Hannes Rosenberg was a German photojournalist, born July 13, 1916 [1] in Switzerland, active from the 1940s.
The couple Hannes and Annelise Rosenberg produced reports for German and international newspapers [2] and illustrated magazines during the post-WW2 era, including general news and specialist photography publications, [3] [4] [5] [6] as well as book illustration, [7] and by the 1960s were undertaking general commercial and advertising work and interiors [8]
From the mid-1940s Rosenberg concentrated on imagery of everyday life in Germany, such as theatre and cabaret in the beer hall, [9] and was a photographer for Süddeutsche Zeitung [10] and others before he garnered international commissions, with his ‘Through the Iron Curtain’ being published in The New York Times on July 27, 1952, [11] followed in November 1954 by his illustrations for a story on the distribution of anti-communist propaganda over the West German border by balloon. [12] [13] [14] [15] He provided images for the Life magazine story on American journalist William N. Oatis after his release from jail 1953 for espionage by the Czechoslovak Socialist Republic. [16]
In 1955 curator Edward Steichen selected photographs by both Hannes and Annalise [17] for the world-touring Museum of Modern Art exhibition The Family of Man , [18] seen by 9 million visitors. [19] [20] Hannes Rosenberg's photograph of proud grandparents watching their toddling grandchild is distinctly European in its setting; [21] a broad, cobbled city square. Annelise contributed a picture of girls pinning Christmas decorations on their little sister's smock. [17]
Rosenberg favoured the Leica 35mm camera for his reportage. [22]
Among Rosenberg's portrait subjects included German Federal Chancellor Konrad Adenauer; graphic designer and typographer Otl Aicher at the urban planning group at the Ulm Adult Education Centre in about November 1949; and writer Hans Werner Richter, Inge Aicher-Scholl, and architect Max Bill whom he photographed from underneath a glass tabletop at the Ulm School of Design (Hochschule für Gestaltung Ulm, or HfG) in 1949/1950, for the weekend supplement of the Munich newspaper Neue Zeitung. [23] [24] As part of their journalistic work, the two photojournalists also wrote comprehensive reportages about the Ulm Adult Education Center and the Ulm College of Design, and their photographs are held in the archives and are part of the permanent exhibition of the HfG. As Hannes Rosenberg increasingly dealt with advertising, the strikingly modern institution served as a background for his publicity photos for AEG and other companies. Otl Aicher designed the furniture their apartment on Alfonsstraße in Munich, where artists and authors as well as members of Gruppe 47 frequently met, basing his designs for the study on the needs of the spouses by equipping the desk with a light table for viewing slides and a drawer for the 'Erika' typewriter, and a cupboard which stored their photo archive. [25]
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: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)Edward Jean Steichen was a Luxembourgish American photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography.
The Family of Man was an ambitious exhibition of 503 photographs from 68 countries curated by Edward Steichen, the director of the New York City Museum of Modern Art's (MoMA) department of photography. According to Steichen, the exhibition represented the "culmination of his career". The title was taken from a line in a Carl Sandburg poem.
Otto "Otl" Aicher was a German graphic designer and typographer. Aicher co-founded and taught at the influential Ulm School of Design. He is known for having led the design team of the 1972 Summer Olympics in Munich, and for overseeing the creation of its prominently used system of pictograms. Aicher also developed the Rotis typeface.
The Ulm School of Design was a college of design based in Ulm, Germany. It was founded in 1953 by Inge Aicher-Scholl, Otl Aicher and Max Bill, the latter being first rector of the school and a former student at the Bauhaus. The HfG quickly gained international recognition by emphasizing the holistic, multidisciplinary context of design beyond the Bauhaus approach of integrating art, craft and technology. The subjects of sociology, psychology, politics, economics, philosophy and systems-thinking were integrated with aesthetics and technology. During HfG operations from 1953–1968, progressive approaches to the design process were implemented within the departments of Product Design, Visual Communication, Industrialized Building, Information and Filmmaking.
Clervaux Castle in the town of Clervaux in Northern Luxembourg dates back to the 12th century. Destroyed by the fire in the Second World War during the Battle of the Bulge, the castle has now been fully rebuilt. It houses the commune's administrative offices as well as a museum containing an exhibition of Edward Steichen's photographs.
Hans G. Conrad was a photographer and graphic designer in the 20th century.
Hans (Nick) Roericht, is a German designer. He was professor at the Hochschule der Künste Berlin, Industriedesign IV, from 1973 to 2002. He designed the TC100 stacking tableware for his thesis at the Ulm School of Design in 1959, which was taken into the collection of the Museum of Modern Art in New York.
Humanist Photography, also known as the School of Humanist Photography, manifests the Enlightenment philosophical system in social documentary practice based on a perception of social change. It emerged in the mid-twentieth-century and is associated most strongly with Europe, particularly France, where the upheavals of the two world wars originated, though it was a worldwide movement. It can be distinguished from photojournalism, with which it forms a sub-class of reportage, as it is concerned more broadly with everyday human experience, to witness mannerisms and customs, than with newsworthy events, though practitioners are conscious of conveying particular conditions and social trends, often, but not exclusively, concentrating on the underclasses or those disadvantaged by conflict, economic hardship or prejudice. Humanist photography "affirms the idea of a universal underlying human nature". Jean Claude Gautrand describes humanist photography as:
a lyrical trend, warm, fervent, and responsive to the sufferings of humanity [which] began to assert itself during the 1950s in Europe, particularly in France ... photographers dreamed of a world of mutual succour and compassion, encapsulated ideally in a solicitous vision.
Willi (Willie) Huttig was a German photographer and alpinist.
Rudolf Busler was a German news photographer and cinematographer active from the 1950s to the 1970s.
Leopold Fischer (1902-1978) was an Austrian police officer and much-awarded Pictorialist, and later, Modernist, photographer.
William Vandivert was an American photographer, co-founder in 1947 of the agency Magnum Photos.
Constantin Joffé (1910–1992) was a Russian / French / American fashion and advertising photographer who worked for the magazines Vogue and Glamor in the 1940s and 1950s, during their period of widest circulation.
Hermann Claasen was a German photographer.
Bob Schwalberg was an American photojournalist and writer on photographic technique and equipment.
John Bertolino was an American photojournalist who photographed in Italy and the United States and was active in the 1950s and 1960s.
Herlinde Koelbl is a German photographic artist, author and documentary filmer.
Sam Falk was an Austrian-American photojournalist. He worked for The New York Times from 1925 to 1969, and also contributed to various other publications.
Paul Berg was an American photojournalist for the St. Louis, Missouri Post-Dispatch, and also wrote about the practice of photojournalism.
Helene Nonné-Schmidt was a German professor for art at the Ulm School of Design and a textile artist at the Bauhaus.
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