This publication reveals that the discrepancy that was claimed between art photography and the 'New Vision' of the avant-garde is not as pronounced as hitherto supposed Fillls a gap in the history of photography, presenting selected aspects of Pictorialist photography in incisive essays and drawing on previously unpublished picture material Art and photography have a long and exciting common history, which has not always been free of conflict. In the mid-nineteenth century, photographers delivered painters templates for ...
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This publication reveals that the discrepancy that was claimed between art photography and the 'New Vision' of the avant-garde is not as pronounced as hitherto supposed Fillls a gap in the history of photography, presenting selected aspects of Pictorialist photography in incisive essays and drawing on previously unpublished picture material Art and photography have a long and exciting common history, which has not always been free of conflict. In the mid-nineteenth century, photographers delivered painters templates for their work, but at the same time there was quite a rivalry between the disciplines. Thus photography developed a new visual language. Precisely this Pictorialist photography, which was for a long time dismissed as 'pretentious kitsch', has been in the spotlight again recently, as not only modern theories of perception were tested and put into practice, but also the first processes of abstraction were explored. Text in German.
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