Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen, Verlag für Kunstwissenschaft, 1932, Blossfeldt
Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen, josefchladek.com
Sample page 1 for book "Blossfeldt, Karl – Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen", josefchladek.com
Sample page 2 for book "Blossfeldt, Karl – Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen", josefchladek.com
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Sample page 12 for book "Blossfeldt, Karl – Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen", josefchladek.com
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Sample page 16 for book "Blossfeldt, Karl – Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen", josefchladek.com
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Sample page 19 for book "Blossfeldt, Karl – Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen", josefchladek.com
Sample page 20 for book "Blossfeldt, Karl – Karl Blossfeldt - Wundergarten der Natur. Neue Bilddokumente schöner Pflanzenformen", josefchladek.com
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Publisher's cardboard portfolio with 120 loose sheets, 137 image on 120 numbered plates in gravure, design by Curt Siebert.
"That the high quality of the first volume could be maintained here is due to the fact that despite the change of publisher, the Graphische Anstalt Ganymed in Berlin was once again commissioned with the production of the printing... Right at the beginning of the illustration section, the first differences to 'Urformen der Kunst' become noticeable. The plants almost always create a stronger contrast to the background, which is because, unlike the predominant gray of the first picture book, the background is often kept black or white. This makes the light-shadow contrasts overall much more impressive, and the plants consequently appear even more three-dimensional... In general, there are only a few pages with two or three photographs... Apart from the fact that this new form of arrangement is more adapted to botanical conditions, it also corresponds much more clearly to the style of New Objectivity in its clarity and rigor. This observation may, by the way, be considered valid for the entire second picture book." (B. Hammers in Heiting/Jaeger)
Pages: XIII + 120
Place: Berlin
Year: 1932
Publisher: Verlag für Kunstwissenschaft
Size: 25 × 34 cm (approx.)
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