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Newly discovered photographic collages by early-twentieth-century photographer Karl Blossfeldt.Karl Blossfeldt (1865-1932) achieved overnight fame in the late 1920s with the first publication of his photographs of plants. Those photographs, which revealed the inner structures of the organic forms, immediately made him a pioneer of New Objectivity―an innovative movement in art and photography of the 1920s and 1930s. Blossfeldt, however, was neither a trained photographer nor a botanist. He was a sculptor and art professor who did his photographic work to generate teaching material for his students.The publication of this book is the result of an extraordinary event―the 1997 discovery in Blossfeldt's estate of sixty-one previously unknown collages, in virtually mint condition, of photographic contact prints arranged on large cardboard sheets. Blossfeldt apparently used these to study the relation and similarity of the photographs and to compare them graphically and aesthetically. On some, Blossfeldt had made marks or handwritten notations. Others show lines for cropping. The collages, published here for the first time, unveil a hidden treasure of modern photography and cast fresh light on the systematic approach Blossfeldt used in his photographic studies. All collages are reproduced in four colors. Introducing the book is an essay by Swiss art historian Ulrike Meyer-Stump, a Lecturer at the Zurich University of the Arts. Not for sale in France, Germany, Switzerland, Belgium, and Austria

Through Blossfeldt's lens, plants and flowers become gorgeous formal gesturesKarl Blossfeldt was a pioneer of botanical photography, though his interest in the plant world was initially educational. Fascinated by the structure of plants, whose seemingly artistic forms resulted from biological necessity, he realized that photography could be a useful teaching tool, allowing his students to see and compare natural forms. Working with a homemade camera, Blossfeldt gathered and photographed his own plant samples, magnifying them by up to 45 times. From around 1898 onward, he shot some 6,000 images, which he used primarily as visual aids in his classes.Eventually published as Art Forms in Nature (1928) and Art Forms in Nature, Second Series (1932), Blossfeldt’s photographs had a lasting impact on the art of his day and were enthusiastically embraced by both the Surrealist and New Objectivity movements. His books brought him overnight fame and are still considered landmarks in the history of art and photography. Karl Blossfeldt: Masterworks presents a remarkable collection of Blossfeldt’s strikingly austere yet poetic portraits of plants, which capture their timeless beauty in intimate detail.

A serious man who earned his living as a teacher, Karl Blossfeldt (1865- 1932) seems an unlikely candidate for aesthetic canonisation. But his photographs of plants, taken in their thousands over more than thirty years, reveal a formally rigorous talent whose precision and dedication bridge the nineteenth and twentieth century worlds of Image making as do his contemporaries Eugene Atget and the recently rediscovered Charles Jones. In Blossfeldt's hands, plants and their constituent parts become almost architectural in their construction. Form and structure are laid bare to highlight the secrets of growth in the natural world, and to provide lessons that could be applied to industrial design. Beautifully but starkly composed against plain cardboard backgrounds, Blossfeldt's images, relying on a northern light for their sense of volume, reveal nothing of the man but everything of themselves. They are still-lifes, piercingly final statements on their subject. Blossfeldt's intention was always to document his teaching methods and to establish a photographic archive of his work. Neither was to be, but his images have endured owing to their technical brilliance and their ongoing fascination to students in a number of disciplines. Like their maker, they are quietly and lastingly effective.

A serious man who earned his living as a teacher, Karl Blossfeldt (1865-1932) seems an unlikely candidate for aesthetic canonization. But his photographs of plants, which he took in the thousands over more than thirty years, reveal a formally rigorous talent whose precision and dedication bridge the nineteenth and twentieth century worlds of image making. Beautifully but starkly composed against plain cardboard backgrounds, Blossfeldt's images, relying on a northern light for their sense of volume, reveal nothing of the man but everything of themselves. They are still-lifes, piercingly final statements on their subject, and have endured owing to their technical brilliance and the ongoing fascination of students and photographers. Like their maker, they are quietly and lastingly effective.

Karl Blossfeldt (1865-1932) photographed thousands of plants; these are almost never seen from above, but rather from the side, and against a neutral background. This book featuers these images of plants.

German photography pioneer Karl Blossfeldt (1865-1932) photographed plants so beautifully, and with such originality, that his work transcends the medium itself. Over more than 30 years, he took thousands of photographs, revealing a formally rigorous talent whose precision and dedication bridge the nineteenth and twentieth century worlds of image making and bring a distinctly sculptural aspect to a firmly two-dimensional art form. Beautifully but starkly composed against plain cardboard backgrounds, Blossfeldt's images, relying on a northern light for their sense of volume, reveal nothing of the man but everything of themselves. They are still-lifes, piercingly final statements on their subject, and have endured owing to their technical brilliance and the ongoing fascination of students and photographers. Like their maker, they are quietly and lastingly effective.

Buy with confidence! Book is in new, never-used condition 1.37

A serious man who earned his living as a teacher, Karl Blossfeldt (1865- 1932) seems an unlikely candidate for aesthetic canonisation. But his photographs of plants, taken in their thousands over more than thirty years, reveal a formally rigorous talent whose precision and dedication bridge the nineteenth and twentieth century worlds of Image making as do his contemporaries Eugene Atget and the recently rediscovered Charles Jones. In Blossfeldt's hands, plants and their constituent parts become almost architectural in their construction. Form and structure are laid bare to highlight the secrets of growth in the natural world, and to provide lessons that could be applied to industrial design. Beautifully but starkly composed against plain cardboard backgrounds, Blossfeldt's images, relying on a northern light for their sense of volume, reveal nothing of the man but everything of themselves. They are still-lifes, piercingly final statements on their subject. Blossfeldt's intention was always to document his teaching methods and to establish a photographic archive of his work. Neither was to be, but his images have endured owing to their technical brilliance and their ongoing fascination to students in a number of disciplines. Like their maker, they are quietly and lastingly effective.

Karl Blossfeldt (1865-1932) photographed thousands of plants; these are almost never seen from above, but rather from the side, and against a neutral background. This book featuers these images of plants.

Unread book in perfect condition.

The iconic German photographer Karl Blossfeldt's stunning plant photography is presented here for the first time in an English language edition with beautifully printed duotones that do justice to the work of this turn of the century master. A truly stunning and important book.

Karl Blossfeldt (1865-1932) was neither a professional photographer nor a natural scientist. He was a sculptor, amateur photographer, and a professor at Berlin's school of arts and crafts where he taught modeling. His interest in the plant world was of an artistic and didactic nature: he was fascinated by the structure of plants, their organic configuration, and their "lofty artistic form" born "of expediency," which he wanted to illustrate and compare in a photographic style that could be described as strictly objective, almost graphic. His goal was to create a catalogue of forms for the benefit of artists, artisans, and, above all, architects, providing them with a book of instruction and models to guide them in their designs.

German photography pioneer Karl Blossfeldt (1865–1932) photographed plants so beautifully, and with such originality, that his work transcends the medium itself. Over more than 30 years, he took thousands of photographs, revealing a formally rigorous talent whose precision and dedication bridge the 19th- and 20th-century worlds of image-making and bring a distinctly sculptural aspect to a firmly two-dimensional art form.Beautifully but starkly composed against plain cardboard backgrounds, Blossfeldt’s images, relying on a northern light for their sense of volume, reveal nothing of the man but everything of themselves. They are still lifes, piercingly final statements on their subject, and have endured owing to their aesthetics and the ongoing fascination of students and photographers. Like their maker, they are quietly and lastingly effective.

Through Blossfeldt's lens, plants and flowers become gorgeous formal gesturesKarl Blossfeldt was a pioneer of botanical photography, though his interest in the plant world was initially educational. Fascinated by the structure of plants, whose seemingly artistic forms resulted from biological necessity, he realized that photography could be a useful teaching tool, allowing his students to see and compare natural forms. Working with a homemade camera, Blossfeldt gathered and photographed his own plant samples, magnifying them by up to 45 times. From around 1898 onward, he shot some 6,000 images, which he used primarily as visual aids in his classes.Eventually published as Art Forms in Nature (1928) and Art Forms in Nature, Second Series (1932), Blossfeldt’s photographs had a lasting impact on the art of his day and were enthusiastically embraced by both the Surrealist and New Objectivity movements. His books brought him overnight fame and are still considered landmarks in the history of art and photography. Karl Blossfeldt: Masterworks presents a remarkable collection of Blossfeldt’s strikingly austere yet poetic portraits of plants, which capture their timeless beauty in intimate detail.

Karl Blossfeldt (1865-1932) was neither a professional photographer nor a natural scientist. He was a sculptor, amateur photographer, and a professor at Berlin's school of arts and crafts where he taught modeling. His interest in the plant world was of an artistic and didactic nature: he was fascinated by the structure of plants, their organic configuration, and their "lofty artistic form" born "of expediency," which he wanted to illustrate and compare in a photographic style that could be described as strictly objective, almost graphic. His goal was to create a catalogue of forms for the benefit of artists, artisans, and, above all, architects, providing them with a book of instruction and models to guide them in their designs.

The iconic German photographer Karl Blossfeldt's stunning plant photography is presented here for the first time in an English language edition with beautifully printed duotones that do justice to the work of this turn of the century master. A truly stunning and important book.

Featuring highlights culled from our photo series title, this new pocket book is a pure delight. Blossfeldt's stunning black-and-white photographs of flowers transcend the genre with their deep tones, architectural forms, and timeless beauty.

Large softcover, very gppd with light wear. Illustrated.

No Two Alike documents an exhibition curated by Ulrike Meyer Stump as part of Cincinnati's 2018 FotoFocus Biennial, with its general theme "Open Archive." The exhibition restages the historic encounter between Karl Blossfeldt’s plant photographs and Francis Bruguière’s light designs held at the Warren Gallery in London in 1929 and juxtaposes it with the Photograms and Negatives series by contemporary artist Thomas Ruff. The combination of Blossfeldt's biomorphism and Bruguière's abstraction offers clues for the understanding of British modernism, and offers insight into the role photography and photobooks played in the British avant-garde. Throughout his career, Thomas Ruff has expressed great interest in the history of photography and has repeatedly shown a special affinity with Blossfeldt (particularly in his Negatives series); Bruguière's abstract light compositions, on the other hand, have strong formal ties to Ruff's photograms. "No two alike" expresses the three artists' mutual interest in the variant as a creative principle, also advancing the idea that each of these bodies of work presents a variant of the other.

Comparing Concepts is a great book with lots of photos by 4 German Photographers. It's comparing the great work of this four classic photographers. August Sander, Karl Blossfeldt, Albert Renger-Patzsh and Bernd & Hilla Becher are well known for their classic black & white photography. A very lucky find. This never opened new book is a treat.