Buch, Deutsch, Band 107, 778 Seiten, Format (B × H): 142 mm x 225 mm, Gewicht: 1040 g
Reihe: Klostermann/Nexus
Buch, Deutsch, Band 107, 778 Seiten, Format (B × H): 142 mm x 225 mm, Gewicht: 1040 g
Reihe: Klostermann/Nexus
ISBN: 978-3-465-04578-6
Verlag: Klostermann Vittorio GmbH
Erwin Quedenfeldt (1869–1948) war ein international bekannter Fotograf. Seine Karriere beginnt mit bemerkenswerten Optimierungen der Blitzlichtfotografie, darunter die Erfindung des Synchronblitzes. Es folgen oft prämiierte Interieurs, Landschaften und Architekturaufnahmen. Berühmt wird er für seine ungewöhnliche fotografische Dokumentation des Niederrheins. Avant la lettre unterscheidet er zwischen zwei fotografischen Sehweisen, einer nur nachahmenden und einer mehr kreativen. Lebenslang engagiert er sich für die Akzeptanz der schöpferischen Variante, eine Vorwegnahme der subjektiven Fotografie. Seine Technik der Erwinographie wird auch von Picasso genutzt. Kunstfotografie und Neues Sehen stehen ihm kritisch gegenüber. Wenige erkennen den Avantgardismus seiner Ideen. Diese Monographie beschreibt erstmals Leben, Werk und Denken dieses fast Vergessenen auf Basis entlegen publizierter Literatur und neu entdeckter Archivalien. Sie zeigt Quedenfeldt als Pionier postmimetischer Fotografie, vorausschauenden Heimat- und Naturschützer, visionären Technik- und Gesellschaftskritiker und unbeirrbaren Kämpfer für die Freiheit der Kunst und des Denkens. Die Fotogeschichte muss nun in Teilen neu geschrieben werden.
Erwin Quedenfeldt (1869–1948) was an internationally renowned photographer. His career began with remarkable improvements of flash photography, including the invention of the synchronous flash. This was followed by frequently award-winning interiors, landscapes, and architectural photographs. He first became famous for his unusual photographic documentation of the Lower Rhine. Avant la lettre he distinguishes between two photographic ways of seeing, one merely imitative and one more creative. Throughout his life, Quedenfeldt was committed to gaining acceptance for the creative variant, an anticipation of subjective photography. The "Erwinography", a photographic technique he invented, was also used by Picasso. Art photography and New Vision are critical of him, failing to recognize the avant-gardism of his ideas. This monograph is the first to describe the life, work, and thought of this almost forgotten man, based on remotely published literature and newly discovered archival materials. It shows Quedenfeldt as a pioneer of post-mimetic photography, a forward-thinking conservationist of the countryside and nature, a visionary critic of technology and society, and an unswerving fighter for the freedom of art and thought. The history of photography must now partly be rewritten.
Siebert
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Erwin Quedenfeldt (1869–1948) was an internationally renowned photographer. His career began with remarkable improvements of flash photography, including the invention of the synchronous flash. This was followed by frequently award-winning interiors, landscapes, and architectural photographs. He first became famous for his unusual photographic documentation of the Lower Rhine. Avant la lettre he distinguishes between two photographic ways of seeing, one merely imitative and one more creative. Throughout his life, Quedenfeldt was committed to gaining acceptance for the creative variant, an anticipation of subjective photography. The "Erwinography", a photographic technique he invented, was also used by Picasso. Art photography and New Vision are critical of him, failing to recognize the avant-gardism of his ideas. This monograph is the first to describe the life, work, and thought of this almost forgotten man, based on remotely published literature and newly discovered archival materials. It shows Quedenfeldt as a pioneer of post-mimetic photography, a forward-thinking conservationist of the countryside and nature, a visionary critic of technology and society, and an unswerving fighter for the freedom of art and thought. The history of photography must now partly be rewritten.
Zielgruppe
Kunsthistoriker, Lokalhistoriker des Niederrheins, Fotokünstler, an Fotografie interssiertes Publikum
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