August Sander
German Photographer
Movements and Styles: New Objectivity, Social Realism, Documentary Photography
Born: November 17, 1876 - Herdorf, Germany
Died: April 20, 1964 - Cologne, Germany
Table of contents
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Influences and Connections
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"I hate nothing more than sugary photographs with tricks, poses and effects. So allow me to be honest and tell the truth about our age and its people".
Summary of August Sander
August Sander is acclaimed for a life-long undertaking known as People of the Twentieth Century. Though it was realized as one single volume only posthumously (through the efforts of his son) his career-defining mission gave rise to the greatest portrait collection of the 20th century. Sander's goal was to produce a comprehensive photo-sociological document of the cross-section - from land workers to factory workers; to artistic and professional elites; to the frail and the elderly - of German society as it unravelled during his own lifetime. Despite the emergence of the new, faster and more mobile, 35MM Leica camera, Sander remained steadfast in his commitment to the heavy large-format camera that used glass negatives and demanded long exposure times. For him the greater detail offered by the latter format far outweighed the benefits of the former. Sander represented all his sitters, whom he identified, not by name, but by occupation or type, with a respectful and unadorned neutrality, and always within their familiar surroundings.
Key Ideas
One of several siblings, August Sander was born on the 17th November 1876, in the German village of Herdorf, to Justine and August Sander. Before the family set up their own modest farm, August Sr. earned his living as a carpenter working in the mining industry. August Jr. seemed destined to follow in his father's footsteps when, as expected, he took up an apprenticeship at the San Fernando Iron Ore mine in 1889. However, while working at the mine, he was tasked with assisting a technical photographer. The experience proved to be a turning point for the young Sander who became captivated by this new medium for making pictures. Two years later, and with a financial gift from a kindly uncle, an enthused Sander purchased a camera (his first) and some basic dark room equipment.
Important Art by August Sander | |
 Artwork Images | Young Farmers (1914)Artwork description & Analysis: Forming part of a series on rural people residing in the low mountain region of Westerwald, Young Farmers (Jungbauern) was taken by Sander in 1914, shortly before he joined the medical corps at the outbreak of the first World War. Arguably his most analyzed image, it was first published in Sander's Face of Our Time collection in 1929, and again, posthumously, in his magnum-opus People of the Twentieth Century. Photograph, gelatin silver print on paper - Tate and National Galleries of Scotland. Lent by Anthony d'Offay 2010 |
 Artwork Images | Matter (c. 1925-7)Artwork description & Analysis: The volume People of the Twentieth Century featured more than 500 images. Young Farmers belonged to the first, introductory, category ('The Farmer'), while Matter featured in the last, closing, category ('The Last People'). 'The Last People' is focused on those who occupied the margins of society: namely the elderly, the infirm, the disabled and the mentally impaired. This is one of two portraits, both bearing the title 'Matter', of deceased subjects. In this serene image an elderly woman is shown in profile on her deathbed. The image might allude in some way to the theme of the cycle of life. However, Sander's unambiguous, matter-of-fact, approach to his work suggests that its meaning might be rather more prosaic with Sander simply forcing his audience to confront head-on the inevitability of death. However, when considered in relation to his bigger sociological project, through which he was commenting upon the societal role of the individual in 20th century Germany, the title 'Matter' would seem to suggest that once we lose our value to society we become no more than a collection of particles ('matter') from which no further societal value can be subsumed. Photograph, gelatin silver print on paper - Tate and National Galleries of Scotland. Lent by Anthony d'Offay 2010 |
 Artwork Images | The Painter's Wife (Helene Abelen) (c. 1926)Artwork description & Analysis: In 1926, the artist Peter Abelen, having become acquainted with Sander through their shared association with the Cologne Progressive Artists Group, approached the photographer with the view of making a portrait of his wife, Helene (Abelen). Though the portrait is titled The Painter's Wife Helene's pose is defiantly androgynous. Her slicked-back hair is pulled tightly across her head and Helene grips a cigarette between her teeth. She wears a fitted white shirt, a narrow dark tie and black belt, and baggy white trousers with casual white footwear. She is almost luminous when set against the muted tones of the interior walls; on which, presumably, the works of her painter husband are hung. Helene's gaze is active - confrontational one might say - since she acknowledges the camera (and photographer) by looking beyond it (him, and us). Photograph, gelatin silver print on paper - Tate and National Galleries of Scotland. Lent by Anthony d'Offay 2010 |
More August Sander Artwork and Analysis:
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Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
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First published on 05 Sep 2018. Updated and modified regularly. 
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