Albert Renger-Patzsch
Albert Renger- Patzsch ( born June 22, 1897 in Würzburg, † September 27, 1966 in Wamel ) was a photographer of the so-called New Objectivity.
Life
His father, himself interested in photography, aroused his interest in the matter. The age of 14 he had mastered the entire range of recording technology and development. Albert initially studied chemistry in Dresden, but soon broke off to study and took over in 1922 the line of the image archive of the Folkwang -Verlag in Hagen. In 1923 he went to a site in Berlin. From 1925 he worked as a freelance photographer in Bad Harzburg. 1929 moved Renger- Patzsch to Essen, where he studio spaces were asked at the Museum Folkwang available. During this time the Industrial Photography was his focus. A lecturer of photography at the Folkwang school, he broke off in 1933. After 1944, a large part of his archive had been destroyed by bombing, he retired after the war, according to the Wamel Moehnesee and devoted himself to nature photography. His works he published, for example in the cultural magazine Westphalia mirror.
Work
As a staunch opponent of the so -called " art photography," he developed in the 1920s, a direct, factual recording style. His 1928 published book The World is Beautiful (edited by Carl Georg Heise ) became the basis of modern photography. This book contains 100 photographs depicting various subject areas originate (plants, people, landscape, architecture, industrial machinery & industrial products). The individual subjects are usually released from the context and reproduced in skimpy cut-outs. The viewer's gaze is directed to surface structure and shape of the imaged object. The images are purist and fascinate whether their simplicity and clarity.
His programmatic statements on the photograph he has in several essays, in which he argues against any interpretation of his paintings and denies any artistic intention, held. He wanted to know his photography to be understood merely as documents that represent reality relentlessly, straightforward and realistic, and turned against constructing, assembling, experimentation and the use of photo effects, as was practiced in photography at the Bauhaus, in Pictorialism and Surrealism.
Prices
Importance
Since the photograph increasingly supplanted the graphic arts in the 1920s in the field of image advertising, the advertising industry has developed into a lucrative client of the many photographers. Renger- Patzsch worked for Pelican and the Jena glass works. One of his most famous advertising images shows a series of identical, upright iron, which appear in Photography Renger- Patzsch as a symbol of industrial mass production (see Product Photography ).
On this basis, that the beauty of sober purpose forms unfolds in the repetition, in the following decades, many commercial photographers have built.
Renger- Patzsch architectural photographs show, inter alia, dominated by coal and steel regions, which was not yet regarded as worthy of depiction. Here he used mainly the verticals and horizontals of clear and functionally oriented buildings. Extreme up-and soffits emphasize the architectural forms.
The photo- historical significance of the works can also be concluded from the fact that handwritten timely prints of the artist ( vintage prints ) now (for example, May, 2005 New York) on the sale price to $ 10,000 and exquisite masterpieces for over $ 90,000 achieved, and ( in small price segment ) the photo books (eg the Forest) by Renger- Patzsch in auctions are now traded high.
According to him the Albert Renger- Patzsch award is named, doped with 25,000 euros of European Photography Award, which is awarded by the Foundation Dietrich Oppenberg in conjunction with the photographic collection at the Museum Folkwang (Essen) since 1991.
Artist's Quotes
- " Let us leave art to the artists and try to create photographs that can be made through their photographic qualities we using the tools of photography"
- "I go from reality as room. This room should be designed as a cutout so that he projected on the plane, an ordered image area results "
- " The rigid line structure of modern technology, the airy latticework of cranes and bridges, the dynamics 1000pferdiger machines in the image to meet, only the photograph is quite possible "
- " Even very well-known things give in the cut seen completely new perspectives "