{"id":36144,"date":"2025-10-13T18:16:39","date_gmt":"2025-10-13T16:16:39","guid":{"rendered":"https:\/\/husbands-paris.com\/en\/?p=36144"},"modified":"2025-10-13T18:16:39","modified_gmt":"2025-10-13T16:16:39","slug":"august-sander-people-of-the-twentieth-century","status":"publish","type":"post","link":"https:\/\/wpadmin.husbands-paris.com\/en\/journal\/august-sander-people-of-the-twentieth-century\/","title":{"rendered":"AUGUST SANDER: PEOPLE OF THE TWENTIETH CENTURY"},"content":{"rendered":"\n
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In 1911, a 35-year-old man decides to document his century: “the portrait is your mirror. No, it\u2019s more: it\u2019s you”.<\/p>\n\n\n\n

The first street photographer, August Sander captures every man: the Farmer, the Artist, the Craftsman. Inordinate scale, immeasurable influence – 50 years, 7 volumes, 50 portfolios, 600 pictures.<\/p>\n\n\n\n

Always in black and white, his portraits strike by their brutal honesty. Photography does not show the truth, it is the truth. Asceticism of the work, asceticism of the dress.<\/p>\n\n\n\n

Worries, gestures, habits: the short leg of a pair of trousers suggests the fear of mud, the crease of a shirt, an artist\u2019s poverty.<\/p>\n\n\n\n

Young men\u2019s hats, not yet dented; the crease near the crotch of the cyclists\u2019 trousers: wear and tear; pianist Max van de Sandt\u2019s high collar: performance.<\/p>\n\n\n\n

Weighed down by pockets full of ointments, he pharmacist’s end-on-end suit and its drooping lapels; practical for demanding gestures, the farmer’s wide armhole, Helene Abelen’s white sarouel<\/em>: androgynous absolute. <\/p>\n\n\n\n

The embarrassment of the young businessman, forced to hold his hands due to the height of his coat; the high-school student\u2019s nonchalance, hand deep in his patch pockets; the height of the Bohemian’s waist and the weather-beaten spacing of his stripe.<\/p>\n\n\n\n

Arid and appealing, August Sander\u2019s work does not show its time, it is its time.<\/p>\n\n\n\n

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LATEST<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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<\/span>\"Farmer.
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Farmer. 1913.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Gypsy.
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Gypsy. 1930.<\/p>\n<\/div><\/div>\n\n\n\n

\n
\n
<\/span>\"High-School
\n

High-School Student. 1926.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

\n
<\/span>\"Industrial
\n

Industrial Magnate. 1927.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/span>\"Painter's
\n

Painter’s Wife. 1926.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Pharmacist.
\n

Pharmacist. 1930.<\/p>\n<\/div><\/div>\n\n\n\n

\n
\n
<\/span>\"The
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The Pianist.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

\n
<\/span>\"Three
\n

Three Farmers on their Way to a Dance. 1914.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/span>\"Unemployed
\n

The Rite of Spring. 1975.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Young
\n

Young Businessman. 1927.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Young
\n

Young Farmers. 1926.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n