August Sander

August Sander

|German
date of birth : 17 /11/ 18 | date of death : 20/04/ 196
Born on 17 November 1876, Germany, photographer, The father of street photography, The great breakthrough in his public reputation, attested to be the retrospective mounted in 1969 by the Museum of Modern Art in New York, occurred only after his death.

Birth, Birthplace, Time of birth:

August Sander was born on 17 november 1876 in Herdorf , Germany.

Father's name: -
Mother's name: -
Brother: -
Sister: -
Spouse: -
Children: Erich, Gunther

Reputation, fame, nickname:

The father of street photography

Life events:

Sander was born in Herdorf, the son of a carpenter working in the mining industry. While working at a local mine, Sander first learned about photography by assisting a photographer who was working for a mining company. With financial support from his uncle, he bought photographic equipment and set up his own darkroom. He spent his military service (1897–99) as a photographer's assistant and the next years wandering across Germany.He had developed an interest in photography through work in photographic firms in Berlin, Magdeburg, Halle and Dresden from 1898 to 1899. In 1901 he went to Linz, he started working for a photo studio in Linz, Austria, eventually becoming a partner (1902), and then its sole proprietor (1904). He left Linz at the end of 1909 and set up a new studio in Cologne.in 1910 he founded his own studio in Lindenthal. At this point Sander started his major project, Menschen des 20. Jahrhunderts, with which he was involved until the 1950s. The theme for the project grew out of the portraits he made of Westerwald farmers, in whom he saw the archetypal contemporary man. Building on this, Sander developed a philosophy that placed man within a cyclic model of society. In these terms, the peasant class constituted the basis of society, hence his title for the series of 12 peasant portraits, Stamm-Mappe (see G. Sander, 1980, nos 1–12). The next group, of skilled workers, is the foundation of civic life, from lawyer to member of parliament, from soldier to banker. These are followed by intellectuals: artists, musicians and poets. The cycle closes with the Letzte Menschen, the insane, gypsies and beggars. Although this cyclic model of society was anything but progressive, Sander came into conflict with the Nazis. The political activities of his son Erich were also held against him, and he had to interrupt work on this project between 1933 and 1939, when he devoted himself mainly to the themes of the Rhine countryside and the city of Cologne. The unusual quality of his portraiture is, above all, its systematic manner; this made the work a well-designed unity, not only in a sociological and philosophical sense, but also in photographic terms. Sander’s portraits, whether half- or full-length, are always set in a simple environment. He gave a controlled and intentional hint at the origin and profession of the sitter through the background or through clothes, hairstyle and gesture. There is no doubt of the peasant origin of the Three Young Farmers in Sunday Dress, Westerwald on their way to a dance, for example, despite their clothing. They are given away by the landscape background, their physiognomy, their clumsy shoes and the rough walking-sticks they are carrying. In contrast, Three Generations of a Farming Family shows clearly that the group had sat on their chairs especially for the photograph. In the same way, the Master Cobbler is sitting almost demonstratively at his work table, looking into the camera. In the picture of the Publisher, posing nonchalantly with stick and newspaper, it is apparent that the subject’s relationship with the countryside behind him is not that of a farmer but of a walker. Sander tried in all his works to incorporate this relationship of sitter to setting up to the last detail, with great confidence but at the same time with caution. Unfortunately he did not manage to publish his cycle during his lifetime. Through publication of Antlitz der Zeit and Deutschenspiegel in 1929, he could at least exhibit excerpts of his idea in book form. His son Gunther worked on Sander’s archive of more than 540 portraits and published them under the title that August had originally planned. After the demolition of his studio by bombing in 1944, when 40,000 negatives were destroyed, Sander retired to Kuchhausen in the Westerwald, where he carried on working under primitive conditions. His name was almost forgotten in Cologne, when L. Fritz Gruber, the organizer of the Photokina photographic exhibitions there, brought his photographs back to public attention by showing them at Photokina in 1951. He also convinced the city of Cologne to purchase for the Stadtmuseum the whole archive of views of the city, taken between 1935 and 1945, including the negatives. A publication titled Das alte Köln was to commemorate this purchase but was only completed posthumously in 1984. This part of Sander’s work also shows a systematic approach, giving proof on the one hand of his closeness to his home town and, on the other hand, of a very specific and unusual mode of perception. His series of landscape photographs of the Rhine area, taken between 1934 and 1939, is an analogous case, forgotten for a long time and only published in book form in 1975. The reason for Sander’s international reputation as one of the most important German post-war photographers lies in his strict documentation of his view of Man. Although his selection of people was mainly influenced by personal meetings and was thus hardly representative in a demographic sense, his portraits remain highly accurate reflections of their time. His individual approach determined the nature of his work and guaranteed him an outstanding position in international documentary photography. In 1964 he received the culture prize of the Deutsche GesellschaftfürPhotographie, of which he had already been an honorary member since 1961. The great breakthrough in his public reputation, attested to by the retrospective mounted in 1969 by the Museum of Modern Art in New York, occurred only after his death.

Education:

He studied painting in Dresden from 1901 to 1902, which allowed him to approach photography artistically.

Occupations and Career:

August Sanderwas a portrait and documentary photographer.He spent his military service (1897–99) as a photographer's assistant.. In 1901 he started working for a photo studio in Linz. In 1909 he set up a new studio in Cologne.in 1910 he founded his own studio in Lindenthal.Sander developed a philosophy that placed man within a cyclic model of society.
In 1927, Sander through Sardinia for three months, where he took around 500 photographs.
His work includes landscape, nature, architecture, and street photography, but he is best known for his portraits, as exemplified by his series People of the 20th Century.
Sander's Face of our Time was published in 1929.
By 1945, Sander's archive included over 40,000 images.

Awards /Honors:

In 1964 August Sander received the culture prize of the Deutsche GesellschaftfürPhotographie.

Books:

His first book Face of our Time (German: Antlitz der Zeit) was published in 1929.

Death, place of death, Time of death, place of burial

Sander died in Cologne, Germany in 1964.

Quotes and Memoirs:

  • In photography there are no shadows that cannot be illuminated.
  • Photography has no dark sides!
  • I never made a person look bad .They do that themselves .The portrait is your mirror.it is you.
  • Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography…let me speak the truth in all honesty about our age people of our age.
  • I hate nothing more than sugary photographs with tricks ,poses and effects. So allow me to be honest? And tell the truth about our age and its people.
  • Therefore, let me in honesty speak the truth about our epoch and people.

References:
http://www.moma.org
http://en.wikipedia.org
http://www.phptoquotes.com