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AugustSanderandtheArtists:LocatingtheSubjectsofNewObjectivity|Tate

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August Sander and the Artists: Locating the Subjects of New

Objectivity
By DorothyC.Rowe
3April2013
TatePapersIssue19

DorothyC.RoweshedslightontheroleplayedbyphotographerAugustSanderamong
thegroupofartistsknownastheCologneProgressives,showinghowhisportrait
photographs,particularlythoseofthepaintersAntonRderscheidtandMartaHegemann,
helpedtheartistspresentthemselvesasbohemians.
Todaywithphotographywecancommunicateourthoughts,conceptionandrealities,toallthe
peopleonearthifweaddthedateoftheyearwehavethepowertofixthehistoryoftheworld.
AugustSander1931 1
Inautumn1926aremarkablytenaciouspostofficeclerkturnedprivateartcollector,KasimirHagen,staged
anexhibitionathisnewlyopenedRichmodGalerieonColognesRichmodstrasse.NewArt,OldArt(Neue
Kunst,AlteKunst)juxtaposedworksbycontemporaryGermanartistswithaneclecticselectionofolder
artworksfromHagenspersonalcollection,includingmedievalwoodcarvings,nineteenthcenturypaintings
andantiquefurniture.Inhis1955autobiography,Hagenoutlinedthehistoryofhiscollectionandrecounted
theculturalmilieuinCologneinwhichhewasabletofosterhispassionasanamateurartcollector.
Accordingtohisownaccount,hehadbuiltuponeofthebestpersonalcollectionsofantiqueand
contemporaryartinthecityasaresultofhissinglemindednessandhardworkinseekingoutadvicefrom
experts,arthistoriansandcurators,aswellaslearningaboutartthroughjournals,exhibitionsandlectures.
Theoccasionofthe1926exhibitionmarkedhisandhiswifesphysicalrelocationfromaflatinthesuburbof
KlnDeutztoanewandmuchlargerhomeintheheartoftheoldcityinNeumarkt.Hagen
laterremembered:
SinceIhadalotofroominmynewflat,Ihadtheideatogiveupthefirstfloorofthehouseas
exhibitionroomsforaProgressivegroupofpaintersunderthenameofRichmodgaleriewhose
activitiescreatedastrongexternalimpact.Isupportedmodernpainting,particularlybythefollowing
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artists:JankelAdler,GertArntz,MaxErnst,MartaHegemann,HeinrichHoerle,AntonRderscheidt,
FranzW.Seiwert,GertWollheimItgivesmegreatjoythattheworksofthesepaintersarestill
muchappreciatedtodayInconjunctionwiththeexhibition,Ipublishedasmallbookwith28
reproductionsofthepaintingsandportraitphotographsofthepaintersandsomeofmyolderart
objectsitwasreceivedverywell,especiallythepaintings,whichfor1926wereveryprovocative.
Manyofthecataloguesweresentabroad,sometotheUSA.Iwasabletohelpthepaintersexhibit
theirworkstocollectorsandmuseumswithoutanypersonalfinancialgain.Theconductwiththe
artistswhoweretherewasveryrefreshingandbroughtmenewstimuli,aswellastheopportunityto
buynewpictures. 2
Withthecatalogue,theexhibitionoffersevidenceofwidernetworksofvisualexchangeamongtheCologne
avantgardeduringthisperiod.Inparticular,ittestifiestotheinterconnectionsbetweentheartistsincluded
intheexhibitionandtherelationshiptheyhadwiththeColognebasedphotographerAugustSander(1876
1964),responsibleforproducingtheportraitphotographsofthepaintersreferredtobyHagenandwhose
rolewithintheCologneartscenewasfarmoreintegratedthanstandardarthistoricalscholarship
hasindicated.
Sanderisbestknownforhisunfinished,gargantuanethnographicdocumentationprojectPeopleofthe
TwentiethCentury(MenschendesZwanzigstenJahrhunderts),whichwasconceivedasaculturalworkin
photographicpicturesdividedintosevensections,groupedinclassesandcomprisingcircafortyfive
portfolios. 3 Eachportfoliowascategorisedaccordingtodifferentthemesandeachonewastocontain
twelvephotographs.Mostoftheartists,architects,performers,musiciansandwriterswhomadeupthe
CologneculturalsceneofSanderserawereincludedindifferentguises,accompaniedbyahostofother
sitters,bothknownandanonymous,fromallwalksoflifeintwentiethcenturyGermany.Theprojectwas
originallyconceivedin1910butwasnotformalisedbySanderuntilthemid1920s,althoughthephotographs
eventuallyincludedinsubsequentandposthumousreconstructionsoftheprojectrangeindatefrom1892to
1954. 4 Sanderscontention,citedintheepigraphtothisarticle,thatinphotographywehavethepowerto
fixthehistoryoftheworld,wasaboldoneindeed.Itwasborneoftheconfidenceandoptimisminthe
creativepoweroftechnologicalmodernity,thedarkerunderbellyofwhichdidnotmanifestitselfovertlyuntil
theonslaughtofNationalSocialism.
ThehistoriographyofPeopleoftheTwentiethCentury,fromitsinceptionin1910toitsfirstandsecond
publishedmanifestationsduringSanderslifetimein1929(underthetitleFaceofOurTime(Anlitzder
Zeit))andin1962(MirrorofGermans:PeopleoftheTwentiethCentury(Deutschenspiegel:Menschendes
ZwanzigstenJahrhundert))istroubledbypoliticalcontexts,inparticularbytheglobaldevelopmentofan
interestineugenics,physiognomyandtheclassificationoffacialtypesasamodeofsurveillanceandsocial
judgementthatbeganinthelongnineteenthcenturyandtookonparticularlysinisterformsinGermany
undertheThirdReich. 5 DisentanglingSandersprojectfromthemoreoverdeterminedreadingsofits
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politicalramificationswithinGermanyinthefirstthreedecadesofthetwentiethcenturyrequirescareful
archivalanalysisandcloseattentiontothevisualartefacts.
Criticalcommentaryontheprojectsincethe1970shasfocusedlargelyonitsplacewithinthecontradictory
politicsofWeimarculture,ratherthanonindividualphotographs.ForarthistorianGeorgeBaker,writingin
Octoberin1996,FaceofOurTimeshareddangerousgroundwithNationalSocialisttheoriesofsocial
DarwinismandracialempiricisminwhatBakerdescribesasSandersintendednarrativeofsocialdecay. 6
Bakersreadingisfoundedonamisconceptionoftheclassstructureoftheprojectasonethatprivilegesthe
bourgeoisie,andassuchonethatisinevitablyconservativeinthefaceofthecrisisofportraiturewithin
modernism. 7 Moredialecticalreadings,however,canbefoundinanearlierarticlebyarthistorianSteve
EdwardspublishedintheOxfordArtJournalin1990,andasubsequentpiecebyarthistorianAndyJones
thatappearedinthesamejournaladecadelater. 8 JonestracesabriefhistoriographyofSandersproject,
carefullyweighinguptheconflictingclaimsthathavebeenmadeforit.Theserangefromthemisplaced
rhetoricofSandersownstatedambitionstoobjectivitywriterAlfredDblinssupportoftheworkas
presentingthetruthmadereadyphilosopherWalterBenjaminsanalysisoftheprojectasaradicalone
thatofferedatrainingmanualwithwhichtostudyGermansocietyinthepresentwithaviewtoa
revolutionaryfuturephotographerAllanSekulasreadingofFaceofOurTimeintermsofthediscourseof
theinstrumentalarchiveandfinallyJonessownreadingoftheprojectasanextensiontoSteveEdwardss
Bakhtinianrefusaltoreadthephotographicportraitasthesiteofamonologicaldiscourseofpowerinwhich
thesitterisapassiveobject. 9 InsteadJonessuggeststhatthephotographicportraitshouldbeseenasa
dialogueinwhichthesitteris,tosomeextent,aselfauthoringsubject. 10
Byadoptingthisstrategyitispossibletolookmorecloselyatthefieldsofsignificationatplayinthe
individualphotographswithinSandersscheme,andforegroundthecontradictionswithinitasinevitabletoa
projectthatattemptstodocumentandcreatetaxonomiesofdifferentspheresofsociallife.Theexampleof
theNewArt,OldArtexhibitionoffersasignificantpointofdepartureforsuchanambition.Aletterwrittenby
thepainterAntonRderscheidttothecriticFranzRohon17June1926providesevidencethattheexhibition
wasconceivedasthebasisforthefoundationofanewartistsassociation:
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
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younowtotrustus,alsointheeventofoneortheotherdistancingthemselvesfromyou.
Incidentallyyouwillfindthephotographsinformative.WheneverpossibleIwouldlikeustoappear
incloseconjunction.WewouldliketoaddMaxErnstandGertWollheimtoourgroup,butIhavenot
yetreceivedareplyontheirbehalf.Ishall,ofcourse,keepyouuptodateonhowthewholething
develops. 11
ThenewartistsassociationtowhichRderscheidtreferswasprobablyasubsetofthealreadyloosely
formedgroupknownattheCologneProgressives,ledbySeiwertandHoerleandtowhichSander,Arntz,
andothersintheircirclealsobelongedorwereassociatedwith(fig.1).TheCologneProgressiveshad
emergedafterthedissipationofdadainCologneandwerealignedtoaspecificallyradicalMarxistpolitical
agenda.However,thegrouphavegenerallybeenmarginalisedfromstandardarthistoricalaccountsof
revolutionaryartduringtheWeimarperiod,largelyasaresultoftheirongoingcommitmentto,though
palpablestrugglewith,theroleofeaselpaintinginanageofradicalpolitics.WhiletheProgressivesWeimar
contemporariesprivilegedtherevolutionarypotentialofeasilyreproductivemedia,particularlyphotography,
photomontageandwoodcutprints,theCologneProgressives,aboveallHoerleandtosomeextentSeiwert,
continuedtoprivilegeeaselpaintingalongsidetheirgraphicwork.Theyalsomaintainedaspecificinterestin
therelationshipbetweenthesurfacefactureoftheworkandwhattheyreferredtoastheworkerviewers
experience.FortheProgressives,iftheworkerwasthebackboneofsociety,thenartoughttobea
manifestationoftheorganisationofwork,sinceitwasonlythroughthevisiblerevelationofthestructureof
societythroughworkthattherulingclassescouldbedismantled.Thusitmadenodifferencewhatmedium
thestructureofsocietyshouldberevealedintotheworkervieweroftheirart. 12 Significantly,in1921
SeiwerthadproducedaseriesofpolemicaldrawingsentitledSevenFacesoftheTimewhichArntzfollowed
upin1927withaportfolioofwoodcutsentitledTwelveHousesoftheTime.Thetypologicalstructureofboth
setsofworkwasclearlytheinspirationforSandersproductionofthe1929editionofFaceofOurTime.
WhilethedocumentaryabilityofphotographyfreedtheProgressivepainterstopursuegoalsinpaintingother
thanmimeticrepresentation,thestructuralandtypologicalphilosophyoftheirpaintingsallowedSanderto
conceptualisehisphotographicpracticeinaspecificallytypologicalfashion.Theexchangebetweenthe
paintingandphotographyoftheCologneProgressiveswasclearlysignificantforbothmedia.

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Fig.1
AugustSander
ProletarianIntellectuals[ElseSchuler,TristanRmy,FranzWilhelmSeiwert,GerdArntz]c.1925
Gelatinsilverprintonpaper
image:258x207mm
ARTISTROOMSTateandNationalGalleriesofScotland.LentbyAnthonyd'Offay2010

Viewthemainpageforthisartwork
InlinewithRderscheidtsambition,MaxErnstandGertWollheimdidbecomemembersofthenewly
proposedartistsassociation,despitelackinganyradicalpoliticalaffiliation.ItistellingthatErnstscatalogue
entrywaswrittenbyHoerle,andWollheimswasextremelysparse,indicatingthelikelihoodthatneitherhad
repliedtoRderscheidtintime.AdlersentrywaswrittenbySeiwert,suggestingthatperhapshetoohadnot
respondedintime.Nevertheless,keentopursuehiscontract,Rderscheidtensuredthatallthreeartists
wererepresentedbysomesignificantpaintingsfromtheirrespectiveoeuvres:ErnstsLaBelleJardinire
1923,WollheimsFarewelltoDsseldorf1924andAdlersJewishManBathing1925(oneofaseriesof
portraitsofJewishmen)amongthem.Therearenoextantinstallationshotsoftheexhibitionbutthe
catalogue,designedbyRderscheidtwithinputfromHegemann,Hoerle,SeiwertandSander,provides
cluestoitsdesignandintendedaffect.Eachartist,apartfromWollheim,wasrepresentedbyaportrait
photograph,apithyaphorismthatsummarisedtheirartisticconcerns,andreproductionsoftwooftheir
exhibitedworks.

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Mostoftheportraitphotographsoftheartistsinthecatalogueweretakenby
Sander,andalsoappearineitherhis1929publicationFaceofOurTimeorinthe
posthumoussevenvolumePeopleoftheTwentiethCentury(fig.2). 13 Wollheim
wasrepresentedbyastrikingfulllengthselfportraitandaminimalline
announcingthathewasborninBerlinandlivesinBerlin.HoerlesentryforErnst
notedthathewasborninCologneandlivesinParisandcontinuedwithtypical
dadaisthyperbole:MaxErnsttowhomGodgavehislittlefinger,todaywalkswith
himarminarmovertheboulevardsoftheworld. 14 Inhisowncatalogue
statementArntzcomments:Importantformeisthestrictutilisationofthesimple
possibilitiesofthewoodpanelandthesurface.Theresults:agraphicartwithout
coincidencesandaplasticpicturebotharegoodwaystodemonstratetheevents
ofourlivesreformed,succinctandrigorous. 15 Accompanyingthestatementand
Sandersportraitphotographofhimwerephotographicreproductionsoftwoofhis
reliefcarvings.ForArntz,thematerialityofwoodenblockswasmoresignificant
thanthetwodimensionalprintsthatmightbetakenfromthem.SteamRollerisa
celebrationoftechnologyandthemachineinanurbanindustrialscene,while
SuburbanStreethighlightsamoretraditionalsetofvalues:facadesofhousesand
shops,afewfiguresonthestreetandarestinghorsearealldepictedinstrong
linearcontourswithstarkcontrastsbetweengroundandrelief.Significantly,as
curatorLynetteRothhasobserved,Arntzincreasedthetactilityoftheplateby

Fig.2
AugustSander
Painter[JankelAdler]
1924
Gelatinsilverprinton
paper
ARTISTROOMSTate
andNationalGalleries
ofScotland.Lentby
Anthonyd'Offay2010

Viewthemainpage
forthisartwork

gluingawoodenfigureontoitssurfaceovertheshapeofhisowncarved,
uniformedfigure.Thereliefhasnotonlybeenmademoretactilebutalso
unprintable. 16 Bothblocksalsoincludeimagesofchildren,revealingtheartistsconceptualisationofthe
past,thepresentandthefuturewithinhisgraphicprogramme.
HeinrichHoerlesentrybearstracesofhisdadaistinformalityinboththeaphorismandthephotograph,a
moreinformalinteriorshottakeninfrontofwhatisprobablyoneofhisownpaintings,holdingapipeand
lookingawayfromthecamera.Hewroteofhimself:Fanaticsforconstructivistdestruction.Absoluterelativity
inpainting.ResultTotalism. 17 HoerlesFactoryWorker1921andFemaleFactoryWorker1926,whenseen
together,pointtoashiftintheartistsspainterlystylefromthefacelessanddehumanisedmechanisticrobot
oftheearlierpaintingtothedowntroddenbutcloselyrenderedproletarianportraitof1926.
FranzW.Seiwertwroteinhiscatalogueentry:Withmypictorialform,Itrytodepictarealitywhichhasbeen
strippedofeverythingthatissentimentalorcoincidental.Tomakevisibleitslegitimacy,itsfunctions,its
connectionsanditstensionswithinthepictureframe. 18 AccompanyinghisportraitphotographbySander
weretworeproductions,alsotakenbySander,ofhispaintingsClosingTime1925andDemonstration1926.
ForSeiwertthedocumentarypossibilitiesoftheNewPhotographygavethepainterextrafreedomtopursue
nonmimeticrepresentation.Sanderwasspecificallycommissionedtophotographtheartworkofthe
CologneProgressivesandtheircirclesothattheycoulddisseminateittoaswideandinternationalan
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audienceaspossible.AsRothhascommented:
TheProgressivesexcitementaboutphotographysabilitytointroducetheirworktoabroaderpublic
isinextricablytiedtoSandersinvestmentincapturingthesubtletiesofagivensurfaceThe
Cologneartistsrepeatedlypraisedthephotographersreproductions,evenfurtherencouraginghim
tocapturetheplasticortactilequalityoftheirartworkSandersownemphasisonexact
photographymadehisworkacrucialcomponentofthepainterlyprojectoftheCologneartists. 19
LikeArntzsandHoerlesworks,thesubjectmatterofSeiwertstwopaintingswascharacteristicofthe
CologneProgressivessympathywithleftwingpolitics.Indeed,thesociopoliticalconcernsofSeiwert,Arntz
andHoerlecomethroughveryclearlyfromtheirchoiceofreproducedworks,andstandinmarkedcontrast
tothechoiceofworksbyHegemannandRderscheidt,indicatingtheincreasinglydivergentpoliticalpathsof
thegroup. 20
MartaHegemannstworepresentativecatalogueworkswerea1921watercolour,SmallSailingBoat,which
wastypicalofherearlywatercolourstyleandsubjectmatter,andthenowlostpaintingFemalePainter
1926. 21 ItcanbeassumedthattheeponymousFemalePainterisaselfportrait.Theartiststandsonarug
infrontofhereaselfacingtheviewerandholdsapaintbrushinbothhandsinfrontofherlap.Herstudiois
crammedwiththestandardelementsofhericonography:asmallstatueofatreeandahorseonashelf
behindher,acoffeepot,someoillamps,anopenbookandtwocatscirclingherfeet.Shestandsinfrontof
theeaselonwhichrestsacanvasportraitofamansheadandtorso,possiblythatofherhusband,and
perhapsalsotheimpliedviewerofthework,whomsheengagesdirectly.Behindtheeaselisabalustrade
indicatingtherealmofpossibilityandfreedombeyondthisinteriorscene.
Significantly,RderscheidtstwocatalogueworkswereofHegemann.PictureofMarta21920(fig.3)and
PainterandModel1926(fig.4)succinctlydemonstratethestylisticdevelopmentofRderscheidtsart
betweenthesetwodates.TheconstructivismofPictureofMarta2hasbeenreplacedbytheNewObjectivity
ofPainterandModel.NewObjectivityisnotoriouslydifficulttodefine.Neveraformalmovementorstyle,it
wasatermmostcommonlyattributedtoGustavHartlaub,DirectoroftheKunsthalleinMannheim.Hartlaub
soughttoidentifythetendencieshehadperceivedinpostFirstWorldWarartinGermanyafterthedemise
ofexpressionism.Commoncharacteristicsincludetheprecise(orexact)renditionofmaterialobjectsor
people,confinedwithinastaticorairlessspace,withoutnecessarilyanylogicalrelationtooneanother. 22
WhilethesitterinHegemannsFemalePainterisclothed,Rderscheidtsnudeportraitsofhiswifeinthe
uncannyenvironmentoftheartistsstudioveerfromanonymouschesspiecestofullynudepuppets.For
RderscheidtitwasundoubtedlyHegemannwhoservedasinspirationforhiswork,whereasHegemannis
morefascinatedwithherself,avisualdynamicthatwasnotlostonSander.

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Fig.3
AugustSander
PhotographofAnton
RderscheidtsBild
Marta2(missingor
destroyed)
PrivateCollection
SKStiftungKultur,
Bonn/AllRights
ReservedDACS2013

AugustSanderandtheArtists:LocatingtheSubjectsofNewObjectivity|Tate

Fig.4
AntonRderscheidt
PainterandModel1926
(missingordestroyed)
DACS,London2013

InPainterandModel,atuxedowearingRderscheidtfacestheviewerinlinewith
thefrontplaneofthecanvas.Heholdsacleanpaletteinhishandandhislegs
disappearintothewoodenstrutsoftheeasel,sothatheliterallymergeswiththe
toolsofhisprofession.Theblendingofthepaletteinhishandswiththestrutsof
theeasel/legsisechoedwittilyinapalettelikeobjectbeingheldbyRderscheidt
inoneofSandersmanyphotographicportraitsoftheartistcouple(fig.5).Inboth
imagesstagedperformativityandtheartificeofconstructionisparamounttothe
surrealeffectscreated.Rderscheidtplaysavisualgamewiththeviewerand
Sanderattemptstorecapturesomethingofitsessenceinhisphotograph.The
strangenessofthepaintingisunderscoredinanumberofwaysinSanders
photograph.Inthepainting,Rderscheidtspositionisimpossibleperspectivally,
insertedasheisbetweentheeaselandthecanvas,callingintoquestionthe
identitiesofpainterandmodelwhileacademicconventionwoulddeterminethe
nakedwomantobethemodelandtheclothedmanthepainter,Rderscheidt
undercutstheseeasyidentifications.Althoughthenudeisposedonapodiumin
theinfinitebackgroundwaitingtobepainted,herroleasobjectoftheartistsgaze
isthrownintoquestion.Thefictionalpainterhasturnedhisbackonherandlooks
insteadtotheviewerwhilesandwichinghimselfontothecanvasinherplace.The
artistandthemodelarebothsubjecttoRderscheidtsandtheviewersgaze.
AlongwithothersinaseriesofPainterandModelcanvasesproducedby
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Fig.5
AugustSander
ThePainterAnton
Rderscheidtandhis
WifeMartaHegemann
c.1925
DiePhotographische
Sammlung/SKStiftung
KulturAugustSander
Archiv,Cologne/All
RightsReservedDACS
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Rderscheidtthroughoutthelate1920s,thisworkexploresasetofontological

2013

questionsconcerningthenatureofsubjectivityandrepresentation,ratherthan
simplyrehearsingthestylisticsobrietyofNewObjectivity.ItisthisperformativeaspectofRderscheidts
practicethatSanderalsostagesinhisphotographicrepresentationsofthepainterwithhisartistwifecum
museandmodel.
InSandersmanyphotographsofMartaHegemannandAntonRderscheidt,the
artistseitherappeartogetherasaselfconsciouslyconstructedKnstlerehepaar
orartistcouple(fig.6),orseparatelyasindividuals,andarepresentedwithin
multiplecontextsinPeopleoftheTwentiethCentury:involume3(TheWoman),
volume5(TheArtists)andvolume6(TheCity).Theyalsocirculatemostoftenas
signifiersofthevisualsobrietyendemictoSanderspracticeofexact
photography.Asalreadyindicated,throughtheircloseinvolvementwithNewArt,
OldArt,HegemannandRderscheidtwerebothactivemembersoftheCologne
artsceneduringtheWeimarRepublic,andafterabriefflirtationwithdadamoved
inthesamethecirclesastheCologneProgressives,althoughtheyremainedaloof
fromtheProgressivesmoreradicalpoliticalconcerns. 23 Whenviewedtogether
andinconjunctionwiththeartistspainterlyselfconstructions,Sandersvarious
photographsofthecouple,spreadacrossseveraldifferentvolumesofPeopleof
theTwentiethCentury,revealthecomplexityoftheirdialogicperformanceswith
thephotographer,eachotherandtheviewer.Closeanalysisrevealsthedistinctly
carnivalesqueironyatworkintheseimages,positioningthephotographs
somewhatagainstthegrainoftheirstatusasrepresentativeexamplesofexact
photographyorNewObjectivity.Byexaminingthephotographsandthepaintings
alongsideoneanotheritisclearthatvisualrelationshipsbetweenthetwomedia
withinthediscoursesofrealismandNewObjectivitywerebeingself
consciouslyexplored.

Fig.6
AugustSander
ThePainterAnton
Rderscheidtandhis
WifeMartaHegemann
c.1925
TateAL00045
SKStiftungKultur,
Bonn/AllRights
ReservedDACS2011

AtfirstsightitmightseemasthoughthetrafficofinfluencebetweenSanderand
theartistswasaconventionalonewaystreetinwhichSandersimplyattemptedto
replicateinphotographstheselffashioningoftheartistsoncanvasina
photographictableauvivant.Indeed,Sanders1926portraitofRderscheidt(fig.7)
isaclearindicatorofthattypeoftransmission,foritisprobablethatSander
wantedtorecapturethelookofRderscheidtsselffashioningfromanumberof
theartistsselfportraits,includingthe1921paintingYoungManwithYellow
Gloves(fig.8).InhisphotographsofRderscheidt,Sanderwenttosomelengths
toreconstructtheillusionofemptyspace,cleanlinesandrecedingperspective
characteristicofRderscheidtspaintings.Forexample,earlyoneSunday
morningSandersurprisedtheartistbyaskinghimtoposeonthenormallybusy
Bismarkstrassewhileitwasstillempty,takingfourdifferentversionsofthe
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Fig.7
AugustSander
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shot. 24 Sanderclearlyintendedtoalignhisphotographicimagewith
Rderscheidtsownselffashioningbyexpungingunnecessarydetailsand
creatinganobjectiveenvironment. 25 However,itisalsoknownthatRderscheidt
subsequentlyusedSandersphotographtoreinforcehisownpainterlyconcerns,
choosingtheexactsameimagetoaccompanyhisepigraphintheNewArt,Old
Artcatalogue:Iam34yearsoldandwasborninCologne.Ipaintthemanwith
thebowlerhatandthehundredpercentwomanwhosteershimthroughthe

Painter[Anton
Raderscheidt]1926
Photograph,gelatin
silverprintonpaper
ARTISTROOMSTate
andNationalGalleries
ofScotland.Lentby
Anthonyd'Offay2010

picture.Myfondnessforthehorizontalandtheverticalisameansofguidingthe

Viewthemainpage

observerthroughmypictures. 26 Thephraseissignificantasasummaryof

forthisartwork

Rderscheidtspainterlyconcerns:portraitsofhimselffullyclothedinformalattire
andhiswifeHegemannoftenfullynude,engagedinsportingactivitiesandrenderedin
acoollydetachedstyle.
ThestagedperformativityofRderscheidtspaintings,thevisualgamesheplayswith
theviewer,andSandersattempttorecapturetheseelementscanbeseeninseveral
otherphotographstakenonthesameshootastheoneinwhichRderscheidt,
standingwithHegemann,holdsapalettelikeobject(fig.5).However,inthese
subsequentphotographseverythingchanges:Rderscheidtdropshisgripandlooks
intentlyathiswifeHegemannlooksawaytowardsthespectatorbutintoamiddle
distanceofherowncontemplation,thesuppressionofawry,fleetingsmileacrossher
face,caughtforeverinstasis.Sandersphotographsofthecouplecanalsobereadin
dialoguewithseveralfurtherimagesfromthesameshoot(assignifiedbyHegemanns
clothes,accessoriesandhair)inwhichHegemannappearsalone.Inoneversion,
whichshesubsequentlyusedforherdrivinglicence,sheisphotographedwithoutany
makeup,indicatingthatitwasprobablytakenfirst.However,intheversionincludedin
herRichmodGaleriecatalogueentry,shedecoratedthesideofherfacewithkey
motifsfromherpainterlyiconography:twobirdsinflight,onewithacrucifixonitswing

Fig.8
Anton
Rderscheidt
YoungManwith
YellowGloves
1921
Privatecollection
DACS,London
2013

(fig.9).Inyetanotherversion(whichappearslaterinvolume3butunderthe
simpletitleFemalePainterinaportfoliocalledTheWomaninIntellectualand
PracticalOccupation),thetattoohasbeenredrawntoincludetwobirds,astar,
waves,aheart,somestepsandacross.Presentedaloneandwithoutthe
constrictionsofherhusbandsgrip,Hegemannhaschosentopresenther
professionalfacetothecameraasoneinwhichheridentityisliterallywrittenon
herbodyviathedrawntattooofherpersonalartisticsymbols.
Oneoftheoverridingwaysofunderstandingtheselfconstructeddynamic
betweenHegemannandRderscheidtistoregardtheirrelationshipasonethat
fluctuatedbetweenindividualambitionandcollectiveendeavour,andthatitwas
throughphotography,inparticularSandersphotographicportraits,thatthey
playedouttheirselfconstructedrolesmostsubversively.Theconstructednature
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oftheNewObjectivityaestheticsuitedthecouplescarnivalesqueironyand
sardonichumour.Centraltobothartistsworkwereexplorationsofperformative
andsubjectiveidentitythroughvisualrepresentationinpainting,photographyand
masquerade.SteepedinmedievalChristiantradition,Colognesannualcarnival
celebrationsbeganinthetwelfthcenturyandhavelongbeenembeddedinthe
culturallivesofthecitysinhabitants. 27 Thefestivalultimatelyconsistsofa
standardsetofthemes,themostessentialofwhichisthethereversal
phenomenon,orwhatphilosopherMikhailBakhtinmorefamouslytermedthe
carnivalesque. 28 FolkhistorianPeterTokofskyexplainsthatitistheworldturned
upsidedowninwhichstatus,age,wealthandmostprominentlygendergetturned

Painter[Marta
Hegemann]c.1925
Gelatinsilverprinton
paper
image:258x198mm
ARTISTROOMSTate
andNationalGalleries
ofScotland.Lentby
Anthonyd'Offay2010

Viewthemainpage
forthisartwork

ontheirheads,whilehistorianReidMitchellremarksthatthemostnotoriousyet
longlivedCarnivaltraditionwasthatofcrossdressing. 29 Significantly,philologist
V.V.Ivanovnotesthattheinversionofthebinaryoppositionmale/female
appearstobeadeterminingfactorinasignificantnumberofcarnivalrites
involvingstatusreversal. 30 AttheColognecarnivalsocialandgenderhierarchies
areinverted,inparticularduringWeiberfastnacht(womenscarnival)when
womenreignsupreme,neverbeingrefusedadrinkorakiss,tippingthehatsof
passingmen,dancinginpublicandplayingpracticaljokesonanymenthey
encounter. 31 Husbandsmusteitherstayathomeandlookafterthehouseorstep
outsideandruntheriskofbeingmocked. 32 Whilethisreversalmaynolongerbe
deemedsoradicaltoday,historicallyWeiberfastnachtcarriedfargreatersymbolic
significance.ItpresagedtheThreeCrazyDaysinwhichthemedievalfool
dominatedfestivities,anditwasalsoduringthesecrazydaysthattheexclusive
Lumpenblle,orcostumedballsspecificallyreservedforartists,wereattendedby
Hegemann,Rderscheidtandtheirpeersandphotographedextensivelyby
Sander.Inonephotograph(fig.10),SanderportraysHegemannandRderscheidt
inconvivialmoodastheycelebratetheeveningtogether,afarremovefromthe
sobrietyoftheportraitphotographsconsideredabove.Indeed,Sanders
importancetoalloftheartistsoftheCologneavantgardeistraceablethroughout
theiractivitiesbothasagroupandasindividuals.Inothershotsfromthesame

Fig.10
AugustSander
LumpenballEmdekke
Tommes1929
PrivateCollection[Gerd
Sander]
SKStiftungKultur,
Bonn/AllRights
ReservedDACS2013

eveningHegemannandRderscheidtareshownposingamongagroupoftheir
friendsassociatedwiththeCologneProgressives,includingHeinrichandTataHoerle.Although
RderscheidtandHegemannincreasinglydistancedthemselvesfromthepoliticallyengagedartworkofthe
Progressives,theydidcontinuetofraternisewiththem,particularlyonsocialoccasions,suchasattheCaf
MonopolandtheLumpenblle,aswellasatexhibitionsandonanumberofpublicpoliticalprotests. 33
Acollaborativeopportunityforthegrouparoseoncemorein1929viaaspeciallycommissionedexhibition
entitledSpaceandMuralPainting,thestudyofwhichdemonstrateshowsignificantSandersrolewasas
photographeroftheCologneavantgarde.Havingalreadyhelpedconstructartisticidentitiesbytaking
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portraitphotographsofthesameartistsforthe1926NewArt,OldArtexhibition
catalogue,SanderusedSpaceandMuralPaintingasanopportunitytoexpandhis
documentaryrepertoireofindividualportraitsubjectswhileincorporatingthestudy
ofinteriordesign,paintingandarchitecturalsettings.WiththehelpofHeinrich
Hoerle(fig.11),theColognearchitectHansHeinzLttgen(fig.12)conceivedthe
exhibitionasaGesamtkunstwerk(totalworkofart)fortheCologneArt
Associationbyarrangingthespacesanddesigningtheinteriorandthefurniture
forthem. 34 Hethencommissionedvariousartiststoprovidethemuralsforthe
differentrooms.Notsurprisinglythecommissionwasdividedalonggenderlines,
andastheonlyfemaleartisttobeincludedHegemannwassomewhatinevitably

radio.TheintroductionwasalsopublishedintheWestGermanRadioMagazine

Fig.11
AugustSander
Painter[Heinrich
Hoerle]1928
Gelatinsilverprinton
paper
ARTISTROOMSTate
andNationalGalleries
ofScotland.Lentby
Anthonyd'Offay2010

andsubsequentlyreprintedintheaccompanyingexhibitioncatalogue.Stern

Viewthemainpage

explainedthattheintentionwastoillustratesomethingcontemporarywhichhas

forthisartwork

assignedtodecoratethechildrensnursery.OthercommissionswenttoFritz
Kronenberg,waspaintedthereceptionroom,JankelAdler,whowasassignedthe
livingroom,HeinrichHoerlethelibrary,RichardSeewaldthediningroom,Franz
W.SeiwerttheofficeLttgentheroomsforthedisplayofcarpets,wallpaperand
materials,andAntonRderscheidtandHeinrichMariaDavringhausenthecentral
roomattheheartofthehouse.On17March1929ColognecriticandProgressive
memberWalterSterngaveatalkabouttheexhibitionbroadcastonWestGerman

theclosestpossibleconnectionswiththeideologicalandsociologicalfactsofthe
epochandsuggestsuptodatecorrelationsbetweentherealitiesofsocietysproductionand
consumption. 35 Healsonotedthatitwastheexhibitionsproposedunificationofimageandobject,colour
andformthatwouldbringthepredeterminedspaceintoadesirablerelationwiththesocialpowersof
contemporarycollectiveeffort,clearlyresonatingwiththeprinciplesofcollectiveactionthatalsoinformed
thebroaderidealsoftheCologneProgressives.Furthermore,hisdelineationoftheartisticprocessrequired
forthesuccessfulintegrationoffineartobjectswithinteriordesignisalsosignificant:
Theproblemoftheindividualtreatmentofsubjectivefactsineaselpaintinghadtobeaddressedin
ordertorecognisethemuralasanuptodateexpressionofpictorialformitispreciselythefact
thatthearchitectorganisingtheshowcreatedtheopportunitytoshowhowfactoryandstudio
workcomplementoneanotherthatmakesthisexhibitionworthyofseriousconsiderationWhat
matteredwastorelatethepicturestothespaceinwhichtheyfoundausethemuralexistsinits
ownculturalcapacityinthecontextofquestionsputbythespace. 36
Therestofthecatalogueincludedafloorplanoftheexhibitionfollowedbyadetailedroombyroomguideto
theindividualartistsandmanufacturerswhohadcontributed,accompaniedbySanderspreciseinstallation
shots.Oddly,theonlyroomnotdocumentedinthecataloguewasLttgensownarchitectureroomofwhich
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therenolongerremainsanydirectvisualevidenceapartfromtheprobable
inclusionofHegemannspaintingTheArchitect1929,boughtbyLttgenforhis
owncollectionaftertheexhibition. 37
ItislikelythatSandersphotographsoftheexhibitionservedmultiplefunctions.
Notonlydidtheyfurnishthecataloguebuttheywerealsosuppliedtothepressto
accompanyreviews.ItisclearfromthepositivetoneofthosereviewsthatSpace
andMuralPaintingwasapopularandacriticalsuccess,spawningseveralrelated
showsincludingTheGrowingApartmentandTheHome,aswellasamarketfor
LttgensinteriordesignbusinesscalledKlnerStudio,towhichHoerlealso
contributedforashareoftheprofits. 38 WhatinterestedSanderwasthe
opportunitytophotographnotonlythefinishedinstallationsbutalsotheindividual
paintingsatdifferentstages,fromtheirexecutionintheartistsstudiostotheir
installationinthegalleryspaceoftheCologneArtAssociation.Thiswascertainly
trueofHegemannslargescalenurserymurals.Inonestudioshotanexhausted
lookingHegemann,herfringealmostcoveringhereyes,isshowninbohemian
fashionslumpedonahessianmatinfrontofherfinishedwork,cigaretteinone
hand,paintbrushintheother,theantithesisofthepopularconstructofthe
maternalwomanwhodressesneatlyandkeepsdomesticorderinaperfecthome,

Fig.12
AugustSander
TheArchitectHans
HeinzLuttgenandhis
WifeDora1926,printed
1990
Photograph,gelatin
silverprintonpaper
unconfirmed,frame:
490x390x30mm
ARTISTROOMSTate
andNationalGalleries
ofScotland.Lentby
Anthonyd'Offay2010

aroleperhapsimpliedbyherpositionasnurserydesigner(fig.13).Sheis

Viewthemainpage

surroundedbythedetritusofanintensivelabourtherearepots,brushesand

forthisartwork

bottlesstrewnonthefloor,ateapotwithahastilysetdowncupandsaucer,a
gramophoneintheothercornerandapileofbooksonasmallsidetableafarcryfromthephotographof
thecleannurseryreproducedintheexhibitioncatalogue.IntheexhibitionHegemannstwomuralsone
constructedaroundthefigureofaboy,theotheraroundagirlwereimplementedascounterpartstoone
another.Bothchildrenaresetwithinamagicalriversceneinwhichsailingboats,birds,books,horses,hills
andkitessurround,envelopandfloatpastthem.Thesemotifscontinueontheceilingoftheplayarea,as
wellasonthelunettesinthemainpartofthebedroom.Thewholeflitteringcheerfulnessandchildlikejoyof
theformulation,whichcaptivatedartcriticLuiseStrausErnstinherreviewoftheexhibitionforDieKunst,
alsoengagedothercriticslocallyandnationally. 39 TheRheinischeZeitungdescribeditasthemost
plausibleandupliftingroomintheexhibition,havingalsonotedthatRderscheidtsblackandwhitepainting
NudeonaTightrope,onshowinthecentralroom,fitslogicallywiththespace.Togetherwith
Davringhausenspicture,buttoagreaterextent,itconfirmsthespaceshapingideaofthemural. 40 The
KlnerTageblattcommentedthatMartaHegemannpreparedthenurserymostcharminglywithpainted
swans,Indians,monkeysandsoldiers, 41 andthecriticfromtheKlnerStadtAnzeigerobserved
Hegemannslightnessoftone:thenursery,inwhichMartaHegemannhasconjuredamulticolouredchilds
worldoffables,isveryamusing. 42 Inthenationalpress,AlfredSalomony,writingforDerCicerone,
remarkedfavourablythatthenurserydeservesunrestrainedadmirationduetoMartaHegemanns
delightfullyplayful,childlikeliveliness. 43 ThedisjuncturebetweenSandersportraitsofHegemannandthe
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criticalreceptionofherworkinthepublicsphereingenderedtermsseemsparticularlysignificanthere.While
Hegemannsworksdelighttheirpublicaudienceswiththeirplayfulnessandcharmratherthanwiththe
logicofherhusbandscontribution,andthusreinscribeherbackintotheconventionallygenderedrealmof
thewomanartist,SanderandHegemannsubvertthecriticalassociationbetweenwoman,childrenandthe
domesticviatheirdialogicfashioningofanunruly,chainsmoking,creativeandbohemianpersona.

Fig.13
AugustSander
MartaHegemanninfrontofherWandbild
Privatecollection
SKStiftungKultur,Bonn/AllRightsReservedDACS2013

AlthoughthemuralsforSpaceandMuralPaintingnolongerexist,Sanderscarefulmappingofhisfriends
artisticactivitiesthatmakeitpossibletorevisualisenotonlythisexhibitionbutalsosomanyotheraspects
ofWeimarColognesculturalavantgarde.WhileSanderisfamedprimarilyforthesupposeddocumentary
realismofPeopleoftheTwentiethCentury,itisclearthatthefurtheroneexploressuchagargantuan
project,thelessdocumentaryitbecomes.Indeed,theextenttowhichPeopleoftheTwentiethCentury
exceedsitsclaimstoobjectivityisnowheremoreselfevidentthaninSanderscannibalisticcollageCologne
GoesWildintheYear19291929(fig.14),avisualexerciseinthecarnivalesque.Thecarefullycrafted
photographsoffriends,artists,writersandmusiciansthatpopulatethepagesofPeopleoftheTwentieth
Centuryarebroughttogether,splicedandrearrangedinacollagedcelebrationoffriendshipthatironisesthe
typographicalproject.CentraltothemontageisthepaleheadofRderscheidtashangedman,whileMarta
Hegemann,lookingoutwrylyfromthebottomleft,obliquelyobservestheviewer. 44

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Fig.14
AugustSander
CoellenausRandundBandemJahr1929(CologneGoesWildintheYear1929)1929
Privatecollection
SKStiftungKultur,Bonn/AllRightsReservedDACS2013

TheextentofSandersinvolvementwiththepaintersoftheCologneavantgardehasstilltobeexplored
withinEnglishspeakingarthistoricalscholarship,butitiscertainlyclearthatwithouthismeticulous
photographicrecordsmanyoftheartworksthatweresubsequentlylooted,destroyedorlostduringtheNazi
erawouldotherwiseremainunknowntoday.YetthepoignancyofSandersphotographicprojectrestsnot
onlyonitsstatusasdocumentaryarchive,butalsoonitsabilitytocontinuallyreanimatethelostsubjectsof
theWeimarerasculturalhistorybeforesomanyoftheirliveswereirredeemablydestroyedbythe
cataclysmiceffectsofNationalSocialism.

Notes
1. AugustSander,Lecture5:PhotographyasaUniversalLanguage,1931,TheMassachusettsReview,vol.19,no.4,Winter1978,
pp.6749.ThislecturewasthefifthofsixradiolecturescalledTheNatureandGrowthofPhotographywrittenanddeliveredby
Sanderin1931.TheoriginalmanuscriptsofallsixlecturesareintheREWELibraryatDiePhotographischeSammlung,SKStiftung
Kultur,AugustSanderArchive,Cologne.
2. KasimirHagen,AusKunstundLeben.Meine50jhrigenErfahrungenalsKunstsammler.ErsterBand:Gemldedes19.und20.
Jahrhunderts,Cologne1955,pp.2830.ThespellingofHagensfirstnamevariesindifferentaccountsbetweenCasimirand
Kasimir,bothareusedhereastheyappearintheirspecificcontexts.Authorstranslation.
3. AugustSander,MyConfessionofFaithinPhotography,1927,inGerdSander(ed.),AugustSander:InPhotographyThereAre
NoUnexplainedShadows!,exhibitioncatalogue,NationalPortraitGallery,London1997,p.21.Someaccountsrefertofortysix
portfolios.ForexampleseeAnneGanthefhrerTrier,Zeitgenossen,inZeitgenossen:AugustSanderunddieKunstszeneder
20erJahreimRheinland,exhibitioncatalogue,JosefHaubrichKunsthalle,Cologne2000,p.13.
4. AugustSander:Menschendes20.Jahrhunderts,ed.bySusanneLange,GabrielleConrathScholl,andGerdSander,7vols.,
CologneandMunich2001,vol.1,2001,p.30.
5. SeeFayBrauerandAntheaCallen(eds.),Art,SexandEugenics:CorpusDelecti,Aldershot2008.
6. GeorgeBaker,PhotographyBetweenNarrativityandStasis:AugustSander,DegenerationandtheDecayofthePortrait,October,
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no.76,Spring1996,p.112.
7. Bakerwritesofthedeclineofthecategoryoftheindividualinrelationtothenewimportanceofcollectiveformationswithinthe
modernistavantgarde.Forhim,thepromotionofthebourgeoisindividualthroughthegenreofportraiture(whetherpainterlyor
photographic)waschallengedbytheleftistradicalavantgardesemphasisoncollectiveidentityandthusthrewthecategoryof
portraitureasamodernistpracticeintopotentialcrisisseeibid.,p.87.
8. SteveEdwards,TheMachinesDialogue,OxfordArtJournal,vol.13,no.1,1990,pp.6376AndyJones,ReadingAugust
SandersArchive,OxfordArtJournal,vol.23,no.1,2000,pp.122.
9. SeeWalterBenjamin,AShortHistoryofPhotography,1931,OneWayStreetandOtherWritings,LondonandNewYork1985,
p.252,andJones2000,p.6.
10.Jones2000,p.6
11.CorrespondenceandMiscellaneousPapersofFranzRoh,ArchivesoftheHistoryofArt,GettyCenterfortheHistoryofArtand
Humanities,LosAngeles,850120,series1,box4,folder3.
12.FormoreonthisseeLynetteRoth,PaintingasWeapon:ProgressiveCologne19201933,exhibitionCatalogue,MuseumLudwig
Kln,Cologne2008,pp.2434.
13.AugustSander,Menschendes20.Jahrhunderts.Peopleofthe20thCentury,revisedandcompiledbySusanneLange,Gabriele
ConrathSchollandGerdSander,7vols.,CologneandNewYork2002.
14.NeueKunst,AlteKunst,exhibitioncatalogue,RichmodGalerieCasimirHagen,Cologne1926,unpaginated.
15.Ibid.
16.Roth2008,p.66.
17.RichmodGalerieCasimirHagen1926,unpaginated.
18.Ibid.
19.Roth2008,pp.2930.
20.SeeRoth2008.
21.Thesmall,blackandwhite1926RichmodGaleriecataloguereproductionistheonlyextantvisualrecordofFemalePainterandas
aresulttheworkisquitedifficulttodeciphervisually.Hegemannsuseofcolourcertainlycannotbeascertainedfromthisimage.
22.ForafullerdefinitionofNewObjectivityseeFritzSchmalenbach,TheTermNeueSachlichkeit,TheArtBulletin,vol.22,no.3,
September1940,pp.1615andWielandSchmied(ed.),NeueSachlichkeitandGermanRealismoftheTwenties,exhibition
catalogue,HaywardGallery,London1978.ForageneraloverviewseeSergiuszMichalski,NewObjectivity:Painting,GraphicArt
andPhotographyinWeimar,Germany19191933,Cologne1994.
23.FormoreontherelationshipbetweenSanderandtheCologneProgressivesseeRichardPommer,AugustSanderandthe
CologneProgressives,ArtinAmerica,JanuaryFebruary1976andRoth2008.
24.SeeAnnaGanthefhrerTrier,ZeitgenosseninSusanneLangeandHansWernerSchmidt(eds.),Zeitgenossen.AugustSander
unddieKunstszeneder20erJahreimRheinland,Gttingen2000,pp.26,57note41.
25.Sandertookfourdifferentphotographsinwhichdifferentlevelsofdetailcanbeseen.TheimagepublishedinPeopleofthe
TwentiethCenturyisthemostcleanofthefour.ItisalsolikelytohavebeenthelastonetakenasRderscheidthasdroppeda
cigarettethathewasclearlysmokingintheotherimagesfromtheshoot.
26.RichmodGalerieCasimirHagen1926,unpaginated.
27.HistorianGodfreyFeyhasexplainedthatpreLentprocessionsandsimilarfestivitiesinColognearerecordedfromasearlyas
1144andstillcontinuetothisday.CologneCarnivalcommencesontheeleventhdayoftheeleventhmonthat11.11amandall
paradesandprocessionsthereafterbeginatelevenminutespastthehour.AlthoughitisannouncedinNovember,preparations
forCarnivaldonotgenerallybeginuntilafterNewYear,leadinguptothemainparadesduringtheweekbeforeLent.Eachyear
threepeopleareappointedtoplaytherolesofPrinceofCarnival(orHisDullness,whopaysfortheprivilege),thePrincess(also
knownasHerLovelinessandinvariablyplayedbyamanindrag),andtheFarmer(alsoreferredtoasHisHeftyness).See
GodfreyFey,CarnivalintheRhineland,Folklore,vol.71,no.1,March1960,p.48.
28.SeeSeeMikhailBakhtin,RabelaisandhisWorld,1965,trans.byHlneIswolsky,Bloomington1984.
29.PeterTokofsky,MaskingGender:AGermanCarnivalCustominitsSocialContext,WesternFolklore,vol.58,no.34,Summer
Autumn1999,p.29ReidMitchell,AllonaMardiGrasDay:EpisodesintheHistoryofNewOrleansCarnival,Cambridge,
Massachusetts1995.
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30.V.V.Ivanov,TheSemioticTheoryofCarnivalasInversionofBipolarOpposites,inThomasA.Sebeok(ed.),Carnival!,Berlin1984,
pp.1135.
31.WeiberfastnachttakesplaceontheThursdaybeforeAshWednesday(thefirstdayofLent).
32.Fey1960,p.49.
33.Onesuchoccasionarosein1924onthetenthanniversaryoftheoutbreakoftheFirstWorldWarwhenJuliusMeierGraefe
reproachedHansSeckerandthecityofCologneforbuyingOttoDixsoilpaintingTheTrench19203(nowlost),apaintingwhich
heprofoundlydisapprovedofonthegroundsthatitwasunpatrioticandthereforenotsuitablymoraleboostingfortheGerman
inhabitantsofBritishoccupiedCologne.MeierGraefedescribedtheworkasapublicnuisance,amonstrosityandenoughto
makeonepuke.Rderscheidt,ArthurKaufmann,JankelAdler,PeterAbelen,HeinrichHoerle,FranzW.SeiwertandGerdArntz
ralliedtoitsdefence,composingandsigningaletterofprotestthatwasthenpublishedinDasKunstblattasZudemArtikelvon
MeierGraefe:DieAusstellunginderAkademieon8October1924(pp.31718).Theworksubsequentlybecameacauseclbre
inColognebeforebeinglootedbytheNazis,displayedinthe1937DegenerateArtexhibitionandsubsequentlylostordestroyed.
ForafullconsiderationofthecontroversyseeDennisCrockett,TheMostFamousPaintingoftheGoldenTwenties?OttoDixand
theTrenchAffair,ArtJournal,vol.51,no.1,Spring1992,pp.7280.Anotherinterventionintoculturalpoliticsoccurredin1931when
thesameartists,joinedbyothers,werefedupwiththeharshcriticismtheyreceivedatthehandsoftheartpressduringthe1931
CologneArtAssociationexhibition.IssuingapolemicalprotestleafletentitledAnEndtothisArtCriticism,theyrehungtheirworks
tofacethegallerywallssotheycouldnolongerbeviewed,forcingtheexhibitiontoclosedownforaday.SeeWulfHerzogenrath
(ed.),VomDadamaxbiszumGrngrtel:KlnindenzwanzigerJahren,exhibitionCatalogue,KlnischeKunstverein,Cologne
1975,p.21.
34.FordetailsaboutHoerlesinvolvementseeGanthefhrerTrier2000,pp.32,57,notes6972.
35.WalterStern,RaumundWandbild,inHansHeinzLttgen,RaumundWandbild,exhibitioncatalogue,CologneArtAssociation,
Cologne1929,p.3.
36.Ibid.
37.SeealsoGanthefhrerTrier2000,pp.32,57note67.
38.Seeibid.,pp.313.BorrowingthebusinessmodeloftheBauhaus,butonamuchsmallerscale,Lttgenintendedtocreatea
distinctivedesign,firstrevealedinSpaceandMuralPainting,whichwouldmaintainhighstandardsforhisclients.
39.LuiseStrausErnst,ZudenArbeitenvonHanzHeinzLttgen,DieKunst,vol.60,1929,p.110.
40.W[alter]St[ern],RaumundWandbild.AusstellungimKlnischenKunstverein,RheinischeZeitung,19March1929,unpaginated.
41.F.R.[FranzRoh?],RaumundWandbild,KlnerTageblatt,12March1929,unpaginated.
42.Anon.,Kunst:RaumundWandbild,KlnerStadtAnzeiger,5March1929,unpaginated.Otherreviewsthatacknowledge
HegemannscontributioncanbefoundintheKlnischeVolkzeitung,14March1929,andDasKunstblatt,vol.12,no.4,1929,
p.123.
43.AlfredSalmony,Kln.RaumundWandbild,Cicerone,vol.21,no.7,1929,p.206.
44.TheimagewasmadebySanderin1929asacompositecoverforaphotographicportfolioofvariousLumpenblleimages.Fora
moredetailedanalysisofthismontageseeMichaelCorneliusZepter(ed.),Maskerade:KnstlerkarnevalundKnstlerfesteinder
Moderne,Cologne2012,pp.31319.

Acknowledgements
TheauthorgratefullyacknowledgesthegenerousassistanceprovidedbyGerdSander,Pascal
Rderscheidt,M.A.F.Rderscheidt,ChristianWeikop,ChristopherGriffinandtheeditorialteamatTate
Papers.
ArticlesrelatingtoAugustSanderhavebeenbroughttogetherinissue19ofTatePapersbyChristian
Weikop,whocoorganisedthesymposiumAugustSanderandWeimarGermany,heldattheNational
GalleriesofScotlandon13May2011duringtheARTISTROOMSexhibitionAugustSanderattheScottish
NationalGalleryofModernArt.TheeditorialteamisgratefultoDrWeikopforhiscoordinationofthese
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articles,whichcontributetotheprogrammeoftheARTISTROOMSResearchPartnership,acollaboration
betweenTateandNationalGalleriesofScotlandwiththeUniversitiesofEdinburgh,GlasgowandNewcastle.
DorothyC.RoweisSeniorLecturerinHistoryofArtattheUniversityofBristol.
TatePapersSpring2013DorothyRowe
Tags:

Painting Photography Researcharticles Constructivism Dada

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

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