{"id":143,"date":"2026-05-21T12:07:12","date_gmt":"2026-05-21T12:07:12","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=143"},"modified":"2026-05-21T12:07:12","modified_gmt":"2026-05-21T12:07:12","slug":"august-sanders-enormous-attempt-to-capture-a-lost-world","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=143","title":{"rendered":"August Sander\u2019s Enormous Attempt to Capture a Lost World"},"content":{"rendered":"
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The photographer August Sander\u2019s masterpiece\u2014some six hundred portraits of everyone from a pastry chef to a President, from Jews and Roma to Nazis and demagogues, from engineers and artists to nervous young farmers on their wedding day\u2014bears the irresistibly ambitious title \u201cPeople of the 20th Century.\u201d At the Yale University Art Gallery, which is showing the complete series in the photographer\u2019s largest exhibition yet, the images are hung in tall, orderly grids, like a periodic table of the human elements. But there aren\u2019t just people in these pictures. Along with a few prop-like horses and cows and one charismatic sheep, there are also quite a few dogs, lovingly included among stiff farming families, or proudly posed with their besuited owners.<\/p>\n

Read more The Fear Driving \u201cWell, I\u2019ll Let You Go\u201d and \u201cOthello\u201d<\/a><\/p>\n

Although nearly all of Sander\u2019s subjects look as if they belong to another age, the dogs don\u2019t. In several pictures their heads are blurred, these boys not quite good enough to hold still for the longish exposure of Sander\u2019s tripod-mounted camera. The canines\u2014a Doberman, a miniature Doberman, some German shepherds and collie-looking creatures, a number of hunting dogs of indiscriminate extraction, and one long-haired dachshund trying hard to pretend he\u2019s not soaking wet\u2014are restlessly contemporary. The reason is almost laughably simple: they don\u2019t wear antiquated clothes, they don\u2019t have period mustaches, and their faces and limbs are not variably weathered according to their station, which, when Sander was working, was still largely measured by your closeness to the earth. In other words, the dogs look out from beyond the system of signs we use to sort people\u2014from beyond class, the real subject of Sander\u2019s pictures.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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From about 1910 to around 1950, Sander sought to make nothing less than a visual catalogue of all the types and professions in Germany. He even fantasized, in a 1931 lecture, about getting a \u201ctotal vision of the people on earth\u201d\u2014which, along with his interest in physiognomy, seems a tad sinister in retrospect. Walter Benjamin called Sander\u2019s project \u201ca training atlas,\u201d probably for seeing the world in terms of status, but of course the German state would soon be interested in other kinds of provenance.<\/p>\n

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Sander wasn\u2019t the first German to use photography in the service of taxonomy. Beginning in the eighteen-nineties, Karl Blossfeldt took closeups of plants abstracted from their environments, making visible the art of their natural curlicues and reticulations. Blossfeldt and Sander, along with Albert Renger-Patzsch, were the leading photographic representatives of the loose movement baptized, in 1925, as the New Objectivity. The goal was to abandon the gauzy artiness of Pictorialism (practiced most famously by Alfred Stieglitz) and the overdetermined zaniness of Dada photomontage (think Hannah H\u00f6ch) in order to show things as they were.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Still, objectivity is never really objective, and the camera\u2019s putatively clinical perspective had long been used by eugenicists to peddle hateful pseudoscience about the skull sizes and brow shapes of \u201ccriminal types\u201d and so-called lesser races. (This history is largely absent from Yale\u2019s admirable just-the-art, ma\u2019am, presentation, curated by Judy Ditner.) Yet Sander\u2019s pictures rarely evince any suggestion of genetic essence or ideal. Despite his claims to universality, Sander thought with his eye, which was attracted to abnormal bodies, unforgettable faces, unkempt free thinkers, and all sorts of people the Nazis would soon label \u201cunerw\u00fcnscht<\/em>,\u201d or undesirable. Reassuringly, \u201cFace of our Time,\u201d a sixty-photo series published in 1929, was condemned by one right-wing critic as \u201ca physiognomic document of anarchy and inferior instincts.\u201d The regime later destroyed some of Sander\u2019s printing plates and burned his books.<\/p>\n

At the same time, Sander\u2019s project was too personal to be purely political. He sliced society up into seven not quite self-evident categories\u2014the Farmer, Classes and Professions, the Skilled Tradesman, the Artists, the City, the Woman, and the Last People\u2014and at the Yale show each of them gets a wall. The categories are subdivided into smaller, more specific portfolios, and the effect is a kind of social levelling, a carnival through classification. The City, for example, includes the German President Paul von Hindenburg, passing by in a motorcar, as well as circus folk and Roma and a regal Turkish mousetrap salesman who might have been painted by Goya. In the nineteen-thirties, Sander added portfolios of political prisoners, as well as portraits of Jews, many of whom would soon perish in the Holocaust. (Violence is present in Sander\u2019s project only by implication.) In the portfolio \u201cTypes and Figures of City,\u201d Sander even inserts a headshot of himself in a black jacket and floppy bow tie, looking like an affable Dracula.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Sander was born in 1876, in a small village near Cologne where, the photographer later recalled, \u201cfish frolic in the stream and trout play nimbly.\u201d His first job was in the local iron mines. A rich uncle sponsored his early photographic efforts, and he was able to cobble together a part-time apprenticeship during his mandatory military service in the final years of the nineteenth century. When he mustered out, Sander set up a successful commercial studio, outfitting himself and his young family with all the trappings of a bourgeois life as he churned out images that shored up the social status of his clients.<\/p>\n

Read more Clarence Thomas Against Progressivism\u2014and Progressives<\/a><\/p>\n

The turn arrived in 1909, when he moved to Cologne and found himself struggling to drum up business. Searching for clients, he returned to the countryside, and came back into contact with the people\u2014his people\u2014who would become his first true subjects. Just as Eug\u00e8ne Atget, in those same years, developed a new photographic sensibility by turning his camera on the streets of old Paris, Sander worked out a distinctly modern approach in the twelve photographs he called \u201cArchetypes,\u201d whose men and women preside over his project like elders. He gave rather mystical names (\u201cThe Person of the Soil,\u201d \u201cThe Philosopher\u201d) to these lusciously wrinkled, pre-industrial faces. A farmer and his wife, allegorized as \u201cPropriety and Harmony,\u201d look out at us from hooded eyes like a beat-down Adam and Eve. The man subtly smiles as he rests a hand on his seated wife\u2019s shoulder, but she holds her mouth in a weary slant and clasps a bouquet of flowers, which, along with her black dress, turn this not so much into an aged nuptial portrait as a memento mori. With bracing clarity and a drop of respectful nostalgia, Sander shows us people as they were, rather than as they wanted to be.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The First World War effectively ended Sander\u2019s commercial work, and in the teens and early twenties he became ever more committed to the poised but unpretentious style he called \u201cexact photography.\u201d His most famous early picture, of three rakish young farmers walking to a country dance in new hats, stiff suits, and too-big shoes, couldn\u2019t have been a commission. It\u2019s too particular, too complicated, and, anyway, the boys probably couldn\u2019t have afforded it. Shot in 1914, the young men are unwittingly walking into the future, just as Sander himself was blazing a path others would follow. \u201cCountry Girls, Westerwald,\u201d of two young women holding hands as they stand on a wooded path, dressed in identical black velvet, could have been shot by Diane Arbus, who learned much from Sanders about picturing the point where the individual and the social meet.<\/p>\n

The clearest types in Sander\u2019s atlas are the working men, often depicted from head to toe, or down to their knees. They frequently pose with the tools of their trade, like the statuesque bricklayer, who lofts a load of bricks on his shoulders so easily he might as well be a chimney himself, or the pastry chef, dressed in an immaculate white smock, who wields a spoon in a shiny bowl with all the poise of a fencer with his foil. But just as many figures play against type, or seem not to participate in any type at all. There\u2019s nothing butcherly about the dapper, bowler-hatted \u201cButcher\u2019s Apprentice\u201d who, in one of Sander\u2019s winks, sits in a black suit in the \u201cThe Skilled Tradesman\u201d category. And what sort of type is \u201cMy Wife in Joy and Sorrow,\u201d a portrait of Sander\u2019s wife, Anna, with their twins Helmut and Sigrid, taken hours before Helmut\u2019s death?<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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You get the sense that Sander was sincere, and he confers nothing but dignity on the match salesman plying his trade in a doorway, or the disabled veteran posing in his wheelchair at the base of an inaccessible flight of stairs. But that doesn\u2019t mean Sander was always serious. You notice his irony more easily at the Yale show, where you can take in all the pictures at once. Raoul Hausmann, a Dada artist and clearly a friend of Sander\u2019s, shows up in \u201cThe City,\u201d as a dancer, and then again flanked by two women in \u201cThe Woman,\u201d both times wearing nothing but baggy white trousers, a black beret, and a monocle. But he dresses up in a business suit when posing as \u201cInventor and Dadaist,\u201d flanked by engineers and marketing execs in the \u201cSkilled Tradesman\u201d category. With Teutonic deadpan, Sander sends up the often ideologically weighted social photography of which his project is an example\u2014and records the giddy, glitchy instability of the Weimar years, when the old order was in disorienting flux, and would soon disappear altogether.<\/p>\n

The most frequently recurring character\u2014maybe the project\u2019s quiet protagonist\u2014is Erich. We first meet him as one of a few \u201cworking students,\u201dscruffy and intense near some posh fraternity brothers, then as a scowling philosophy undergrad. Later, we see him focussed at a desk as a political prisoner, after he was sentenced, in 1934, to ten years incarceration for being a Communist. And finally, the portfolio titled \u201cThe Last People\u201d\u2014of blind people, those with conditions such as dwarfism, and two pictures, both called \u201cMatter,\u201d of the peaceful faces of the elderly dead\u2014ends with a ghostly image of Erich\u2019s death mask, made after he died in captivity in 1944. A portrait of a memory, it\u2019s the most private of Sander\u2019s photographs, and his clearest depiction of how history writes itself on the human face. Sander, who died in 1964, never recovered from the damage done by what he called \u201cthe subhumans of the Hitler band.\u201d \u201cPeople of the 20th Century\u201d is his loving death mask for a world that vanished before his eyes.\u00a0\u2666<\/p>\n

Read more The Missing Bride of Anqoun<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In \u201cPeople of the 20th Century,\u201d the photographer set out to document every type and profession in the fading epoch of prewar Germany. 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