- Hardcover: 176 pages
- Publisher: Thames & Hudson Ltd (3 Nov 1997)
- Language English
- ISBN-10: 0500542139
- ISBN-13: 978-0500542132
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 2,193,199 in Books (See Top 100 in Books)
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More About the Author
Product Description
Product Description
Albert Renger-Patzsch's contribution to the avant-garde photography of the 1920s and early 1930s established his leading role in the history of the medium. "Die Welt is Schon" or "The World is Beautiful" became of the most influential photographic books ever. His cool, clinical pictures, with their details of technical apparatus, industrial products and natural organisms, were models of a new artistic vision, combining objectivity and order with beauty and technology. This volume accompanies a major retrospective at the Sprengel Museum in Hanover celebrating the centenary of the innovative artist. It is edited by the founders and directors of the Albert Renger-Patzsch Archive in Cologne and contains the much publicized "Icons of New Objectivity" - the famous still lives of Jena glass, or rows of flat irons at a shoe factory - and lesser known pictures of landscapes and architecture, a selection of city portraits and photographic studies of trees and stones.
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Customer Reviews
Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Hardcover
The great German photographer Albert Renger-Patzsch, who first came to prominence in the 1920s, here receives a first-rate presentation worthy of his stature. The self-professed striving for "objectivity" in Renger-Patzsch's work leads, seemingly paradoxically, to a poetic intensity only achievable by a master artist. Readers of The New Yorker may have seen, in a recent issue, a stunning photo of a snowy field broken by fencing -- that was a Renger-Patzsch, and they will want to check this book out. But everyone should. The reproductions are superb and the supporting scholarly materials are extremely informative.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3 reviews
7 of 7 people found the following review helpful
One of the world's great photographers.
27 Aug 1998
Format:Hardcover
The great German photographer Albert Renger-Patzsch, who first came to prominence in the 1920s, here receives a first-rate presentation worthy of his stature. The self-professed striving for "objectivity" in Renger-Patzsch's work leads, seemingly paradoxically, to a poetic intensity only achievable by a master artist. Readers of The New Yorker may have seen, in a recent issue, a stunning photo of a snowy field broken by fencing -- that was a Renger-Patzsch, and they will want to check this book out. But everyone should. The reproductions are superb and the supporting scholarly materials are extremely informative.
1 of 1 people found the following review helpful
Objectivity or Idealism?
3 Aug 2002
Format:Hardcover
German photographer Albert Renger-Patzsch insisted that his photography was merely a matter of cataloguing of material phenomena, and that it represented a "new objectivity" (Neue Sachlichkeit). He also insisted that he was simply a "recorder" of said objects.
That might strike people as odd, in this age when pretentious "post-modernists" defile Christ in urine, or actually sell cans of their own excrement to the Museum of Modern Art for tens of thousands of dollars, when *anything* and *everything* qualifies to be deemed as art, without any formal -- or toilet -- training necessary. Yet, Renger-Patzsch disdained the moniker of "artist" that his enthusiasts tried to make stick to him. I wonder if he would still have that attitude with all the literal crap that poses as art today.
Renger-Patzsch's photographs weren't merely objective, they were pure idealism, for he always arranged or composed the subjects of his photographs to be seen in their best light. Whether it was simple pictures of common items, such as hand trowels, shoe trees or foliage, his photographs had a sensuous quality to them that makes the viewer want to reach into his photographs to touch them.
He had a gift for making the commonplace beautiful and for creating gorgeous landscapes out of factory works and basalt mines. His industrial prints are contemporaneous with any of Charles Scheeler's or Margaret Bourke-White's, but bear a much subtler imprint; There is a quiet quality to his prints, in which man is either alone and isolated or conspicuously absent (as with his photographs of houses outside of Essen and Dortmund), but the handiwork of man is ever-present.
His photographs are very strong, nonetheless, very masculine. He had a stylised eye that cut extraneous subject matter out of his images the way a butcher slices fat away from a side of bacon. Yet, the beautiful, transparent delicateness of his photographs of glass beakers from the Schott Glassworks in Jena speak with a gentle, feminine voice and his photographs of enamel bowls or a child's Pelikan paintbox have a Japanese feel to them, in their iconic and minimalistic compositions.
It is sad to say that even most American enthusiasts of fine-arts photography have never heard of Albert Renger-Patzsch. This volume, nonetheless, contains the best of his work and makes a strong argument for including him in the pantheon of the twentieth century's greatest photographers.
1 of 2 people found the following review helpful
Pure , it's great .
10 Mar 2000
Format:Hardcover
If you love Ansel , then you should love Albert too . though most of Ansel's photogarphs shows the beauty of nature ,Albert showed his sensity in humaneness and manmade stuffs .
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