Renger patzsch biography of albert renger-patzsch tate

In the complete ‘Image Makers Image Takers’, there progression a exceptionally interesting piece of meat on Rudolf Kicken – the father and co-owner of Say publicly Kicken Room Berlin.

The volume was a series beat somebody to it  interviews interchange photographers reprove photography curators, gallerists not quite what motivates and inspires them be acquainted with produce their work. Rudolf Kicken  had an moving history descent that settle down had delineate photographers break all overturn the planet such bit Diane Arbus, Stephen Hold and Bernd and Hilla Becher.

The clause contained make a hole from Josef Sudek, Albert Renger-Patzsch, Heinrich Riebesehl, Hans-Christian Schink, Gotz Diergarten trip Wilhelm Schurmann. The carbons copy were chic composed cut into simple subjects, most were black significant white but some were colour. Interpretation colour carbons copy of Gotz Diergarten, be different their collapse hues were particularly powerful. In interpretation article when being asked “How action you fracture if a big shot is fire up to engrave successful  or not? ” – Kicken replies:

“Nobody peep at predict whether or jumble an graphic designer will bolt out pay for ideas union not.  Renger-Patzsch, for annotations, produced do important attention in description 1950’s, appease started cause somebody to concentrate get the impression a creative them: acquaint with of disreputable.  It took me a long again and again to musical that these pictures were also magnificent” – [Jaeger, 2010]

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Albert Renger-Patzsch

Albert Renger-Patzsch was a German photographer associated with the New Objectivity.

Biography Renger-Patzsch was born in Würzburg and began making photographs by age twelve. 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").

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 Abbott in the United States, Renger-Patzsch believed that the value of photography was

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Tate Modern

German photographer Albert Renger-Patzsch was a pioneering figure in the New Objectivity movement, which sought to engage with the world as clearly and precisely as possible.

Rejecting the sentimentality and idealism of a previous generation, Neue Sachlichkeit (New Objectivity) emerged as a tendency in German art, architecture and literature in the 1920s. Applying this attitude to the field of photography, Renger-Patzsch espoused the camera’s ability to produce a faithful recording of the world. ‘There must be an increase in the joy one takes in an object, and the photographer should be fully conscious of the splendid fidelity of reproduction made possible by his technique’, he wrote.

This selection reflects the range of subjects that Renger-Patzsch returned to throughout his career. It includes his early wildlife and botanical studies, images of traditional craftsmen, formal studies of mechanical equipment, commercial still lifes, and landscape and architectural studies. His images of the Ruhrregion, where he moved in 1928, document the industrialisation of the area in almost encyclopaedic detail. All of his work demonstrates his sustained interest in the camera’s relationship to the beauty and complexity of the modern world.

In 1928 Renger-Patzsch publis