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

Documents

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