KARL BLOSSFELDT
Karl Blossfeldt
(1865-1932) ha goduto di fama internazionale nel XX secolo puntando
il proprio lavoro sullo studio del “motivo universale della
pianta”, presentando all'osservatore/spettatore immagini dalla
composizione rigorosa quanto geometrica.
Blossfeldt non era un
fotografo, o almeno non nel senso più ristretto del termine e
neppure lui stesso si considerava tale. Dilettante con la passione
della natura scattava migliaia di fotografie con una macchina fatta
in casa e le presentava ai suoi alunni durante le proprie lezioni di
disegno.
La sua passione quindi
non era tanto la fotografia, quanto la natura che, nella sua
apparente semplicità, donava all'occhio umano geometrie simmetriche
e dettagliate.
All'interno del
procedimento selettivo di Blossfeldt, le piante perdono però alcune
delle loro caratteristiche essenziali: non esistono più profumi né
colori, nessun indizio sulle qualità tattili. Ogni soggetto scelto
dall'occhio clinico di Blossfeldt si tramuta in semplici geometrie da
analizzare e studiare all'interno di sfumature di grigi.
Il suo contributo alla
fotografia fu dato con le sue più importanti pubblicazioni quali “Le
forme originali dell'arte, 1928”, “ Il magico giardino della
natura, 1932”, “ La magia della natura, 1942”.
La fotografia di
Blossfeldt si collega alla cultura e tradizione degli erbari, ovvero
l'essiccazione delle piante e la successiva catalogazione per nome,
data e luogo, la divisione in album e la sistemazione delle stesse in
base alla famiglia di appartenenza.
Arte e natura, due grandi
manifestazioni del mondo, si fondono così nell'operato di
Blossfeldt.
Karl Blossfeldt (1865-1932) has enjoyed international fame in the twentieth century focusing their work on the study of "universal reason of the plant", presenting the viewer / spectator images from the rigorous geometric composition.
Blossfeldt was not a photographer, or at least not in the narrower sense of the term and even he considered himself such. Amateur with a passion for nature was taking thousands of photographs with a homemade machine and presented to his students during their art class.
His passion was not so much the picture, and the nature that, in its apparent simplicity, the human eye gave detailed and symmetrical geometries.
Within the process of selective Blossfeldt, however, the plants lose some of their essential characteristics: there are more colors or fragrances, no clue about the tactile qualities. Each person chosen by the eye clinical Blossfeldt turns into simple geometries to analyze and study in shades of gray.
His contribution to photography was awarded with his most important publications such as "The original forms of art, 1928", "The magic garden of nature, 1932", "The magic of nature, 1942."
Blossfeldt's photography is linked to culture and tradition of the herbaria, or drying of the plants and the next cataloged by name, date and place, the division into albums and arrangement thereof on the basis of belonging to the family.
Art and Nature, two major events in the world, are intertwined in the work of Blossfeldt.
Blossfeldt was not a photographer, or at least not in the narrower sense of the term and even he considered himself such. Amateur with a passion for nature was taking thousands of photographs with a homemade machine and presented to his students during their art class.
His passion was not so much the picture, and the nature that, in its apparent simplicity, the human eye gave detailed and symmetrical geometries.
Within the process of selective Blossfeldt, however, the plants lose some of their essential characteristics: there are more colors or fragrances, no clue about the tactile qualities. Each person chosen by the eye clinical Blossfeldt turns into simple geometries to analyze and study in shades of gray.
His contribution to photography was awarded with his most important publications such as "The original forms of art, 1928", "The magic garden of nature, 1932", "The magic of nature, 1942."
Blossfeldt's photography is linked to culture and tradition of the herbaria, or drying of the plants and the next cataloged by name, date and place, the division into albums and arrangement thereof on the basis of belonging to the family.
Art and Nature, two major events in the world, are intertwined in the work of Blossfeldt.
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