History
Berlin-based German photographer, sculptor, artist and teacher Karl Blossfeldt became critically acclaimed for his close up photography of plants and living things- of which 120 were published in a book titled ‘Urformen der Kunst’ in 1929 - aimed at helping him teach his student regarding the natural beauty of nature, an aspect clearly evident in each photograph. Suitingly, Blossfeldt’s photography was inspired by the growth of nature and plants stating that ‘plants must be valued as a totally artistic and architectural structure’, a philosophy reflected in his subjects and the way they appear to hold their own personality through their lines, shapes, forms and patterns. However although a second book of his work was published in 1932 ‘Wundergarten der Natur’, we are only given a glimpse into the extent of his work which consisted of up to 6,000 photographs, all originating from a home-made camera and the photographer’s intriguing creativity.
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Analysis
Due to the time period, Karl Blossfeldt’s photography is monochrome, however, out of historical context, the monochromatic presentation of nature strips the photograph of the distractions that colour would cause thus the impact is more effective. Also, there is a large value range, with the highest value being the background, the middle being the base value of the plant and the darkest being the shadows. The tonal range is strong and defined though the shapes, forms and patterns.
Blossfeldt accomplishes a stunning exploration of nature with his photography, with thoughtful application of technical knowledge such as light, lines, composition and shape that inform us on the diversity within nature. Each plant appears to be an individual, a feeling constructed by the use of artificial light, central positioning/framing and a white, void background (his backdrop was usually a grey or white card). The light he employed was artificial and in some cases purposefully angled to the side to cast gradual yet subtle shadows across the plant in order to bring out the form and create the illusion of depth, almost as if we are witnessing a breathing, live representation of the subject. Consequently the shadows highlight the minuscule crevices, curves and bumps of the plants which are not usually seen through a passing glance. Furthermore, the position of the light depends on the subject. For example, on a fresh plant, the lighting will be brighter, more contrasted to underline the ‘youth’ and beginning of the plant, the difference also produces a personality. Likewise, for a dried up plant such as the thistle, the lighting is much darker, with less contrast, which connote death and lack of emotion. This serves to illustrate that instead of seeking eternity; we should take heed of nature and follow the cycle.
Another technique is the large depth of field combined with a sharp focus to give an intimate view of the plants, drawing attention to the elements supporting the architectural structure. What should be noted is the clear purpose of the sharp focus: exposing detail and texture. Lines are also significant as they structure the composition and the plants by being organic, large, straight and vertical. These properties will give the illusion of support, the plant’s reach for the Sun. The vertical lines interact with the soft curves of the plants from the leaves which reflect nature’s ambition and resolve to reach as high as possible, unhindered, to spread out. Nature is thus unconfined and expressive.
Two elements that go hand in hand in Blossfeldt’s work are texture and pattern, as pattern enhances texture and vice versa. The patterns are created by the lines which cross and mesh such as the veins of the plants that give an intricate pattern similar to the web of a spider; it is both beautiful and terrifying. The repetition (a mesmerising outburst of individuality) of shapes and forms provide unity, and connects us, as we observe an occurrence present in both our architecture and nature’s, implying that all man does is attempt to replicate what nature has offered us. In this sense, nature is infinitely more complex, as it weaves a product which features both organic and geometric forms. Following this is how texture is exploited in his work so that the viewer psychologically feels the plant, whether it would be fresh, spiky, rough… Texture emphasises the ‘personality’ and stimulates an emotional response due to its rawness, it is different for each plant; his use of texture pushes the boundary of still-life photography by bearing similarities to a portrait as the texture almost appears to be skin. Once again, the elements illustrate nature’s diversity and complexity.
The shapes offer an exploration of the construction, architecture and pure genius of nature by balancing the composition. The complex shapes contrast with the minimalistic composition –perhaps a reflection of nature’s satisfaction with what is has - such as the inward curl of the thistle that provides symmetrical balance, compared to the young asymmetrical leaves of the other plant. The shapes show the meticulous construction a plant: large heavy top over a thin light body, with interweaved structures.
A recurring motif that is the key to isolating his subjects - conveying the message held by the plant- is Karl Blossfeldt's use of negative space. The negative space is used to centrally frame and isolate the subject, leaving the viewer with no choice but to observe the plant in a studious manner. Furthermore the negative space has the highest value which provides a clean, fresh feeling necessary to bring attention to the details. However there may be a darker message encoded: the way that the plants are clearly on display thus portraying an obsession with beauty. Yet, such careful delicate handling of the subject is a sign of appreciation...
Blossfeldt accomplishes a stunning exploration of nature with his photography, with thoughtful application of technical knowledge such as light, lines, composition and shape that inform us on the diversity within nature. Each plant appears to be an individual, a feeling constructed by the use of artificial light, central positioning/framing and a white, void background (his backdrop was usually a grey or white card). The light he employed was artificial and in some cases purposefully angled to the side to cast gradual yet subtle shadows across the plant in order to bring out the form and create the illusion of depth, almost as if we are witnessing a breathing, live representation of the subject. Consequently the shadows highlight the minuscule crevices, curves and bumps of the plants which are not usually seen through a passing glance. Furthermore, the position of the light depends on the subject. For example, on a fresh plant, the lighting will be brighter, more contrasted to underline the ‘youth’ and beginning of the plant, the difference also produces a personality. Likewise, for a dried up plant such as the thistle, the lighting is much darker, with less contrast, which connote death and lack of emotion. This serves to illustrate that instead of seeking eternity; we should take heed of nature and follow the cycle.
Another technique is the large depth of field combined with a sharp focus to give an intimate view of the plants, drawing attention to the elements supporting the architectural structure. What should be noted is the clear purpose of the sharp focus: exposing detail and texture. Lines are also significant as they structure the composition and the plants by being organic, large, straight and vertical. These properties will give the illusion of support, the plant’s reach for the Sun. The vertical lines interact with the soft curves of the plants from the leaves which reflect nature’s ambition and resolve to reach as high as possible, unhindered, to spread out. Nature is thus unconfined and expressive.
Two elements that go hand in hand in Blossfeldt’s work are texture and pattern, as pattern enhances texture and vice versa. The patterns are created by the lines which cross and mesh such as the veins of the plants that give an intricate pattern similar to the web of a spider; it is both beautiful and terrifying. The repetition (a mesmerising outburst of individuality) of shapes and forms provide unity, and connects us, as we observe an occurrence present in both our architecture and nature’s, implying that all man does is attempt to replicate what nature has offered us. In this sense, nature is infinitely more complex, as it weaves a product which features both organic and geometric forms. Following this is how texture is exploited in his work so that the viewer psychologically feels the plant, whether it would be fresh, spiky, rough… Texture emphasises the ‘personality’ and stimulates an emotional response due to its rawness, it is different for each plant; his use of texture pushes the boundary of still-life photography by bearing similarities to a portrait as the texture almost appears to be skin. Once again, the elements illustrate nature’s diversity and complexity.
The shapes offer an exploration of the construction, architecture and pure genius of nature by balancing the composition. The complex shapes contrast with the minimalistic composition –perhaps a reflection of nature’s satisfaction with what is has - such as the inward curl of the thistle that provides symmetrical balance, compared to the young asymmetrical leaves of the other plant. The shapes show the meticulous construction a plant: large heavy top over a thin light body, with interweaved structures.
A recurring motif that is the key to isolating his subjects - conveying the message held by the plant- is Karl Blossfeldt's use of negative space. The negative space is used to centrally frame and isolate the subject, leaving the viewer with no choice but to observe the plant in a studious manner. Furthermore the negative space has the highest value which provides a clean, fresh feeling necessary to bring attention to the details. However there may be a darker message encoded: the way that the plants are clearly on display thus portraying an obsession with beauty. Yet, such careful delicate handling of the subject is a sign of appreciation...