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If you shoot portraits for a residing, August Sander is a reputation it is best to know. His decades-long People of the twentieth Century, for one, is a landmark within the self-discipline’s historical past.
An try and catalogue a cross-section of society by commerce and social kind, it set the template that Diane Arbus, Bernd and Hilla Becher, and finally portraiture usually would construct from.
If, as an example, you’ve got ever shot a sequence of topics towards the identical plain background, in the identical pose, to stress the variations between them, you are standing on Sander’s shoulders.
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Precisely as a result of he’s so legendary as a portraitist, although, the breadth of his work as an entire is commonly missed. And so seeing pictures like these on this web page – a tough working, weathered farming couple, an outlandish creative trio, a hand gripping a strolling stick – is a breath of recent air.
They kind a part of a brand new exhibition marking the one hundred and fiftieth anniversary of his beginning. August Sander: On His one hundred and fiftieth Birthday attracts primarily on the muse’s personal holdings, which have housed the world’s greatest Sander archive since 1992.
![August Sander: The Dadaist Raoul Hausmann [with Hedwig Mankiewitz and Vera Broïdo], 1929](https://cdn.mos.cms.futurecdn.net/urPqcyMB22DtxdfxAj3bKg-1200-80.jpg.webp)
Alongside his famous portraits, visitors also get to experience early images from his Linz period and commissioned photographs from the Westerwald region that few people have ever seen.
It is, in short, a chance to see just how many different registers Sander could work in. Formal document, social observation, personal affection; all united by an eye for structure that made even a farming couple leaning on hoes look epic.
Substance over style
What quick becomes clear is that Sander’s genius was never really about a fixed style, so much as a fixed method applied to constantly shifting subjects.
A group of musicians, gathered together with their instruments and dogs, has none of the stiffness you’d expect from studio work of the period; a mother and child portrait evokes real tenderness within the formal pose. Elsewhere, artists pose in an almost confrontational manner that could pass for a still from a much later decade.
Sander wasn’t just cataloguing “German types” but also paying close attention to everyone in front of him. This extended to small details, as seen in two of the featured series, Studien, der Mensch (Studies, the Human Being) and Mensch und Maschine (Man and Machine), where the hand recurs as a central motif.
Cologne, where Sander lived and worked for more than 30 years, gets attention too: a newly exhibited group of images, made between 1930 and 1942/43, documents his own family home and studio. A companion publication from Schirmer/Mosel pairs this body of work with six radio talks Sander wrote and delivered for West German Radio in 1931; all six play in the exhibition space.
The show also touches on Sander’s single trip abroad, several weeks in Sardinia in 1927 with the writer Ludwig Mathar, while a monitor presentation pairs his Rhine and Siebengebirge landscapes with recent images by photographer Gerhard Fleischer, who’s spent years since 2014 tracking down Sander’s work.
August Sander: On His 150th Birthday runs at Die Photographische Sammlung/Stiftung Kultur der Sparkasse KölnBonn, Cologne, till 24 January. Admission is €7.50 (concessions €4.50), with free entry on the primary Thursday of each month.
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