Further Reading
Bu ̈che Wolfgang, ed.T. Lux Feininger. Von Dessau nach
Amerika. Der Weg eines Bauha ̈uslers. Moritzburg Halle:
Staatliche Galerie, 1998.
‘‘Feininger and Sons.’’ inLife, Nov. 12, (1951): 89–98.
Fiedler, Jeannine. ‘‘T. Lux Feininger: ‘I am a painter, not a
photographer!,’’’ translated by Louis Kaplan and Jean-
nine Fiedler. InPhotography at the Bauhaus. Cambridge,
MA: M.I.T. Press, 1990, 44–53.
Feininger, T. Lux.Photographs of the Twenties and Thirties.
New York: Prakapas Gallery, 1980.
Feininger, T. Lux. ‘‘Aus meiner Fru ̈hzeit.’’ In Ute Eskild-
sen, Jan Christopher Horak (ed.),Film und Foto der
zwanziger Jahre. Stuttgart: Wu ̈rtt. Kunstverein, 1979.
Feininger, T. Lux. ‘‘The Bauhaus—Evolution of an Idea.’’
Criticis., Wayne State University Press, vol. II, no. 3,
- Reprinted as ‘‘Das Bauhaus: Fortentwicklung
einer Idee,’’ in Eckhard Neumann (ed.),Bauhaus und
Bauha ̈usler. Cologne, 1985.
Feininger, T. Lux. ‘‘Essay on Modern Art,’’Harvard Jour-
nal, 1. 1966, no. 1.
Feininger, T. Lux. ‘‘Vater und So ̈hne.’’ InFeininger. Eine
Ku ̈nstlerfamilie. Stadt Karlsruhe, Sta ̈dtische Galerie:
Hatje Cantz Verlag, 2001.
Graaf, Vera. ‘‘‘Mein Vater hat einen Fehler gemacht’ Vera
Graaf—Interview mit T. Lux Feininger 1986.’’Du. Die
Zeitschrift fu ̈r Kunst und Kultur, H. 5, (1986).
Schardt, Alois J. ‘‘Zum Schaffen Feiningers.’’Das Kunst-
blatt15. Jg., (1931): 215–220.
T. Lux Feininger.Fotografien 1927–1950. Essen: Museum
Folkwang, 1981.
HANS-PETER FELDMANN
German
Born in 1941, Hans-Peter Feldmann is one of the
most enigmatic personalities of the art world to
emerge after 1960. As much as his photographic
images seem to center on the everyday, his pursuit
of an artistic career is unconventional. By 1989,
when the comprehensive catalogue Hans-Peter
Feldmann: Das Museum im Kopfwas published
and a retrospective was established in Frankfurt
and a year later in Du ̈sseldorf, Feldmann had
stopped his artistic activities, preferring to run a
shop for accessories and crafts, later a mail-order
operation for thimbles, and then a business for
selling toys made of tin. After 1980, he destroyed
all works in his possession and had a seemingly
farewell exhibition at the Museum van Heden-
daagse Kunst in Ghent, Belgium and then avoided
the art world. His rediscovery in 1990 not only
focused on the reception of his artistic works but
also was guided by an important aspect of 1970s art:
the confrontation with mass media and especially
with the social, political, and aesthetic function of
photography. This important function of the photo-
graph was first described in ‘‘The Work of Art in the
Age of Mechanical Reproduction,’’ Walter Benja-
min’s highly influential 1931 essay, which Feldmann
has consistently acknowleged.
Feldmann’s oeuvre reflects the collective cosmos
of images that condition perception and reality in
the late twentieth-century, the millions upon mil-
lions of private, press, and advertising images that
are often anonymous, banal, and seemingly worth-
less and yet form the most important archive of the
twentieth century.
Just as East Germany-born painter Gerhard Rich-
ter, to whom Feldmann offers the highest praise,
began to collect these images which surround us
daily for hisAtlasshortly after immigrating to the
West in 1961, Feldmann collected illustrations,
advertising photographs, postcards, placards, and
photo albums that he obtained from their owners or
from flea markets, and expanded the work of these
found images with his own photographs. Though
Richter also thought his collection worthy to exhibit,
he mainly used it as the basis and point of departure
for his paintings. Feldmann, on the other hand, never
hesitated to exhibit his seemingly artless, mass-pro-
duced product, relying on the art context to trans-
form it while retaining an aspect of originality.
Although he studied as a painter, he abandoned
this medium in 1968. After 1968, Feldmann began
to categorize (as Richter did in his own way) the
daily flood of haphazard images with which he was
inundated into small booklets arranged according
to subjects, such as chairs, mountains, bicyclists,FELDMANN, HANS-PETER