Product Details
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Herbert Bayer's copy. Conceived as companion volumes Filmgegner von Heute - Filmfreunde von Morgen and Es Kommt der neue fotograf! were published to coincide with Film und Foto, the pivotal exhibition of New Vision photography, first shown at the Deutsche Werkbund, Stuttgart (18 May-7 July 1929).
Es Kommt der neue fotograf! is a compendium of New Vision photography, including work by Herbert Bayer, El Lissitzky, Man Ray (Emmanuel Radnitzky), Albert Renger-Patzsch, Hans Richter, Umbo (Otto Umbehr), Oskar Nerlinger, Sasha Stone, Dziga Vertov, Hans Finsler and others. Filmgegner von Heute - Filmfreunde von Morgen reproduce photographs, stills and filmstrips from avant-garde films, including Dziga Vertov's Man with a Movie Camera, Carl Theodor Dreyer's Le Passion de Jean D'Arc, and Fernand Léger and Dudley Murphy's Ballet Mecanique. In his text, Richter criticizes German and American commercial cinema for its over-reliance on star actors, excessive costumes and sets.
Herbert Bayer (1900-1985) was one of the Bauhaus's most influential students, teachers, and proponents, and advocated the integration of all arts. After leaving the Bauhaus in 1928, he worked in Berlin as a commercial artist and graphic designer until 1938, when he emigrated to the United States, remaining there for the rest of his career.
[Es Kommt der neue fotograf!] First edition, Herbert Bayer's signature in ink on title-page; 8vo (254 x 188 mm, 10 x 7½ in); black & white photographs by various photographers and agencies printed in relief halftone, black top stain, slightly over-opened; black endpapers, orange cloth-covered boards, titles stamped in blue on spine and upper side, light wear to head and foot of spine, photo-illustrated dust-jacket, white, text in black, light wear, several short tears to edges, an excellent copy; 126, [2]pp. [Filmgegner von Heute – Filmfreunde von Morgen] First edition; 8vo (254 x 188 mm, 10 x 7½ in); black & white photographs, film stills and film-strips printed in relief halftone, black top stain, foxing on fore-edge; black endpapers, red cloth-covered boards, titles stamped in blue on spine and upper side, photo-illustrated dust-jacket, text in black and white, light wear to edges, head and foot of spine and spine-folds strengthened with tape on verso, an excellent copy; 125, [3]pp.
[Es Kommt der neue fotograf!] Regards sur un siècle de photographie à travers le Livre 31; Blickfang p280; The Photobook: A History I, p98; The Open Book pp74-75; 802 Books from the Auer Collection p136; Autopsie I, pp255-259.
[Filmgegner von Heute – Filmfreunde von Morgen] Regards sur un siècle de photographie à travers le Livre 32; Fotografía Publíca: Photography in Print 1919-1939 480, 594; The Open Book pp80-81; Autopsie I, pp255-259.
Es Kommt der neue fotograf! is a compendium of New Vision photography, including work by Herbert Bayer, El Lissitzky, Man Ray (Emmanuel Radnitzky), Albert Renger-Patzsch, Hans Richter, Umbo (Otto Umbehr), Oskar Nerlinger, Sasha Stone, Dziga Vertov, Hans Finsler and others. Filmgegner von Heute - Filmfreunde von Morgen reproduce photographs, stills and filmstrips from avant-garde films, including Dziga Vertov's Man with a Movie Camera, Carl Theodor Dreyer's Le Passion de Jean D'Arc, and Fernand Léger and Dudley Murphy's Ballet Mecanique. In his text, Richter criticizes German and American commercial cinema for its over-reliance on star actors, excessive costumes and sets.
Herbert Bayer (1900-1985) was one of the Bauhaus's most influential students, teachers, and proponents, and advocated the integration of all arts. After leaving the Bauhaus in 1928, he worked in Berlin as a commercial artist and graphic designer until 1938, when he emigrated to the United States, remaining there for the rest of his career.
[Es Kommt der neue fotograf!] First edition, Herbert Bayer's signature in ink on title-page; 8vo (254 x 188 mm, 10 x 7½ in); black & white photographs by various photographers and agencies printed in relief halftone, black top stain, slightly over-opened; black endpapers, orange cloth-covered boards, titles stamped in blue on spine and upper side, light wear to head and foot of spine, photo-illustrated dust-jacket, white, text in black, light wear, several short tears to edges, an excellent copy; 126, [2]pp. [Filmgegner von Heute – Filmfreunde von Morgen] First edition; 8vo (254 x 188 mm, 10 x 7½ in); black & white photographs, film stills and film-strips printed in relief halftone, black top stain, foxing on fore-edge; black endpapers, red cloth-covered boards, titles stamped in blue on spine and upper side, photo-illustrated dust-jacket, text in black and white, light wear to edges, head and foot of spine and spine-folds strengthened with tape on verso, an excellent copy; 125, [3]pp.
[Es Kommt der neue fotograf!] Regards sur un siècle de photographie à travers le Livre 31; Blickfang p280; The Photobook: A History I, p98; The Open Book pp74-75; 802 Books from the Auer Collection p136; Autopsie I, pp255-259.
[Filmgegner von Heute – Filmfreunde von Morgen] Regards sur un siècle de photographie à travers le Livre 32; Fotografía Publíca: Photography in Print 1919-1939 480, 594; The Open Book pp80-81; Autopsie I, pp255-259.
