1986 Erich Salomon: Leica Fotografie, 1930–1939, Berlin-
ische Galerie, Munich, Germany
1987 Erich Salomon: Photographs, 1928–1938,Centarzafo-
tografiju, film i televiziju, Zagreb, Croatia and traveling
Selected Group Exhibitions
1963 Great Photographers of this Century; Photokina; Co-
logne, Germany
1963 Creative Photographyfrom the Gernsheim Collection;
Wayne State University; Detroit, Michigan
1964 Kiekeboe Club; Amsterdam, The Netherlands
1969 The Portrait; Stadsmuseet; The Hague, The Nether-
lands
1971 Deutsche Gesellschaft fu ̈r Photographie; Cologne
1971 Sander–Salomon: Two Pioneers of Photography; Ura-
nia, Berlin, and traveling
1972 Photographs, 1900–1970, fromL. Fritz Gruber’s collec-
tion;Ko ̈lnischer Kunstverein; Cologne
1973 Kunstgewerbemuseum; Zurich, Switzerland
Selected Works
Beru ̈hmte Zeitgenossen in Unbewachten Augenblicken[Fa-
mous Contemporaries in Unguarded Moments]; Stuttgart,
1931; Munich, 1978
Portra ̈t einer Epoche, 1963;Portrait of an Age, 1966
Further Reading
Gidal, N. Tim.Modern Photojournalism: Origin and Evolu-
tion, 1910–1933. New York: Macmillan, 1973.
Hassner, Rune. Erich Salomon: Unguarded Moments—
images of people, politics and society in Europe and USA
1928–1938. Stockholm: Fotografiska Museet, 1974.
Newhall, Beaumont, and Nancy Newhall. ‘‘Erich Salo-
mon.’’ InMasters of Photography. New York: George
Braziller, Inc., 1958.
Safranski, Kurt. ‘‘Dr. Salomon.’’Popular Photography.
August 1948: 56–59, 104–108.
Erich Salomon. The Aperture History of Photography Ser-
ies, No. 10. Millerton, New York: Aperture, Inc., 1978.
Bool, Flip, Veronica Hekking, and Oscar van der Wojk,
eds.Erich Salomon, fotos 1933–1940; Peter Hunter,
foto’s 1935–1940. Amsterdam: Focus, 1996.
Weise, Berndt. ‘‘Photojournalism from the First World War
to the Weimar Republic.’’ In K. Honnef, R. Sachsse, and
K. Thomas, eds.German Photography: Power of a Me-
dium, 1870–1970. Cologne: Dumont, 1997. 52–67.AUGUST SANDER
German
August Sander is best known for his straightforward
portraits, specifically of Germans from a wide vari-
ety of social and economic backgrounds. He was
part of a coterie of photographers who established
the photographic book as an aesthetically and com-
mercially viable art form in the 1920s. Though San-
der had published one such book in 1924,Unsere
Heimat, Hannover, it was the 1929 publication of
Antlitz der Zeit(The Face of Our Time) that pro-
pelled him into enduring fame. This latter book
incorporated portraits that Sander had created over
the previous decades and that he organized to reflect
sociological beliefs that, though loosely conceived,
resonated strongly with his contemporaries. He also
became an outspoken advocate for straight photo-
graphy in the late 1920s, a time when the manipu-
lated images characteristic ofNeues Sehen (New
Vision) orNeue Fotografiedominated most exhibi-
tions of creative photography. Though he had long
enjoyed success in his portrait business, he also
worked as a landscape and architectural photogra-
pher—work that would dominate his published out-
put during the period of Nazi-controlled Germany.
His landscape architectural photographs have
received less attention over the years, and his reputa-
tion continues to rest primarily on his portraits.
Sander began his photographic career in 1892
while he was still in his teens. While working at a
local mine, he was assigned to assist a visiting photo-
grapher. Sander made friends with this visitor, who
in turn sent his young assistant a guide to making
photographs. With the aid of a local physician who
understood the chemistry involved, Sander learned
most of photography’s technical rudiments from
that book. When, at age 20, he was called up to
perform his compulsory military service in the garri-
sontownofTrier,hemanagedtofindtimeforan
apprenticeship with a local photographer. He laterSANDER, AUGUST