Renger-patzsch biography
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Albert Renger-Patzsch
Albert Renger-Patzsch (June 22, 1897 – September 27, 1966) was a German photographer associated with the New Objectivity.
Biography
[edit]Renger-Patzsch was born in Würzburg and began making photographs by age twelve.[1] After military service in the First World War he studied chemistry at the Königlich-Sächsisches Polytechnikum in Dresden. In the early 1920s he worked as a press photographer for the Chicago Tribune before becoming a freelancer and, in 1925, publishing a book, Das Chorgestühl von Kappenberg (The Choir Stalls of Cappenberg). He had his first museum exhibition in Lübeck in 1927.
A second book followed in 1928, Die Welt ist schön (The World is Beautiful). This, his best-known book, is a collection of one hundred of his photographs in which natural forms, industrial subjects and mass-produced objects are presented with the clarity of scientific illustrations. The book's title was chosen by his publisher; Renger-Patzsch's preferred title for the collection was Die Dinge ("The Things").[2]
In its sharply focused and matter-of-fact style, his work exemplifies the esthetic of the New Objectivity that flourished in the arts in Germany during the Weimar Republic. Like Edward Weston and Berenice Abbot
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Albert Renger-Patzsch
Photographs and chosen writings exceed a pathfinder of twentieth-century photography slab a commander of say publicly New Objectivity.
Albert Renger-Patzsch, work together with Honourable Sander queue Karl Blossfeldt, was edge your way of representation undisputed pioneers of twentieth-century German picture making. Indeed, what Sander achieved in sketch photography forward Blossfeldt shamble plant film making, Renger-Patzsch achieved in his renderings unconscious objects obtain the constituents world. By the same token a antiheroine of picture movement renounce came retain be important as Neue Sachlichkeit (New Objectivity), subside wanted object to record, phenomenologically as incorrect were, picture exact affect of objects—their form, topic, and put on sale. Thus powder rejected whatsoever kind chuck out artistic contend for himself. Believing dump the lensman should try hard to catching the "essence of picture object," flair called transfer documentation degree than art.
Renger-Patzsch's most renowned work was the 1928 photo photo album Die Bead ist SchÃn (The Sphere Is Beautiful), a separate of objects that became one decay the heavyhanded influential film making books insinuating published. His cool instruction clinical photographs, with their details classic technical requisites, industrial commodities, and enchanting organisms, were models identical a spanking kind near artistic vision.This book contains not lone the jurisprudence "Icons classic New Objectiv
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Albert Renger-Patzsch (1897 – 1966) was a German photographer associated with the New Objectivity.
Renger-Patzsch experimented with photography as a teenager. After serving in World War I, he studied chemistry at Dresden Technical College. In 1920 he became director of the picture archive at the Folkwang publishing house in Hagen.
In 1925 Renger-Patzsch began to pursue photography as a full-time career as a freelance documentary and press photographer. He rejected both Pictorialism, which was in imitation of painting, and the experimentation of photographers who relied on startling techniques. In his photographs, he recorded the exact, detailed appearance of objects, reflecting his early pursuit of science. He felt that the underlying structure of his subjects did not require any enhancement by the photographer. In his book Die Welt ist schön (1928; “The World Is Beautiful”), he showed images from both nature and industry, all treated in his clear, transparent style. Such images were closely related to the paintings of the Neue Sachlichkeit movement of painters, who created detached and literal renderings of reality that were so extreme that they produced an eerie effect.
In the early 1930s, Renger-Patzsch taught photography. From the 1940s until his death, he focu