Renger patzsch biography examples
Along with fellow photographers Lotte Jacobi and Fred Koch, Mr. Renger-Patzsch compiled an extensive photography collection for the publisher during his tenure. At this time, he began taking botanical photographs in hopes of providing an "eye of an insect" perspective on flowers and plants.
Renger patzsch biography examples Done Reading. Wittingly or unwittingly, Renger-Patzsch is determined to "make it new," in Ezra Pound's words, or to afford "the surprise of the new," in those of Baudelaire. Generally speaking, in the thirties Renger-Patzsch photographed not the scene of work or if he did, it was didactically, as an object lesson but its products, conceived as commodity fetishes. In Christopher Bollas's words, he moves toward "existential as opposed to representational knowing.
After a brief tenure in the United States as a press photographer for a Chicago newspaper, Mr. Renger-Patzsch became a freelance photographer in A museum exhibition of his photographs took place two years later. His earliest works were studies in close-ups, with enlargements serving the dual purpose of aesthetics and enhancing perspective.
In an untitled photograph, an artist is using a car mirror reflection to take a picture, which was a radical concept for its time. Unlike his contemporaries, Mr. Renger-Patzsch was not pursuing the abstract with his photography, nor was he advocating Pictorialist principles, which were becoming dated by the s. He did not seek to improve the appearance of an image through photographic sleight of hand.
Short biography examples Namuth notes that he saw his first Renger-Patzsch photograph, Kauper; von unten gesehen Smokestack, as seen from below , page 35 , in a "shop window in an ordinary neighborhood" in Essen. The point is fundamental to his photography, but those who have written about it rarely see that he implicitly uses nature to criticize society. Where Heartfield made social contradictions ironically transparent, Renger-Patzsch made them seem falsely inevitable: There is an urgent need to examine old opinions and look at things from a new viewpoint. Deutsche Biographie DDB.Rather, he respected objects as they were and sought to convey the "essence of the object."
Mr. Renger-Patzsch envisioned a photographer more as a documentarian than as a creative artist, a philosophy that lent itself well to the field of industrial photography, where the photographer was merely an objective (and passive) observer.
His critically acclaimed Kaffee Hag still life in reflects the photographer's philosophy of objectivity and restraint, allowing the beautiful simplicity of the images to speak for themselves. Several architectural and industrial photographs followed, which celebrated natural rhythms of metal, glass, and concrete and how their shifting planes and shadowing can influence both space and perspective.
His landmark book, Die Welt ist schon (The World is Beautiful), a collection of photographs of objects in their natural states, was published in A critical masterpiece that elevated Mr. Renger-Patzsch to the height of the German modernist movement in photography referred to as Neue Sachlichkeit (New Objectivity). For this photographer, people were relegated to the periphery in the modern, industrialized world.
In addition to his studio work, Mr. Renger-Patzsch also became a photography instructor at Essen's Folkwangschule, a position he held until
Unfortunately, most of the photographer's extensive archives had been destroyed during World War II, and in , Mr. Renger-Patzsch relocated to Wamel Dorf, which is where he lived for the rest of his life.
His postwar photography remained focused on objects, but there was less contrast of light and dark. Apparently, the industrial world was no longer viewed in black and white; the war years had introduced shades of gray.
Renger patzsch biography examples wikipedia For it has succeeded in transforming even abject poverty, by recording it in a fashionably perfected manner, into an object of enjoyment. At issue is the power of the word over the image— the word's power to focus the image in the eyes of the world, so that it is seen in a particular way. Political tunnel vision made it impossible for Benjamin to contextualize Renger-Patzsch's photographs in a way that would do them justice. It does not want to be anything more or less than photography.Till the end of his life, Mr. Renger-Patzsch maintained that the line between photography and art should be embraced, not blurred. He remarked, "Let us… leave art to the artists, and let us try to use the medium of photography to create photographs that can endure because of their photographic qualities - without borrowing from art." Albert Renger-Patzsch died in Wamel, Germany on September 27, at the age of A photographic purist who believed the photographer should not insert himself or his personality into the photograph, Mr.
Renger-Patzsch and his 'New Objectivity' set a standard for industrial photography that has continued into the twenty-first century.
Ref:
Albert Renger-Patzsch by Gerald Boerner (URL: ?p=).
Albert Renger-Patzsch and Objectivity by Andrew Metcalf (URL: ).
Albert Renger-Patzsch - Still Life with Tools (URL: ).
Creative Photography: Aesthetic Trends, by Helmut Gernsheim (New York: Dover Publications, Inc.), p.
Encyclopedia of Twentieth-Century Photography, Vol. I (New York: Routledge/Taylor & Francis Group LLC), pp.
Kranreihe in einem Deutschen Ostseehafen (URL: ).
The Photography of Crisis: The Photo Essays of Weimar Germany by Daniel H. Magilow (University Park, PA: Pennsylvania State University Press), pp. 6,
#