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in the United States, Renger-Patzsch believed that the value of photography was in its ability to reproduce the texture of reality, and to represent the essence of an object. He wrote: "The secret of a good photograph—which, like a work of art, can have esthetic qualities—is its
133:... Let us therefore leave art to artists and endeavor to create, with the means peculiar to photography and without borrowing from art, photographs which will last because of their photographic qualities."
105:). 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
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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
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148: 1925). During the 1930s Renger-Patzsch made photographs for industry and advertising. His archives were destroyed during the
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Jennings, Michael. “Agriculture, Industry, and the Birth of the Photo-Essay in the Late Weimar
Republic,”
109:. The book's title was chosen by his publisher; Renger-Patzsch's preferred title for the collection was
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Hambourg, Maria M., Gilman Paper
Company., & Metropolitan Museum of Art (New York, N.Y.). (1993).
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Gelderloos, Carl. "Simply
Reproducing Reality—Brecht, Benjamin, and Renger-Patzsch on Photography,"
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The Waking dream: Photography's first century: selections from the Gilman Paper
Company collection
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42:(June 22, 1897 – September 27, 1966) was a German photographer associated with the
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An inventory of the Albert Renger-Patzsch Papers at the Getty
Research Institute
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The
Absolute Realist: Collected Writings of Albert Renger-Patzsch, 1923–1967
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and began making photographs by age twelve. After military service in the
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before becoming a freelancer and, in 1925, publishing a book,
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Wilde, Ann, JĂĽrgen Wilde and Thomas Weski (eds) (1997).
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Aspekte zum fotografischen Werk Albert Renger-Patzschs
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300:Albert Renger-Patzsch: Photographer of Ojectivity
227:Creative Photography: Aesthetic Trends, 1839-1960
370:Albert Renger-Patzsch and the 'New Objectivity'
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343:(in German). Witterschlick/Bonn: M. Wehle.
288:. London: Arts Council of Great Britain.
88:). He had his first museum exhibition in
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160:, where he lived the rest of his life.
20:Albert Renger-Patzsch photographed by
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312:Albert Renger-Patzsch: Meisterwerke
68:Königlich-Sächsisches Polytechnikum
410:People from the Kingdom of Bavaria
365:A profile of Albert Renger-Patzsch
259:. Los Angeles: Getty Publications
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136:Among his works of the 1920s are
95:A second book followed in 1928,
314:. Munich: Schirmer/Mosel, 1997.
255:Magilow, Daniel H. (ed) (2022).
302:. London: Thames and Hudson.
229:. Courier Dover Publications.
86:The Choir Stalls of Cappenberg
82:Das ChorgestĂĽhl von Kappenberg
35:by Albert Renger-Patzsch, 1922
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274:. Cologne: Benedikt Taschen.
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270:Michalski, Sergiusz (1994).
54:Renger-Patzsch was born in
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405:Photographers from Bavaria
225:Gernsheim, Helmut (1962).
339:Pfingsten, Claus (1992).
284:Schmied, Wieland (1978).
107:scientific illustrations
185:Gernsheim 1962, p. 172.
194:Hambourg 1993, p. 356.
152:. In 1944 he moved to
103:The World is Beautiful
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400:Artists from WĂĽrzburg
328:37.3 (2014): 549–573.
326:German Studies Review
212:Schmied 1978, p. 135.
176:Schmied 1978, p. 134.
40:Albert Renger-Patzsch
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203:Schmied 1978, p. 86.
33:Foxglove (Fingerhut)
310:. Translation of
98:Die Welt ist schön
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415:TU Dresden alumni
335:93 (2000): 23–56.
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22:Hugo Erfurth
395:1966 deaths
390:1897 births
140:(1922) and
62:he studied
384:Categories
350:3925267573
250:0870996622
235:0486267504
220:References
138:Echeoeria
111:Die Dinge
92:in 1927.
64:chemistry
50:Biography
158:Möhnesee
56:WĂĽrzburg
333:October
131:realism
120:. Like
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66:at the
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90:LĂĽbeck
24:, 1938
164:Notes
154:Wamel
345:ISBN
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