August Sander and the Artists_ Locating the Subjects of New Objectivity _ Tate

7/3/2015 AugustSanderandtheArtists:LocatingtheSubjectsofNewObjectivity|Tate

http://www.tate.org.uk/research/publications/tatepapers/augustsanderandartistslocatingsubjectsnewobjectivity 1/18

Researchpublications Signin

Research Researchpublications Tatepapers

By

RESEARCHARTICLES

August Sander and the Artists: Locating the Subjects of NewObjectivity

DorothyC.Rowe3April2013TatePapersIssue19

DorothyC.RoweshedslightontheroleplayedbyphotographerAugustSanderamongthegroupofartistsknownastheCologneProgressives,showinghowhisportraitphotographs,particularlythoseofthepaintersAntonRderscheidtandMartaHegemann,helpedtheartistspresentthemselvesasbohemians.

Todaywithphotographywecancommunicateourthoughts,conceptionandrealities,toallthe

peopleonearthifweaddthedateoftheyearwehavethepowertofixthehistoryoftheworld.

AugustSander1931

Inautumn1926aremarkablytenaciouspostofficeclerkturnedprivateartcollector,KasimirHagen,stagedanexhibitionathisnewlyopenedRichmodGalerieonColognesRichmodstrasse.NewArt,OldArt(NeueKunst,AlteKunst)juxtaposedworksbycontemporaryGermanartistswithaneclecticselectionofolderartworksfromHagenspersonalcollection,includingmedievalwoodcarvings,nineteenthcenturypaintingsandantiquefurniture.Inhis1955autobiography,HagenoutlinedthehistoryofhiscollectionandrecountedtheculturalmilieuinCologneinwhichhewasabletofosterhispassionasanamateurartcollector.Accordingtohisownaccount,hehadbuiltuponeofthebestpersonalcollectionsofantiqueandcontemporaryartinthecityasaresultofhissinglemindednessandhardworkinseekingoutadvicefromexperts,arthistoriansandcurators,aswellaslearningaboutartthroughjournals,exhibitionsandlectures.Theoccasionofthe1926exhibitionmarkedhisandhiswifesphysicalrelocationfromaflatinthesuburbofKlnDeutztoanewandmuchlargerhomeintheheartoftheoldcityinNeumarkt.Hagenlaterremembered:

SinceIhadalotofroominmynewflat,Ihadtheideatogiveupthefirstfloorofthehouseas

exhibitionroomsforaProgressivegroupofpaintersunderthenameofRichmodgaleriewhose

activitiescreatedastrongexternalimpact.Isupportedmodernpainting,particularlybythefollowing

1



artists:JankelAdler,GertArntz,MaxErnst,MartaHegemann,HeinrichHoerle,AntonRderscheidt,

FranzW.Seiwert,GertWollheimItgivesmegreatjoythattheworksofthesepaintersarestill

muchappreciatedtodayInconjunctionwiththeexhibition,Ipublishedasmallbookwith28

reproductionsofthepaintingsandportraitphotographsofthepaintersandsomeofmyolderart

objectsitwasreceivedverywell,especiallythepaintings,whichfor1926wereveryprovocative.

Manyofthecataloguesweresentabroad,sometotheUSA.Iwasabletohelpthepaintersexhibit

theirworkstocollectorsandmuseumswithoutanypersonalfinancialgain.Theconductwiththe

artistswhoweretherewasveryrefreshingandbroughtmenewstimuli,aswellastheopportunityto

buynewpictures.

Withthecatalogue,theexhibitionoffersevidenceofwidernetworksofvisualexchangeamongtheCologneavantgardeduringthisperiod.Inparticular,ittestifiestotheinterconnectionsbetweentheartistsincludedintheexhibitionandtherelationshiptheyhadwiththeColognebasedphotographerAugustSander(18761964),responsibleforproducingtheportraitphotographsofthepaintersreferredtobyHagenandwhoserolewithintheCologneartscenewasfarmoreintegratedthanstandardarthistoricalscholarshiphasindicated.

Sanderisbestknownforhisunfinished,gargantuanethnographicdocumentationprojectPeopleoftheTwentiethCentury(MenschendesZwanzigstenJahrhunderts),whichwasconceivedasaculturalworkinphotographicpicturesdividedintosevensections,groupedinclassesandcomprisingcircafortyfiveportfolios. Eachportfoliowascategorisedaccordingtodifferentthemesandeachonewastocontaintwelvephotographs.Mostoftheartists,architects,performers,musiciansandwriterswhomadeuptheCologneculturalsceneofSanderserawereincludedindifferentguises,accompaniedbyahostofothersitters,bothknownandanonymous,fromallwalksoflifeintwentiethcenturyGermany.Theprojectwasoriginallyconceivedin1910butwasnotformalisedbySanderuntilthemid1920s,althoughthephotographseventuallyincludedinsubsequentandposthumousreconstructionsoftheprojectrangeindatefrom1892to1954. Sanderscontention,citedintheepigraphtothisarticle,thatinphotographywehavethepowertofixthehistoryoftheworld,wasaboldoneindeed.Itwasborneoftheconfidenceandoptimisminthecreativepoweroftechnologicalmodernity,thedarkerunderbellyofwhichdidnotmanifestitselfovertlyuntiltheonslaughtofNationalSocialism.

ThehistoriographyofPeopleoftheTwentiethCentury,fromitsinceptionin1910toitsfirstandsecondpublishedmanifestationsduringSanderslifetimein1929(underthetitleFaceofOurTime(AnlitzderZeit))andin1962(MirrorofGermans:PeopleoftheTwentiethCentury(Deutschenspiegel:MenschendesZwanzigstenJahrhundert))istroubledbypoliticalcontexts,inparticularbytheglobaldevelopmentofaninterestineugenics,physiognomyandtheclassificationoffacialtypesasamodeofsurveillanceandsocialjudgementthatbeganinthelongnineteenthcenturyandtookonparticularlysinisterformsinGermanyundertheThirdReich. DisentanglingSandersprojectfromthemoreoverdeterminedreadingsofits

2

3

4

5



politicalramificationswithinGermanyinthefirstthreedecadesofthetwentiethcenturyrequirescarefularchivalanalysisandcloseattentiontothevisualartefacts.

Criticalcommentaryontheprojectsincethe1970shasfocusedlargelyonitsplacewithinthecontradictorypoliticsofWeimarculture,ratherthanonindividualphotographs.ForarthistorianGeorgeBaker,writinginOctoberin1996,FaceofOurTimeshareddangerousgroundwithNationalSocialisttheoriesofsocialDarwinismandracialempiricisminwhatBakerdescribesasSandersintendednarrativeofsocialdecay.Bakersreadingisfoundedonamisconceptionoftheclassstructureoftheprojectasonethatprivilegesthebourgeoisie,andassuchonethatisinevitablyconservativeinthefaceofthecrisisofportraiturewithinmodernism. Moredialecticalreadings,however,canbefoundinanearlierarticlebyarthistorianSteveEdwardspublishedintheOxfordArtJournalin1990,andasubsequentpiecebyarthistorianAndyJonesthatappearedinthesamejournaladecadelater. JonestracesabriefhistoriographyofSandersproject,carefullyweighinguptheconflictingclaimsthathavebeenmadeforit.TheserangefromthemisplacedrhetoricofSandersownstatedambitionstoobjectivitywriterAlfredDblinssupportoftheworkaspresentingthetruthmadereadyphilosopherWalterBenjaminsanalysisoftheprojectasaradicalonethatofferedatrainingmanualwithwhichtostudyGermansocietyinthepresentwithaviewtoarevolutionaryfuturephotographerAllanSekulasreadingofFaceofOurTimeintermsofthediscourseoftheinstrumentalarchiveandfinallyJonessownreadingoftheprojectasanextensiontoSteveEdwardssBakhtinianrefusaltoreadthephotographicportraitasthesiteofamonologicaldiscourseofpowerinwhichthesitterisapassiveobject. InsteadJonessuggeststhatthephotographicportraitshouldbeseenasadialogueinwhichthesitteris,tosomeextent,aselfauthoringsubject.

ByadoptingthisstrategyitispossibletolookmorecloselyatthefieldsofsignificationatplayintheindividualphotographswithinSandersscheme,andforegroundthecontradictionswithinitasinevitabletoaprojectthatattemptstodocumentandcreatetaxonomiesofdifferentspheresofsociallife.TheexampleoftheNewArt,OldArtexhibitionoffersasignificantpointofdepartureforsuchanambition.AletterwrittenbythepainterAntonRderscheidttothecriticFranzRohon17June1926providesevidencethattheexhibitionwasconceivedasthebasisforthefoundationofanewartistsassociation:

Wehavecreatedanassociationtoincludethefollowingpainters:JankelAdler,GertArtnz,Marta

Hegemann,HeinrichHoerle,AntonRderscheidt,FranzW.Seiwert.ThesearetheWestGerman

painterswhomweconsidertobetheessentialnucleusandwhoareseenassuchbytheotherside

inmanyexhibitions.Wehavespokenoutforandagreedoneveryaspectamongstourselves.From

JulyonwardsourworkswillbeexhibitedpermanentlyinthenewlyopenedRichmodGaleriein

Richmodstr.3,onarotationalbasis.IhaveacontractwiththeGallerysowner,MrCasimirHagen,

whohasgivenmethepossibilitytoconstructtheexhibitionasIseefit.Forthefirstexhibition,we

shallbepublishingapicturebookwithnotext,inwhichweshallinclude34illustrationsofworksby

theaforementionedartistsUnfortunatelyyouwereunabletoseemuchofSeiwertsor

Hegemannsworksonyourvisitsweaccordgreatimportancetobothoftheseartists.Iwouldask

6

7

8

9

10



younowtotrustus,alsointheeventofoneortheotherdistancingthemselvesfromyou.

Incidentallyyouwillfindthephotographsinformative.WheneverpossibleIwouldlikeustoappear

incloseconjunction.WewouldliketoaddMaxErnstandGertWollheimtoourgroup,butIhavenot

yetreceivedareplyontheirbehalf.Ishall,ofcourse,keepyouuptodateonhowthewholething

develops.

ThenewartistsassociationtowhichRderscheidtreferswasprobablyasubsetofthealreadylooselyformedgroupknownattheCologneProgressives,ledbySeiwertandHoerleandtowhichSander,Arntz,andothersintheircirclealsobelongedorwereassociatedwith(fig.1).TheCologneProgressiveshademergedafterthedissipationofdadainCologneandwerealignedtoaspecificallyradicalMarxistpoliticalagenda.However,thegrouphavegenerallybeenmarginalisedfromstandardarthistoricalaccountsofrevolutionaryartduringtheWeimarperiod,largelyasaresultoftheirongoingcommitmentto,thoughpalpablestrugglewith,theroleofeaselpaintinginanageofradicalpolitics.WhiletheProgressivesWeimarcontemporariesprivilegedtherevolutionarypotentialofeasilyreproductivemedia,particularlyphotography,photomontageandwoodcutprints,theCologneProgressives,aboveallHoerleandtosomeextentSeiwert,continuedtoprivilegeeaselpaintingalongsidetheirgraphicwork.Theyalsomaintainedaspecificinterestintherelationshipbetweenthesurfacefactureoftheworkandwhattheyreferredtoastheworkerviewersexperience.FortheProgressives,iftheworkerwasthebackboneofsociety,thenartoughttobeamanifestationoftheorganisationofwork,sinceitwasonlythroughthevisiblerevelationofthestructureofsocietythroughworkthattherulingclassescouldbedismantled.Thusitmadenodifferencewhatmediumthestructureofsocietyshouldberevealedintotheworkervieweroftheirart. Significantly,in1921SeiwerthadproducedaseriesofpolemicaldrawingsentitledSevenFacesoftheTimewhichArntzfollowedupin1927withaportfolioofwoodcutsentitledTwelveHousesoftheTime.ThetypologicalstructureofbothsetsofworkwasclearlytheinspirationforSandersproductionofthe1929editionofFaceofOurTime.WhilethedocumentaryabilityofphotographyfreedtheProgressivepainterstopursuegoalsinpaintingotherthanmimeticrepresentation,thestructuralandtypologicalphilosophyoftheirpaintingsallowedSandertoconceptualisehisphotographicpracticeinaspecificallytypologicalfashion.TheexchangebetweenthepaintingandphotographyoftheCologneProgressiveswasclearlysignificantforbothmedia.

11

12



Fig.1AugustSanderProletarianIntellectuals[ElseSchuler,TristanRmy,FranzWilhelmSeiwert,GerdArntz]c.1925Gelatinsilverprintonpaperimage:258x207mmARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010

Viewthemainpageforthisartwork

InlinewithRderscheidtsambition,MaxErnstandGertWollheimdidbecomemembersofthenewlyproposedartistsassociation,despitelackinganyradicalpoliticalaffiliation.ItistellingthatErnstscatalogueentrywaswrittenbyHoerle,andWollheimswasextremelysparse,indicatingthelikelihoodthatneitherhadrepliedtoRderscheidtintime.AdlersentrywaswrittenbySeiwert,suggestingthatperhapshetoohadnotrespondedintime.Nevertheless,keentopursuehiscontract,Rderscheidtensuredthatallthreeartistswererepresentedbysomesignificantpaintingsfromtheirrespectiveoeuvres:ErnstsLaBelleJardinire1923,WollheimsFarewelltoDsseldorf1924andAdlersJewishManBathing1925(oneofaseriesofportraitsofJewishmen)amongthem.Therearenoextantinstallationshotsoftheexhibitionbutthecatalogue,designedbyRderscheidtwithinputfromHegemann,Hoerle,SeiwertandSander,providescluestoitsdesignandintendedaffect.Eachartist,apartfromWollheim,wasrepresentedbyaportraitphotograph,apithyaphorismthatsummarisedtheirartisticconcerns,andreproductionsoftwooftheirexhibitedworks.



Fig.2AugustSanderPainter[JankelAdler]1924GelatinsilverprintonpaperARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010


MostoftheportraitphotographsoftheartistsinthecatalogueweretakenbySander,andalsoappearineitherhis1929publicationFaceofOurTimeorintheposthumoussevenvolumePeopleoftheTwentiethCentury(fig.2). WollheimwasrepresentedbyastrikingfulllengthselfportraitandaminimallineannouncingthathewasborninBerlinandlivesinBerlin.HoerlesentryforErnstnotedthathewasborninCologneandlivesinParisandcontinuedwithtypicaldadaisthyperbole:MaxErnsttowhomGodgavehislittlefinger,todaywalkswithhimarminarmovertheboulevardsoftheworld. InhisowncataloguestatementArntzcomments:Importantformeisthestrictutilisationofthesimplepossibilitiesofthewoodpanelandthesurface.Theresults:agraphicartwithoutcoincidencesandaplasticpicturebotharegoodwaystodemonstratetheeventsofourlivesreformed,succinctandrigorous. AccompanyingthestatementandSandersportraitphotographofhimwerephotographicreproductionsoftwoofhisreliefcarvings.ForArntz,thematerialityofwoodenblockswasmoresignificantthanthetwodimensionalprintsthatmightbetakenfromthem.SteamRollerisacelebrationoftechnologyandthemachineinanurbanindustrialscene,whileSuburbanStreethighlightsamoretraditionalsetofvalues:facadesofhousesandshops,afewfiguresonthestreetandarestinghorsearealldepictedinstronglinearcontourswithstarkcontrastsbetweengroundandrelief.Significantly,ascuratorLynetteRothhasobserved,Arntzincreasedthetactilityoftheplatebygluingawoodenfigureontoitssurfaceovertheshapeofhisowncarved,uniformedfigure.Thereliefhasnotonlybeenmademoretactilebutalsounprintable. Bothblocksalsoincludeimagesofchildren,revealingtheartistsconceptualisationofthepast,thepresentandthefuturewithinhisgraphicprogramme.

HeinrichHoerlesentrybearstracesofhisdadaistinformalityinboththeaphorismandthephotograph,amoreinformalinteriorshottakeninfrontofwhatisprobablyoneofhisownpaintings,holdingapipeandlookingawayfromthecamera.Hewroteofhimself:Fanaticsforconstructivistdestruction.Absoluterelativityinpainting.ResultTotalism. HoerlesFactoryWorker1921andFemaleFactoryWorker1926,whenseentogether,pointtoashiftintheartistsspainterlystylefromthefacelessanddehumanisedmechanisticrobotoftheearlierpaintingtothedowntroddenbutcloselyrenderedproletarianportraitof1926.

FranzW.Seiwertwroteinhiscatalogueentry:Withmypictorialform,Itrytodepictarealitywhichhasbeenstrippedofeverythingthatissentimentalorcoincidental.Tomakevisibleitslegitimacy,itsfunctions,itsconnectionsanditstensionswithinthepictureframe. AccompanyinghisportraitphotographbySanderweretworeproductions,alsotakenbySander,ofhispaintingsClosingTime1925andDemonstration1926.ForSeiwertthedocumentarypossibilitiesoftheNewPhotographygavethepainterextrafreedomtopursuenonmimeticrepresentation.SanderwasspecificallycommissionedtophotographtheartworkoftheCologneProgressivesandtheircirclesothattheycoulddisseminateittoaswideandinternationalan

13

14

15

16

17

18



audienceaspossible.AsRothhascommented:

TheProgressivesexcitementaboutphotographysabilitytointroducetheirworktoabroaderpublic

isinextricablytiedtoSandersinvestmentincapturingthesubtletiesofagivensurfaceThe

Cologneartistsrepeatedlypraisedthephotographersreproductions,evenfurtherencouraginghim

tocapturetheplasticortactilequalityoftheirartworkSandersownemphasisonexact

photographymadehisworkacrucialcomponentofthepainterlyprojectoftheCologneartists.

LikeArntzsandHoerlesworks,thesubjectmatterofSeiwertstwopaintingswascharacteristicoftheCologneProgressivessympathywithleftwingpolitics.Indeed,thesociopoliticalconcernsofSeiwert,ArntzandHoerlecomethroughveryclearlyfromtheirchoiceofreproducedworks,andstandinmarkedcontrasttothechoiceofworksbyHegemannandRderscheidt,indicatingtheincreasinglydivergentpoliticalpathsofthegroup.

MartaHegemannstworepresentativecatalogueworkswerea1921watercolour,SmallSailingBoat,whichwastypicalofherearlywatercolourstyleandsubjectmatter,andthenowlostpaintingFemalePainter1926. ItcanbeassumedthattheeponymousFemalePainterisaselfportrait.Theartiststandsonaruginfrontofhereaselfacingtheviewerandholdsapaintbrushinbothhandsinfrontofherlap.Herstudioiscrammedwiththestandardelementsofhericonography:asmallstatueofatreeandahorseonashelfbehindher,acoffeepot,someoillamps,anopenbookandtwocatscirclingherfeet.Shestandsinfrontoftheeaselonwhichrestsacanvasportraitofamansheadandtorso,possiblythatofherhusband,andperhapsalsotheimpliedviewerofthework,whomsheengagesdirectly.Behindtheeaselisabalustradeindicatingtherealmofpossibilityandfreedombeyondthisinteriorscene.

Significantly,RderscheidtstwocatalogueworkswereofHegemann.PictureofMarta21920(fig.3)andPainterandModel1926(fig.4)succinctlydemonstratethestylisticdevelopmentofRderscheidtsartbetweenthesetwodates.TheconstructivismofPictureofMarta2hasbeenreplacedbytheNewObjectivityofPainterandModel.NewObjectivityisnotoriouslydifficulttodefine.Neveraformalmovementorstyle,itwasatermmostcommonlyattributedtoGustavHartlaub,DirectoroftheKunsthalleinMannheim.HartlaubsoughttoidentifythetendencieshehadperceivedinpostFirstWorldWarartinGermanyafterthedemiseofexpressionism.Commoncharacteristicsincludetheprecise(orexact)renditionofmaterialobjectsorpeople,confinedwithinastaticorairlessspace,withoutnecessarilyanylogicalrelationtooneanother.WhilethesitterinHegemannsFemalePainterisclothed,Rderscheidtsnudeportraitsofhiswifeintheuncannyenvironmentoftheartistsstudioveerfromanonymouschesspiecestofullynudepuppets.ForRderscheidtitwasundoubtedlyHegemannwhoservedasinspirationforhiswork,whereasHegemannismorefascinatedwithherself,avisualdynamicthatwasnotlostonSander.

19

20

21

22



Fig.3AugustSanderPhotographofAntonRderscheidtsBildMarta2(missingordestroyed)PrivateCollectionSKStiftungKultur,Bonn/AllRightsReservedDACS2013

Fig.4AntonRderscheidtPainterandModel1926(missingordestroyed)DACS,London2013

Fig.5AugustSanderThePainterAntonRderscheidtandhisWifeMartaHegemannc.1925DiePhotographischeSammlung/SKStiftungKulturAugustSanderArchiv,Cologne/AllRightsReservedDACS

InPainterandModel,atuxedowearingRderscheidtfacestheviewerinlinewiththefrontplaneofthecanvas.Heholdsacleanpaletteinhishandandhislegsdisappearintothewoodenstrutsoftheeasel,sothatheliterallymergeswiththetoolsofhisprofession.Theblendingofthepaletteinhishandswiththestrutsoftheeasel/legsisechoedwittilyinapalettelikeobjectbeingheldbyRderscheidtinoneofSandersmanyphotographicportraitsoftheartistcouple(fig.5).Inbothimagesstagedperformativityandtheartificeofconstructionisparamounttothesurrealeffectscreated.RderscheidtplaysavisualgamewiththeviewerandSanderattemptstorecapturesomethingofitsessenceinhisphotograph.ThestrangenessofthepaintingisunderscoredinanumberofwaysinSandersphotograph.Inthepainting,Rderscheidtspositionisimpossibleperspectivally,insertedasheisbetweentheeaselandthecanvas,callingintoquestiontheidentitiesofpainterandmodelwhileacademicconventionwoulddeterminethenakedwomantobethemodelandtheclothedmanthepainter,Rderscheidtundercutstheseeasyidentifications.Althoughthenudeisposedonapodiumintheinfinitebackgroundwaitingtobepainted,herroleasobjectoftheartistsgazeisthrownintoquestion.Thefictionalpainterhasturnedhisbackonherandlooksinsteadtotheviewerwhilesandwichinghimselfontothecanvasinherplace.TheartistandthemodelarebothsubjecttoRderscheidtsandtheviewersgaze.AlongwithothersinaseriesofPainterandModelcanvasesproducedby



2013

Fig.6AugustSanderThePainterAntonRderscheidtandhisWifeMartaHegemannc.1925TateAL00045SKStiftungKultur,Bonn/AllRightsReservedDACS2011

Fig.7AugustSander

Rderscheidtthroughoutthelate1920s,thisworkexploresasetofontologicalquestionsconcerningthenatureofsubjectivityandrepresentation,ratherthansimplyrehearsingthestylisticsobrietyofNewObjectivity.ItisthisperformativeaspectofRderscheidtspracticethatSanderalsostagesinhisphotographicrepresentationsofthepainterwithhisartistwifecummuseandmodel.

InSandersmanyphotographsofMartaHegemannandAntonRderscheidt,theartistseitherappeartogetherasaselfconsciouslyconstructedKnstlerehepaarorartistcouple(fig.6),orseparatelyasindividuals,andarepresentedwithinmultiplecontextsinPeopleoftheTwentiethCentury:involume3(TheWoman),volume5(TheArtists)andvolume6(TheCity).TheyalsocirculatemostoftenassignifiersofthevisualsobrietyendemictoSanderspracticeofexactphotography.Asalreadyindicated,throughtheircloseinvolvementwithNewArt,OldArt,HegemannandRderscheidtwerebothactivemembersoftheCologneartsceneduringtheWeimarRepublic,andafterabriefflirtationwithdadamovedinthesamethecirclesastheCologneProgressives,althoughtheyremainedalooffromtheProgressivesmoreradicalpoliticalconcerns. Whenviewedtogetherandinconjunctionwiththeartistspainterlyselfconstructions,Sandersvariousphotographsofthecouple,spreadacrossseveraldifferentvolumesofPeopleoftheTwentiethCentury,revealthecomplexityoftheirdialogicperformanceswiththephotographer,eachotherandtheviewer.Closeanalysisrevealsthedistinctlycarnivalesqueironyatworkintheseimages,positioningthephotographssomewhatagainstthegrainoftheirstatusasrepresentativeexamplesofexactphotographyorNewObjectivity.ByexaminingthephotographsandthepaintingsalongsideoneanotheritisclearthatvisualrelationshipsbetweenthetwomediawithinthediscoursesofrealismandNewObjectivitywerebeingselfconsciouslyexplored.

AtfirstsightitmightseemasthoughthetrafficofinfluencebetweenSanderandtheartistswasaconventionalonewaystreetinwhichSandersimplyattemptedtoreplicateinphotographstheselffashioningoftheartistsoncanvasinaphotographictableauvivant.Indeed,Sanders1926portraitofRderscheidt(fig.7)isaclearindicatorofthattypeoftransmission,foritisprobablethatSanderwantedtorecapturethelookofRderscheidtsselffashioningfromanumberoftheartistsselfportraits,includingthe1921paintingYoungManwithYellowGloves(fig.8).InhisphotographsofRderscheidt,Sanderwenttosomelengthstoreconstructtheillusionofemptyspace,cleanlinesandrecedingperspectivecharacteristicofRderscheidtspaintings.Forexample,earlyoneSundaymorningSandersurprisedtheartistbyaskinghimtoposeonthenormallybusyBismarkstrassewhileitwasstillempty,takingfourdifferentversionsofthe

23



Painter[AntonRaderscheidt]1926Photograph,gelatinsilverprintonpaperARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010


Fig.8AntonRderscheidtYoungManwithYellowGloves1921PrivatecollectionDACS,London2013

Fig.9AugustSander

shot. SanderclearlyintendedtoalignhisphotographicimagewithRderscheidtsownselffashioningbyexpungingunnecessarydetailsandcreatinganobjectiveenvironment. However,itisalsoknownthatRderscheidtsubsequentlyusedSandersphotographtoreinforcehisownpainterlyconcerns,choosingtheexactsameimagetoaccompanyhisepigraphintheNewArt,OldArtcatalogue:Iam34yearsoldandwasborninCologne.Ipaintthemanwiththebowlerhatandthehundredpercentwomanwhosteershimthroughthepicture.Myfondnessforthehorizontalandtheverticalisameansofguidingtheobserverthroughmypictures. ThephraseissignificantasasummaryofRderscheidtspainterlyconcerns:portraitsofhimselffullyclothedinformalattireandhiswifeHegemannoftenfullynude,engagedinsportingactivitiesandrenderedinacoollydetachedstyle.

ThestagedperformativityofRderscheidtspaintings,thevisualgamesheplayswiththeviewer,andSandersattempttorecapturetheseelementscanbeseeninseveralotherphotographstakenonthesameshootastheoneinwhichRderscheidt,standingwithHegemann,holdsapalettelikeobject(fig.5).However,inthesesubsequentphotographseverythingchanges:RderscheidtdropshisgripandlooksintentlyathiswifeHegemannlooksawaytowardsthespectatorbutintoamiddledistanceofherowncontemplation,thesuppressionofawry,fleetingsmileacrossherface,caughtforeverinstasis.Sandersphotographsofthecouplecanalsobereadindialoguewithseveralfurtherimagesfromthesameshoot(assignifiedbyHegemannsclothes,accessoriesandhair)inwhichHegemannappearsalone.Inoneversion,whichshesubsequentlyusedforherdrivinglicence,sheisphotographedwithoutanymakeup,indicatingthatitwasprobablytakenfirst.However,intheversionincludedinherRichmodGaleriecatalogueentry,shedecoratedthesideofherfacewithkeymotifsfromherpainterlyiconography:twobirdsinflight,onewithacrucifixonitswing(fig.9).Inyetanotherversion(whichappearslaterinvolume3butunderthesimpletitleFemalePainterinaportfoliocalledTheWomaninIntellectualandPracticalOccupation),thetattoohasbeenredrawntoincludetwobirds,astar,waves,aheart,somestepsandacross.Presentedaloneandwithouttheconstrictionsofherhusbandsgrip,Hegemannhaschosentopresentherprofessionalfacetothecameraasoneinwhichheridentityisliterallywrittenonherbodyviathedrawntattooofherpersonalartisticsymbols.

OneoftheoverridingwaysofunderstandingtheselfconstructeddynamicbetweenHegemannandRderscheidtistoregardtheirrelationshipasonethatfluctuatedbetweenindividualambitionandcollectiveendeavour,andthatitwasthroughphotography,inparticularSandersphotographicportraits,thattheyplayedouttheirselfconstructedrolesmostsubversively.Theconstructednature

24

25

26



Painter[MartaHegemann]c.1925Gelatinsilverprintonpaperimage:258x198mmARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010


Fig.10AugustSanderLumpenballEmdekkeTommes1929PrivateCollection[GerdSander]SKStiftungKultur,Bonn/AllRightsReservedDACS2013

oftheNewObjectivityaestheticsuitedthecouplescarnivalesqueironyandsardonichumour.Centraltobothartistsworkwereexplorationsofperformativeandsubjectiveidentitythroughvisualrepresentationinpainting,photographyandmasquerade.SteepedinmedievalChristiantradition,Colognesannualcarnivalcelebrationsbeganinthetwelfthcenturyandhavelongbeenembeddedintheculturallivesofthecitysinhabitants. Thefestivalultimatelyconsistsofastandardsetofthemes,themostessentialofwhichisthethereversalphenomenon,orwhatphilosopherMikhailBakhtinmorefamouslytermedthecarnivalesque. FolkhistorianPeterTokofskyexplainsthatitistheworldturnedupsidedowninwhichstatus,age,wealthandmostprominentlygendergetturnedontheirheads,whilehistorianReidMitchellremarksthatthemostnotoriousyetlonglivedCarnivaltraditionwasthatofcrossdressing. Significantly,philologistV.V.Ivanovnotesthattheinversionofthebinaryoppositionmale/femaleappearstobeadeterminingfactorinasignificantnumberofcarnivalritesinvolvingstatusreversal. AttheColognecarnivalsocialandgenderhierarchiesareinverted,inparticularduringWeiberfastnacht(womenscarnival)whenwomenreignsupreme,neverbeingrefusedadrinkorakiss,tippingthehatsofpassingmen,dancinginpublicandplayingpracticaljokesonanymentheyencounter. Husbandsmusteitherstayathomeandlookafterthehouseorstepoutsideandruntheriskofbeingmocked. Whilethisreversalmaynolongerbedeemedsoradicaltoday,historicallyWeiberfastnachtcarriedfargreatersymbolicsignificance.ItpresagedtheThreeCrazyDaysinwhichthemedievalfooldominatedfestivities,anditwasalsoduringthesecrazydaysthattheexclusiveLumpenblle,orcostumedballsspecificallyreservedforartists,wereattendedbyHegemann,RderscheidtandtheirpeersandphotographedextensivelybySander.Inonephotograph(fig.10),SanderportraysHegemannandRderscheidtinconvivialmoodastheycelebratetheeveningtogether,afarremovefromthesobrietyoftheportraitphotographsconsideredabove.Indeed,SandersimportancetoalloftheartistsoftheCologneavantgardeistraceablethroughouttheiractivitiesbothasagroupandasindividuals.InothershotsfromthesameeveningHegemannandRderscheidtareshownposingamongagroupoftheirfriendsassociatedwiththeCologneProgressives,includingHeinrichandTataHoerle.AlthoughRderscheidtandHegemannincreasinglydistancedthemselvesfromthepoliticallyengagedartworkoftheProgressives,theydidcontinuetofraternisewiththem,particularlyonsocialoccasions,suchasattheCafMonopolandtheLumpenblle,aswellasatexhibitionsandonanumberofpublicpoliticalprotests.

Acollaborativeopportunityforthegrouparoseoncemorein1929viaaspeciallycommissionedexhibitionentitledSpaceandMuralPainting,thestudyofwhichdemonstrateshowsignificantSandersrolewasasphotographeroftheCologneavantgarde.Havingalreadyhelpedconstructartisticidentitiesbytaking

27

28

29

30

31

32

33



Fig.11AugustSanderPainter[HeinrichHoerle]1928GelatinsilverprintonpaperARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010


portraitphotographsofthesameartistsforthe1926NewArt,OldArtexhibitioncatalogue,SanderusedSpaceandMuralPaintingasanopportunitytoexpandhisdocumentaryrepertoireofindividualportraitsubjectswhileincorporatingthestudyofinteriordesign,paintingandarchitecturalsettings.WiththehelpofHeinrichHoerle(fig.11),theColognearchitectHansHeinzLttgen(fig.12)conceivedtheexhibitionasaGesamtkunstwerk(totalworkofart)fortheCologneArtAssociationbyarrangingthespacesanddesigningtheinteriorandthefurnitureforthem. Hethencommissionedvariousartiststoprovidethemuralsforthedifferentrooms.Notsurprisinglythecommissionwasdividedalonggenderlines,andastheonlyfemaleartisttobeincludedHegemannwassomewhatinevitablyassignedtodecoratethechildrensnursery.OthercommissionswenttoFritzKronenberg,waspaintedthereceptionroom,JankelAdler,whowasassignedthelivingroom,HeinrichHoerlethelibrary,RichardSeewaldthediningroom,FranzW.SeiwerttheofficeLttgentheroomsforthedisplayofcarpets,wallpaperandmaterials,andAntonRderscheidtandHeinrichMariaDavringhausenthecentralroomattheheartofthehouse.On17March1929ColognecriticandProgressivememberWalterSterngaveatalkabouttheexhibitionbroadcastonWestGermanradio.TheintroductionwasalsopublishedintheWestGermanRadioMagazineandsubsequentlyreprintedintheaccompanyingexhibitioncatalogue.Sternexplainedthattheintentionwastoillustratesomethingcontemporarywhichhastheclosestpossibleconnectionswiththeideologicalandsociologicalfactsoftheepochandsuggestsuptodatecorrelationsbetweentherealitiesofsocietysproductionandconsumption. Healsonotedthatitwastheexhibitionsproposedunificationofimageandobject,colourandformthatwouldbringthepredeterminedspaceintoadesirablerelationwiththesocialpowersofcontemporarycollectiveeffort,clearlyresonatingwiththeprinciplesofcollectiveactionthatalsoinformedthebroaderidealsoftheCologneProgressives.Furthermore,hisdelineationoftheartisticprocessrequiredforthesuccessfulintegrationoffineartobjectswithinteriordesignisalsosignificant:

Theproblemoftheindividualtreatmentofsubjectivefactsineaselpaintinghadtobeaddressedin

ordertorecognisethemuralasanuptodateexpressionofpictorialformitispreciselythefact

thatthearchitectorganisingtheshowcreatedtheopportunitytoshowhowfactoryandstudio

workcomplementoneanotherthatmakesthisexhibitionworthyofseriousconsiderationWhat

matteredwastorelatethepicturestothespaceinwhichtheyfoundausethemuralexistsinits

ownculturalcapacityinthecontextofquestionsputbythespace.

Therestofthecatalogueincludedafloorplanoftheexhibitionfollowedbyadetailedroombyroomguidetotheindividualartistsandmanufacturerswhohadcontributed,accompaniedbySanderspreciseinstallationshots.Oddly,theonlyroomnotdocumentedinthecataloguewasLttgensownarchitectureroomofwhich

34

35

36



Fig.12AugustSanderTheArchitectHansHeinzLuttgenandhisWifeDora1926,printed1990Photograph,gelatinsilverprintonpaperunconfirmed,frame:490x390x30mmARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010


therenolongerremainsanydirectvisualevidenceapartfromtheprobableinclusionofHegemannspaintingTheArchitect1929,boughtbyLttgenforhisowncollectionaftertheexhibition.

ItislikelythatSandersphotographsoftheexhibitionservedmultiplefunctions.Notonlydidtheyfurnishthecataloguebuttheywerealsosuppliedtothepresstoaccompanyreviews.ItisclearfromthepositivetoneofthosereviewsthatSpaceandMuralPaintingwasapopularandacriticalsuccess,spawningseveralrelatedshowsincludingTheGrowingApartmentandTheHome,aswellasamarketforLttgensinteriordesignbusinesscalledKlnerStudio,towhichHoerlealsocontributedforashareoftheprofits. WhatinterestedSanderwastheopportunitytophotographnotonlythefinishedinstallationsbutalsotheindividualpaintingsatdifferentstages,fromtheirexecutionintheartistsstudiostotheirinstallationinthegalleryspaceoftheCologneArtAssociation.ThiswascertainlytrueofHegemannslargescalenurserymurals.InonestudioshotanexhaustedlookingHegemann,herfringealmostcoveringhereyes,isshowninbohemianfashionslumpedonahessianmatinfrontofherfinishedwork,cigaretteinonehand,paintbrushintheother,theantithesisofthepopularconstructofthematernalwomanwhodressesneatlyandkeepsdomesticorderinaperfecthome,aroleperhapsimpliedbyherpositionasnurserydesigner(fig.13).Sheissurroundedbythedetritusofanintensivelabourtherearepots,brushesandbottlesstrewnonthefloor,ateapotwithahastilysetdowncupandsaucer,agramophoneintheothercornerandapileofbooksonasmallsidetableafarcryfromthephotographofthecleannurseryreproducedintheexhibitioncatalogue.IntheexhibitionHegemannstwomuralsoneconstructedaroundthefigureofaboy,theotheraroundagirlwereimplementedascounterpartstooneanother.Bothchildrenaresetwithinamagicalriversceneinwhichsailingboats,birds,books,horses,hillsandkitessurround,envelopandfloatpastthem.Thesemotifscontinueontheceilingoftheplayarea,aswellasonthelunettesinthemainpartofthebedroom.Thewholeflitteringcheerfulnessandchildlikejoyoftheformulation,whichcaptivatedartcriticLuiseStrausErnstinherreviewoftheexhibitionforDieKunst,alsoengagedothercriticslocallyandnationally. TheRheinischeZeitungdescribeditasthemostplausibleandupliftingroomintheexhibition,havingalsonotedthatRderscheidtsblackandwhitepaintingNudeonaTightrope,onshowinthecentralroom,fitslogicallywiththespace.TogetherwithDavringhausenspicture,buttoagreaterextent,itconfirmsthespaceshapingideaofthemural. TheKlnerTageblattcommentedthatMartaHegemannpreparedthenurserymostcharminglywithpaintedswans,Indians,monkeysandsoldiers, andthecriticfromtheKlnerStadtAnzeigerobservedHegemannslightnessoftone:thenursery,inwhichMartaHegemannhasconjuredamulticolouredchildsworldoffables,isveryamusing. Inthenationalpress,AlfredSalomony,writingforDerCicerone,remarkedfavourablythatthenurserydeservesunrestrainedadmirationduetoMartaHegemannsdelightfullyplayful,childlikeliveliness. ThedisjuncturebetweenSandersportraitsofHegemannandthe

37

38

39

40

41

42

43



criticalreceptionofherworkinthepublicsphereingenderedtermsseemsparticularlysignificanthere.WhileHegemannsworksdelighttheirpublicaudienceswiththeirplayfulnessandcharmratherthanwiththelogicofherhusbandscontribution,andthusreinscribeherbackintotheconventionallygenderedrealmofthewomanartist,SanderandHegemannsubvertthecriticalassociationbetweenwoman,childrenandthedomesticviatheirdialogicfashioningofanunruly,chainsmoking,creativeandbohemianpersona.

Fig.13AugustSanderMartaHegemanninfrontofherWandbildPrivatecollectionSKStiftungKultur,Bonn/AllRightsReservedDACS2013

AlthoughthemuralsforSpaceandMuralPaintingnolongerexist,SanderscarefulmappingofhisfriendsartisticactivitiesthatmakeitpossibletorevisualisenotonlythisexhibitionbutalsosomanyotheraspectsofWeimarColognesculturalavantgarde.WhileSanderisfamedprimarilyforthesupposeddocumentaryrealismofPeopleoftheTwentiethCentury,itisclearthatthefurtheroneexploressuchagargantuanproject,thelessdocumentaryitbecomes.Indeed,theextenttowhichPeopleoftheTwentiethCenturyexceedsitsclaimstoobjectivityisnowheremoreselfevidentthaninSanderscannibalisticcollageCologneGoesWildintheYear19291929(fig.14),avisualexerciseinthecarnivalesque.Thecarefullycraftedphotographsoffriends,artists,writersandmusiciansthatpopulatethepagesofPeopleoftheTwentiethCenturyarebroughttogether,splicedandrearrangedinacollagedcelebrationoffriendshipthatironisesthetypographicalproject.CentraltothemontageisthepaleheadofRderscheidtashangedman,whileMartaHegemann,lookingoutwrylyfromthebottomleft,obliquelyobservestheviewer. 44



Fig.14AugustSanderCoellenausRandundBandemJahr1929(CologneGoesWildintheYear1929)1929PrivatecollectionSKStiftungKultur,Bonn/AllRightsReservedDACS2013

TheextentofSandersinvolvementwiththepaintersoftheCologneavantgardehasstilltobeexploredwithinEnglishspeakingarthistoricalscholarship,butitiscertainlyclearthatwithouthismeticulousphotographicrecordsmanyoftheartworksthatweresubsequentlylooted,destroyedorlostduringtheNazierawouldotherwiseremainunknowntoday.YetthepoignancyofSandersphotographicprojectrestsnotonlyonitsstatusasdocumentaryarchive,butalsoonitsabilitytocontinuallyreanimatethelostsubjectsoftheWeimarerasculturalhistorybeforesomanyoftheirliveswereirredeemablydestroyedbythecataclysmiceffectsofNationalSocialism.

Notes

AugustSander,Lecture5:PhotographyasaUniversalLanguage,1931,TheMassachusettsReview,vol.19,no.4,Winter1978,pp.6749.ThislecturewasthefifthofsixradiolecturescalledTheNatureandGrowthofPhotographywrittenanddeliveredbySanderin1931.TheoriginalmanuscriptsofallsixlecturesareintheREWELibraryatDiePhotographischeSammlung,SKStiftungKultur,AugustSanderArchive,Cologne.KasimirHagen,AusKunstundLeben.Meine50jhrigenErfahrungenalsKunstsammler.ErsterBand:Gemldedes19.und20.Jahrhunderts,Cologne1955,pp.2830.ThespellingofHagensfirstnamevariesindifferentaccountsbetweenCasimirandKasimir,bothareusedhereastheyappearintheirspecificcontexts.Authorstranslation.AugustSander,MyConfessionofFaithinPhotography,1927,inGerdSander(ed.),AugustSander:InPhotographyThereAreNoUnexplainedShadows!,exhibitioncatalogue,NationalPortraitGallery,London1997,p.21.Someaccountsrefertofortysixportfolios.ForexampleseeAnneGanthefhrerTrier,Zeitgenossen,inZeitgenossen:AugustSanderunddieKunstszeneder20erJahreimRheinland,exhibitioncatalogue,JosefHaubrichKunsthalle,Cologne2000,p.13.AugustSander:Menschendes20.Jahrhunderts,ed.bySusanneLange,GabrielleConrathScholl,andGerdSander,7vols.,CologneandMunich2001,vol.1,2001,p.30.SeeFayBrauerandAntheaCallen(eds.),Art,SexandEugenics:CorpusDelecti,Aldershot2008.GeorgeBaker,PhotographyBetweenNarrativityandStasis:AugustSander,DegenerationandtheDecayofthePortrait,October,

1.

2.

3.

4.

5.6.



no.76,Spring1996,p.112.Bakerwritesofthedeclineofthecategoryoftheindividualinrelationtothenewimportanceofcollectiveformationswithinthemodernistavantgarde.Forhim,thepromotionofthebourgeoisindividualthroughthegenreofportraiture(whetherpainterlyorphotographic)waschallengedbytheleftistradicalavantgardesemphasisoncollectiveidentityandthusthrewthecategoryofportraitureasamodernistpracticeintopotentialcrisisseeibid.,p.87.SteveEdwards,TheMachinesDialogue,OxfordArtJournal,vol.13,no.1,1990,pp.6376AndyJones,ReadingAugustSandersArchive,OxfordArtJournal,vol.23,no.1,2000,pp.122.SeeWalterBenjamin,AShortHistoryofPhotography,1931,OneWayStreetandOtherWritings,LondonandNewYork1985,p.252,andJones2000,p.6.Jones2000,p.6CorrespondenceandMiscellaneousPapersofFranzRoh,ArchivesoftheHistoryofArt,GettyCenterfortheHistoryofArtandHumanities,LosAngeles,850120,series1,box4,folder3.FormoreonthisseeLynetteRoth,PaintingasWeapon:ProgressiveCologne19201933,exhibitionCatalogue,MuseumLudwigKln,Cologne2008,pp.2434.AugustSander,Menschendes20.Jahrhunderts.Peopleofthe20thCentury,revisedandcompiledbySusanneLange,GabrieleConrathSchollandGerdSander,7vols.,CologneandNewYork2002.NeueKunst,AlteKunst,exhibitioncatalogue,RichmodGalerieCasimirHagen,Cologne1926,unpaginated.Ibid.Roth2008,p.66.RichmodGalerieCasimirHagen1926,unpaginated.Ibid.Roth2008,pp.2930.SeeRoth2008.Thesmall,blackandwhite1926RichmodGaleriecataloguereproductionistheonlyextantvisualrecordofFemalePainterandasaresulttheworkisquitedifficulttodeciphervisually.Hegemannsuseofcolourcertainlycannotbeascertainedfromthisimage.ForafullerdefinitionofNewObjectivityseeFritzSchmalenbach,TheTermNeueSachlichkeit,TheArtBulletin,vol.22,no.3,September1940,pp.1615andWielandSchmied(ed.),NeueSachlichkeitandGermanRealismoftheTwenties,exhibitioncatalogue,HaywardGallery,London1978.ForageneraloverviewseeSergiuszMichalski,NewObjectivity:Painting,GraphicArtandPhotographyinWeimar,Germany19191933,Cologne1994.FormoreontherelationshipbetweenSanderandtheCologneProgressivesseeRichardPommer,AugustSanderandtheCologneProgressives,ArtinAmerica,JanuaryFebruary1976andRoth2008.SeeAnnaGanthefhrerTrier,ZeitgenosseninSusanneLangeandHansWernerSchmidt(eds.),Zeitgenossen.AugustSanderunddieKunstszeneder20erJahreimRheinland,Gttingen2000,pp.26,57note41.Sandertookfourdifferentphotographsinwhichdifferentlevelsofdetailcanbeseen.TheimagepublishedinPeopleoftheTwentiethCenturyisthemostcleanofthefour.ItisalsolikelytohavebeenthelastonetakenasRderscheidthasdroppedacigarettethathewasclearlysmokingintheotherimagesfromtheshoot.RichmodGalerieCasimirHagen1926,unpaginated.HistorianGodfreyFeyhasexplainedthatpreLentprocessionsandsimilarfestivitiesinColognearerecordedfromasearlyas1144andstillcontinuetothisday.CologneCarnivalcommencesontheeleventhdayoftheeleventhmonthat11.11amandallparadesandprocessionsthereafterbeginatelevenminutespastthehour.AlthoughitisannouncedinNovember,preparationsforCarnivaldonotgenerallybeginuntilafterNewYear,leadinguptothemainparadesduringtheweekbeforeLent.EachyearthreepeopleareappointedtoplaytherolesofPrinceofCarnival(orHisDullness,whopaysfortheprivilege),thePrincess(alsoknownasHerLovelinessandinvariablyplayedbyamanindrag),andtheFarmer(alsoreferredtoasHisHeftyness).SeeGodfreyFey,CarnivalintheRhineland,Folklore,vol.71,no.1,March1960,p.48.SeeSeeMikhailBakhtin,RabelaisandhisWorld,1965,trans.byHlneIswolsky,Bloomington1984.PeterTokofsky,MaskingGender:AGermanCarnivalCustominitsSocialContext,WesternFolklore,vol.58,no.34,SummerAutumn1999,p.29ReidMitchell,AllonaMardiGrasDay:EpisodesintheHistoryofNewOrleansCarnival,Cambridge,Massachusetts1995.

7.

8.

9.

10.11.

12.

13.

14.15.16.17.18.19.20.21.

22.

23.

24.

25.

26.27.

28.29.



Acknowledgements

TheauthorgratefullyacknowledgesthegenerousassistanceprovidedbyGerdSander,PascalRderscheidt,M.A.F.Rderscheidt,ChristianWeikop,ChristopherGriffinandtheeditorialteamatTatePapers.

ArticlesrelatingtoAugustSanderhavebeenbroughttogetherinissue19ofTatePapersbyChristianWeikop,whocoorganisedthesymposiumAugustSanderandWeimarGermany,heldattheNationalGalleriesofScotlandon13May2011duringtheARTISTROOMSexhibitionAugustSanderattheScottishNationalGalleryofModernArt.TheeditorialteamisgratefultoDrWeikopforhiscoordinationofthese

V.V.Ivanov,TheSemioticTheoryofCarnivalasInversionofBipolarOpposites,inThomasA.Sebeok(ed.),Carnival!,Berlin1984,pp.1135.WeiberfastnachttakesplaceontheThursdaybeforeAshWednesday(thefirstdayofLent).Fey1960,p.49.Onesuchoccasionarosein1924onthetenthanniversaryoftheoutbreakoftheFirstWorldWarwhenJuliusMeierGraefereproachedHansSeckerandthecityofCologneforbuyingOttoDixsoilpaintingTheTrench19203(nowlost),apaintingwhichheprofoundlydisapprovedofonthegroundsthatitwasunpatrioticandthereforenotsuitablymoraleboostingfortheGermaninhabitantsofBritishoccupiedCologne.MeierGraefedescribedtheworkasapublicnuisance,amonstrosityandenoughtomakeonepuke.Rderscheidt,ArthurKaufmann,JankelAdler,PeterAbelen,HeinrichHoerle,FranzW.SeiwertandGerdArntzralliedtoitsdefence,composingandsigningaletterofprotestthatwasthenpublishedinDasKunstblattasZudemArtikelvonMeierGraefe:DieAusstellunginderAkademieon8October1924(pp.31718).TheworksubsequentlybecameacauseclbreinColognebeforebeinglootedbytheNazis,displayedinthe1937DegenerateArtexhibitionandsubsequentlylostordestroyed.ForafullconsiderationofthecontroversyseeDennisCrockett,TheMostFamousPaintingoftheGoldenTwenties?OttoDixandtheTrenchAffair,ArtJournal,vol.51,no.1,Spring1992,pp.7280.Anotherinterventionintoculturalpoliticsoccurredin1931whenthesameartists,joinedbyothers,werefedupwiththeharshcriticismtheyreceivedatthehandsoftheartpressduringthe1931CologneArtAssociationexhibition.IssuingapolemicalprotestleafletentitledAnEndtothisArtCriticism,theyrehungtheirworkstofacethegallerywallssotheycouldnolongerbeviewed,forcingtheexhibitiontoclosedownforaday.SeeWulfHerzogenrath(ed.),VomDadamaxbiszumGrngrtel:KlnindenzwanzigerJahren,exhibitionCatalogue,KlnischeKunstverein,Cologne1975,p.21.FordetailsaboutHoerlesinvolvementseeGanthefhrerTrier2000,pp.32,57,notes6972.WalterStern,RaumundWandbild,inHansHeinzLttgen,RaumundWandbild,exhibitioncatalogue,CologneArtAssociation,Cologne1929,p.3.Ibid.SeealsoGanthefhrerTrier2000,pp.32,57note67.Seeibid.,pp.313.BorrowingthebusinessmodeloftheBauhaus,butonamuchsmallerscale,Lttgenintendedtocreateadistinctivedesign,firstrevealedinSpaceandMuralPainting,whichwouldmaintainhighstandardsforhisclients.LuiseStrausErnst,ZudenArbeitenvonHanzHeinzLttgen,DieKunst,vol.60,1929,p.110.W[alter]St[ern],RaumundWandbild.AusstellungimKlnischenKunstverein,RheinischeZeitung,19March1929,unpaginated.F.R.[FranzRoh?],RaumundWandbild,KlnerTageblatt,12March1929,unpaginated.Anon.,Kunst:RaumundWandbild,KlnerStadtAnzeiger,5March1929,unpaginated.OtherreviewsthatacknowledgeHegemannscontributioncanbefoundintheKlnischeVolkzeitung,14March1929,andDasKunstblatt,vol.12,no.4,1929,p.123.AlfredSalmony,Kln.RaumundWandbild,Cicerone,vol.21,no.7,1929,p.206.TheimagewasmadebySanderin1929asacompositecoverforaphotographicportfolioofvariousLumpenblleimages.ForamoredetailedanalysisofthismontageseeMichaelCorneliusZepter(ed.),Maskerade:KnstlerkarnevalundKnstlerfesteinderModerne,Cologne2012,pp.31319.

30.

31.32.33.

34.35.

36.37.38.

39.40.41.42.

43.44.



Painting Photography Researcharticles Constructivism DadaTags:

articles,whichcontributetotheprogrammeoftheARTISTROOMSResearchPartnership,acollaborationbetweenTateandNationalGalleriesofScotlandwiththeUniversitiesofEdinburgh,GlasgowandNewcastle.

DorothyC.RoweisSeniorLecturerinHistoryofArtattheUniversityofBristol.

TatePapersSpring2013DorothyRowe

August Sander and the Artists_ Locating the Subjects of New Objectivity _ Tate

Documents

Latour - On Inter Objectivity

Traces of Objectivity

Objectivity/DB Administration

Strawson's Objectivity Argument Rorty

Johannes Fabian - Ethnographic Objectivity

Mind Space Objectivity Copie

OBJECTIVITY IN ACCOUNTING

Objectivity in History

Forthcoming in Tobias Brosch, David Sander et al., (dir ... · anti-realism, cognitivism, constructivism, emotion, motivation, objectivity, rationalism, realism, sentimentalism, subjectivity

Subjectivity and objectivity

Assurance, Insight, and Objectivity

New Objectivity - Squarespace · that rejected Victorian romanticism and Art Nouveau stylization. 18 / 64 ... GDT-101 / HiSTORY OF GRAPHiC DESiGN / NEW OBJECTiViTY / NEW OBJECTiViTY

Determinacy, Objectivity, and Authority

Equality, Objectivity, and Neutrality

Intuitions of objectivity

Widebelt Sander Manual Model 25 & 37 Widebelt Sander

Ethics in Journalism “Truth and Objectivity”. Objectivity Not showing opinion or bias

Vortrag von Zain Abdi und Konstantin Sander Vortrag von Zain Abdi und Konstantin Sander Sander

Knowledge Reality and Objectivity

Objectivity in Police Reports