Thursday, September 17, 2026

Artist of the Day, September 17, 2026 : August Sander, a German photographer (#2634)

 August Sander (1876 – 1964) remains one of the most significant German portrait and documentary photographers of the early twentieth century. He is best known for his monumental series, People of the 20th Century, an ambitious project that aimed to create a systematic, objective cross-section of society during the Weimar Republic. Sander initialed his training while assisting a photographer at a local iron-ore mine, eventually acquiring his own equipment and establishing studios in Linz and Cologne.

His artistic direction shifted significantly in the early 1920s when he connected with the Cologne Progressives, a radical group of artists focused on combining objectivity with social engagement. Under their influence, Sander abandoned romanticized photographic traditions in favor of a detached, sociological approach. He purposefully photographed his subjects within their natural environments, utilizing their specific work tools, uniforms, and daily attire to clearly define their functional social roles.

This comprehensive project was categorized into seven distinct thematic sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People. In 1929, he published a selection of 60 portraits in his first book, Face of our Time (Antlitz der Zeit). However, his analytical view of society directly conflicted with Nazi racial theories, leading the regime to confiscate the book and destroy its printing plates in 1936. To protect his life's work during World War II, Sander relocated to the rural Westerwald region, successfully saving thousands of negatives from wartime destruction before his passing in 1964.

© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by August Sander or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

 August Sander
Farmer from Schabernack, Westerwald, 1912
The Farmer's Family, 1912
Young Farmers, 1914
Farmer's Child, 1920
Village Schoolteacher, Westerwald, 1921
Widow with her Sons, 1921
Cretin, 1924
High-Ranking Civil Servant [Notary], 1924
Peasant Bride, 1925
Peasant Girls, 1925
Blacksmith I, 1926
Blacksmiths II, 1926
Circus Artist, 1926
Circus Artistes, 1926
Home Help, 1926
Young Farmers with Bicycles, 1926
Young Girl in Circus Caravan, 1926
Bricklayer, 1928
Child on a Bicycle, 1928
The Pastrycook, 1928
The Tenor [Leonardo Aramesco], 1928
Farmhands, 1929
Afternoon Break, 1930
Cologne, View from the Window of the Kunstverein, 1930
Farming Family from the Eifel Highlands, 1930
Washerwoman, 1930
Farmer, 1932
Infirm Old Man, 1932
Organ Grinder, 1937

Wednesday, September 16, 2026

Artist of the Day, September 16, 2026 : Jean Tinguely, a Swiss sculptor, kinetic artist (#2633)

Jean Tinguely (1925–1991) was a Swiss sculptor renowned for his kinetic art machines, known as Métamatics, which extended the Dada tradition into the late 20th century. His playful, motorized sculptures served as a satire of modern automation and the technological overproduction of material goods.

Raised in Basel, Tinguely studied at the Allgemeine Gewerbeschule under Julia Ris, where he discovered the work of Kurt Schwitters and other prominent Dadaists. In 1952, he moved to France to advance his artistic career, quickly integrating into the Parisian avant-garde. By 1960, he became an official signatory of the New Realist (Nouveau réalisme) manifesto.

Tinguely achieved global recognition for his performance-based, self-destroying art. His famous 1960 installation, Homage to New York, partially self-destructed at the Museum of Modern Art, while his 1962 follow-up, Study for an End of the World No. 2, successfully detonated in the Nevada desert. His pioneering work fusing kinetic art with assemblage was featured in MoMA’s landmark 1961 "Art of Assemblage" exhibition.

For over three decades, Tinguely collaborated with his second wife, artist Niki de Saint Phalle, on major public installations including Hon – en katedral and Le Cyclop. His significant impact on contemporary art remains highly celebrated. His legacy has been honored through major global retrospectives, including recent exhibitions at Amsterdam’s Stedelijk Museum, Milan’s Hangar PirelliBicocca, Paris’s Grand Palais, and Geneva’s Musée Rath to mark the centenary of his birth.


© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by Jean Tinguely or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only 

Jean Tinguely
My Milling Machine, 1963
Swiss made, 1955
Gismo, 1960
La Bascule (Bascule Nº. 1), 1960
Orange press "a+b", 1960
Scooter, 1960
Précision, 1962
Fontaine VI, 1963
Honda Nº.1, 1963
Rocker III, 1963
Untitled, 1963
 Scorpion, 1963-69 
Eureka, 1964
Eureka, 1964
Eureka (Detail view) 1964
Eureka (Detail view) 1964
Motor-Cocktail with Wheel, 1966
Chariot MK, 1966-67
 EOS XII, 1967
Matrac (Bascule), 1967
Santana 6/IV, Bascule, 1967
 Large Spiral, 1971-73
Untitled, 1973
Chaos I, 1974
Untitled, 1980-81
Fontana di Trevi, 1981
Untitled, 1982
Fontaine de Jo Siffert (Jo Siffert Fountain) 1984
Kyoto X, 1987