1929
Oil on canvas mounted on masonite
Museo Nacional Thyssen-Bomemsiza, Madrid
Photo: Aubrey Perry

 

Karl Hubbuch (German, 1891-1979) 'Zweimal Hilde' (Twice Hilde) c. 1929 (installation view)

 

Karl Hubbuch (German, 1891-1979)
Zweimal Hilde (Twice Hilde) (installation view)
c. 1929
Oil on canvas mounted on masonite
Museo Nacional Thyssen-Bomemsiza, Madrid
Photo: Aubrey Perry

 

 

Karl Hubbuch, who was originally from Karlsruhe, often travelled to Berlin. It was there that he met George Grosz and Rudolf Schlichter, with whom he joined the radical Novembergruppe and Rote Gruppe, and later the Neue Sachlichkeit. Despite his radical ideological stance, the critical accent of his painting was tempered by the more moderate and classical style characteristic of the Karlsruhe artists.

Twice Hilde II is a double image of Hubbuch’s wife, whom he painted on numerous occasions. Hilde Isai (1905-1971), one of his drawing from life students at the Karlsruhe academy, whom he married in 1928, was an energetic and independent woman who eventually left her husband to devote herself to her passion for photography at the Dessau Bauhaus. The composition, in the manner of a Doppelgänger, was initially designed as a quadruple portrait which the artist later cut into two after the central part was damaged by a leak. The two pieces, which were exhibited together on a few occasions, and the preparatory drawings provide a progressive sequence of Hilde’s personality. Hubbuch, who was very fond of multiple portraits, instead of attempting to capture Hilde’s personality in a single figure, breaks it down into numerous facets, from the image on the left – which shows her seated with crossed legs on a modern tube chair designed by Marcel Breuer in a serious, prim pose wearing glasses that give her an intellectual air – to the provocative, coquettish woman in her underclothes on the far right of the Munich double portrait. Like most of the members of the German New Objectivity movement, Hubbuch was attracted by everyday scenes and by rendering various objects and textures in minute detail.

Although the painting has often been dated to 1923, in the catalogue of the retrospective exhibition of the painter’s work in 1981, the first serious critical study of his oeuvre, Wolfgang Hartmann ascribed it to 1929 on the grounds of particular stylistic features and the fact that Hubbuch did not meet Hilde until 1926.

Paloma Alarcó. “Karl Hubbuch,” on the Museo Nacional Thyssen-Bomemsiza website Nd [Online] Cited 02/08/2022

 

Karl Hubbuch (German, 1891-1979) 'Zweimal Hilde II' (Twice Hilde II) c. 1929

 

Karl Hubbuch (German, 1891-1979)
Zweimal Hilde II (Twice Hilde II)
c. 1929
Oil on canvas mounted on masonite
Museo Nacional Thyssen-Bomemsiza, Madrid

 

Otto Dix (German, 1891-1969) 'An die Schönheit (Selbstbildnis)' (To the beauty (Selfportrait)) 1922

 

Otto Dix (German, 1891-1969)
An die Schönheit (Selbstbildnis) (To the beauty (Selfportrait))
1922
Oil on canvas
139.5 x 120.5cm
Von der Heydt-Museum Wuppertal, Wuppertal
© Adagp, Paris, 2022

 

Heinrich Maria Davringhausen (German, 1894-1970) 'The Dreamer II' 1919 (installation view)

 

Heinrich Maria Davringhausen (German, 1894-1970)
The Dreamer II (installation view)
1919
Photo: Aubrey Perry

 

 

Heinrich Maria Davringhausen (German, 1894-1970)

Heinrich Maria Davringhausen (1894-1970) spent his youth in Aachen and studied sculpture at the Düsseldorf Art Academy in 1913-14, where he met Carlo Mense. Rhenish Expressionism, with its leanings towards Fauvism, Cubism and Futurism, exerted a formative influence on Davringhausen’s palette and composition.

In the years that followed, Davringhausen travelled constantly and met Georg Schrimpf at the Monte Verità artists’ colony near Ascona. Several portraits were done of him in a realistically overpainted manner which show the artist against a coloured Futurist background. The loss of an eye in his childhood ensured that Davringhausen was spared military service when the first world war broke out. Heinrich Maria Davringhausen returned to Germany, moved to Munich in 1918 and joined the group of Düsseldorf artists known as Das junge Rheinland.

Under the influence of the Cologne “progressives”, Davringhausen now painted primarily abstract pictures with colour surfaces, some of them conceived in series. Between 1924 and 1925 the artist lived in Toledo, Spain, but chose to settle in Cologne in 1928, where he founded “Gruppe 32” with Anton Räderscheidt et al.

After he married Lore Auerbach, the daughter of a Jewish industrialist, Davringhausen emigrated with his wife to Cala Ratjada on Mallorca in 1933. The outbreak of the Spanish Civil War in 1936 compelled Davringhausen to flee to Ascona via Marseilles and Paris. A year later his work was shown in the exhibition of Degenerate Art. In 1939 Davringhausen was expelled from Switzerland and moved with his family to Haut-de-Cagnes near Nice. After managing to escape from Les Milles, where he was interned in 1939-1940, Davringhausen hid with his wife in Auvergne, returning to Haut-de-Cagnes after the war.

Most of Davringhausen’s work was lost during the war due to his being outlawed by the National Socialists and being continually on the run. In the postwar years Davringhausen exhibited his work, which reveals a close affinity with “Neue Sachlichkeit”, at many galleries across the world.

By the close of the 1950s art history was beginning to take notice of the New Objectivist style. As a result, Heinrich Maria Davringhausen’s early work was shown at numerous exhibitions and was included in publications dealing with the “Neue Sachlichkeit” movement. The artist’s comprehensive body of late work is primarily geometric and abstract yet it did not win much recognition. Heinrich Maria Davringhausen died in Nice on 13 December 1970.

Kraftgenie. “Heinrich Maria Davringhausen,” on the Weimar website, Tuesday, June 8, 2010 [Online] Cited 02/08/2022

 

Heinrich Maria Davringhausen (German, 1894-1970) 'The Dreamer' 1919

 

Heinrich Maria Davringhausen (German, 1894-1970)
The Dreamer
1919

 

Christian Schad (German, 1894-1982) 'Die Melancholische' (The Melancholy) 1931 (installation view)

 

Christian Schad (German, 1894-1982)
Die Melancholische (The Melancholy) (installation view)
1931
Photo: Aubrey Perry

 

 

Christian Schad (21 August 1894 – 25 February 1982) was a German painter and photographer. He was associated with the Dada and the New Objectivity movements. Considered as a group, Schad’s portraits form an extraordinary record of life in Vienna and Berlin in the years following World War I.

 

 

The four devastating years of World War I, which ended in defeat for Germany, led to a general sense of disillusionment among the people. Abandoning the visionary, spiritual and psychological aesthetics of expressionism, the disabused artists turned to reality. In painting, this paradigm shift was reflected in the emergence of a more neutral and less expressive figurative style that tended towards greater objectivity.

The German empire was succeeded by a new political regime, the Weimar Republic, which promoted the development of a new democratic culture focused on the masses. The exaltation of the individual was replaced by an ideal of standardisation: singularities were erased in favour of models, standardised types and simple forms reproduced in series. In urban development, the unprecedented shortage of housing at the end of World War I led to the construction of large housing blocks with simple and identical forms, designed according to a principal of rationalisation. The notion of utility which was linked to the new objectivity movement, emerged in theatre, music and literature. This new concept promoted the creation of works intended for a wide audience, strongly anchored in their time and designed to be immediately understandable.

Art also expressed the social upheavals under the new German democracy. After World War I, women joined the labour market and obtained the right to vote in 1918; this very definition of traditional gender roles was a subject explored by painters and photographers. From 1924 onwards, the injection of American Capital ushered in a period of relative economic stabilisation, but many Germans remained excluded from the benefits of growth. Artists who are members of the communist party depicted labourers, the unemployed and beggars, driven by a desire to represent the underside of triumphant capitalism.

 

 

August Sander. 'Malerehepaar' (Couple of painters) (Martha and Otto Dix)

 

August Sander (German, 1876-1964)
Malerehepaar (Couple of painters) (Martha et Otto Dix)
1925-1926
Modern gelatin silver print
20.6 x 24.3 cm
Die Photographische Sammlung/SK Stiftung Kultur, Cologne
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne/ Adagp, Paris, 2022

 

August Sander (German, 1876-1964) 'Painter (Marta Hegemann)' c. 1925

 

August Sander (German, 1876-1964)
Painter (Marta Hegemann)
c. 1925
Gelatin silver print
10 3/16 × 7 3/8″ (25.8 × 18.7cm)
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv, Köln / Adagp, Paris

 

Carl Grossberg (German, 1894-1940) 'Self portrait' 1928

 

Carl Grossberg (German, 1894-1940)
Self portrait
1928
Oil on panel
70.1 x 60cm

 

August Sander (German, 1876-1964) 'Hausierer' (Peddler) 1930

 

August Sander (German, 1876-1964)
Hausierer (Peddler)
1930
Gelatin silver print
17.5 x 11.8cm (6.9 x 4.6 in)

 

August Sander (German, 1876-1964) 'Bailiff' c. 1930

 

August Sander (German, 1876-1964)
Bailiff
c. 1930
Gelatin silver print
10 3/16 × 7 3/8″ (25.8 × 18.7cm)

 

August Sander (German, 1876-1964) '[Unemployed Man in Winter Coat, Hat in Hand]' 1920

 

August Sander (German, 1876-1964)
[Unemployed Man in Winter Coat, Hat in Hand]
1920
Gelatin silver print
23.0 x 14.7cm (9 1/16 x 5 13/16 in)

 

August Sander (German, 1876-1964) 'Frau eines Architekten (Dora Lüttgen)' (Architect's Wife (Dora Lüttgen)) 1926

 

August Sander (German, 1876-1964)
Frau eines Architekten (Dora Lüttgen) (Architect’s Wife (Dora Lüttgen))
1926
Gelatin silver print
25.8 × 18.7cm

 

Otto Dix (German, 1891-1969) 'Rothaarige Frau (Damenporträt)' Red-haired woman (female portrait) 1931 (installation view)

 

Otto Dix (German, 1891-1969)
Rothaarige Frau (Damenporträt) (Red-haired woman (female portrait))
1931
Photo: Aubrey Perry

 

Otto Dix (German, 1891-1969) 'Rothaarige Frau (Damenporträt)' Red-haired woman (female portrait) 1931 

 

Otto Dix (German, 1891-1969)
Rothaarige Frau (Damenporträt) Red-haired woman (female portrait)
1931

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation view of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at centre left, Rudolf Schlichter’s Margot (1924, below); and at second right, Otto Dix’s Bildnis der Journalistin Sylvia von Harden (Portrait of the journalist Sylvia von Harden) (1926, below)
Photo: Centre Pompidou, Paris

 

Rudolf Schlichter (German, 1890-1955) 'Margot' 1924

 

Rudolf Schlichter (German, 1890-1955)
Margot
1924
© Städel Museum

 

 

The prostitute Margot was portrayed several times by Rudolf Schlichter around 1924. Margot, portrayed in the pose of baroque portraits of rulers with a challenging look and self-confident right arm on her hips, bob haircut and cigarette, presents the type of the new woman. She buys her emancipation with the sale and – her swollen left eyelid indicates it – with the maltreatment of her body. The background shows a dreary tenement barracks, their “kingdom” is the street.

Text from the Städel Museum website

 

Rudolf Schlichter (German, 1890-1955)

Rudolf Schlichter (or Rudolph Schlichter) (December 6, 1890 – May 3, 1955) was a German painter and one of the most important representatives of the Neue Sachlichkeit (New Objectivity) movement.

Schlichter was born in Calw, Württemberg. After an apprenticeship as an enamel painter at a Pforzheim factory he attended the School of Arts and Crafts in Stuttgart. He subsequently studied under Hans Thoma and Wilhelm Trübner at the Academy in Karlsruhe. Called for military service in World War I, he carried out a hunger strike to secure early release, and in 1919 he moved to Berlin where he joined the Communist Party of Germany and the “November” group. He took part in a Dada fair in 1920 and also worked as an illustrator for several periodicals.

A major work from this period is his Dada Roof Studio, a watercolour showing an assortment of figures on an urban rooftop. Around a table sit a woman and two men in top hats. One of the men has a prosthetic hand and the other, also missing a hand, appears on closer scrutiny to be mannequin. Two other figures in gas masks may also be mannequins. A child holds a pail and a woman wearing high button shoes (for which Schlichter displayed a marked fetish) stands on a pedestal, gesturing inexplicably.

In 1925 Schlichter participated in the “Neue Sachlichkeit” exhibit at the Mannheim Kunsthalle. His work from this period is realistic, a good example being the Portrait of Margot (1924, above) now in the Berlin Märkisches Museum. It depicts a prostitute who often modelled for Schlichter, standing on a deserted street and holding a cigarette.

When Adolf Hitler took power, bringing to an end the Weimar period, his activities were greatly curtailed. In 1935 he returned to Stuttgart, and four years later to Munich. In 1937 his works were seized as degenerate art, and in 1939 the Nazi authorities banned him from exhibiting. His studio was destroyed by Allied bombs in 1942.

At the war’s end, Schlichter resumed exhibiting works. His works from this period were surrealistic in character. He died in Munich in 1955.

Text from the Wikipedia website

 

Rudolf Schlichter (German, 1890-1955) 'Damenkneipe' (Ladies' Bistro) c. 1925

 

Rudolf Schlichter (German, 1890-1955)
Damenkneipe (Ladies’ Bistro)
c. 1925
Watercolour, India ink and pencil on paper

 

Otto Dix (German, 1891-1969) 'Bildnis der Journalistin Sylvia von Harden' (Portrait of the journalist Sylvia von Harden) 1926 (installation view)

 

Otto Dix (German, 1891-1969)
Bildnis der Journalistin Sylvia von Harden (Portrait of the journalist Sylvia von Harden) (installation view)
1926
Oil and tempera on wood
121 x 89cm
Pompidou Centre collection
Purchase, 1961
Photo: Aubrey Perry

 

Otto Dix (German, 1891-1969) 'Bildnis der Journalistin Sylvia von Harden' (Portrait of the journalist Sylvia von Harden) 1926

 

Otto Dix (German, 1891-1969)
Bildnis der Journalistin Sylvia von Harden (Portrait of the journalist Sylvia von Harden)
1926
Oil and tempera on wood
121 x 89cm
Pompidou Centre collection
Purchase, 1961
© Adagp, Paris
Photo credits: © Audrey Laurans – Centre Pompidou, MNAM-CCI /Dist. RMN-GP

 

 

Who is this woman who dares to appear in public alone, cigarette in hand, at a table of the Romanische Café, a haunt of the Berlin art worlds?

Sylvia von Harden was a journalist in Berlin in the 1920s. Her nonchalant stance is a statement of her emancipated intellectual role. Otto Dix undermines her arrogance with the detail of a loose stocking and her rather awkward pose. Her red-check dress contrast with the pink environment, typically Art Nouveau. The cold, satirical realism typifies the New Objectivity movement to which the painter belonged. Inspired by early 16th-century German masters (Cranach, Holbein), he embraced the tempera on wood panel technique as well as the choice to exhibit the ugliness.

 

 

August Sander (German, 1876-1964)
Sekretärin beim Westdeutscher Rundfunk in Köln (Secretary at the Westdeutscher Rundfunk in Cologne)
1931
Gelatin silver print
28.6 x 20.5cm
Pompidou Centre collection
Purchase, 1979
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv, Köln / Adagp, Paris
Photo credits: © Guy Carrard – Centre Pompidou, MNAM-CCI /Dist. RMN-GP

 

August Sander (German, 1876-1964) 'Der Maler Anton Räderscheidt' (Painter Anton Räderscheidt) 1926

 

August Sander (German, 1876-1964)
Maler Anton Räderscheidt (Painter Anton Räderscheidt)
1926
Gelatin silver print
27.9 x 21.9cm
Pompidou Centre collection
Purchase, 1979
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv, Köln / Adagp, Paris
Photo credits: © Adam Rzepka – Centre Pompidou, MNAM-CCI /Dist. RMN-GP

 

Anton Räderscheidt (German, 1892-1970) 'Junger Mann mit gelben Handschuhen' (Young man with yellow gloves) 1921

 

Anton Räderscheidt (German, 1892-1970)
Junger Mann mit gelben Handschuhen (Young man with yellow gloves)
1921
Oil on panel
27.4 x 18.6cm

 

 

Anton Räderscheidt (German, 1892-1970)

Anton Räderscheidt (October 11, 1892 – March 8, 1970) was a German painter who was a leading figure of the New Objectivity.

Räderscheidt was born in Cologne. His father was a schoolmaster who also wrote poetry. From 1910 to 1914, Räderscheidt studied at the Academy of Düsseldorf. He was severely wounded in the First World War, during which he fought at Verdun. After the war he returned to Cologne, where in 1919 he cofounded the artists’ group Stupid with other members of the local constructivist and Dada scene. The group was short-lived, as Räderscheidt was by 1920 abandoning constructivism for a magic realist style. In 1925 he participated in the Neue Sachlichkeit (“New Objectivity”) exhibition at the Mannheim Kunsthalle.

Many of the works Räderscheidt produced in the 1920s depict a stiffly posed, isolated couple that usually bear the features of Räderscheidt and his wife, the painter Marta Hegemann. The influence of metaphysical art is apparent in the way the mannequin-like figures stand detached from their environment and from each other. A pervasive theme is the incompatibility of the sexes, according to the art historian Dennis Crockett. Few of Räderscheidt’s works from this era survive, because most of them were either seized by the Nazis as degenerate art and destroyed, or were destroyed in Allied bombing raids. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.

His marriage to Marta ended in 1933. In 1934-1935 he lived in Berlin. He fled to France in 1936, and settled in Paris, where his work became more colourful, curvilinear and rhythmic. He was interned by the occupation authorities in 1940, but he escaped to Switzerland. In 1949 he returned to Cologne and resumed his work, producing many paintings of horses shortly before adopting an abstract style in 1957.

Räderscheidt was to return to the themes of his earlier work in some of his paintings of the 1960s. After suffering a stroke in 1967, he had to relearn the act of painting. He produced a penetrating series of self-portraits in gouache in the final years of his life. Anton Räderscheidt died in Cologne in 1970.

Text from the Wikipedia website

 

Anton Räderscheidt (German, 1892-1970) 'Junger Mann mit gelben Handschuhen' (Young man with yellow gloves) 1921 (installation view)

 

Anton Räderscheidt (German, 1892-1970)
Junger Mann mit gelben Handschuhen (Young man with yellow gloves)
1921
Oil on panel
27.4 x 18.6cm
Photo: Aubrey Perry

 

Anton Räderscheidt (German, 1892-1970) 'Painter with Model (Self Portrait)' 1928 (installation view)

 

Anton Räderscheidt (German, 1892-1970)
Painter with Model (Self Portrait)
1928
Photo: Aubrey Perry

 

Anton Räderscheidt (German, 1892-1970) 'Painter with Model (Self Portrait)' 1928

 

Anton Räderscheidt (German, 1892-1970)
Painter with Model (Self Portrait)
1928

 

August Sander (German, 1876-1964) 'Zirkusarbeiter' (Circus Workers) 1926-1932

 

August Sander (German, 1876-1964)
Zirkusarbeiter (Circus Workers)
1926-1932
Gelatin silver print
28 x 21.10cm
From the Pompidou Centre collection
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv, Köln / Adagp, Paris
Photo credits: © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne/ Adagp, Paris, 2022

 

Otto Dix (German, 1891-1969) 'Bildnis der Tänzerin Anita Berber' (Portrait of the dancer Anita Berber) 1925 (installation view)

Otto Dix (German, 1891-1969) 'Bildnis der Tänzerin Anita Berber' (Portrait of the dancer Anita Berber) 1925 (installation view)

 

Installation views of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing Otto Dix’s Bildnis der Tänzerin Anita Berber (Portrait of the dancer Anita Berber) (1925, below)
Photos: Aubrey Perry

 

Wall text from the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

Anita Berber in real life

 

This is Anita Berber in real life. The painted portrait was her at 26. She died three years later. “Sex, drugs, and rock & roll”

 

Otto Dix (German, 1891-1969) 'Bildnis der Tänzerin Anita Berber' (Portrait of the dancer Anita Berber) 1925

 

Otto Dix (German, 1891-1969)
Bildnis der Tänzerin Anita Berber (Portrait of the dancer Anita Berber)
1925
© Sammlung Landesbank Baden-Württemberg im Kunstmuseum Stuttgart
Photo: Frank Kleinbac

 

Otto Dix (German, 1891-1969) Lustmord (Sex Murder) 1922 (installation view)

 

Otto Dix (German, 1891-1969)
Lustmord (Sex Murder) (installation view)
1922
Photo: Aubrey Perry

 

Otto Dix Sex Murder (Lustmord), 1922

 

Otto Dix (German, 1891-1969)
Lustmord (Sex Murder)
1922

 

Jeanne Mammen (German, 1890-1976) 'Transvestitenlokal' (Local transvestite) c. 1931

 

Jeanne Mammen (German, 1890-1976)
Transvestitenlokal (Local transvestite)
c. 1931
Watercolour and pencil
29.50 x 58cm
From the Pompidou Centre collection
© BPK, Berlin, Dist. RMN-Grand Palais / Dietmar Katz

 

Heinrich Hoerle (German, 1895-1936) 'Selfportrait' c. 1931

 

Heinrich Hoerle (German, 1895-1936)
Selfportrait
c. 1931
Oil on canvas
41 x 29cm

 

August Sander (German, 1876-1964) 'Painter [Heinrich Hoerle]' 1928-1932

 

August Sander (German, 1876-1964)
Painter (Heinrich Hoerle)
1928-1932
Gelatin silver print

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959) 'Porträt des Schriftstellers Max Herrmann-Neiße' (Portrait of the writer Max Herrmann-Neisse) 1925 (installation view)

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959)
Porträt des Schriftstellers Max Herrmann-Neiße (Portrait of the writer Max Herrmann-Neisse) (installation view)
1925
Oil on canvas
100 x 101.50cm
From the Pompidou Centre collection
Photo: Aubrey Perry

 

Wall text from the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959) 'Porträt des Schriftstellers Max Herrmann-Neiße' (Portrait of the writer Max Herrmann-Neisse) 1925

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959)
Porträt des Schriftstellers Max Herrmann-Neiße (Portrait of the writer Max Herrmann-Neisse)
1925
Oil on canvas
100 x 101.50cm
From the Pompidou Centre collection
© The estate of George Grosz, Princeton, N.J. / Adagp, Paris
Photo credits: © BPK, Berlin, Dist. RMN-Grand Palais / Cem Yücetas

 

August Sander (German, 1876-1964) 'Proletarian Intellectuals' [Else Schuler, Tristan Rémy, Franz Wilhelm Seiwert, Gerd Arntz] c. 1925

 

August Sander (German, 1876-1964)
Proletarian Intellectuals [Else Schuler, Tristan Rémy, Franz Wilhelm Seiwert, Gerd Arntz]
c. 1925
Gelatin silver print
From the Pompidou Centre collection

 

Heinrich Jost (German, 1889-1948) 'Werbefaltblatt "Für Fotomontage Futura"' (Promotional leaflet "For photomontage Futura") Nd

 

Heinrich Jost (German, 1889-1948)
Werbefaltblatt “Für Fotomontage Futura” (Promotional leaflet “For photomontage Futura”)
Nd
Press advertisement in four inserted pages
From the Pompidou Centre collection
Photo credits: © Archiv der Massenpresse P. Rössler

 

Erich Wegner (German, 1899-1980) 'Wirtshaustheke' (Pub bar) c. 1927

 

Erich Wegner (German, 1899-1980)
Wirtshaustheke (Pub bar)
c. 1927
Canvas on plywood

 

Walter Schulz-Matan (German, 1899-1965) 'Der Fayencesammler' (The faience collector) 1927

 

Walter Schulz-Matan (German, 1899-1965)
Der Fayencesammler (The faience collector)
1927
Oil on canvas
© Münchner Stadtmuseum

 

Hannah Höch (German, 1889-1978) 'Gläser' (Glasses) 1927 (installation view)

 

Hannah Höch (German, 1889-1978)
Gläser (Glasses) (installation view)
1927
Oil on canvas
77.50 x 77.50cm
From the Pompidou Centre collection
Photo: Aubrey Perry

 

 

Better known for her Dadaist collages and photomontages, the Berlin artist Hannah Höch creates here a hyperrealistic still life whose composition is strongly influenced by photography of the time: overhanging point of view, tight framing, neutral space, absence of context particular. The texture of the glass objects is rendered with great precision: this transparency symbolises a new conception of painting, which must show the objects in a limpid manner, without filter. In the very foreground, in an inverted reflection, the painter has represented herself at her easel in front of a window.

 

Hannah Höch (German, 1889-1978) 'Gläser' (Glasses) 1927

 

Hannah Höch (German, 1889-1978)
Gläser (Glasses)
1927
Oil on canvas
77.50 x 77.50cm
From the Pompidou Centre collection
© Adagp, Paris
Photo credits: © BPK, Berlin, Dist. RMN-Grand Palais / image MHK

 

Albert Renger-Patzsch (German, 1897-1966) 'Gläser' (Glasses) 1926-1927

 

Albert Renger-Patzsch (German, 1897-1966)
Gläser (Glasses)
1926-1927
Gelatin silver print
From the Pompidou Centre collection
© Albert Renger-Patzch-Archiv / Ann & Jürgen Wilde / Adagp, Paris
Photo credits: © Albert Renger-Patzsch Archiv / Ann und Jürgen Wilde, Zülpich / Adagp, Paris, 2022

 

Aenne Biermann (German, 1898-1933) 'Bärwurz' Between 1926-1928

 

Aenne Biermann (German, 1898-1933)
Bärwurz
Between 1926-1928
Gelatin silver print
48 x 35.50cm
From the Pompidou Centre collection
Photo credits: © Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, Munich

 

Sasha Stone (1895, Russia - 1940, France) 'Wenn Berlin Konstantinopel wäre' (If Berlin were Constantinople) Before 1929

 

Sasha Stone (1895, Russia – 1940, France)
Wenn Berlin Konstantinopel wäre (If Berlin were Constantinople)
Before 1929
Photo montage
From the Pompidou Centre collection
Public domain
Photo credits: © Museum Folkwang Essen – ARTOTHEK

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation views of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at second left, Franz Wilhelm Seiwert’s Wandbild für einen Fotografen (Mural for a Photographer) (1925, below); and at right, George Grosz’s Konstruktion (Ohne Titel) (1920, below)
Photo: Aubrey Perry

 

Franz Wilhelm Seiwert (German, 1894-1933) 'Wandbild für einen Fotografen' (Mural for a Photographer) 1925 (installation view)

 

Franz Wilhelm Seiwert (German, 1894-1933)
Wandbild für einen Fotografen (Mural for a Photographer)
1925
Oil on canvas
109.5 × 154.5cm
Photo: Aubrey Perry

 

Franz Wilhelm Seiwert (German, 1894-1933) 'Wandbild für einen Fotografen' (Mural for a Photographer) 1925

 

Franz Wilhelm Seiwert (German, 1894-1933)
Wandbild für einen Fotografen (Mural for a Photographer)
1925
Oil on canvas
109.5 × 154.5cm

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959) 'Construction (Untitled)' (Konstruktion [Ohne Titel]) 1920 (installation view)

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959)
Konstruktion (Ohne Titel) (Construction (Untitled)) (installation view)
1920
Photo: Aubrey Perry

 

George Grosz. 'Construction (Untitled) (Konstruktion [Ohne Titel])' 1920

 

George Grosz (Georg Ehrenfried Gross) (German, 1893-1959)
Konstruktion (Ohne Titel) (Construction (Untitled))
1920

 

Franz Wilhelm Seiwert (German, 1894-1933) 'Freudlose Gasse' (Joyless Street) 1927 (installation view)

 

Franz Wilhelm Seiwert (German, 1894-1933)
Freudlose Gasse (Joyless Street) (installation view)
1927
Oil on canvas
65.5 x 80cm
Photo: Aubrey Perry

 

 

Franz Wilhelm Seiwert (German, 1894-1933)

Franz Wilhelm Seiwert (March 9, 1894 – July 3, 1933) was a German painter and sculptor in a constructivist style. He was also politically active as a communist making significant contributions, both graphic and theoretical to Die Aktion.

Seiwert was born in Cologne. He was seriously burned in 1901, at the age of seven, in an experimental radiological treatment. As a result, he subsequently lived with the fear that his life would be short.

He studied from 1910 to 1914 at the Cologne School of Arts and Crafts. In 1919 he met Max Ernst and took part in Dada activities. He was invited to exhibit in the large Dada exhibit in Cologne but withdrew at the last moment. In that same year he formed the Stupid group which included Heinrich Hoerle and Anton Räderscheidt. According to Ernst, “Stupid was a secession from Cologne Dada. As far as Hoerle and especially Seiwert were concerned, Dada’s activities were aesthetically too radical and socially not concrete enough”.

His first large solo exhibition was in Cologne at the Kunstverein in 1923, and by the mid-1920s he was a leader of the “Group of Progressive Artists”, who sought to reconcile constructivism with realism while expressing radical political views. In 1929 he founded the magazine “a-z”, a journal of progressive art. This became a vehicle for the exposition of Figurative Constructivism.

Seiwert was actively involved in the international discussions concerning proletarian culture during the revolutionary upsurge following the First World War. “Throw out the old false idols! In the name of the coming proletarian culture.”

Seiwert was the leading theorist of Figurative Constructivism describing its origins as “From the expressionist-cubist art-form abstract constructivism was developed, which in turn led into Figurative Constructivism”.

When Hitler came to power in 1933, Seiwert briefly fled to the mountain range Siebengebirge, but his health was badly deteriorating, and friends brought him back to Cologne, where he died on July 3, 1933.

Text from the Wikipedia website

 

Franz Wilhelm Seiwert (German, 1894-1933) 'Freudlose Gasse' (Joyless Street) 1927

 

Franz Wilhelm Seiwert (German, 1894-1933)
Freudlose Gasse (Joyless Street) (installation view)
1927
Oil on canvas
65.5 x 80cm

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation view of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at left, Kate Diehn-Bitt’s Self Portrait as an Artist (1935, below); at middle, Gert Wollheim’s Untitled (Couple) (1926, below); and at right, Otto Dix’s Portrait of the Jeweller Karl Krall (1923, below).
Photo: Aubrey Perry

 

Kate Diehn-Bitt (German, 1900-1978) 'Self Portrait as an Artist' 1935 (installation view)

 

Kate Diehn-Bitt (German, 1900-1978)
Self Portrait as an Artist (installation view)
1935
Photo: Aubrey Perry

 

Gert Wollheim (German, 1894-1974) 'Untitled (Couple)' 1926 (installation view)

 

Gert Wollheim (German, 1894-1974)
Untitled (Couple) (installation view)
1926
Oil on canvas
Photo: Aubrey Perry

 

 

Gert Heinrich Wollheim (German, 1894-1974)

Gert Heinrich Wollheim (11 September 1894 – 22 April 1974) was a German expressionist painter later associated with the New Objectivity, who fled nazi Germany and worked in the United States after 1947.

Gert Heinrich Wollheim was born in Dresden-Loschwitz. From 1911 to 1913, he studied at the College of Fine Arts in Weimar , where his instructors included Albin Egger-Lienz and Gottlieb Forster. From 1914-1917 he was in military service in World War I, where he sustained an abdominal wound. After the war he lived in Berlin until 1919, when Wollheim, Otto Pankok (whom he had met at the academy in Weimar), Ulfert Lüken, Hermann Hundt and others created an artists’ colony in Remels, East Frisia.

At the end of 1919, Wollheim and Pankok went to Düsseldorf and became founding members of the “Young Rhineland” group, which also included Max Ernst, Otto Dix, and Ulrich Leman. Wollheim was one of the artists associated with the art dealer Johanna Ey, and in 1922 he was taken to court over a painting displayed at her gallery. In 1925, he moved to Berlin, and his work, which always emphasised the theatrical and the grotesque, began a new phase of coolly objective representation. His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics.

After Hitler seized power in 1933 Wollheim’s works were declared degenerate art and many were destroyed. He fled to France and became active in the Resistance. He was one of the co-founders of the Union des Artistes Allemandes Libres, an organisation of exiled German artists founded in Paris in autumn 1937. In that same year, he became the companion of the dancer Tatjana Barbakoff. Meanwhile, in Munich, three of his pictures were displayed in the defamatory Nazi exhibition Entartete Kunst (Degenerate Art) in 1937.

From Paris, Wollheim fled to Saarbrücken and later to Switzerland. He was arrested in 1939 and held in a series of labour camps in France (Vierzon, Ruchard, Gurs and Septfonds) until his escape in 1942, after which he and his wife hid in the Pyrénées with the help of a peasant woman. At war’s end in 1945 he returned to France.

In 1947 he moved to New York and became an American citizen. He died in New York in 1974.

Text from the Wikipedia website

 

Gert Wollheim (German, 1894-1974) 'Untitled (Couple)' 1926

 

Gert Wollheim (German, 1894-1974)
Untitled (Couple)
1926
Oil on canvas

 

Otto Dix (German, 1891-1969) 'Portrait of the Jeweller Karl Krall' 1923 (installation view)

 

Otto Dix (German, 1891-1969)
Portrait of the Jeweller Karl Krall (installation view)
1923
Kunst- und Museumsverein im Von der Heydt-Museum Wuppertal
Photo: Aubrey Perry

 

 

When the Nazis came to power in 1933, Dix was dismissed from his professorship teaching art at the Dresden Academy, where he had worked since 1927. The reason given was that, through his painting, he had committed a ‘violation of the moral sensibilities and subversion of the militant spirit of the German people’.

In the years following, some 260 of his works were confiscated by the Nazi Propaganda Ministry. Several of these works, including The Jeweller Karl Krall 1923, appeared in the Entartete Kunst (degenerate art) exhibition of 1937-1938. The exhibition was staged by the Nazis to destroy the careers of those artists they considered mentally ill, inappropriate or unpatriotic.

 

Otto Dix. 'The Jeweller Karl Krall (Der Juwelier Karl Krall)' 1923

 

Otto Dix (German, 1891-1969)
Portrait of the Jeweller Karl Krall (Der Juwelier Karl Krall)
1923
Kunst- und Museumsverein im Von der Heydt-Museum Wuppertal
Photo: Antje Zeis-Loi, Medienzentrum Wuppertal
© DACS 2017

 

Otto Dix (German, 1891-1969) 'Portrait of the Art Dealer Alfred Flechtheim' 1926 (installation view)

 

Otto Dix (German, 1891-1969)
Portrait of the Art Dealer Alfred Flechtheim (installation view)
1926
Photo: Aubrey Perry

 

 

Alfred Flechtheim entered the art world as a collector of Far Eastern art. In 1910, he married the daughter of a wealthy Dortmund merchant. This union helped provide him with the means to open a gallery in 1913. On the eve of the First World War, Flechtheim’s gallery was filled with works by the French avant-garde. He had a reputation as Francophile with a particular affection for Cubism. In Düsseldorf, local artists unfairly suggested that he had turned his back on German art. In this unflattering, uncommissioned work by Dix, he is surrounded by Cubist works. He clutches one in one hand and bills in another. To Dix, he’s little more than a salesman in a cheap suit, hawking foreign merchandise for the local Bourgeoisie.

 

Otto Dix (German, 1891-1969) 'Portrait of the Art Dealer Alfred Flechtheim' 1926

 

Otto Dix (German, 1891-1969)
Portrait of the Art Dealer Alfred Flechtheim
1926

 

Julius Bissier. 'Bildhauer mit Selbstbildnis' (Sculptor with Self-portrait) 1928

 

Julius Bissier (German, 1893-1965)
Bildhauer mit Selbstbildnis (Sculptor with Self-portrait)
1928
Oil on canvas
77 x 61cm
Museum für Neue Kunst, Städtische Museen Freiburg, Germany

 

Jeanne Mammen (German, 1890-1976) 'Two Women, Dancing' c. 1928 (installation view)

 

Jeanne Mammen (German, 1890-1976)
Two Women, Dancing
c. 1928
Watercolour and pencil on paper
48 x 36cm
Private Collection, Berlin
Photo: Aubrey Perry

 

 

She was born in Germany in 1890, but her family moved to Paris where she enjoyed a carefree and progressive upbringing (including art studies at the Académie Julian, as well as at the Académie Royale des Beaux-Arts in Brussels). In 1914, she returned to Germany and, from 1919, worked from a small fourth-floor, two-room living-quarters-cum-studio at Kurfürstendamm 29 in Berlin for more than 60 years, until her death in 1976.

During her lifetime, she gained a reputation beyond Berlin as a chronicler of life in the city, providing for herself largely by designing film posters for the then booming UFA studios and selling her illustrations to fashion and satirical magazines, including Simplicissimus, Uhu and Jugend. Especially during the 20s and 30s, when out and about, she was never without her sketchbook – several of which are included in the exhibition – capturing the goings-on in cafes, bars and on the streets…

In her early years in Berlin, Mammen lived with her sister Mimi. She was close friends with Hans Uhlmann, later visiting him in prison, following his arrest for distributing flyers in 1933, and some posit more than a friendship between the two artists; others, however, in particular the scholar Laurel Lampela, suppose that Mammen may have been more attracted to women, arguing that such intimate and tender paintings of lesbian couples could only have been made from experience.

Whatever the case, Mammen often withdrew from the world entirely, with repeated periods of isolation. She survived the years of dictatorship from 1933-1945 with the help of friends and mini-commissions, as well as by selling used books from a handcart. Although she had the opportunity to seek exile abroad, she did not want to start afresh for a second time in a foreign country. Instead, she lived the life of a recluse, working by candlelight after her building had been bombed, and often scarcely leaving her studio for days at a time. When she did, she noted (in the only interview she ever gave, carried out a year before her death): “I have always wanted to be just a pair of eyes, walking through the world unseen, only to be able to see others.”

Anna McNay. “Jeanne Mammen: The Observer. Retrospective (1910-75),” on the Studio International website 16/12/2017 [Online] Cited 02/08/2022

 

Jeanne Mammen (German, 1890-1976) 'Two Women, Dancing' c. 1928

 

Jeanne Mammen (German, 1890-1976)
Two Women, Dancing
c. 1928
Watercolour and pencil on paper
48 x 36cm
Private Collection, Berlin
© VG Bild-Kunst, Bonn 2017

 

Jeanne Mammen (1890-1976) 'Valeska Gert' 1928-1929

 

Jeanne Mammen (1890-1976)
Valeska Gert
1928-1929
Oil on canvas

 

Jeanne Mammen (German, 1890-1976) 'Café Nollendorf' c. 1931

 

Jeanne Mammen (German, 1890-1976)
Café Nollendorf
c. 1931
Watercolour and India ink over pencil on paper

 

Georg Scholz (German, 1890-1945) 'The House of Gatekeeper' 1924 (installation view)

 

Georg Scholz (German, 1890-1945)
The House of Gatekeeper (installation view)
1924
Photo: Aubrey Perry

 

 

Georg Scholz (German, 1890-1945)

Georg Scholz (October 10, 1890 – November 27, 1945) was a German realist painter.

Scholz was born in Wolfenbüttel and had his artistic training at the Karlsruhe Academy, where his teachers included Hans Thoma and Wilhelm Trübner. He later studied in Berlin under Lovis Corinth. After military service in World War I lasting from 1915 to 1918, he resumed painting, working in a style fusing cubist and futurist ideas.

In 1919 Scholz became a member of the Communist Party of Germany, and his work of the next few years is harshly critical of the social and economic order in postwar Germany. His Industrial Farmers of 1920 is an oil painting with collage that depicts a Bible-clutching farmer with money erupting from his forehead, seated next to his monstrous wife who cradles a piglet. Their subhuman son, his head open at the top to show that it is empty, is torturing a frog. Perhaps Scholz’ best-known work, it is typical of the paintings he produced in the early 1920s, combining a controlled, crisp execution with corrosive sarcasm.

Scholz quickly became one of the leaders of the New Objectivity, a group of artists who practiced a cynical form of realism. The most famous among this group are Max Beckmann, George Grosz and Otto Dix, and Scholz’s work briefly vied with theirs for ferocity of attack. By 1925, however, his approach had softened into something closer to neoclassicism, as seen in the Self-Portrait in front of an Advertising Column of 1926 and the Seated Nude with Plaster Bust of 1927.

In 1925, he was appointed a professor at the Baden State Academy of Art in Karlsruhe, where his students included Rudolf Dischinger. Scholz began contributing in 1926 to the satirical magazine Simplicissimus, and in 1928 he visited Paris where he especially appreciated the work of Bonnard.

With the rise to power of Hitler and the National Socialists in 1933, Scholz was quickly dismissed from his teaching position. Declared a Degenerate Artist, his works were among those seized in 1937 as part of a campaign by the Nazis to “purify” German culture, and he was forbidden to paint in 1939.

In 1945, the French occupation forces appointed Scholz mayor of Waldkirch, but he died that same year, in Waldkirch.

Text from the Wikipedia website

 

Albert Renger-Patzsch (German, 1897-1966) 'Isolatorenkette' (Chain of insulators) 1925

 

Albert Renger-Patzsch (German, 1897-1966)
Isolatorenkette (Chain of insulators)
1925
Vintage gelatin silver print
27.30 x 37.50cm
Galerie Berinson, Berlin
© Albert Renger-Patzsch Archiv / Ann und Jürgen Wilde, Zülpich / Adagp, Paris, 2022

 

Albert Renger-Patzsch (German, 1897-1966) 'Triebwerk einer Lokomotive' (Engine of a locomotive) 1925

 

Albert Renger-Patzsch (German, 1897-1966)
Triebwerk einer Lokomotive (Engine of a locomotive)
1925
Vintage gelatin silver print
17 x 21.2 cm
Galerie Berinson, Berlin
© Albert Renger-Patzsch Archiv / Ann und Jürgen Wilde, Zülpich / Adagp, Paris, 2022

 

Albert Renger-Patzsch (German, 1897-1966) 'Nockenwelle einer Dampfmaschine' (Camshaft of a steam engine) 1927

 

Albert Renger-Patzsch (German, 1897-1966)
Nockenwelle einer Dampfmaschine (Camshaft of a steam engine)
1927
Gelatin silver print

 

Albert Renger-Patzsch (German, 1897-1966) 'Musterzimmer im Fagus-Werk Benscheidt in Alfeld' (Shoe trees at the Fagus factory, Alfeld) 1928

 

Albert Renger-Patzsch (German, 1897-1966)
Musterzimmer im Fagus-Werk Benscheidt in Alfeld (Shoe trees at the Fagus factory, Alfeld)
1928
Vintage gelatin silver print
16.9 × 22.8cm
Staatsgemäldesammlungen, Munich
© Albert Renger-Patzsch Archiv / Ann und Jürgen Wilde, Zülpich / Adagp, Paris, 2022

 

Albert Renger-Patzsch (1897-1966) 'Bügeleisen für Schuhfabrikation, Faguswerk Alfeld [Shoemakers' irons, Fagus factory, Alfeld]' 1928

 

Albert Renger-Patzsch (German, 1897-1966)
Bügeleisen für Schuhfabrikation (Irons for shoemaking)
1928
Gelatin silver print
22.7 × 16.9 cm
Staatsgemäldesammlungen, Munich
© Albert Renger-Patzsch Archiv / Ann und Jürgen Wilde, Zülpich / Adagp, Paris, 2022

 

Anonymous artist. 'Isotype Brochure' Around 1935

 

Anonymous artist
Isotype Brochure
Around 1935
Sheet, front
University of Reading, Otto and Marie Neurath Isotype Collection

 

Anonymous artist. 'Isotype Brochure' Around 1935

 

Anonymous artist
Isotype Brochure
Around 1935
Sheet, front
University of Reading, Otto and Marie Neurath Isotype Collection

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation view of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at right, Grethe Jürgens’s Stoffhändler (Fabric Merchant) (1936, below)
Photo: Aubrey Perry

 

 

Grethe Jürgens (German, 1899-1981)

Grethe Jürgens (February 15, 1899 – May 8, 1981) was a German painter associated with the New Objectivity.

Jürgens was born in Holzhausen and grew up in Wilhelmshaven.[1] In 1918 she enrolled in the Berlin Technical College, where she studied architecture. From 1919 until 1922 she studied at the Hanover School of Arts and Crafts under Fritz Burgr-Mühlfeld. She was employed in advertising as a draftswoman for the Hackethal Wire Company in Hanover from 1923 to 1927, and continued afterward to work as a freelance commercial artist. Her paintings from this period, such as Garden Picture (1928) and Employment Exchange (1929), show the influence of French artists such as Henri Rousseau and Auguste Herbin.

From 1931 to 1932, Jürgens edited the 12-issue run of the magazine Der Wachsbogen, which served as a theoretical organ of the Hanover artists of the New Objectivity movement. In an essay she published in the magazine, she described the group’s artistic approach:

“One paints a landscape, trees, houses, vehicles, and sees the world in a new way. Unemployed people, tramps, or beggars are painted, not because they are “interesting characters” … or through a desire to appeal to the sympathy of society, but because one suddenly realizes that it is in these people that the most powerful expression of the present time is to be found.”

.
In 1932, she participated in the exhibition “Neue Sachlichkeit in Hanover” (“New Objectivity in Hanover”) at the Herzog Anton Ulrich Museum in Brunswick. In 1933 she had a solo exhibition in Cologne. After 1933, she worked extensively as an illustrator and designer of book covers. In 1951, the Wilhelm Busch Museum in Hanover presented a retrospective exhibition of her works. Jürgens died in 1981 in Hanover.

Text from the Wikipedia website

 

Grethe Jürgens (German, 1899-1981) 'Stoffhändler' (Fabric Merchant) 1936

 

Grethe Jürgens (German, 1899-1981)
Stoffhändler (Fabric Merchant)
1936

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation view of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at left, Lotte Laserstein’s Russian Girl with Compact (1928, below); and at right, Rudolf Schlichter’s Margot (1924, below)
Photo: Aubrey Perry

 

Lotte Laserstein (German-Swedish, 1898-1993) 'Russian Girl with Compact' 1928

 

Lotte Laserstein (German-Swedish, 1898-1993)
Russian Girl with Compact (Russisches Mädchen mit Puderdose)
1928
Oil on panel
31.7 x 41cm
Städel Museum
Acquired in 2014 with means provided by the Werner Wirthle bequest

 

 

With a critical gaze, the Russian Girl with Compact examines her face in her pocket mirror. Her other hand is holding a fluffy powder puff. Facing the viewer, she is nonetheless interested only in what is hidden from our view. And yet the viewer still gets to see the young woman’s reflection, in the profile of her in the mirror on the wall. This duplication heightens her presence, as does the red colour of her elegant blouse. Lotte Laserstein repeatedly painted different types of women. Here, she portrays a modern woman of the 1920s: her bob hairstyle, clothing and use of make-up point to this new type of emancipated woman.

Text from the Städel Museum website

 

Lotte Laserstein (28 November 1898 – 21 January 1993) was a German-Swedish painter. She was an artist of figurative paintings in Germany’s Weimar Republic. The National Socialist regime and its anti-Semitism forced her to leave Germany in 1937 and to emigrate to Sweden. In Sweden, she continued to work as a portraitist and painter of landscapes until her death. The paintings she created during the 1920s and 1930s fit into the movement of New Objectivity in Germany.

Text from the Wikipedia website

 

 

Rudolf Schlichter (German, 1890-1955) 'Margot' 1924

 

Rudolf Schlichter (German, 1890-1955)
Margot
1924

 

Bernhard Dörries (German, 1898-1978) 'Breakfast Still Life' 1927 (installation view)

 

Bernhard Dörries (German, 1898-1978)
Breakfast Still Life (installation view)
1927
Photo: Aubrey Perry

 

 

Bernhard Dörries (German, 1898-1978)

Bernhard Dörries ( May 26, 1898 in Hanover – July 15, 1978 in Bielefeld ) was a German painter and art writer .

Bernhard Dörries was a son of the Protestant theologian Bernhard Dörries (1856-1934), his older brother was the church historian Hermann Dörries (1895-1977).

In 1917 Dörries studied architecture at the Technical University of Hanover, but through Kurt Schwitters he began painting and studied at the Art Academy in Berlin. During study visits he got to know Italy, Spain and France. From 1924 he became a board member of the Kunstverein Hannover. In 1933 Dörries joined the National Socialist German Workers’ Party (NSDAP). At the Paris World Exhibition of 1937 he won a “Grand Prix” for a portrait of a girl. After the death of Georg Schrimpf in 1938, he received a professorship at the Art Academy in Berlin, which he held until the end of the Second World War held. From 1937 to 1944, Dörries was represented with 10 paintings at seven major German art exhibitions in Munich.

After the war, Dörries lived in Langenholtensen near Northeim until 1949 and then in Hanover. In 1955 he became a professor again at the Berlin University of the Arts and retired in 1970. From 1973 he was a member of the German Association of Artists.

Text translated from the German Wikipedia website

 

Bernhard Dörries (German, 1898-1978) 'Breakfast Still Life' 1927

 

Bernhard Dörries (German, 1898-1978)
Breakfast Still Life
1927

 

Gert Heinrich Wollheim (German, 1894-1974) 'Abshied von Düsseldorf' (Farewell from Dusseldorf) 1924 (installation view)

 

Gert Heinrich Wollheim (German, 1894-1974)
Abshied von Düsseldorf (Farewell from Dusseldorf) (installation view)
1924
Oil on canvas
Kunstpalast, Düsseldorf
Photo: Aubrey Perry

 

 

Gert Heinrich Wollheim (German, 1894-1974)

Gert Heinrich Wollheim (11 September 1894 – 22 April 1974) was a German expressionist painter later associated with the New Objectivity, who fled Nazi Germany and worked in the United States after 1947.

Gert Heinrich Wollheim was born in Dresden-Loschwitz. From 1911 to 1913, he studied at the College of Fine Arts in Weimar , where his instructors included Albin Egger-Lienz and Gottlieb Forster. From 1914-1917 he was in military service in World War I, where he sustained an abdominal wound. After the war he lived in Berlin until 1919, when Wollheim, Otto Pankok (whom he had met at the academy in Weimar), Ulfert Lüken, Hermann Hundt and others created an artists’ colony in Remels, East Frisia.

At the end of 1919, Wollheim and Pankok went to Düsseldorf and became founding members of the “Young Rhineland” group, which also included Max Ernst, Otto Dix, and Ulrich Leman. Wollheim was one of the artists associated with the art dealer Johanna Ey, and in 1922 he was taken to court over a painting displayed at her gallery. In 1925, he moved to Berlin, and his work, which always emphasised the theatrical and the grotesque, began a new phase of coolly objective representation. His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics.

After Hitler seized power in 1933 Wollheim’s works were declared degenerate art and many were destroyed. He fled to France and became active in the Resistance. He was one of the co-founders of the Union des Artistes Allemandes Libres, an organisation of exiled German artists founded in Paris in autumn 1937. In that same year, he became the companion of the dancer Tatjana Barbakoff. Meanwhile, in Munich, three of his pictures were displayed in the defamatory Nazi exhibition Entartete Kunst (Degenerate Art) in 1937.

From Paris, Wollheim fled to Saarbrücken and later to Switzerland. He was arrested in 1939 and held in a series of labor camps in France (Vierzon, Ruchard, Gurs and Septfonds) until his escape in 1942, after which he and his wife hid in the Pyrénées with the help of a peasant woman. At war’s end in 1945 he returned to France.

In 1947 he moved to New York and became an American citizen. He died in New York in 1974.

Text from the Wikipedia website

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

Gert Heinrich Wollheim (German, 1894-1974) 'Abshied von Düsseldorf' (Farewell from Dusseldorf) 1924

 

Gert Heinrich Wollheim (German, 1894-1974)
Abshied von Düsseldorf (Farewell from Dusseldorf)
1924
Oil on canvas
Kunstpalast, Düsseldorf

 

Otto Dix (German, 1891-1969) 'Karton zum "Groβstadt-Triptychon"' (Cartoon for "The Grande Ville triptych") 1927-1928 (installation view)

 

Otto Dix (German, 1891-1969)
Karton zum “Groβstadt-Triptychon” (Cartoon for “The Grande Ville triptych”) (installation view)
1927-1928
Charcoal, chalk, pencil, sanguine, gouache on drawing paper laid down on tile
3 panels
Photo: Aubrey Perry

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

Wall text from the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris

 

Otto Dix (German, 1891-1969) Karton zum "Groβstadt-Triptychon" (Cartoon for "The Grande Ville triptych") 1927-1928 (installation view detail)

 

Otto Dix (German, 1891-1969)
Karton zum “Groβstadt-Triptychon” (Cartoon for “The Grande Ville triptych”) (installation view detail)
1927-1928
Charcoal, chalk, pencil, sanguine, gouache on drawing paper laid down on tile
3 panels
Photo: Aubrey Perry

 

Otto Dix (German, 1891-1969) Karton zum "Groβstadt-Triptychon" (Cartoon for "The Grande Ville triptych") 1927-1928 (installation view detail)

 

Otto Dix (German, 1891-1969)
Karton zum “Groβstadt-Triptychon” (Cartoon for “The Grande Ville triptych”) (installation view detail)
1927-1928
Charcoal, chalk, pencil, sanguine, gouache on drawing paper laid down on tile
3 panels
Photo: Aubrey Perry

 

Otto Dix (German, 1891-1969) Karton zum "Groβstadt-Triptychon" (Cartoon for "The Grande Ville triptych") 1927-1928 (installation view detail)

 

Otto Dix (German, 1891-1969)
Karton zum “Groβstadt-Triptychon” (Cartoon for “The Grande Ville triptych”) (installation view detail)
1927-1928
Charcoal, chalk, pencil, sanguine, gouache on drawing paper laid down on tile
3 panels
Photo: Aubrey Perry

 

Georg Scholz (German, 1890-1945) 'Weiblicher Akt auf dem Sofa' (Female nude on the sofa) 1928

 

Georg Scholz (German, 1890-1945)
Weiblicher Akt auf dem Sofa (Female nude on the sofa)
1928
Oil on canvas

 

Hans Grundig (German, 1901-1958) 'Am Stadtrand' (On the outskirts) 1926

 

Hans Grundig (German, 1901-1958)
Am Stadtrand (On the outskirts)
1926
Oil on canvas

 

 

Hans Grundig (German, 1901-1958)

Hans Grundig (February 19, 1901 – September 11, 1958) was a German painter and graphic artist associated with the New Objectivity movement.

He was born in Dresden and, after an apprenticeship as an interior decorator, studied in 1920–1921 at the Dresden School of Arts and Crafts. He then studied at the Dresden Academy from 1922 to 1923. During the 1920s his paintings, primarily portraits of working-class subjects, were influenced by the work of Otto Dix. Like his friend Gert Heinrich Wollheim, he often depicted himself in a theatrical manner, as in his Self-Portrait during the Carnival Season (1930).

He had his first solo exhibition in 1930 at the Dresden gallery of Józef Sandel. He made his first etchings in 1933.

Politically anti-fascist, he joined the German Communist Party in 1926, and was a founding member of the arts organisation Assoziation revolutionärer bildender Künstler in Dresden in 1929.

Following the fall of the Weimar Republic, Grundig was declared a degenerate artist by the Nazis, who included his works in the defamatory Degenerate Art exhibition in Munich in 1937. He expressed his antagonism toward the regime in paintings such as The Thousand Year Reich (1936). Forbidden to practice his profession, he was arrested twice – briefly in 1936, and again in 1938, after which he was interned in Sachsenhausen concentration camp from 1940 to 1944.

In 1945 he went to Moscow, where he attended an anti-fascist school. Returning to Berlin in 1946, he became a professor of painting at the Dresden Academy of Fine Arts. In 1957 he published his autobiography, Zwischen Karneval und Aschermittwoch (“Between Shrovetide carnival and Ash Wednesday”). He was awarded the Heinrich Mann Prize in Berlin in 1958, the year of his death.

Text from the Wikipedia website

 

Hanna Nagel (German, 1907-1975) 'Untitled (Bare-Breasted Woman in Front of a Printing Press)' 1929

 

Hanna Nagel (German, 1907-1975)
Untitled (Bare-Breasted Woman in Front of a Printing Press)
1929
Graphite and watercolour on paper
46 x 60.5cm

 

 

Hanna Nagel (German, 1907-1975)

The daughter of a merchant and a teacher, Hanna Nagel was trained as a bookbinder before enrolling in the Fine Arts School in Karlsruhe in 1919. In an institution that had set up a lithographic and engraving studio at the beginning of the century, the young artist naturally turned towards these techniques, in which she demonstrated great skill. She took courses with Walter Conz, Wilelm Schnarrenberger and, most importantly, Karl Hubbuch, head of the Baden branch of the Neue Sachlichkeit (New Objectivity), the post-war German movement that advocated for a realist representation of the contemporary world. This began the first period in the artist’s work: she followed the example of her professor in terms of themes, highly social content, as well as in her bold and sharp style, which was generally unflattering for models. However, contrary to K. Hubbuch, she chose to treat her figures alone, isolated in their environment, giving them a strange presence (Zigeunerin (gypsy), Munich, 1928; Mädchen mit Blauem Mantel (girl in blue coat), 1929). In 1929, she moved to Berlin, where she took courses with Hans Meid and Emil Orlik at the Fine Arts Academy. She married the painter Hans Fischer in 1931. This marked the end of her realist period.

Marie Gispert. “Hanna Nagel,” on the AWARE (Archives of Women Artists Research & Exhibitions) website 2013 [Online] Cited 04/08/2022. From the Dictionnaire universel des créatrices. Translated from French by Katia Porro. © 2013 Des femmes – Antoinette Fouque © Archives of Women Artists, Research and Exhibitions

 

Christian Schad (German, 1894-1982) 'Graf St. Genois d'Anneaucourt' 1927 (installation view)

 

Christian Schad (German, 1894-1982)
Graf St. Genois d’Anneaucourt (installation view)
1927
Photo: Aubrey Perry

 

Christian Schad (German, 1894-1982) 'Graf St. Genois d'Anneaucourt' 1927

 

Christian Schad (German, 1894-1982)
Graf St. Genois d’Anneaucourt
1927

 

Christian Schad (German, 1894-1982) 'Anna Gabbioneta' 1927

 

Christian Schad (German, 1894-1982)
Anna Gabbioneta
1927
Oil on canvas

 

Christian Schad (German, 1894-1982) 'Bildnis Dr. Haustein' (Portrait of Dr. Haustein) 1928

 

Christian Schad (German, 1894-1982)
Bildnis Dr. Haustein (Portrait of Dr. Haustein)
1928
Oil on canvas

 

Willi Müller-Hufschmid (German, 1890-1966) 'Akademie modell' (Academic model) c. 1922

 

Willi Müller-Hufschmid (German, 1890-1966)
Akademie modell (Academic model)
c. 1922
Oil on paper on plywood

 

 

Willi Müller-Hufschmid studied from 1908 at the Academy of Fine Arts in Karlsruhe. During this time he got to know Rudolf Schlichter, Georg Scholz and other painters from the “Rih” group. He became known as a representative of the New Objectivity towards the end of the 1920s. In the 1950s he turned to abstract painting.

 

Installation view of the exhibition 'Germany / 1920s / New Objectivity / August Sander' at Centre Pompidou, Paris

 

Installation view of the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris showing at left, Georg Scholz’s Kacteen und Semaphore (Cacti and semaphores) (1923, below); at centre, Rudolf Dischinger’s Grammophon (Gramophone) (1930, below); and at right, Franz Xaver Fuhr’s Stillleben (Gummibaum) (Still life (Rubber tree)) (c. 1925, below)
Photo: Aubrey Perry

 

Georg Scholz (German, 1890-1945) 'Kacteen und Semaphore' (Cacti and semaphores) 1923

 

Georg Scholz (German, 1890-1945)
Kacteen und Semaphore (Cacti and semaphores)
1923
Oil on hardboard

 

Franz Xaver Fuhr (German, 1898-1973) 'Stillleben (Gummibaum)' (Still life (Rubber tree)) c. 1925

 

Franz Xaver Fuhr (German, 1898-1973)
Stillleben (Gummibaum) (Still life (Rubber tree))
c. 1925
Oil on canvas

 

 

Franz Xaver Fuhr (German, 1898-1973)

Franz Xaver Fuhr was born in Mannheim-Neckarau on 23 September 1898. As a painter Fuhr was an autodidact. Obeying his father’s wishes, he learned the painter’s trade. When Fuhr presented his watercolours at the Mannheim “Kunsthalle” for appraisal, the “Kunsthalle” immediately bought several works. As a token of his high esteem of Fuhr’s work the director of the Kunsthalle, Gustav Hartlaub, offered the artist financial support as well as a studio and an apartment in the Mannheim palace.

The artist exhibited watercolours in the autumn exhibition at the Berlin Akademie in 1927 as well as at the Gallery Nierendorf in 1928. Exhibitions in Danzig, Königsberg, Düsseldorf and Lübeck followed.

Fuhr was admitted to the “Deutscher Künstlerbund” and participated regularly in the association’s exhibitions. A sign of public appraisal was the award of the Prize of the “Preußische Akademie” and the Villa-Romana-Prize in 1930 and 1931. During this period Fuhr’s work is characterised by a delicate, flowing colour combined with a grid-like, austere linearity which structures the composition. The artist consistently elaborated this compositional principle during the early 1930s. His works became less austere for the benefit of a more painterly aspect. The deteriorating economic situation and the effects of National Socialist cultural politics also effected Fuhr. The “Städtische Kunsthalle” took his works off show as early as 1934 and three years later 23 of his works were confiscated in German museums. Several works were shown in the exhibition “Degenerate Art”. Fuhr was banned from pursuing his profession.

When his apartment in Mannheim was hit during an air-raid in 1943 the painter decided to leave his home town. He moved to Nabburg, where he stayed until 1950, and then took up residence in Regensburg. The painter was appointed professor at the “Akademie der Bildenden Künste” in Munich in 1946, a post which he held for 20 years.

Franz Xaver Fuhr retreated during the last years of his life and died on 16 December 1973.

Anonymous text. “Franz Xaver Fuhr,” on the Art Directory website Nd [Online] Cited 03/08/2022

 

Rudolf Dischinger (German, 1904-1988) 'Grammophon' (Gramophone) 1930

 

Rudolf Dischinger (German, 1904-1988)
Grammophon (Gramophone)
1930
Oil on plywood

 

 

Rudolf Dischinger studied at the Baden State Art School with Georg Scholz and Karl Hubbuch. In 1927 he graduated from school with the drawing teacher examination and worked as a teacher in Freiburg until 1939. During this time he painted urban landscapes and still lifes in the New Objectivity style. From 1939 until he was wounded in 1942 he was a soldier in France and Russia. From 1946 he lived again as a freelance artist in Freiburg. There he taught at the art academy until it was closed in 1954. He then worked again in school until his retirement in 1965. In 1976 he received the Reinhold Schneider Prize of the City of Freiburg. After 1945 he started abstract painting. In his last years he turned back to representational painting.

 

Alexander Kanoldt (German, 1881-1939) 'Stillleben mit Gitarre' (Still Life with Guitar) 1926

 

Alexander Kanoldt (German, 1881-1939)
Stillleben mit Gitarre (Still Life with Guitar)
1926
Oil on canvas

 

 

Alexander Kanoldt (German, 1881-1939)

Alexander Kanoldt (29 September 1881 – 24 January 1939) was a German magic realist painter and one of the artists of the New Objectivity. …

Alexander Kanoldt was born on 29 September 1881 in Karlsruhe in Baden-Württemberg, Germany. His father was the painter Edmund Kanoldt [de], a late practitioner of the Nazarene style.

After studies at the Academy of Fine Arts Karlsruhe he went to Munich in 1908, where he met a number of modernists such as Alexej von Jawlensky, Wassily Kandinsky and Gabriele Münter. He became a member of the Munich New Secession in 1913, with Jawlensky and Paul Klee.

After military service in World War I from 1914 to 1918, the still lifes Kanoldt painted show the influence of Derain and an adaptation of cubist ideas.

By the early 1920s Kanoldt developed the manner for which he is best known, a magic realist rendering of potted plants, angular tins, fruit and mugs on tabletops. He also painted portraits in the same severe style, as well as geometrical landscapes. In 1925 he was made a professor at Breslau Academy, a post he held until 1931. During this time he came into conflict with the Bauhaus faction at the Academy, and he was increasingly at odds with the avant garde. From 1933 until his resignation in 1936 he was the director of the State School of Art in Berlin.

With the rise of the Nazi regime in 1933 Kanoldt attempted accommodation, painting in a romantic style, but nonetheless many of his works were seized by the authorities as degenerate art in 1937. He died in Berlin on 24 January 1939.

Text from the Wikipedia website

 

Franz Lenk (1898-1968) 'Amaryllis' 1930

 

Franz Lenk (German, 1898-1968)
Amaryllis
1930
Egg tempera on canvas on wood
66 x 44cm

 

 

Franz Lenk (German, 1898-1968)

Franz Lenk (June 21, 1898 Langenbernsdorf, Germany – September 13, 1968 Schwäbisch Hall, Germany) was a landscape artist and co-founder of the group “The Seven”.

After an apprenticeship as a decorative painter and lithograph from 1912 to 1915, Franz Lenk studied at the Dresden Academy in 1916. Lenk was drafted for military service, and after from 1922 onwards he continued his studies. In 1928, Lenk was co-founder of the “Die Sieben” group and in 1929 Lenk was a member of the Berlin Artists’ Association, a member of the Berlin Secession in 1936, and a member of the Prussian Academy of Arts in 1937.

From 1933 to 1936 Franz Lenk was a member of the presidential council of the Reichskammer der bildenden Künste. Also in 1933, he was appointed professor to the United States School in Berlin. In 1937, Lenk denied his participation in the Great German Art Exhibition at the House of German Art and laid down his lecture at the United State School in protest against the defamation of his colleagues and against the repressive “art policy” in the “Third Reich”.

In 1950, he received a teaching assignment at the Carnegie Institute in Pittsburgh. In 1959, Lenk settled in Schwäbisch Hall, where he became the city’s cultural commissioner.

Anonymous text. “Lenz, Frank,” on the Hundertmarkartfair website Nd [Online] Cited 03/08/2022

 

Franz Lenk (German, 1898-1968) 'Stillleben mit gelber Tüte' (Still life with a yellow bag ) 1927

 

Franz Lenk (German, 1898-1968)
Stillleben mit gelber Tüte (Still life with a yellow bag)
1927
Mixed technique on canvas

 

Oskar Nerlinger (German, 1893-1969) 'Straßen der Arbeit' (Labour routes) 1930

 

Oskar Nerlinger (German, 1893-1969)
Straßen der Arbeit (Labour routes)
1930
Tempera on cardboard

 

Karl Völker (German, 1889-1962) 'Beton' c. 1924

 

Karl Völker (German, 1889-1962)
Beton
c. 1924
Oil on canvas

 

Karl Völker (German, 1889-1962) 'Industriebild' (Picture of Industry) 1924

 

Karl Völker (German, 1889-1962)
Industriebild (Picture of Industry)
1924
Oil on canvas

 

Karl Völker (German, 1889-1962) 'Bahnhof' (Train station) 1924-1926

 

Karl Völker (German, 1889-1962)
Bahnhof (Train station)
1924-1926
Oil on wood

 

 

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26
Jun
22

Exhibition: ‘Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany’ at Die Photographische Sammlung / SK Stiftung Kultur, Cologne

Exhibition dates: 11th February – 21st July, 2022

Featuring photographs by Eugène Atget, Lawrence Beck, Laurenz Berges, Karl Blossfeldt, Ursula Böhmer, Christian Borchert, Natascha Borowsky, Paul Dobe, Hans Eijkelboom, Folkwang-Auriga Verlag, Bernhard Fuchs, Candida Höfer, Fred Koch, August Kotzsch, Andreas Mader, Francesco Neri, Simone Nieweg, Gabriele and Helmut Nothhelfer, Albert Renger-Patzsch, Andrea Robbins/Max Becher, Judith Joy Ross, Martin Rosswog, August Sander, Oliver Sieber, Antanas Sutkus, Jerry L. Thompson, and Albrecht Tübke.

 

 

August Sander (German, 1876-1964) 'Das Siebengebirge von der unteren Terrasse hin zur Löwenburg' 1922

 

August Sander (German, 1876-1964)
Das Siebengebirge von der unteren Terrasse hin zur Löwenburg
The Siebengebirge from the lower terrace towards the Löwenburg castle

1922
Gelatin silver print
© Die Photographische Sammlung/SK Sitftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn, 2022

 

 

The gift of existence

It’s always a pleasure to be able to publish images by such photographic luminaries as August Sander and Karl Blossfeldt, although I feel the link between portrait, landscape and botanical photography is rather more complicated than the organisers of the exhibition would acknowledge in their press release … or, perhaps, we could rephrase that, of a different order of association than simply a result of human economics, culture and habitation over time as they state.

For me there is an essentialness about a human standing on the soil of earth, the energy of the tree of life spreading up through our limbs as we ground ourself in the earth – committing our body to the ground, earth to earth, ashes to ashes, dust to dust – whilst acknowledging the eternal energy of the cosmos. This has everything to do with understanding the time of the cosmos and the time of the earth (and our time on it), perceived as a connection to the earth as a living organism – Gaia, the Mother Earth – and very little to do with economics, culture or habitation. As Minor White would argue when photographing the landscape in meditation, he would hope for a release of energy in revelatio, in revelation, in the captured negative, over time. Again, very little to do with economics, culture or habitation.

Because of the concentration on his portrait photography, notably work from his major project People of the Twentieth Century (Menschen des 20. Jahrhunderts), the landscape photographs of August Sander are often overlooked and therefore underrated. Whilst in Cologne in 2019 I even went so far as to buy a rare book on Sander’s landscapes that’s how much I like them. The light in Sander’s landscape photographs with their expansive skies and panoramic vistas – paired with his intimate woodlands, snowscapes and photographs of ancient trees – have a magical energy embedded in them which crystallises life on earth. In this posting there is only one landscape but you can check out more online. There are also three magnificent portraits of Sander’s that I have never seen before: Newspaper publisher [Karl Richter] (1924, below); Blacksmith (c. 1930, below); and Fairground Woman (c. 1930, below).

I believe that one way that traditional photography can approach a new terrain of becoming, in order to lend photographic visions current and future pertinence, is a rebalancing of the scales between conceptual and what I would call “spiritual” photography. A factual documentary approach accompanied by a defined concept should not preclude access to the spiritual or the sublime in traditional photography, or an acknowledgement of other ways of seeing and feeling the world. A transcendent liminality can inhabit images, one in which we cross the threshold into a transitional state between one world and the next, where can photographs proffer a ‘releasement toward things’ which, as Heidegger observes, grant us the possibility of dwelling in the world in a totally different way. As I have continued to argue on Art Blart for the last 15 years, the essentialness or reality of photography is that the photograph is never truly here and is always located elsewhere – in our feelings, in our hearts, in our memories and in the time and energy of the cosmos that surrounds us. A photograph is as much a true vibration of energy as it is a concept or a document, if not more so.

“To try to see more and better is not a matter of whim or curiosity or self-indulgence. To see or to perish is the very condition laid upon everything that makes up the universe, by reason of the mysterious gift of existence.” ~ Teilhard de Chardin, “Seeing” 1947

Dr Marcus Bunyan

.
Many thankx to Die Photographische Sammlung/SK Stiftung Kultur for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

August Sander. 'Farming Couple, Westerwald' 1912

 

August Sander (German, 1876-1964)
Farming Couple, Westerwald
1912
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn 2021

 

August Sander (German, 1876-1964) 'Newspaper publisher [Karl Richter]' 1924

 

August Sander (German, 1876-1964)
Newspaper publisher [Karl Richter]
1924
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn 2021

 

August Sander (German, 1876-1964) 'Blacksmith' c. 1930

 

August Sander (German, 1876-1964)
Blacksmith
c. 1930
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn 2021

 

August Sander (German, 1876-1964) 'Three Generations of the Family' 1912

 

August Sander (German, 1876-1964)
Three Generations of the Family
1912
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn 2021

 

August Sander (German, 1876-1964) 'Fairground Woman' c. 1930

 

August Sander (German, 1876-1964)
Fairground Woman
c. 1930
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn 2021

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne showing at left, the work of August Sander including Three Generations of the Family (1912, above) and Farming Couple, Westerwald (1912, above)

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne showing at left, the work of August Sander (above); and at centre, the work of Andrea Robbins and Max Becher (below).

 

Max Becher (German, b. 1964) and Andrea Robbins (American, b. 1963) 'Franklin Willmore' 1999-2001

 

Max Becher (German, b. 1964) and Andrea Robbins (American, b. 1963)
Franklin Willmore
1999-2001
From the series Americans of Samaná
© Andrea Robbins und Max Becher

 

 

In 2022, Die Photographische Sammlung/SK Stiftung Kultur celebrates the 25th year of its exhibition program in Cologne’s Mediapark, launched in 1997 under the forward-looking title “Comparative Concepts.” This anniversary offers an occasion to present many works from the collection in two exhibitions, each with its own focus, enabling Die Photographische Sammlung to provide visitors with a broad overview of its holdings.

With over 380 exhibits, the current presentation focuses on the central themes of “Portraiture, Landscape, Botany” as illustrated by the work of 25 historical and contemporary artistic photographers. A second exhibition to follow from September 2 will spotlight the related areas of “Urban Life, Architecture, Industry.” Viewers will discover a variety of links between the two presentations.

The portrait genre will be examined first, based on the work of August Sander, whose archive has provided vital inspiration for the institution’s collection and program concept. With his iconic series “Citizens of the Twentieth Century,” represented in the current show by over 50 original prints, Sander took the photographic portrait in a new and innovative direction as a method of factual documentary. Compiled in the first half of the last century and consisting of hundreds of images, this work still has a singular standing to this day as an enormously multifaceted oeuvre following a predefined concept that was implemented step by step starting in the mid-1920s. The series reflects fundamental new challenges in dealing with the medium, as well as aspects of the individual and group portrait – considerations that are a core component of Die Photographische Sammlung.

The portraits in the collection for example inquire into the relationship between the individual and society, exploring questions of identity and of social, family, and professional circumstances and relationships, and thereby providing a glimpse of various life stages and living conditions. The influence of the ever-changing impulses, possibilities, and synergies over time is very much in evidence here. This connection is particularly vivid in documentary projects that are pursued over longer periods. They show how individuals are continuously shaped by the respective cultural environment. This circumstance is reflected not only in the image they have of their own lives but also in how they respond to their life realities.

Accordingly, the subject areas of landscape and botany are connected with the portrait on many levels. Like portraiture, landscape as both a human habitat and economic and cultural realm reflects temporal phenomena. Botanical studies that are rendered like portraits may come to life as naturalistic individuals or in other cases allude to the world of aesthetics and sculpture.

By offering an opportunity to compare and contrast various photo series, the exhibition compellingly underscores how the unifying criterion of a factual documentary approach accompanied by a defined concept has always been a leitmotif for the activities of Die Photographische Sammlung / SK Stiftung Kultur. A concentration on this specific current in photography is what defines the collection’s distinctive profile. Rather than representing a cross-section of the history of photography, the aim is to emphasise photographic visions that creatively guide traditional approaches onto new terrain in order to lend them current and future pertinence.

Press release from Die Photographische Sammlung/SK Stiftung Kultur

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne showing at right, the work of Simone Nieweg (below).

 

Simone Nieweg (German, b. 1962) 'Tomaten, Belfort/Cravanche' 2004

 

Simone Nieweg (German, b. 1962)
Tomaten, Belfort/Cravanche
2004
Chromogenic print
16 x 20 inches
© Simone Nieweg/VG Bild-Kunst, Bonn 2022

 

Simone Nieweg (German, b. 1962) 'Gewassertes Beet, Dusseldorf-Kalkum' 2004

 

Simone Nieweg (German, b. 1962)
Gewassertes Beet, Dusseldorf-Kalkum
2004
Chromogenic print
16 x 20 inches
© Simone Nieweg/VG Bild-Kunst, Bonn 2022

 

 

The gardens shown in Nieweg’s photographs is of a type known in German as Grabeland – literally “land for digging.” Unlike typical allotment gardens, such plots are not available for long-term lease or ownership but are instead zoned for interim use on a year-by-year basis until they become building land or are put to some other use. The plantings are also prescribed to reflect this provisional state; no perennials, bushes, shrubs, or trees are allowed.
Since Grabeland is impermanent terrain, entirely subject to utility and optimisation, one rarely finds here any of the decorative elements that populate allotment gardens. There are no garden furnishings, grills, or sun umbrellas – indeed there is nothing that would indicate the presence of leisure. What we see instead are the instruments of work, tools used to prepare the soil and cultivate the plants.

What Nieweg finds especially interesting about Grabeland are the forms and structures to which such conditions give rise. She has been working on this project since the mid-1980s, shortly after beginning her studies with Bernd Becher at the Düsseldorf Art Academy. Gardens, fields, landscapes, and more recently, views into forests are among the subjects that Nieweg has consistently explored in series taken over extended periods. She prefers using a large-format camera and elaborating her motifs in colour.

Text from the Die Photographische Sammlung/SK Stiftung Kultur, Köln website

 

 

Installation view of the exhibition Photographic Concepts and Treasures – Works from the Collection Part 1 – Portraiture, Landscape, Botany at Die Photographische Sammlung / SK Stiftung Kultur, Cologne showing at left, the work of Karl Blossfeldt (below); and at right, work published by Folkwang-Auriga Verlag (below).

 

Folkwang-Auriga Verlag. 'Compositae. Zinnia elegans' Knospe 1929/1930

 

Folkwang-Auriga Verlag
Compositae. Zinnia elegans Knospe
1929/1930
© gemeinfrei

 

Karl Blossfeldt (German, 1865-1932) 'Winterschachtelhalm, Stängelquerschnitt' (Winter horsetail, stem cross section), enlarged 30 times Before 1926

 

Karl Blossfeldt (German, 1865-1932)
Winterschachtelhalm, Stängelquerschnitt (Winter horsetail, stem cross section), enlarged 30 times
Before 1926
Gelatin silver print
© Karl Blossfeldt Archiv / Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München

 

Karl Blossfeldt (German, 1865-1932) 'Thujopsis dolabrata' 1928

 

Karl Blossfeldt (German, 1865-1932)
Thujopsis dolabrata
1928
Gelatin silver print
© Karl Blossfeldt Archiv / Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München

 

Karl Blossfeldt (German, 1865-1932) 'Cucurbita' 1928

 

Karl Blossfeldt (German, 1865-1932)
Cucurbita
1928
Gelatin silver print

 

Karl Blossfeldt (German, 1865-1932) 'Cirsium canum' (Grey thistle) 1928

 

Karl Blossfeldt (German, 1865-1932)
Cirsium canum (Grey thistle)
1928
Gelatin silver print
© Karl Blossfeldt Archiv / Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München

 

Karl Blossfeldt (German, 1865-1932) 'Hairy catsear – young leaf' 1928

 

Karl Blossfeldt (German, 1865-1932)
Hairy catsear – young leaf
1928
Gelatin silver print
© Karl Blossfeldt Archiv / Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München

 

August Kotzsch (German, 1836-1910) 'Roots over rocks' Around 1870

 

August Kotzsch (German, 1836-1910)
Roots over rocks
Around 1870
© public domain

 

Albert Renger-Patzsch (German, 1897-1966) 'Buchenwald' Before 1962

 

Albert Renger-Patzsch (German, 1897-1966)
Buchenwald
Before 1962
Gelatin silver print
© Albert Renger-Patzsch / Archiv Ann und Jürgen Wilde, Zülpich / VG Bild-Kunst, Bonn 2022

 

Christian Borchert (German, b. 1942) 'Familie A.' 1993

 

Christian Borchert (German, b. 1942)
Familie A. (Maler/Grafiker und Fotograf, Grafikerin) (Painter/graphic artist and photographer, graphic designer)
Steinhagen-Krummenhagen, 1993
© SLUB Dresden, Deutsche Fotothek

 

Andreas Mader (German, b. 1960) 'Rojan and Herveva' 2017

 

Andreas Mader (German, b. 1960)
Rojan and Herveva
2017
From the series Die Tage Das Leben (Days, Life), 1988-2018
© Andreas Mader

 

 

In the series “Die Tage Das Leben (Days. Life)”, begun in 1988, I photograph my friends again and again. I watch them finding themselves and each other and separating and having children; how they are alone and with others; how they get older and take each other’s hands so they don’t get lost along the way. I think of them full of tenderness. ~ Andreas Mader

 

Judith Joy Ross (American, b. 1946) 'Policeman, Bethlehem, Pennsylvania' 1990

 

Judith Joy Ross (American, b. 1946)
Policeman, Bethlehem, Pennsylvania
1990
© Judith Joy Ross

 

Oliver Sieber (German, b. 1966) 'Spiky, Osaka' 2006

 

Oliver Sieber (German, b. 1966)
Spiky, Osaka
2006
© Oliver Sieber, 2022

 

 

Oliver Sieber studied photography in Bielefeld and Düssseldorf. Since 1999 he has worked with Katja Stuke on Frau Böhm, a photo project in the form of a magazine.

Sieber’s work usually takes the form of series and he is fascinated by the subject of identity and the phenomenon of young people and their subcultures. This led to the series SkinsModsTeds, B-Boyz B-Girlz, 11Girlfriends and Boy meets Girl. In 2006 he spent time in Japan for an artist in residence programme, where he made the series J_Subs as well as character thieves, for which he photographed young people dressed up as their favourite manga characters. Over the past few years exhibitions of his work have been held at, among others, the Photographers Gallery London, the Photographische Sammlung SK / Stiftung Kultur in Cologne, the National Museum of Photography in Copenhagen, the Photo Espana Festival in Madrid, Yours gallery in Krakow and Fotomuseum Winterthur. Sieber has published a number of books. The latest two are based on his work character thieves and imaginary club.

Dr Christoph Schaden. “Oliver Sieber,” on the PhMuseum website Nd [Online] Cited 22/06/2022

 

Jerry L. Thompson (American, b. 1945) 'North Fifth Street off Bedford Avenue towards Berry Street' 19 June 2016

 

Jerry L. Thompson (American, b. 1945)
North Fifth Street off Bedford Avenue towards Berry Street
19 June 2016
© Jerry L. Thompson

 

Albrecht Tübke (German, b. 1971) 'London' 2001

 

Albrecht Tübke (German, b. 1971)
London
2001
From the series Citizens
© Albrecht Tübke

 

 

Tübke’s photographs examine the representation of the human being and the role of the individual in society, in search for its identity while oscillating between adaptation and demarcation. Among his most famous projects are the portrait series Dalliendorf from 1996 and Citizens from 2001.

 

In photography, Tübke’s field is the human image. These are mainly full – length portraits in which the colour is greatly reduced. Tübke is concerned with the representation of individuality and uniqueness of people. The people portrayed almost always look into the camera. Through the concentration of the gaze as well as through the sensitively observed posture of the person portrayed, Tübke succeeds in creating images of very strong intensity with a documentary approach.

Text translated from the German Wikipedia website

 

 

Die Photographische Sammlung/SK Stiftung Kultur
Im Mediapark 7
50670 Cologne
Phone: 0049-(0)221-88895 300

Opening hours:
Open daily 14 – 19hrs
Closed Wednesdays

Die Photographische Sammlung/SK Stiftung Kultur website

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15
May
22

Exhibition: ‘After August Sander: People of the 21st Century’ at Museum für Gegenwartskunst Siegen

Exhibition dates: 28th January – 29th May 2022

Curator: Thomas Thiel

 

 

August Sander (German, 1876-1964) 'Der erdgebundene Mensch' 1912

 

August Sander (German, 1876-1964)
Der erdgebundene Mensch (The earthbound human) / Peasant Woman, Westerwald
1912
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

 

I am not sure any of these kinds of exhibition – supposed extrapolations on the work of an earlier famous photographer, in this case contemporary photographers responding in diverse ways to renowned German photographer August Sander (1876-1964), icon of 20th century photography – serve any kind of lasting useful purpose, other than perhaps to acknowledge the alleged and, in most cases, slight influence of the earlier photographer.

While the contemporary work is strong in its own right, too often it seems shoehorned into the concept of the exhibition, artistic positions exhibited in order to revitalise the work of August Sander both directly and indirectly. Sander does not need revitalising… nor do the contemporary artists need the prop of his fame nor his conceptualisation of German identity, family and life to succeed with their projects. Their changed views of life and new influences on the individual are cogent enough – clear, logical, and convincing – not to need a conceptual walking frame.

However, the exhibition does give us the ability to, once more, marvel at the apparent simplicity and directness of Sanders’ portraits and the monumentality of his project “People of the 20th Century”. Frontal, low depth of field, beautiful light, tightly framed photographs which portray individuals as true characters who have undeniable “presence” in the viewers eyes. When thinking about the human condition, nothing in the rest of the exhibition comes close to their insight and intensity…

Dr Marcus Bunyan

.
Many thankx to the Museum für Gegenwartskunst Siegen for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

'After August Sander', Exhibition view, MGKSiegen

'After August Sander', Exhibition view, MGKSiegen

At second left, August Sander’s Pastry Cook 1928; at fifth left, Coal Delivery Man c. 1915; at seventh left, Handlanger (Bricklayer / Handyman) 1928; and at eighth right, Working-class Mother 1927

'After August Sander', Exhibition view, MGKSiegen

At left, Mother and daughter 1912; at third left, August Sander’s Village Band 1913; and at fourth left, Farmer on his Way to Church 1925-1926; and at right, Cretin 1924

 

After August Sander, Exhibition view, MGKSiegen
Work by August Sander, Portraits of People of the 20th Century, 1912-1932, printed 1961-1963
Contemporary Collection MGKSiegen
© Die Photographische Sammlung / SK Stiftung Kultur, Köln – August Sander Archiv; VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

 

With his collection of portraits, “People of the 20th Century”, August Sander (1876-1964) produced a monumental life’s work that not only made photographic history but went on to influence generations of artists. The photographer, who was born in Herdorf near Siegen, depicted professional groups and social classes for several decades. Altogether he collected more than 600 images in forty-five portfolios, organising them into seven categories: The Farmer, The Skilled Tradesmen, The Woman, Classes and Professions, The Artists, The City (city dwellers), and The Last People, who were found on the fringes of society. A selection was first assembled in the publication “Face of Our Time” (1929). By working on a portrait of society during his time, Sander not only developed archetypal images but also aimed to study the nature of man in relation to his community.

“After August Sander” combines the work of the world-famous yet regionally-based photographer with a contemporary perspective of 13 artists. At the heart of the exhibition is a group of 70 large-format photographs that Sander compiled as late as the early 1960s, also for presentations in the Siegerland. As a gift from Barbara Lambrecht-Schadeberg to mark the MGKSiegen’s 20th birthday, these are now being shown here for the first time. Starting out from this important group of works, the exhibition directs attention towards portraits of people in the 21st century and initiates further examination of images showing contemporary types.

The artistic positions exhibited revitalise the work of August Sander both directly and indirectly. The deliberate leap in time of about 100 years visualises our changed views of life and new influences on the individual. Despite the historical reference, “After August Sander” does not stick exclusively to the medium of photography, but presents video installations and sculptures in a reflection of our times.

With contributions by August Sander, Mohamed Bourouissa, Alice Ifergan-Rey, Jos de Gruyter and Harald Thys, Hans Eijkelboom, Omer Fast, Soham Gupta, Sharon Hayes, Bouchra Khalili, Ilya Lipkin, Sandra Schäfer, Collier Schorr, Tobias Zielony and Artur Zmijewski.

Supported by Kunststiftung NRW

Text from the Museum für Gegenwartskunst Siegen website

 

 

Rooms 1 and 2

 

August Sander (German, 1876-1964) 'Bauernpaar – Zucht und Harmonie' 1912

 

August Sander (German, 1876-1964)
Bauernpaar – Zucht und Harmonie
1912
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Mother and Daughter' 1912

 

August Sander (German, 1876-1964)
Mother and Daughter
1912
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Village Band' 1913

 

August Sander (German, 1876-1964)
Village Band
1913
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Jungbauern' (Young Farmers) 1914

 

August Sander (German, 1876-1964)
Jungbauern (Young Farmers)
1914
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Coal Delivery Man' c. 1915

 

August Sander (German, 1876-1964)
Coal Delivery Man
c. 1915
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Polizeibeamter. Der Wachtmeister' (Police Officer) 1925

 

August Sander (German, 1876-1964)
Polizeibeamter. Der Wachtmeister (Police Officer)
1925
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Der Maler Anton Räderscheidt' (Painter Anton Räderscheidt) 1926

 

August Sander (German, 1876-1964)
Der Maler Anton Räderscheidt (Painter Anton Räderscheidt)
1926
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Zirkusartistin' (Circus performer) 1926-1932

 

August Sander (German, 1876-1964)
Zirkusartistin (Circus performer)
1926-1932
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Handlanger' (Bricklayer / Handyman) 1928

 

August Sander (German, 1876-1964)
Handlanger (Bricklayer / Handyman)
1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Pastry Cook' 1928

 

August Sander (German, 1876-1964)
Pastry Cook
1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Boxers. Paul Röderstein and Hein Hesse. Köln' c. 1928

 

August Sander (German, 1876-1964)
Boxers. Paul Röderstein and Hein Hesse. Köln
c. 1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

 

August Sander (German, 1876-1964)

The selection of large-format exhibition copies of People of the 20th Century being shown for the first time in the Museum für Gegenwartskunst was compiled from various portfolios by Sander himself in 1961/63. They were intended for presentations in the Siegerland region and printed by his son Gunther Sander under his own supervision. The occasion for this was provided by, amongst others, two exhibitions entitled Antlitz der Zeit (Face of Our Time), shown in Siegen in 1964 and in the fire station close to Herdorf town hall in 1965. Beyond its international significance, for several reasons August Sander’s work also has considerable regional identification value. Sander was born in Herdorf and spent his childhood between Siegerland and the Westerwald. Siegen-based photographers Friedrich Schmeck and Carl Siebel inspired the young Sander to take up photography. Photographs dating from before 1914 were taken in or near his hometown and were subsequently included in the well-known picture atlas. He frequently spent time in the Westerwald and moved his residence to Kuchhausen due to the war in 1942. This exhibition brings a circle to a close in the MGKSiegen. Works by August Sander can now be shown permanently and as part of the collection in Siegen for the first time since the museum’s opening in 2001.

 

August Sander (German, 1876-1964) 'Cretin' 1924

 

August Sander (German, 1876-1964)
Cretin
1924
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Farmer on his Way to Church' 1925-1926

 

August Sander (German, 1876-1964)
Farmer on his Way to Church
1925-1926
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Working-class Mother' 1927

 

August Sander (German, 1876-1964)
Working-class Mother
1927
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Putzfrau' (Cleaning woman) 1928

 

August Sander (German, 1876-1964)
Putzfrau (Cleaning woman)
1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'The Industrialist' 1929

 

August Sander (German, 1876-1964)
The Industrialist
1929
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

 

Rooms 3 and 4

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen, Contemporary Collection MGKSiegen showing at left, a work by Sandra Schäfer Kontaminierte Landschaften, (2021); and at right, August Sander’s Bauernpaar – Zucht und Harmonie (1912) from “People of the 20th Century”, 1912-1932
© Die Photographische Sammlung / SK Stiftung Kultur, Köln – August Sander Archiv; ©  VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

Sandra Schäfer (German, b. 1970) 'Westerwald: Eine Heimsuchung' 2021 (still)

 

Sandra Schäfer (German, b. 1970)
Westerwald: Eine Heimsuchung
2021
Still showing the cover of August Sander – Líchtbíldner folio Der Bauer (The farmer)
© Sandra Schäfer/VG Bild-Kunst, Bonn 2022

 

Sandra Schäfer (German, b. 1970) 'Sandra Schäfer, Kontaminierte Landschaften' 2021 (installation view)

 

After August Sander, Exhibition view, MGKSiegen
Work by Sandra Schäfer, Kontaminierte Landschaften, 2021, Courtesy the artist
© VG Bild-Kunst, Bonn 2022
Photo: Philipp Ottendörfer

 

 

Sandra Schäfer (German, b. 1970)

Sandra Schäfer’s artistic practice is concerned with the development of urban and geopolitical space and its history. Her works are often based on long-term research that involves a re-presentation of images, documents, and narratives. In her video installation Westerwald: Eine Heimsuchung (2021), Schäfer – starting out from August Sander’s series of Westerwald farmers and rural labourers – deals with the transformation of the rural region in which she grew up, and by which she has been strongly influenced. Her great-greatgreat- aunt Katharina Horn, born Schäfer, and her husband Adam Horn, were also the famous farming couple that Sander photographed as early as 1912. The artist juxtaposes August Sander’s perspective with her own, contemporary view in the form of a double projection and two photographs. Schäfer shows how the landscape depicted and its agricultural use have changed over the course of time. She talks to relatives and farmers, as well as to photographic curators about Sander, his photos and the situation in the village of Kuchhausen. She is also interested in the value and varying attributions that the images have experienced in the art world and in private memories. The artist questions existing pictorial orders and narratives with her work, and so ventures her own personal search for home.

 

Sandra Schäfer (German, b. 1970) 'Westerwald: Eine Heimsuchung' 2021 (installation view not at Museum für Gegenwartskunst Siegen)

 

Sandra Schäfer (German, b. 1970)
Westerwald: Eine Heimsuchung (installation view not at Museum für Gegenwartskunst Siegen)
2021
© Sandra Schäfer/VG Bild-Kunst, Bonn 2022

 

Sandra Schäfer (German, b. 1970) 'Westerwald: Eine Heimsuchung' 2021 (still)

 

Sandra Schäfer (German, b. 1970)
Westerwald: Eine Heimsuchung
2021
Still
© Sandra Schäfer/VG Bild-Kunst, Bonn 2022

 

 

Room 5

 

Hans Eijkelboom. 'Photo Notes' 1994-2022 (installation view)

 

After August Sander, Exhibition view, MGKSiegen
Work by Hans Eijkelboom, Photo Notes, 1994-2022, Courtesy the artist
© Die Photographische Sammlung / SK Stiftung Kultur, Köln – August Sander Archiv; VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 21, 2006 (Camouflage)'

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 21, 2006 (Camouflage)
2006
Courtesy the artist

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 21, 2006 (Camouflage)' (detail)

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 21, 2006 (Camouflage) (detail)
2006
Courtesy the artist

 

 

Hans Eijkelboom (Dutch, b. 1949)

As early as 1981, Hans Eijkelboom realised an “Ode to August Sander” by asking and categorising citizens of Arnhem, where he lived at the time, on the basis of their distinguishing features and developing the results into a multi-part series of street photographs. Since the early 1990s, the artist has been taking photographs in the business districts of large cities around the world. Unnoticed, he analyses the pedestrians passing by and focuses on them according to formal criteria of their external appearance. Eijkelboom’s gaze – with a thoroughly benevolent sense of humour – falls on the people’s clothing. Fashion statements and similarities in behaviour interest him in formal terms, as uniform codes. He arranges his snapshot-like Photo Notes into groups according to the motif and date of the shot, and then presents them in wall-sized tableaus. Arranged in this way, the exclusively colour portraits direct the viewer’s attention towards the human need to distinguish oneself by means of external features and so underline one’s own identity. In Eijkelboom’s photographs, this striving for individuality is exposed as an illusion due to global trends and milieu-related codes.

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 23, 2015 (Hoed)'

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 23, 2015 (Hoed)
2015
Courtesy the artist

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 23, 2015 (Hoed)' (detail)

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 23, 2015 (Hoed) (detail)
2015
Courtesy the artist

 

 

Room 6

 

Omer Fast (Israeli, b. 1972) 'August' 2016 (still)

 

Omer Fast (Israeli, b. 1972)
August
2016
Still
Courtesy the artist
Photo: Stephan Ciupek/Filmgalerie 451

 

 

Omer Fast (Israeli, b. 1972)

In his films, Omer Fast frequently tells stories of trauma, war and relationships. His working method enables him to question current and historical events as well as the conventions of the cinematic narrator. The short film August (2016), shot in 3D, revolves around the life and work of August Sander, painting a fictional picture of his last days in the early 1960s. The cinematic flashbacks are oriented on biographical facts. In surreal dream sequences, Sander is haunted by memories: recalling his son Erich, who died as a victim of political persecution in a Nazi prison in 1944, as well as iconic motifs such as the Young Farmers or Workers hauling bricks. The film August shows both the visionary artist and the powerless man, scarred by personal loss and entangled in the political circumstances. Omer Fast deconstructs and at the same time contextualises the artist and man August Sander on the basis of his attitudes in an extremely difficult time politically, the late phase of the Weimar Republic and the transition to National Socialist Germany.

 

 

New Pictures: Omer Fast, Appendix exhibition video

This “New Pictures” exhibition [at the Minneapolis Institute of Art 2018] features two films by the Berlin-based Israeli artist Omer Fast (b. 1972), along with more than 20 portraits by the German photographer August Sander (1876-1964) from his series People of the Twentieth Century, selected from Mia’s and Minneapolis-based collections. Through reflections of Sander’s portraits, including Young Farmers (1914) and Bricklayer (1928), Fast’s latest film, August (2016), portrays Sander at the end of his life, tracing the photographer’s career during the transition from the Weimar Republic to Nazi Germany. Fast’s para-fictional (i.e., blending facts and fiction) film subverts the boundary between collective history and personal memory, questioning photography’s ability to tell the truth.

Text from the YouTube website

 

Omer Fast (Israeli, b. 1972) 'August' 2016 (still)

 

Omer Fast (Israeli, b. 1972)
August
2016
Still
Courtesy the artist
Photo: Stephan Ciupek/Filmgalerie 451

 

 

Room 7

 

Jos de Gruyter (Belgium, b. 1965) and Harald Thys (Belgium, b. 1966) 'Mondo Cane (The Town Crier)' 2019

 

Jos de Gruyter (Belgium, b. 1965) and Harald Thys (Belgium, b. 1966)
Mondo Cane (The Town Crier)
2019
Courtesy the artists and Galerie Isabella Bortolozzi, Berlin
Photo: Nick Ash

 

 

Jos de Gruyter (Beligian, b. 1965) and Harald Thys (Belgian, b. 1966)

Jos de Gruyter’s and Harald Thys’ works are devoted to the absurdity of the everyday. Their interest in the psychological state of societies leads them to create portraits of human existence both tragic and comical. The figures assembled here were part of the exhibition Mondo Cane (eng. Dog World) produced for the Belgian Pavilion at the 58th Venice Biennale in 2019. The presentation was conceived as a kind of folkloristic museum examining the human condition and its grotesque diversity. In the shape of partly mechanised, life-sized dolls, it gathered together simple artisans as well as madmen and outcasts. The doll heads were modelled on fictional characters as well as real people. Scattered throughout the exhibition rooms in Siegen we find a ventriloquist, a town crier, a Stasi spy and a French denunciator from the World War II era. As protagonists, they occupy the museum for the duration of the exhibition and interact with the other works. As representatives, the humorous and sinister characters refer to popular stereotypes as well as to historical attitudes and relationships within Europe.

 

 

Jos de Gruyter’s and Harald Thys’ work Mondo Cane (2019) at Biennale Arte 2019 – Belgium

 

Jos de Gruyter and Harald Thys. 'Madame Legrand' 2019

 

After August Sander, Exhibition view, MGKSiegen
Work by Jos de Gruyter and Harald Thys, Madame Legrand, 2019
Courtesy the artists and Galerie Micheline Szwajcer
Photo: Philipp Ottendörfer

 

 

Room 8

 

Sharon Hayes (American, b. 1970) 'Ricerche: one' 2019 (still)

 

Sharon Hayes (American, b. 1970)
Ricerche: one
2019
Still
Courtesy the artist and Tanya Leighton, Berlin

 

 

Sharon Hayes (American, b. 1970)

Sharon Hayes’ videos, performances and installations address the complex processes of shaping public opinion on politics, history, identity and language. Her film series Ricerche (engl. Research) began in 2013 and now consists of five parts. Her starting point was the documentary film Love Meetings (1964, ital. Comizi d’amore) by Pier Paolo Pasolini, who travelled through Italy to ask people of different ages and social backgrounds explicit questions about love, sexuality, and morality. Hayes follows the structure of the film and the conceptual idea of interviewing people outdoors and in groups. The video diptych Ricerche: one (2019) portrays two age groups: 5-8 year olds and young adults. All the participants in the video, shot in Provincetown (Massachusetts, USA), are children of queer parents. Depending on their age, they give fragmented or detailed insights into their complex family structures. The artist mirrors social understanding of gender dominated by the norm, sexuality and family constellations. She shows how present conditions shape national, religious and ethnic identities.

 

 

Biennale Arte 2013 – Sharon Hayes

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Sharon Hayes, Ricerche: one, 2019, Courtesy the artist and Tanya Leighton, Berlin
© VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

 

Room 9

 

Mohamed Bourouissa and Alice Ifergan-Rey. 'Je vous raconte comment Mohamed Bourouissa a changé des chômeurs en sculpture dans un camion à Marseille' (I tell you how Mohamed Bourouissa changed unemployed people into sculpture in a truck in Marseille) 2019

 

Mohamed Bourouissa and Alice Ifergan-Rey
Je vous raconte comment Mohamed Bourouissa a changé des chômeurs en sculpture dans un camion à Marseille
I tell you how Mohamed Bourouissa changed unemployed people into sculpture in a truck in Marseille

2019
Still
© Mohamed Bourouissa /VG Bild-Kunst, Bonn 2022 and Alice Ifergan-Rey

 

 

L’Utopie d’August Sander, Mohamed Bourouissa, Alice Ïfergan-Rey

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Collier Schorr, Castle, 1994, Collier as Horst, 2021, Swimming Pool Eyes, 1996, A Possible Mutation, 1994, After Cindy Sherman, 1994
© the artist, Courtesy Stuart Shave/ Modern Art, London and 303 Gallery, New York
Photo: Philipp Ottendörfer

 

Collier Schorr (American, b. 1963) 'Swimming Pool Eyes' 1996

 

Collier Schorr (American, b. 1963)
Swimming Pool Eyes
1996
Black and white photograph
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

Collier Schorr (American, b. 1963) 'A Possible Mutation' 1994

 

Collier Schorr (American, b. 1963)
A Possible Mutation
1994
C-print
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

 

Collier Schorr (American, b. 1963)

Collier Schorr’s portraits can be positioned in the border area between documentation, staging and fiction. Her photographs explore the relationship between nationality, gender, and identity. For over 20 years, Schorr travelled to southern Germany every summer to visit the small town of Schwäbisch Gmünd. Her portraits of the town’s inhabitants taken against an authentic local backdrop reflect a fascination with a culture that was initially foreign to her. Collier Schorr places androgynous-looking teenagers in the German landscape, which she sees as pastoral. They are mostly male adolescents from her close environment, photographed in the garden, in front of and on trees, or in the forest. One of the main characters is Horst, and she adds a later self-portrait to this group: Collier as Horst (2021), wearing men’s underpants and gripping her crotch. These stagings, which dissolve gender boundaries by means of clothing, makeup and props, also include portraits of uniformed soldiers as pictorial subjects. In Matti at Attention (Durlangen) (2001), which shows a young man as a soldier in a forest clearing, the landscape takes on a symbolic charge and becomes a speculative space of remembrance. Aware of Sander’s photographic approach and the gaps in his reception, Schorr sets out to find her own Face of our Time that incorporates her Jewish origins and personal ideas of Germany.

 

After Horst

“I had these ideas about modern West Germany. It was silent. It was empty. The figures were small, or they were art students lined up in front of coloured squares of paper. Whatever I saw in the work of Andreas Gursky and Thomas Struth and Thomas Ruff was somewhat perfect, organised, static, airless. And frozen in time that looked like the 70’s. West Germany itself, a word I might see on a watch face or an Olympic memorial to the Israeli wrestlers killed by Palestinians in Munich. Somehow, I was there and not there. Dead, memorialised, alive and dead again.

I went to Germany in 1989. And again, for 20 summers. During the third summer I started taking photographs. I was convinced the German landscape held some truth other than the one I had seen in the large-scale imports I saw at 303 Gallery and Marian Goodman Gallery. Schwäbisch Gmünd was soft and pastoral. And the local boys seemed soft and pastoral. I would have never made photos in New York. Nan Goldin, Jack Pierson and Larry Clark already made them. But in Germany, I could take a figure of my imagination and place them in the landscape memorialised by the Düsseldorf School. And I could as they say now – queer the space. So I shot my girlfriend’s nephew Horst and a fusion of myself and him, of a young girl and of a young boy of a woman who looked like a boy. I wanted to make him suffer for his luxury… as if he knew he had this luxury which I can never know. Ultimately, it’s a simple proposition. An image of queerness in an open airfield, rather than a club or a closet or a tenement New York apartment or West Side street corner. One image is called After Cindy Sherman because of how I wished I could use myself to talk about myself. But to do that I would have to find my image bearable and I did not. I saw Germany as a very romantic place and I attacked it and was seduced by it every year. I took the one category in August Sander’s work that the Düsseldorf kids didn’t touch: the Nazi’s. I thought to myself, wow, they really left those soldiers out. Don’t they realise that’s the guts and the ghosts worth tearing apart? I began to enjoy the fact that my story about Germany, my Antlitz Der Zeit, was completely ignored. Too romantic, too gay but not authored by a gay male, too Jewish but not Jewish enough, too personal.

Now I look at Horst and I think about my own body naked on the cover of Frieze magazine and dancing in a ballet I’m making. And posing with Jordan Wolfson in Fantastic Man. The same face the same hair. Over 30 years difference. Suddenly acceptable. Perhaps because the queer figure has more presence agency representation. I still find Horst, with his Levis’s and sweat socks, the tropes of Christopher Street and his teenage girl make up somewhat radical. Because he looks like a living paper doll. Dressed and pasted into a landscape to disrupt the pristine crisis of a German photograph, transmounted, with a wide white border, expansive and somewhat toeing the line.”

Collier Schorr. “After Horst,” on the Modern Art website March 2021 [Online] Cited 02/04/2022

 

Collier Schorr (American, b. 1963) 'After Cindy Sherman' 1994

 

Collier Schorr (American, b. 1963)
After Cindy Sherman
1994
C-print
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

Collier Schorr (American, b. 1963) 'Wes Portrait' 2009-2018

 

Collier Schorr (American, b. 1963)
Wes Portrait
2009-2018
Black and white photograph
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

Room 10

 

Bouchra Khalili (Moroccan-French, b. 1975) 'The Tempest Society' 2017

 

Bouchra Khalili (Moroccan-French, b. 1975)
The Tempest Society
2017
Still
Courtesy mor charpentier, Paris
© VG Bild-Kunst, Bonn 2022

 

 

Bouchra Khalili (Moroccan-French, b. 1975)

In her films, photographs, installations and publications, Bouchra Khalili examines the effects of colonial history on migration and political self-image. She provides a voice for social minorities, repeatedly formulating the links between individual actions and collective history. For the video work The Tempest Society (2017), which was shown for the first time at documenta 14, a group of Athenians come together on the stage of a former factory to talk about Europe and their own homeland. It is a portrait of three people from different social backgrounds who joined together to form a theatre group called The Tempest Society. The title is homage to Al Assifa (arab: The Tempest), a project by North African workers and French students who founded an ensemble in Paris in the 1970s to address issues such as racism and social inequality. The individuals in Khalili’s The Tempest Society also address similar problems in contemporary society: Ghani, Katerina and Malek talk about their experiences as people living in Europe and share their stories with each other. At the same time, it is about sharing a collective space – both on stage and in life, and about how the European continent may provide a home.

 

 

Bouchra Khalili. The Tempest Society / Twenty-Two Hours 24. August – 21. Oktober 2018

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Bouchra Khalili, The Tempest Society, 2017, Courtesy the artist
© VG Bild-Kunst, Bonn 2022
Photo: Philipp Ottendörfer

 

 

Room 11

 

Artur Żmijewski (Polish, b. 1966) 'Dieter, Patricia, Ursula' 2007

 

Artur Żmijewski (Polish, b. 1966)
Dieter, Patricia, Ursula
2007
Still
Courtesy the artist, Galerie Peter Kilchmann, Zürich, and Foksal Gallery Foundation, Warschau

 

 

Artur Żmijewski (Polish, b. 1966)

Artur Żmijewski is known for his works investigating historical as well as current social orders – often in a radical way, employing mechanisms of power and oppression. The human body is an essential means of expression in his provocative works, which are mainly interviews, documentaries or experimental settings. The trilogies Dieter, Patricia, Ursula (2007) and Katarzyna, Barbara, Zofia (2012) belong to a ten-part series, for which Żmijewski observed people in Germany, Italy, Mexico and Poland with his camera – each for over 24 hours, as they carried out a simple but often physically strenuous activity. In this case, he accompanies an excavator driver, a snack vendor, a tram driver and three cleaners in their everyday lives – from the moment they get up in the morning until they go to bed. From the footage, Żmijewski created a 15-minute portrait of each person, following the artist’s narrative structure alone, and simply showing what happens without any commentary. Routine and moments of repetition are common to all the portraits. Apparently individual, they are also representative of a group within society. The artist therefore functions, on the one hand, as a sociological catalyst of snapshots; on the other hand, the medium of documentary filming operates as an objective instance.

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
From left, work by Tobias Zielony, Selection of: Curfew, 2001, Ha Neu, 2003, Quartier Nord, 2003, Big Sexyland, 2006, The Cast, 2007, Trona – Armpit of America, 2008, Manitoba, 2009-2011, Jenny Jenny, 2013, Golden, 2018, Courtesy the artist and KOW, Berlin; and at right, Artur Żmijewski’s Dieter, Patricia, Ursula, 2007 (still), © the artist, Courtesy Galerie Peter Kilchmann, Zürich and Foksal Gallery Foundation, Warschau
Photo: Philipp Ottendörfer

 

 

Room 12

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Ilya Lipkin, Untitled, 2019, Courtesy the artist and Lars Friedrich, Berlin
Photo: Philipp Ottendörfer

 

Ilya Lipkin (Latvian, b. 1982) 'Untitled' 2019

 

Ilya Lipkin (Latvian, b. 1982)
Untitled
2019
Courtesy the artist and Lars Friedrich, Berlin

 

 

Ilya Lipkin (Latvian, b. 1982)

In his work, Ilya Lipkin breaks with the conventions of applied and artistic photography, moving playfully between fashion and art, studio and street photography. His work is characterised by a self-reflective approach incorporating contemporary trends and styles. The series Untitled (2019) assembles a number of photographs of young women, all taken in public places in various cities around the world, including on Alexanderplatz in Berlin. Photographed with a fast-focus digital camera in burst mode, the images have been retouched and edited according to the usual standards of fashion photography. In some cases, the background was removed and replaced with bright red or neutral white. This immediacy reveals a generation of girls and young women who are extremely conscious of their own image, but also influenced visually by the clichéd image conventions of social media channels. Quite intuitively, they seem to deny us any insight into their inner selves. By means of clothing, style and technology, they express their desire to please in a global society rather than in specific subcultures.

 

Ilya Lipkin (Latvian, b. 1982) 'Untitled' 2019

 

Ilya Lipkin (Latvian, b. 1982)
Untitled
2019
Courtesy the artist and Lars Friedrich, Berlin

 

Ilya Lipkin (Latvian, b. 1982) 'Untitled' 2019

 

Ilya Lipkin (Latvian, b. 1982)
Untitled
2019
Courtesy the artist and Lars Friedrich, Berlin

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Tobias Zielony, Selection of: Curfew, 2001, Ha Neu, 2003, Quartier Nord, 2003, Big Sexyland, 2006, The Cast, 2007, Trona – Armpit of America, 2008, Manitoba, 2009-2011, Jenny Jenny, 2013, Golden, 2018, Courtesy the artist and KOW, Berlin
Photo: Philipp Ottendörfer

 

Tobias Zielony (German, b. 1973) 'Jay' 2007

 

Tobias Zielony (Germany, b. 1973)
Jay
2007
Courtesy the Artist and KOW, Berlin

 

Tobias Zielony (German, b. 1973) 'Skandalous' 2007

 

Tobias Zielony (Germany, b. 1973)
Skandalous
2007
Courtesy the Artist and KOW, Berlin

 

 

Tobias Zielony (Germany, b. 1973)

In his photographs and videos, Tobias Zielony directs artistic attention towards youth subcultures and marginalised groups in society. His image cycles, developed over a long period of time and drawing on various means of pictorial reportage, are always characterised by a special intimacy and direct proximity. Social, media and subcultural changes provide the thematic framework for these photographs. In his work, Zielony has dealt frequently with the significance of origins, fashion, and the representation of identity. For this exhibition and with a view to August Sander’s portfolio work, he has now assembled a first selection of portraits from the last twenty years. On view are single, double, and group portraits ranging from the early series Curfew (2001), depicting youths in Bristol, to a more recent series, Golden, featuring Riga’s queer underground scene. The presentation highlights strategies of portraiture, masking as well as the increased intermingling of social and visual codes in global, mediatised cultural development. Zielony’s fascination with the people photographed reveals a fundamental human interest in the Other in the sense of experiencing foreignness and vibrancy apart from traditional social categories.

 

Tobias Zielony (German, b. 1973) 'Two boys' 2008

 

Tobias Zielony (Germany, b. 1973)
Two boys
2008
Courtesy the Artist and KOW, Berlin

 

Tobias Zielony (Germany, b. 1973) From the series 'Golden' 2018

 

Tobias Zielony (Germany, b. 1973)
From the series Golden
2018
Courtesy the Artist and KOW, Berlin

 

 

Room 13

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Soham Gupta, Untitled, from the series Angst (2013-2017), Courtesy the artist
Photo: Philipp Ottendörfer

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

 

Soham Gupta (Indian, b. 1988)

As early as 10 years ago, Soham Gupta began photographing people he encountered in the darkness by Howrah Bridge in the Indian megacity, Calcutta. The bridge connects the two Indian cities of Calcutta and Howrah across the Hugli River. Nearby is Howrah Railway Station, one of the largest railway stations in India. His photographs in colour and black and white capture people across all age groups, who seem to belong to the lower class. The living spaces captured in the photographs leave no doubt about their poverty and their status as social outsiders, abandoned and cast out. While these snapshots – glaring flash images set against dark backdrops – have a certain fleeting character and convey the impression of spontaneous shots, they are in fact the partly staged results of a development in the relationship between the photographer and the respective sitter. These people – individuals, couples or small groups – look towards the camera, towards the artist or their bodies are angled in his direction. Sometimes, they assume poses that seem grotesque. The series Fear poses the question of the photographer’s ambivalent role between the apparent objectivity of documentary photography and the importance of a subjective perspective. In essence, Gupta’s photographs focus on the human condition and search for a connection with marginalised groups in a society.

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

 

Museum für Gegenwartskunst Siegen
Unteres Schloss 1
57072 Siegen
Phone: 0271 405 77 10

Opening hours:
Monday Closed
Tuesday 11am – 6pm
Wednesday 11am – 6pm
Thursday 11am – 8pm
Friday 11am – 6pm
Saturday 11am – 6pm
Sunday 11am – 6pm

Museum für Gegenwartskunst Siegen website

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17
Apr
21

Exhibition: ‘Faces. The Power of the Human Visage’ at the Albertina, Vienna

Exhibition dates: 12th February – 20th June 2021

Artists: Gertrud Arndt, Marta Astfalck-Vietz, Irene Bayer, Aenne Biermann, Erwin Blumenfeld, Max Burchartz, Suse Byk, Paul Citroen, Carl Theodor Dreyer, Andreas Feininger, Werner David Feist, Trude Fleischmann, Jozef Glogowski, Paul Edmund Hahn, Lotte Jacobi, Grit Kallin-Fischer, Edmund Kesting, Rudolf Koppitz, Kurt Kranz, Anneliese Kretschmer, Germaine Krull, Erna Lendvai-Dircksen, Helmar Lerski, László Moholy-Nagy, Lucia Moholy, Oskar Nerlinger, Erich Retzlaff, Hans Richter, Leni Riefenstahl, Franz Roh, Werner Rohde, Ilse Salberg, August Sander, Franz Xaver Setzer, Robert Siodmak, Anton Stankowski, Edgar G. Ulmer, Umbo, Robert Wiene, Willy Zielke.

 

 

Helmar Lerski (Swiss, 1871-1956) 'Metamorphosis, 588' 1935-1936

 

Helmar Lerski (Swiss, 1871-1956)
Metamorphosis, 588
1935-1936
Gelatin silver print
The ALBERTINA Museum, Vienna © Estate Helmar Lerski – Museum Folkwang, Essen

 

 

There is a limited number of media images from Faces. The Power of the Human Visage at the Albertina, Vienna, an exhibition which investigates how 1920s and ’30s saw photographers radically renew the conventional understanding of the classic portrait during the Weimar Republic. From a distance, the overall selection of artists seems slightly ad hoc: mainly German or Austrian, with Swiss, Polish, Danish and American thrown in for good measure. Surely then, you would include luminaries such as Claude Cahun, Florence Henri and Eva Besnyö for example.

The standouts in the posting are August Sander and Herman Lerski, both from opposing camps. Peter Pfrunder observes that Lerski’s earlier subjects, “showed portraits of anonymous people from the underclass of the Berlin society, presenting them as theatrical figures so that professional titles such as “chamber maid”, “beggar” or “textile worker” appeared as arbitrarily applied roles” that reveal the inner face of the photographer (his imagination) – whereas the work of Sander, who was at the same time working on his project “Menschen des 20. Jahrhunderts”, was an objective, social taxonomy of various representatives of the Weimar society.

Lerksi’s is the more esoteric enterprise, as he sought to provide proof “”that the lens does not have to be objective, that the photographer can, with the help of light, work freely, characterise freely, according to his inner face.” Contrary to the conventional idea of the portrait as an expression of human identity, Lerski used the human face as a projection surface for the figures of his imagination.” The Howard Greenberg gallery suggests that the “portraits” reflect a search for the photographers own wandering soul.

For me Lerki’s project Metamorphosis through Light (1935/36) – 137 “photographs of a man” taken by the artist on a Tel Aviv rooftop using natural sunlight and the help of up to 16 mirrors and filters – is a meditation on the mutability of the human face, identity and psyche, a brooding contemplation on the ever changing nature of the human spirit pictured through the face, over time. In this case, a compressed time atop a rooftop in Tel Aviv using an out-of-work structural draughtsman and light athlete, Leo Uschatz, as a stand-in for the artist himself.

Our face becomes us. It is our presentation to the world of who we are. The worry lines, the grey hair and the broken nose are all hard-earned signs of the life that we have led. The iconography of the face. Lerski captures this outer reflection of our inner self in a series of transcendent, abstract, modernist visages [the manifestation, image, or aspect of something] – that are among the most powerful representations of the human face that have ever been captured on film.

In their very context less being, in their very transposition from prophet, to peasant, to dying soldier, to old woman, to monk, they transgress [go beyond the limits of, and become an aspect of something else] what is normally seen and recognised of what Erwin Goffman calls ‘facework’,1 our interaction through our face with the outside world. They go beyond saving face: “Because in the face the corporeal surface makes visible something of the movements of the soul, ideally.”2

In light, through time, their transmutation is the transformation of our lives, compressed, condensed, communicated.

Dr Marcus Bunyan

PS. For more information on the face, please see my writing Facile, Facies, Facticity (2014)

 

  1. Facework theory is concerned with the ways in which we construct and preserve our self images, or the image of someone else. See Goffman, Erving. (1955) “On face-work: An analysis of ritual elements in social interaction,” in ‘Psychiatry: Journal for the Study of Interpersonal Processes 18, pp. 213-231.
  2. Georges Didi-Huberman. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 49.

.
Many thankx to the Albertina for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Starting from Helmar Lerski’s outstanding photo series Metamorphose – Verwandlungen durch Licht (Metamorphosis through Light) (1935/36), the exhibition Faces presents portraits from the period of the Weimar Republic.

The 1920s and ’30s saw photographers radically renew the conventional understanding of the classic portrait: their aim was no longer to represent an individual’s personality; instead, they conceived of the face as material to be staged according to their own ideas. In this, the photographed face became a locus for dealing with avant-garde aesthetic ideas as well as interwar-period social developments. And it was thus that modernist experiments, the relationship between individual and general type, feminist roll-playing, and political ideologies collided in – and thereby expanded – the general understanding of portrait photography.

 

 

“For heaven’s sake, dear Mr. Meidner, you aren’t going to throw down your brush and palette and become a photographer, are you? … Don’t take offence at the machine. Here too, it’s the spirit that creates value… Photography is something great. It doesn’t do any good to step back and cry. Join in, but hurry! Photography marches on!”

.
Helmar Lerski to the painter Ludwig Meidner, 1930

 

“His model, he [Lerski] told me in Paris, was a young man with a nondescript face who posed on the roof of a house. Lerski took over a hundred pictures of that face from a very short distance, each time subtly changing the light with the aid of screens. Big close-ups, these pictures detailed the texture of the skin so that cheeks and brows turned into a maze of inscrutable runes reminiscent of soil formations, as they appear from an airplane. The result was amazing. None of the photographs recalled the model; and all of them differed from each other.

Out of the original face there arose, evoked by the varying lights, a hundred different faces, among them those of a hero, a prophet, a peasant, a dying soldier, an old woman, a monk. Did these portraits, if portraits they were, anticipate the metamorphoses which the young man would undergo in the future? Or were they just plays of light whimsically projecting on his face dreams and experiences forever alien to him? Proust would have been delighted in Lerski’s experiment with its unfathomable implications.”

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Siegfried Kracauer. ‘Theory of Film’. Oxford University Press, 1960, p. 162

 

“‘Facies’ simultaneously signifies the singular ‘air’ of a face, the particularity of its aspect, as well as the ‘genre’ or ‘species’ under which this aspect should be subsumed. The facies would thus be a face fixed to a synthetic combination of the universal and the singular: the visage fixed to the regime of ‘representation’, in a Helgian sense.

Why the face? – Because in the face the corporeal surface makes visible something of the movements of the soul, ideally. This also holds for the Cartesian science of the expression of the passions, and perhaps also explains why, from the outset, psychiatric photography took the form of an art of the portrait.”

.
Georges Didi-Huberman. ‘Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere’ (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 49

 

 

Helmar Lerski (Swiss, 1871-1956) 'Metamorphosis, 536' 1935-1936

 

Helmar Lerski (Swiss, 1871-1956)
Metamorphosis, 536
1935-1936
Gelatin silver print
The ALBERTINA Museum, Vienna © Estate Helmar Lerski – Museum Folkwang, Essen

 

Helmar Lerski (Swiss, 1871-1956) 'Metamorphosis, 537' 1935-1936

 

Helmar Lerski (Swiss, 1871-1956)
Metamorphosis, 537
1935-1936
Gelatin silver print
The ALBERTINA Museum, Vienna © Estate Helmar Lerski – Museum Folkwang, Essen

 

 

But Lerski’s pictures were only partly in line with the maxims of the New Photography, and they questioned the validity of pure objectivity. The distinguishing characteristics of his portraits included a theatrical-expressionistic, sometimes dramatic use of lighting inspired by the silent film. Although his close-up photographs captured the essential features of a face – eyes, nose and mouth –, his primary concern was not individual appearance or superficial likeness but the deeper inner potential: he emphasised the changeability, the different faces of an individual. Lerski, who sympathised with the political left wing, thereby infiltrated the photography of types that was practised (and not infrequently misused for racist purposes) by many of Lerski’s contemporaries.

In his book “Köpfe des Alltags” (Everyday Faces) (1931), a milestone in the history of photographic books, Lerski clearly expressed his convictions: he showed portraits of anonymous people from the underclass of the Berlin society, presenting them as theatrical figures so that professional titles such as “chamber maid”, “beggar” or “textile worker” appeared as arbitrarily applied roles. Thus his photographs may be interpreted as an important opposite standpoint to the work of August Sander, who was at the same time working on his project “Menschen des 20. Jahrhunderts” – that large-scale attempt at a social localisation of various representatives of the Weimar society.

But Helmar Lerski’s attitude was at its most radical in his work entitled “Metamorphosis”. This was completed within a few months at the beginning of 1936 in Palestine, to where Lerski and his second wife Anneliese had immigrated in 1932. In “Verwandlungen durch Licht” (this is the second title for this work), Lerski carried his theatrical talent to extremes. With the help of up to 16 mirrors and filters, he directed the natural light of the sun in constant new variations and refractions onto his model, the Bernese-born, at the time out-of-work structural draughtsman and light athlete Leo Uschatz. Thus he achieved, in a series of over 140 close-ups “hundreds of different faces, including that of a hero, a prophet, a peasant, a dying soldier, an old woman and a monk from one single original face” (Siegfried Kracauer). According to Lerski, these pictures were intended to provide proof “that the lens does not have to be objective, that the photographer can, with the help of light, work freely, characterise freely, according to his inner face.” Contrary to the conventional idea of the portrait as an expression of human identity, Lerski used the human face as a projection surface for the figures of his imagination. We are only just becoming aware of the modernity of this provocative series of photographs.

Peter Pfrunder. “Helmar Lerski: Metamorphosis,” on the Fotostiftung Schweiz website 2005 [Online] Cited 17/04/2021.

 

Lerski led a nomadic existence, driven by the events that splintered Europe and the Holy Lands throughout his life. His life was a sequence of transportations without a central resting place. It might be assumed that his thematic focus in photography, as pictured in his books Köpfe des Alltags, Les Juifs (of the “Jewish Heads” series) and Metamorphosis Through Light was of an external fascination with the human face and gesture but really reflects a search for his own self. The constant exposure to anti-Semitism and its horrible repercussions resulted in an acknowledgment of his own Judaism and for an historical identity. Ultimately, Lerski’s penetrating vision of others is a mirror of his own wandering soul.

Anonymous text on the Howard Greenberg website [Online] Cited 17/04/2021.

 

Helmar Lerski (Swiss, 1871-1956) 'Metamorphosis, 604' 1935-1936

 

Helmar Lerski (Swiss, 1871-1956)
Metamorphosis, 604
1935-1936
Gelatin silver print
The ALBERTINA Museum, Vienna © Estate Helmar Lerski – Museum Folkwang, Essen

 

Marta Astfalck-Vietz (German, 1901-1994) 'Ohne Titel (Marta Vietz, Akt mit Spitze)' c. 1927

 

Marta Astfalck-Vietz (German, 1901-1994)
Ohne Titel (Marta Vietz, Akt mit Spitze) (Marta Vietz, nude with lace)
c. 1927
Gelatin silver print
Dietmar Katz/Berlinische Galerie © VG Bild-Kunst, Bonn
Dietmar Katz/Berlinische Galerie

 

 

Almost all of her archive was lost when her Berlin home was bombed in 1943. What remains was discovered by the curator Janos Frecot in 1989 and is now housed at the Berlinische Galerie in Berlin.

 

August Sander (German, 1876-1964) 'Handlanger' (Bricklayer / Handyman) 1928

 

August Sander (German, 1876-1964)
Handlanger (Bricklayer / Handyman)
1928
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; BILDRECHT, Wien, 2020

 

 

Later in the 1920s Sander shot what was to become one of his most iconic works, ‘Handlanger (Bricklayer)’. This photograph belongs to ‘The Skilled Tradesman’, one of seven chapters within his People of the 20th Century project. The title and subject of this photograph form an archetype of Sander’s sociological documentation of people from a variety of occupations and social classes. Formally, the portrait’s centrality, flat background and conventional framing demonstrate Sander’s investment in photography as a ‘truth-telling’ device; one which represents reality as it is, without formal experimentation and within the boundaries of the history of photographic portraiture. Sander wrote in his seminal lecture ‘Photography as a Universal Language’ that photography was the medium most able to best reflect the ‘physical path to demonstrable truth and understand physiognomy’.

Anonymous text from the Hauser and Wirth website [Online] Cited 07/04/2021

 

August Sander’s Handlanger is one of the photographer’s definitive images from his epic series, Menschen des 20. Jahrhunderts (Men of the Twentieth Century). Sander also selected this image for publication in Antlitz der Zeit, his seminal 1929 book of portraits of the German people. Although very much of-a-piece with the portraits in this book, Handlanger stands out for the intensity of its subject’s gaze and for Sander’s strongly symmetrical composition. The photograph is an archetypal portrait of the working man, emanating capability and strength.

Titled simply Handlanger (hod-carrier, or handyman), this image took its place in Antlitz der Zeit (Face of Our Time) alongside portraits of farmers, bureaucrats, students, political radicals, artists, and others, most identified only by their occupation or type. Sander’s purpose was to create a collective portrait of the German populace that was thoroughly objective, unsentimental, and unprejudiced. His stated goal was nothing less than ‘… to be honest and tell the truth about our age and its people.’ Sander’s project and its inclusive scope, however, brought him to the attention of the German authorities. In 1934, the Reich Chamber of Arts ordered the destruction of the printing plates for Antlitz der Zeit and the seizure of all copies, effectively halting Sander’s picture-making.

Anonymous text from the Sothebys website [Online] Cited 07/04/2021

 

August Sander (German, 1876-1964) 'Jungbauern' (Young Farmers) 1914

 

August Sander (German, 1876-1964)
Jungbauern (Young Farmers)
1914
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; BILDRECHT, Wien, 2020

 

 

What This Photo Doesn’t Show

 

Irene Bayer-Hecht (American, 1898-1991) 'Andor Weininger as Clown' 1926

 

Irene Bayer-Hecht (American, 1898-1991)
Andor Weininger as Clown
1926
Gelatin silver paper
Museum Folkwang, Essen
© Museum Folkwang, Essen

 

 

Chicago-born but raised in Hungary, Irene Bayer-Hecht studied commercial art in Berlin. After seeing the Bauhaus exhibition in 1923, she decided to concentrate on fine art. In 1925 she married Herbert Bayer and moved to Dessau, where she studied photography at the Bauhaus in order to assist him in his work. Her own photographs were mostly of people, both portraits and formal studies. Bayer’s work was included in the landmark Film und Foto exhibition in 1929 in Stuttgart. After moving back to the United States in 1938, Bayer gave up photography and became a translator.

Anonymous text from the J. Paul Getty website [Online] Cited 07/04/2021

 

An international figure, Irene Bayer-Hecht was born in Chicago, grew up in Hungary, and studied at the Academy of Fine Arts, Berlin, and the Sorbonne and École de Beaux-Arts, Paris. In 1923 she visited the first large Bauhaus exhibition in Weimar, where she met Herbert Bayer, whom she married in 1925. This allowed her to attend the Bauhaus’s Vorkurs (foundation course) that year without formally enrolling at the school. At the same time she attended photography courses at the Academy of Graphic Arts and Book Publishing in Leipzig. She took her own photographs and also used her technical training to support Bayer’s photographic work. The couple separated in 1928. Beyer-Hecht’s photographs feature experimental approaches and candid views of life at the Bauhaus; these pictures were included in the exhibition Film und Foto, in 1929. In 1938 she returned to the United States, abandoning photography and working instead as a translator.

Mitra Abbaspour on the MoMA website [Online] Cited 07/04/2021

 

Gertrud Arndt (German, 1903-2000) 'Maskenselbstbildnis Nr. 22' (Mask self-portrait No. 22) 1930

 

Gertrud Arndt (German, 1903-2000)
Maskenselbstbildnis Nr. 22 (Mask self-portrait No. 22)
1930
Silbergelatinepapier
Museum Folkwang, Essen
© Bildrecht, Wien 2020

 

 

Gertrud Arndt (born Gertrud Hantschk in Upper Silicia) set out to become an architect, beginning a three-year apprenticeship in 1919 at the architecture firm of Karl Meinhardt in Erfurt, where her family lived at the time. While there, she began teaching herself photography by taking pictures of buildings in town. She also attended courses in typography, drawing, and art history at the Kunstgewerbeschule (School of design). Encouraged by Meinhardt, a friend of Walther Gropius, Arndt was awarded a scholarship to continue her studies at the Bauhaus in Weimar. Enrolled from 1923 to 1927, Arndt took the Vorkurs (foundation course) from László Moholy-Nagy, who was a chief proponent of the value of experimentation with photography. After her Vorkurs, Georg Muche, leader of the weaving workshop, persuaded her to join his course, which then became the formal focus of her studies. Upon graduation, in March 1927, she married fellow Bauhaus graduate and architect Alfred Arndt. The couple moved to Probstzella in Eastern Germany, where Arndt photographed buildings for her husband’s architecture firm. In 1929, Hannes Meyer invited Alfred Arndt to teach at the Bauhaus, where Arndt focused her energy on photography, entering her period of greatest activity, featuring portraits of friends, still-lifes, and a series of performative self-portraits, as well as At the Masters’ Houses (MoMA 1607.2001), which shows the influence of her studies with Moholy-Nagy as well as her keen eye for architecture. After the Bauhaus closed, in 1932, the couple left Dessau and moved back to Probstzella. Three years after the end of World War II the family moved to Darmstadt; Arndt almost completely stopped making photographs.

Mitra Abbaspour on the MoMA website [Online] Cited 07/04/2021

 

In 1930, Gertrud Arndt, a Bauhaus-taught weaver and textile designer, took forty-three portraits of herself in only a few days. Adopting a style which was in direct contrast with the functional Bauhaus aesthetic – indeed, it was a “welcome break” from it –, Arndt slipped into the rôles of different eras and cultural circles and captured these mises en scène with her camera. They were private photographs, photographs intended purely as a means of coming to terms with her own self, not for publication.

 

Max Burchartz (German, 1887-1961) 'Lotte (Auge)' 1928

 

Max Burchartz (German, 1887-1961)
Lotte (Auge)
1928
Silbergelatinepapier
Museum Folkwang, Essen
© Bildrecht, Wien 2020

 

 

Max Burchartz (1887-1961) studied painting at the Akademie der Künste in Düsseldorf and came into contact with the Bauhaus in Weimar during the 1920s. In 1924 together with Johannes Canis he opened an advertising agency in Bochum, which gained a reputation for creating innovative advertising campaigns with photography and typography. Until 1932 Burchartz taught photography and commercial art at the Folkwangschule für Gestaltung in Essen. One of his students was Anton Stankowski. After Hilter came to power in 1933 Burchartz joined the Nazi Party and voluntarily joined the German army which he remained in until the end of the war. In 1949 he was reappointed to the Folkwangschule, where he taught until 1955, publishing books on design theory such as Schule des Schauens in 1962.

 

Two pages from the book 'Faces. The Power of the Human Visage'

 

Two pages from the book Faces. The Power of the Human Visage. Hirmer Verlag GmbH Hardcover – 25 May 2021

 

Oskar Nerlinger (German, 1893-1969) 'Kopf mit Taschenlampe' (Head with flashlight) c. 1928

 

Oskar Nerlinger (German, 1893-1969)
Kopf mit Taschenlampe (Head with flashlight)
c. 1928
Silbergelatinepapier
Galerie Berinson, Berlin
© Sigrid Nerlinger

 

 

Excluded & yet entangled in two dictatorships: The political constructivist Oskar Nerlinger 10/02/2021

 

 

Oskar Nerlinger (1893-1969) was one of the most important artists of the committed art scene in the Weimar Republic. He was a member of the Association of Proletarian Revolutionary Art (ASSO for short), which was founded in 1928 and belonged to the KPD, which cooperated with the Soviet avant-garde artist group Oktober. At that time there was no conflict between positions of aesthetic modernism and KPD politics. In 1932 the political and artistic avant-garde in the Soviet Union fell apart, with serious consequences for left-wing artists in Germany. Almost at the same time, the Nazi system broke with all forms of modernity. With his idea of art suddenly doubly isolated within his own party, which followed Stalin’s art verdict, and within Germany through the Nazi art policy, Nerlinger went into so-called “inner emigration”, but behaved in a very contradictory manner and adapted his artistic language to the Nazi aesthetics. After 1945 he joined the SED and followed the given political norms of socialist realism as part of the formalism campaign.

The twofold turning point in 1932 and 1933 left lasting traces in Oskar Nerlinger’s art. With this transition from innovation to regression, Nerlinger stands for a whole generation of politically committed artists in the Weimar Republic who, blindly believing in the doctrines of the communist party, gave up their own aesthetic and moral convictions. In a paradoxical way, Nerlinger was marginalised and at the same time entangled in two dictatorships.

 

Erich Retzlaff (German, 1899-1993) 'Bride's Traditional Dress from Kleines Walsertal' before 1936

 

Erich Retzlaff (German, 1899-1993)
Bride’s Traditional Dress from Kleines Walsertal
before 1936
From German Folk Costumes
17.6 × 12.3cm
Gelatin silver print on supporting cardboard
The Albertina Museum, Vienna – Permanent loan from the Österreichische Ludwig-Stiftung für Kunst und Wissenschaft)
© Volker Graf Bethusy-Huc

 

 

Erich Max Wilhelm Retzlaff was born in Reinfeld in Schleswig Holstein, Germany on October 9th 1899. He came from a prosperous protestant middle class background. His father, Friedrich, was the noted author of the definitive Handbuch für die Polizei im Reich (German police handbook) published in 1892. The young Erich grew up in the twilight of the Wilhelmine era and enlisted enthusiastically into the German army in 1916 to fight in the First World War. Retzlaff served as a machine gunner on the western front (Flanders), was very badly wounded and subsequently spent over a year in a military hospital. He received the Iron Cross (second class).

After the conclusion of the war he drifted into work in civilian life eventually completing a business apprenticeship in a paint factory in Düsseldorf. With help from one of his former army officers, Retzlaff was able to secure a position as a supplies buyer for a factory in Hamburg. He began to earn a decent salary and became a patron of the arts, visiting many exhibitions and associating with artists to the point that he contemplated a creative career himself. But Retzlaff was unable to pursue painting; his wounds during the war had left his hand permanently damaged. Instead, Retzlaff began to experiment with photography, initially as an amateur enthusiast and then ultimately as a career, starting up a small photographic portrait studio on the Königsallee (Düsseldorf). By the late 1920s Retzlaff moved to larger premises on the Kaiserstrasse as custom increased and the business grew. His circle of friends and associates widened and by the late 1930s included painters such as Werner Peiner, Emil Nolde, the photographer Paul Wolff and the Norwegian author Knut Hamsun. A passionate German Nationalist, Retzlaff became a member of Hitler’s National Socialist party in 1932 (No.1014457).

Retzlaff moved his studio several times during the 1930s and 1940s working in a number of locations including locations in Düsseldorf and Berlin. He also expanded his oeuvre as commercial needs demanded and as well as his portraits he photographed traditional German regional costumes, landscapes and industrial scenes. However, at the heart of his portfolio was Retzlaff’s interest in photographing in a physiognomic way. Physiognomy is a belief that one can read a face to discover the personality and character of the individual. Physiognomy was hugely popular as a means of evaluating people and their lives in Germany after the First World War. During the Hitler years this interest continued with an added emphasis on race. The focus of Retzlaff’s photographs from this period was making images that applied a physiognomic parascience within a political and ideological framework.

After 1945 Retzlaff continued to make his living as a photographer and his work was still widely published. His portfolio from the post-war period includes fashion photography, landscapes, portraits of prominent Germans (such as Chancellor Konrad Adenauer), and dramatic images of West German industry. However, in a general sense, the photographs he made after 1945 are less dynamic than the work made in the 1930s and 40s. The images tend to lack the punch and bite of the earlier Retzlaff. The ideology is gone and with it the personal sense of purpose that his earlier images possessed.

These biographical details are drawn from the transcript of Professor Doctor Rolf Sachsse’s 1979 recorded interview with Erich Retzlaff and from additional biographical information provided to me by Retzlaff’s son Herr Jürgen Retzlaff and his daughter Bettina Retzlaff-Cumming.

Text on the Aberystwyth University website [Online] Cited 07/04/2021

 

Franz Roh (German, 1890-1965) 'Masquerade' 1928-1933

 

Franz Roh (German, 1890-1965)
Masquerade
1928-1933
Gelatin silver print
Münchner Stadtmuseum – Nachlass Franz Roh, München

 

 

The 1920s are the decade of masquerade in the history of modern art. Was it the coming of the cinema, that “Hades of the Living”, in which the protagonists forever assume new identities and “the shadows already become immortal while still alive”31, or was it first and foremost the psychological consequences of the profound social changes following the First World War which made masks, disguises and rôle-playing the favourite means of self-stylisation and self-discovery among artists and writers of both sexes? For the psychoanalyst Joan Rivière, masquerade was one of the essential features of womanliness, which – she wrote in 1929 – “could be assumed and worn as a mask”, both to hide the possession of masculinity and to avert the reprisals expected if she was found to possess it. […] The reader may now ask how I define womanliness or where I draw the line between genuine womanliness and the ‘masquerade’. My suggestion is not, however, that there is any such difference; whether radical or superficial, they are the same thing.”32 Gender rôle-playing, hitherto reserved in the 19th century for the very close circles of male-attired lesbians, became a fashion phenomenon with the arrival of the “garçonne” in the 1920s.33 The poetess Else Lasker-Schüler, who would frequently masquerade as the Prince of Thebes in the literary cafés of Berlin, was written about as follows: “Disguise was an aid to becoming a person. It symbolises the ego in the process of either developing or disintegrating. […] Disguise is both the secret and the prediction of a person who seeks himself or herself in the game of (mis)taken identities; one who is versatile in the art of transformation, who can condense into many different persons again and again, but never into a tangible personality.”34 Thus photography was the ideal means of objectifying these transformations and of viewing one’s other self from a distance.

Extract from Herbert Molderings and Barbara Mülhens-Molderings. “Mirrors, Masks and Spaces. Self-portraits by Women Photographers in the twenties and thirties,” on the Jeu de Paume website 03/06/2011 [Online] Cited 07/04/2021. No longer available online

 

Franz Roh (21 February 1890 – 30 December 1965), was a German historian, photographer, and art critic. Roh is perhaps best known for his 1925 book Nach Expressionismus: Magischer Realismus: Probleme der neuesten europäischen Malerei (“After expressionism: Magical Realism: Problems of the newest European painting”) he coined the term magic realism.

Roh was born in Apolda (in present-day Thuringia), Germany. He studied at universities in Leipzig, Berlin, and Basel. In 1920, he received his Ph.D. in Munich for a work on Dutch paintings of the 17th century. As a photographer and critic, he absolutely hated photographs that mimicked painting, charcoal, or drawings. During the Nazi regime, he was isolated and briefly put in jail for his book Foto-Auge (Photo-Eye); he used his jail time he used to write the book Der Verkannte Künstler: Geschichte und Theorie des kulturellen Mißverstehens (“The unrecognised artist: history and theory of cultural misunderstanding”). After the war, in 1946, he married art historian Juliane Bartsch. He died in Munich.

Text from the Wikipedia website

 

An art historian, photographer, and art critic, Franz Roh deplored photographs that were derived from painting or pretended to be drawings or charcoal sketches. His writings brought him close to avant-garde artists, who inspired many of his photographs. In 1929 he co-published and co-edited a book, Foto-Auge (Photo-Eye), with graphic designer Jan Tschichold. Asserting that photographs were an effective weapon against “the mechanisation of spirit” and one of the world’s greatest physical, chemical, and technological wonders, Roh and Tschichold based the book on a film and photography exhibition held in Stuttgart. The book’s progressive stance led to Roh’s brief imprisonment by the government censors, who forbade him to continue writing. In 1946 he was awarded a professorship at the University of Munich, a position he held for the remainder of his life.

Anonymous text from the J.Paul Getty website [Online] Cited 07/04/2021

 

Two pages from the book 'Faces. The Power of the Human Visage'

 

Two pages from the book Faces.The Power of the Human Visage. Hirmer Verlag GmbH Hardcover – 25 May 2021

 

Lotte Jacobi (American, 1896-1990) 'Head of the Dancer Niura Norskaya' 1929

 

Lotte Jacobi (American, 1896-1990)
Head of the Dancer Niura Norskaya
1929

 

 

Lotte Jacobi (August 17, 1896 – May 6, 1990) was a leading American portrait photographer and photojournalist, known for her high-contrast black-and-white portrait photography, characterised by intimate, sometimes dramatic, sometimes idiosyncratic and often definitive humanist depictions of both ordinary people in the United States and Europe and some of the most important artists, thinkers and activists of the 20th century.

 

Two pages from the book 'Faces. The Power of the Human Visage'

 

Two pages from the book Faces. The Power of the Human Visage. Hirmer Verlag GmbH Hardcover – 25 May 2021

 

Cover from the book 'Faces. The Power of the Human Visage'

 

Cover from the book Faces. The Power of the Human Visage featuring Helmar Lerski (Swiss, 1871-1956) Metamorphosis, 537 1935-1936

 

 

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07
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20

European photographic research tour: Vintage August Sander photographs at Galerie Julian Sander, Cologne

Visited September 2019 posted July 2020

 

Tamara Könen of the gallery (left) and Kristina Engels from August Sander Stiftung – at Galerie Julian Sander, standing in front of August Sander's photographs

 

Tamara Könen of the gallery (left) and Kristina Engels from August Sander Stiftung – at Galerie Julian Sander, standing in front of August Sander’s photographs.

 

 

On my European photographic research tour in late 2019, I had a memorable visit to Galerie Julian Sander to see some vintage and later prints from the August Sander Archive / August Sander Stiftung with Tamara Könen from the gallery (left) and Kristina Engels from August Sander Stiftung.

It was a privilege to be able to see about 10 prints… the highlights being a stunning 1929-1930 vintage landscape, a vintage carnivalesque image of the Cologne avant-garde and a later print by his son of Painter’s Wife [Helene Abelen] 1926. The vintage landscape, like the vintage prints of Sudek, possessed no true black or white, the tonal range prescribed between zones 2-8.

The use of low depth of field in the portraits was outstanding. For example the shoes of Helene are completely out of focus whereas her hands are as crisp and clear as a summer breeze. Most astonishing was the panache of the bohemians, with the outstretched arm top left… printed on matt brown toned paper with a thin gold edge.

Another vintage print that showed selective depth of field was the photograph of a man with his dog, Junglehrer (Young Teacher) 1928. The dog’s lower legs were completely out of focus (Sander tilting his large format camera) making this oh so German photograph seem so surreal!

Other prints had a thin black edge and the vintage press print landscape (c. 1920s) was printed on thin single weight paper, while the vintage photograph of the sculptor Professor Ludwig Benh shows an original Sander mount – the print mounted behind an artist cut window. All prints were enlargements from 4×5” glass negatives or German equivalent size.

Such a wonderful learning experience! Thank you to the gallery for their time and knowledge.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. Most photographs © Marcus Bunyan and Galerie Julian Sander

 

 

3 vintage prints, the left one with black edge floating free of the backboard; the second c .1920s of a Communist rally; and the third of an industrialist (Großindustrieller / The Industrialist, 1927)

 

3 vintage silver gelatin prints, the left one with black edge floating free of the backboard; the second c. 1920s of a Communist rally; and the third of an industrialist (Großindustrieller / The Industrialist, 1927)
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964). 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30 (center) and 'Untitled [Remagen Bridge on the Rhine]' c. 1930 (right)

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen] 1929-1930 (center) and Untitled [Remagen Bridge on the Rhine] c. 1930 (right)
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen]
1929-1930
Vintage gelatin silver print
Also titled:
Siebengebirge von der linken Rheinseite gesehen [Siebengebirge seen from the left side of the Rhine]
Blick vom Rolandsbogen auf das Siebengebirge mit Drachenfels [View from Roland Arch on the Siebengebirge with Drachenfels]
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen]
1929-1930
Vintage gelatin silver print
Also titled:
Siebengebirge von der linken Rheinseite gesehen [Siebengebirge seen from the left side of the Rhine]
Blick vom Rolandsbogen auf das Siebengebirge mit Drachenfels [View from Roland Arch on the Siebengebirge with Drachenfels]
Galerie Julian Sander, Cologne
Photo:
Marcus Bunyan

 

August Sander (German, 1876-1964) 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen]
1929-1930
Vintage gelatin silver print

 

August Sander (German, 1876-1964) 'Untitled [Remagen Bridge on the Rhine]' c. 1930

 

August Sander (German, 1876-1964)
Untitled [Remagen Bridge on the Rhine]
c. 1930
Vintage gelatin silver press print
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Untitled [Bohemians: avant-garde of Cologne]' 1920s (left) and 'Professor Ludwig Behn' 1920s (right)

 

August Sander (German, 1876-1964)
Untitled [Bohemians: avant-garde of Cologne] 1920s (left) and Professor Ludwig Behn 1920s (right)
Vintage gelatin silver print with gold edge printed on matt warm toned paper
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Untitled [Bohemians: avant-garde of Cologne]' 1920s

 

August Sander (German, 1876-1964)
Untitled [Bohemians: avant-garde of Cologne]
1920s
Vintage gelatin silver print with gold edge printed on matt warm toned paper
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Untitled [Bohemians: avant-garde of Cologne]' 1920s

 

August Sander (German, 1876-1964)
Untitled [Bohemians: avant-garde of Cologne]
1920s
Vintage gelatin silver print with gold edge printed on matt warm toned paper
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Professor Ludwig Behn, Bildhaver, Munich' 1920s

 

August Sander (German, 1876-1964)
Professor Ludwig Behn, Bildhaver, Münich
1920s
Gelatin silver print

 

August Sander (German, 1876-1964) 'Professor Ludwig Behn, Bildhaver, Munich' 1920s (detail)

 

August Sander (German, 1876-1964)
Professor Ludwig Behn, Bildhaver, Münich
1920s
Vintage gelatin silver print with original Sander mount
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Painter's Wife [Helene Abelen]' 1926

 

August Sander (German, 1876-1964)
Painter’s Wife [Helene Abelen]
1926
Later gelatin silver print by Sander’s son
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

 

This photograph shows Helene Abelen, wife of the Cologne painter, Peter Abelen. During the 1920s August Sander befriended many Cologne artists because of his involvement with the Cologne Progressive Artists Group (Gruppe Progressiver Künstler Köln). In 1926 Sander was asked by Peter Abelen to create a portrait of his young wife. With her short, slicked-back hair, collared shirt, thin necktie and trousers, Frau Abelen is presented as a distinctly androgynous figure. Her masculine garb and haircut, as well as the cigarette held between her teeth, signal a defiance of traditional gender roles. Staring determinedly out at the viewer Helene Abelen’s animated expression is unusual for a Sander portrait and falls somewhere between bravado and agitation.

This portrait reflects the so-called ‘new woman’ of the Weimar Republic. The concept of the ‘new woman’ dates from before the First World War but became firmly rooted during it when women were mobilised in the workforce. Within Germany this created considerable anxiety about women’s roles, particularly in relation to the family. In 1928, on the tenth anniversary of the end of the war, the Münchner Illustrierte Presse showed on its cover a photograph of a young woman, with short hair and skirt, astride a motorcycle with a lit cigarette in hand, with the heading, ‘Only ten years – a different world’. Like this magazine image, Sander’s portrait of Helene Abelen reflected a consciousness about the blurring of gender roles in the wake of the ‘new woman’.

Painter’s Wife represents an anomaly in Sander’s work. For the most part, his depictions of women show them as wives and mothers, as the soul of the home and the family. Contrary to appearances, this portrait should not be taken to represent an unqualified vision of female independence. The costume Helene Abelen is wearing was created for her by Peter Abelen and the haircut she sports was also his choice. Her daughter later commented of this work: ‘This was the creation of my father. He wanted her to look like this. He always did our dresses’ (quoted in Greenberg 2000, p. 121).

Matthew Macaulay
November 2011

Text from the Tate website [Online] Cited 24/06/2020

 

August Sander (German, 1876-1964) 'Junglehrer' (Young Teacher) 1928

 

August Sander (German, 1876-1964)
Junglehrer (Young Teacher)
1928
Vintage gelatin silver print with black edge
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Junglehrer' (Young Teacher) 1928

 

August Sander (German, 1876-1964)
Junglehrer (Young Teacher)
1928
Vintage gelatin silver print with black edge
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

 

Galerie Julian Sander
Cäcilienstr. 48
50667 Cologne
Germany
Phone: +49 (0) 221 170 50 70

Opening hours:
Tuesday – Friday 12.00 – 18.00

Galerie Julian Sander website

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13
Jan
19

Exhibition: ‘August Sander – Masterpieces: Photographs from “People of the 20th century”‘ at Die Photographische Sammlung/SK Stiftung Kultur, Cologne

Exhibition dates: 7th September 2018 – 27th January 2019

 

August Sander (German, 1876-1964) 'Three Generations of the Family' 1912

 

August Sander (German, 1876-1964)
Three Generations of the Family
1912
Gelatin silver print
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018; Dauerleihgabe / Permanent Loan, Stadt Herdorf

 

 

A wonderful posting of photographs by this master photographer, including numerous images (Young Mother, Middle-class; Middle-class Children; Peddler; Girl in Fairground Caravan; “Test your Strength” Showman; Workmen in the Ruhr Region) I have never seen before.

What can you say about the work of this legend of photography that has not been said before, by so many people, in so many words. Therefore I will not be verbose but just note a few impressions.

How did Sander get these people to pose for him in this direct, open way? There is no affectation, no histrionics, the sitters (whether outside en plein air or inside against a ubiquitous plain wall / blank canvas) gaze directly, steadfastly, into his camera lens – quite pre/posed, quietly proposed and confident of their own identity and image. The peddler with his box of wares, the café waitress with her tray of tea and milk, the pastry chef with his bowl, or the showman whose gnarled and dirty hand clasps a cigar.

The “presence” and aura of these people is incredible. You can ascribe this presence to modernism and New Objectivity (a sharply focused, documentary quality to the photographic art) that sought to portray the reality of a life but to do so holy to the exclusion of the poetic in Sander’s work would be a mistake. While not self-consciously poetic, Sander’s work still contains elements of the pictorial – for example the painterly quality in his use of depth of field in portrait’s such as that of Painter [Heinrich Hoerle] (where we notice the very small depth of field from the front of the shirt to the back), or the framing of Girl in Fairground Caravan with its notably impressionistic melancholy and longing.

What I am really looking forward to is the book that is being published from this exhibition. As the text on Amazon notes, “A novel feature of this book is that all the reproductions are based on vintage prints produced and authorised by August Sander himself. The croppings and the desired tonal values are authentically rendered here for the first time in the long publication history of Sander’s brilliant portrait work.”

This is as close as you will get in book form to the original printing and tonality of Sander’s work. I am sure the book will become a classic and sell out quickly so get your orders in now for a June 2019 release.

Dr Marcus Bunyan

.
Many thankx to the Die Photographische Sammlung/SK Stiftung Kultur for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

The portrait photographs by August Sander count among the masterworks of their kind. Ever since acquiring the photographer’s estate, Die Photographische Sammlung/SK Stiftung Kultur has been busy cataloguing the Sander archive and has already presented these photographs in several theme-based shows. With “People of the 20th Century,” his most famous photographic compendium, Sander aspired to nothing less than to document the society of his day, based on examples of people pursuing different occupations and from various walks of life. The conceptually planned body of work testifies to the photographer’s acuity of perception and consummate skill at the use of the photographic medium. Over the decades, pictures such as “Young Farmers” (1914) and “Pastry Cook” (1928) have become photographic icons. But August Sander’s portraiture in fact harbours a large number of motifs of remarkable quality. These images provide insights, for example, into the population of the rural Westerwald region, the artist communities in Cologne and Berlin, and city life in general during his era.

In the current exhibition, Die Photographische Sammlung/SK Stiftung Kultur is displaying a representative selection of more then 150 original prints from “People of the 20th Century.” The majority come from the collection’s own holdings, joined by works on loan from the Museum of Modern Art, New York; the J. Paul Getty Museum, Los Angeles; the Pinakothek der Moderne, Munich; the Museum Ludwig Cologne / Photography Collection, the Berlinische Galerie, Berlin and private collections. Based on many years of research, the accompanying catalogue traces the genesis of these works in great depth and detail.

Text from the Die Photographische Sammlung/SK Stiftung Kultur website

 

 

August Sander (German, 1876-1964) 'Young Mother, Middle-class' 1926

 

August Sander (German, 1876-1964)
Young Mother, Middle-class
1926
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018; Courtesy: The J. Paul Getty Museum, Los Angeles

 

August Sander (German, 1876-1964) 'Middle-class Children' 1925

 

August Sander (German, 1876-1964)
Middle-class Children
1925
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'Farm Children' 1913

 

August Sander (German, 1876-1964)
Farm Children
1913
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

 

The current exhibition with over 150 original photographs and numerous showcase material shows a representative cross-section of the project “People of the 20th Century”.

Sanders’ extensive portraiture was aimed at showing a cross-section of the population in which the different occupational and social types, spread over different generations, are reflected – a mirror of the times. In the title Sanders first published book in 1929, Antlitz der Zeit (Face of Our Time), this intention finds its echo. Both the indirectly expressed face of time and the individual physiognomies were the subject of the photographer’s unbroken attention for decades.

In order to give shape and form to his growing compendium, Sander created a concept in the mid-1920s in which he extensively named the image groups and folders that he had focused on. The groups are called “The Farmer”, “The Craftsman”, “The Woman”, “The Estates”, “The Artists”, “The Big City” and “The Last Man”. The latter perhaps misleading name stands for a series of pictures that very respectfully shows people on the margins of society. Sander’s concept of that time, which proposes a sequence of groups and folders, is also followed by the current exhibition with the inclusion of individual or several representative portfolio prints from the corresponding picture folders.

For the most part, the photographs are taken from the inventory of the August Sander Archive, which was acquired in 1992, which forms the foundation for the further development of the Photographic Collection / SK Stiftung Kultur, Cologne. Exclusive loans from originals will be consulted, such as the Berlinische Galerie, Museum of Modern Art, Berlin, the J. Paul Getty Museum, Los Angeles, the Museum Ludwig Köln, the Museum of Modern Art, New York and the Pinakothek der Moderne. Munich as well as from important private collections.

At Schirmer / Mosel Verlag, the book “August Sander – Masterpieces” was created at the same time as the exhibition in German and English editions. For the first time in the publication history of the photographer, the original prints are reproduced in authentic tonality, as well as in original cut-out reproduction.

Text from the Die Photographische Sammlung/SK Stiftung Kultur website

 

August Sander (German, 1876-1964) 'Compère' 1930

 

August Sander (German, 1876-1964)
Compère
1930
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'The Dadaist Raoul Hausmann [with Hedwig Mankiewitz and Vera Broïdo]' 1929

 

August Sander (German, 1876-1964)
The Dadaist Raoul Hausmann [with Hedwig Mankiewitz and Vera Broïdo]
1929
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'Peddler' 1930

 

August Sander (German, 1876-1964)
Peddler
1930
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'Young Farmers' 1914

 

August Sander (German, 1876-1964)
Young Farmers
1914
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'Café Waitress' 1928/29

 

August Sander (German, 1876-1964)
Café Waitress
1928/29
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'Pastry Cook' 1928

 

August Sander (German, 1876-1964)
Pastry Cook
1928
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

 

The current exhibition, featuring over 150 original photographs and numerous documents shown in display cases, presents a representative cross-section of the “People of the 20th Century” project.

The portraits from August Sander’s epochal work are not only of fundamental importance for the history of photography; they are also highly exciting objects of study – masterpieces for anyone who has an unsentimental, unbiased love of people and life; who likes to ask questions about the past and gather experiences for the future; who has a passion for looking, discovering, fantasising, and analysing:

  • How do the people portrayed appear to us today?
  • How did they spend their lives?
  • What delighted or shocked them?
  • What experiences left a mark on their faces, their hands, their physiognomy?
  • What can they share with us from their own bygone world and times?
  • How did Sander manage to meet and talk to so many different people, and to entice them into posing for a picture?
  • What does the photographic material convey to us today – at a time when hardly any photographs are developed in the darkroom and a kind of magic has thus been lost?
  • What does time and manual craft mean for artistic engagement?

.
Viewed together, the people August Sander (1876-1964) depicted in such an objective yet dignified and personal manner unfold a whole cosmos that brings history to life. Looking at Sander’s photographs challenges us to search for similarities, differences, and comparable qualities. They summon memories of accounts from the past, render tangible transformations in people’s living conditions and way of life; we see occupations that have changed, which no longer exist or have been replaced; developments or events in society are made more vivid to us, as are changing pictorial styles and artistic aesthetics.

And yet apart from the referential character of Sander’s photographs, their historical relevance and inspirational force, qualities that have been highlighted by renowned authors such as Walter Benjamin, Alfred Döblin, Golo Mann, and Kurt Tucholsky, the pictures depict very concrete moments and display individually a remarkable degree of aesthetic quality. They compellingly demonstrate Sander’s knack at capturing reality and his eye for composing specific details into lifelike documentary photographs. Being able to experience this quality up close based on August Sander’s original handmade prints is a real privilege and something that can only be made possible on this scale in rare cases due to the conservation requirements of these so-called vintage prints.

August Sander first presented his project “People of the 20th Century” in 1927 at the Kölnischer Kunstverein. He had selected more than 110 prints, a group that, as far as can be reconstructed, largely diverges from the current presentation, let alone the fact that several different prints of individual motifs were and are in circulation. Since Sander developed the project or – as he called it – his cultural work “People of the 20th Century” between circa 1925 and 1955, i.e., over the course of three decades, also incorporating motifs he had produced from 1892 onwards, his stock of original prints and portfolios had grown immensely by the end of his life. Within his archive, this group of works forms a kind of cache from which the photographer drew freely for exhibitions and publications. This was a uniquely innovative approach in his day. Sander’s awareness of the exponential effect of image series as opposed to individual images made him a pioneer of conceptual photography, as did his resolute use of an unmanipulated, factual reproduction of his chosen motifs. His portraits were meant to underline his documentary approach and to do without any artistic embellishments while nonetheless manifesting a fine-tuned and restrained design.

Text from the Die Photographische Sammlung/SK Stiftung Kultur website

 

August Sander (German, 1876-1964) 'Painter [Heinrich Hoerle]' 1928-1932

 

August Sander (German, 1876-1964)
Painter [Heinrich Hoerle]
1928-1932
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018, Courtesy: Privatsammlung / Private Collection, München / Munich

 

August Sander (German, 1876-1964) 'Painter [Heinrich Hoerle]' 1928-1932 (detail)

 

August Sander (German, 1876-1964)
Painter [Heinrich Hoerle] (detail)
1928-1932
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018, Courtesy: Privatsammlung / Private Collection, München / Munich

 

August Sander (German, 1876-1964) 'Girl in Fairground Caravan' 1926-1932

 

August Sander (German, 1876-1964)
Girl in Fairground Caravan
1926-1932
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018; Courtesy: The Museum of Modern Art, New York

 

August Sander (German, 1876-1964) 'Police Officer' 1925

 

August Sander (German, 1876-1964)
Police Officer
1925
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) '"Test your Strength" Showman' 1930

 

August Sander (German, 1876-1964)
“Test your Strength” Showman
1930
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

August Sander (German, 1876-1964) 'Workmen in the Ruhr Region' c. 1928

 

August Sander (German, 1876-1964)
Workmen in the Ruhr Region
c. 1928
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018; Courtesy: Bayerische Staatgemäldesammlungen: Sammlung Moderne Kunst in der Pinakothek der Moderne, München /nMunich, Sammlung / Collection Lothar Schirmer

 

August Sander (German, 1876-1964) 'Zirkusartisten' (Circus Artists) 1926-1932

 

August Sander (German, 1876-1964)
Zirkusartisten (Circus Artists)
1926-1932
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn, 2014

 

August Sander (German, 1876-1964) 'Circus Worker' 1926-1932

 

August Sander (German, 1876-1964)
Circus Worker
1926-1932
Gelatin silver print
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv; VG Bild-Kunst, 2018

 

 

Die Photographische Sammlung/SK Stiftung Kultur
Im Mediapark 7
50670 Cologne
Phone: 0049-(0)221-88895 300

Opening hours:
Open daily 14 – 19hrs
Closed Wednesdays

Die Photographische Sammlung/SK Stiftung Kultur website

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02
May
18

Exhibition: ‘Raoul Hausmann. Vision in Action’ at Jeu de Paume, Paris

Exhibition dates: 6th February – 20th May 2018

Curator: Cécile Bargues

 

 

Raoul Hausmann (1886-1971) 'Untitled (Vera Broïdo)' c. 1931

 

Raoul Hausmann (Austrian, 1886-1971)
Untitled (Vera Broïdo)
c. 1931
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn

 

 

Spirit of his time?

Surrealism, solarisation, mobiles, photomontage, geometric repetition and simplification of form, directional lighting, distortion, female allusions, strong use of diagonals, romanticism, poetics. All the usual tropes of the photographic art of the day are present, but somehow the images never move me, or impinge lastingly on my consciousness.

Hausmann’s work sits at the intersection of New Vision (the development of photography as a medium of untold expressive power and as a primary vehicle of modern consciousness) and New Objectivity (a sharply focused, objective documentary quality; a movement in German art that arose during the 1920s as a reaction against expressionism) photographic movements. The interstices of freedom and wonder, which he referred to as ‘beauty without beauty’, both experimental and ‘classical’ at the same time.

I’m not convinced. “His images of plants, sea spray, changing light and materials, are images of disorder, stripped of all authoritarian vision.” Really? To me his work seems very authoritarian… very male, very objective but subjected to the photographers’ will. Triumph of the Will.

I’d rather look at the infinitely more interesting female artists of the era, for example Eva BesnyöClaude CahunGermaine Krull or Florence Henri to name but a few. Now they were cooking with gas!

Dr Marcus Bunyan

.
Many thankx to Jeu de Paume for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

To this day, Raoul Hausmann’s photography has not had a dedicated museum exhibition in France. As a photographer, Hausmann has long remained underrated and unheralded. However his key position in 20th century avant-garde photography has continually been re-evaluated and his importance is widely acknowledged these days.

We know Hausmann as the prominent artist of Dada Berlin, as the author of assemblages, collages, lautgedichte, etc, yet the vicissitudes of history caused the obliteration of his photography, an essential facet of his œuvre. From 1927 onwards Hausmann became an avid and restless photographer. His photographic practice quickly became a cornerstone of his multi-faceted reflections and activities, pushing him in a new direction which culminated in his forced departure from Ibiza in 1936.

Considering Hausmann’s clandestine crossing of the century, it is no surprise that his photographic œuvre was forgotten. Labelled a ‘degenerate’ artist by the Nazis, he hastily left Germany in 1933. As an exile, Hausmann suffered the dispersion, and sometimes the destruction, of his work. His photography was seldom displayed and survived unnoticed until the late seventies. It was long supposed to be lost, until an archive (now at the Berlinische Galerie) was almost miraculously discovered at his daughter’s home after her death.

 

 

Raoul Hausmann (1886-1971) 'Untitled (Dune Landscape)' Between 1927 and 1933

 

Raoul Hausmann (Austrian, 1886-1971)
Untitled (Dune Landscape)
Between 1927 and 1933
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn

 

Raoul Hausmann (1886-1971) 'Enfants de la Frise [Children of Friesland]' Between 1927 and 1933

 

Raoul Hausmann (Austrian, 1886-1971)
Enfants de la Frise (Children of Friesland)
Between 1927 and 1933
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn

 

Raoul Hausmann (1886-1971) 'Nu sur la plage [Nude on the beach]' Between 1927 and 1933

 

Raoul Hausmann (Austrian, 1886-1971)
Nu sur la plage (Nude on the beach)
Between 1927 and 1933
© Musée d’art moderne et contemporain de Saint-Étienne Métropole
© ADAGP, Paris, 2017

 

Raoul Hausmann (1886-1971) 'Untitled (Chrysanthemum flower)' Between 1927 and 1933

 

Raoul Hausmann (Austrian, 1886-1971)
Untitled (Chrysanthemum flower)
Between 1927 and 1933
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn

 

 

Highlights of the exhibition

  • Raoul Hausmann was a central figure of the Berlin Dada movement, a pioneer of sound poetry, who spearheaded collage and photomontage. He was also a writer, editor, and experimenter across all genres. Franz Jung referred to him as a ‘cultural agitator of 1920s’ Berlin’. In the late 1930s, Hausmann was also a passionate, prolific, sensitive and lyrical photographer. Bringing together over 130 vintage prints, all produced by Hausmann himself, this exhibition presents a photographic oeuvre that has remained unrecognised and unheralded for too long.
    .
  • This is the first time that Hausmann’s photographic work has been the subject of such an extensive retrospective in France. The exhibition opens at the Point du Jour in Cherbourg, before coming to the Jeu de Paume. ‘Raoul Hausmann. Vision in Action’ benefits from a number of exceptional loans, from institutions boasting collections of work by the artist, primarily the Musée départemental d’art contemporain de Rochechouart and the Berlinische Galerie; collections that continued to grow until relatively recently. Other first-rate public and private collections, both in France and Germany, have contributed to the exhibition, with some work being displayed for the first time.
    .
  • In 1931, Hausmann considered himself a photographer. His practice was honed far from Berlin, in the dunes of the Baltic and the North Sea. An emotive photographer, capturing remarkable moments or sights on his numerous walks, he never sought the perfection of an overly immaculate image, seamlessly constructed and arranged, but rather the interstices of freedom and wonder, which he referred to as ‘beauty without beauty’. This sense of calm or tranquillity can be seen in the way his work has resisted and maintained its dignity, against the ravages of time.
    .
  • Within the space of an intense decade – from 1927 until his forced departure in 1936, from the island of Ibiza, where he had sought refuge in 1933, shortly after the Nazis’ rise to power – Raoul Hausmann produced over a thousand prints, many of which were published or exhibited in their day, before taking up residence in the archives of memory. These images and their diffusion situated him in a specific milieu – Germany, Paris (where he spent time in 1935), and later in Czechoslovakia (the only retrospective devoted to the artist’s work during his lifetime was held in Prague, in 1937). Hausmann’s work incites the public to reflect upon a network and history of photography, inhabited by figures such as August Sander, Raoul Ubac, László Moholy-Nagy, etc.
    .
  • At the crossroads of the New Vision and New Objectivity photographic movements, Raoul Hausmann’s work is constructed within a poetics of distance or difference with regard to normality. Both experimental and ‘classical’ at the same time, he liked nothing better than resolving and surpassing oppositions. His sublime sculptural and mineral nudes contrast with the monstrosity of the Nazi body. His images of plants, sea spray, changing light and materials, are images of disorder, stripped of all authoritarian vision. In all respects, this photography, produced using a bare minimum of equipment, serves a project of a heightened existence.
    .
  • Hausmann reflected about the social and political uses of images, particularly in Ibiza, in his work on vernacular architecture, an inventory of buildings that aimed to invalidate the idea of ‘origin’ and ‘race’. This project around the notion of habitat, in the philosophical sense of the term, responds ultimately, like the ensemble of his work, to the maxim that underlines his oeuvre: ‘you alone should construct the limits of your universe’.

 

Raoul Hausmann (1886-1971) 'Untitled (Foot in the sand)' c. 1931

 

Raoul Hausmann (Austrian, 1886-1971)
Untitled (Foot in the sand)
c. 1931
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn

 

Raoul Hausmann (1886-1971) 'Untitled (Dune grass)' c. 1931

 

Raoul Hausmann (Austrian, 1886-1971)
Untitled (Dune grass)
c. 1931
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn

 

Raoul Hausmann (1886-1971) 'Petite Fleur en Herbe [Small flower in grass]' 1932

 

Raoul Hausmann (Austrian, 1886-1971)
Petite Fleur en Herbe [Small flower in grass]
1932
Photomontage
© ADAGP, Paris, 2018
© Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur/VG Bild-Kunst, Bonn