Cover image for August Sander : photographs from the J. Paul Getty Museum.
August Sander : photographs from the J. Paul Getty Museum.
Sander, August.
Personal Author:
Publication Information:
Los Angeles : The Museum, [2000]

Physical Description:
143 pages : illustrations ; 20 cm.
Added Corporate Author:
Format :


Call Number
Material Type
Home Location
Item Holds
TR680 .S226 2000 Adult Non-Fiction Non-Fiction Area

On Order



The long life of German photographer August Sander (1876-1964) spanned one of the most turbulent eras in his country's history. The Great War of 1914-1918, the Weimar Republic, the reign of National Socialism, and the horrors of World War II all left an indelible imprint on both the man and his work. Sander, a conventional studio portraitist who transformed himself into an avant-gardist, exemplified the complex and sometimes contradictory nature of his time. He was at once innovative and deeply wedded to the past, blending a progressive vision with a traditional view of society and his craft.
The approximately fifty plates featured in In Focus: August Sander are some of the most striking from the Getty Museum's more than twelve hundred pictures by the artist. They include images of rural dwellers such as those found in Young Farmers and Farm Girls, and other portraits including Wife of the Cologne Painter Peter Abelen, Parliamentarianand the poignant Blind Children, Düren. A chronological overview of Sander's life provides a factual framework for this discussion.

Reviews 1

Booklist Review

Several of Hedgecoe's subjects reappear in Photographs by Snowdon, but then, Snowdon, neAnthony Armstrong-Jones, has been a professional photographer just as long as Hedgecoe. He is in touch with the beautiful people as well as the talented--Princess Di, trendy designers, and youngsters whose primary claims to attention seem to be their looks appear in his pages and not Hedgecoe's. Snowdon is in Hedgecoe's book, by the way, and both men divergently portray sculptor Henry Moore with an image of his hands as well as others of his face. Snowdon is far more highly conceptual than Hedgecoe, and on the evidence of the dozens of arch and theatrical depictions here, he works far more in the studio. He leavens the book's predominant frivolity with stark pictures, taken on journalistic assignments, of poor children, mental illness, and urban incidents.