By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Association Copy copy that belonged to someone connected with the author or the contents of a book. Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. Of particular value to collectors as evidence of a very early form of the book. Broadside Sheet printed on one side, typically for public display, usually larger than folio size a folio being a broadside-size sheet printed on both sides and folded once, to make four pages.

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Biography[ edit ] Bernd Becher was born in Siegen. Hilla Becher was born in Potsdam. They married in They were fascinated by the similar shapes in which certain buildings were designed. After collating thousands of pictures of individual structures, they noticed that the various edifices — of cooling towers, gas tanks and coal bunkers, for instance — shared many distinctive formal qualities.

In addition, they were intrigued by the fact that so many of these industrial buildings seemed to have been built with a great deal of attention toward design. Together, the Bechers went out with a large 8 x inch view camera and photographed these buildings from a number of different angles, but always with a straightforward "objective" point of view. They shot only on overcast days, so as to avoid shadows, and early in the morning during the seasons of spring and fall.

Objects included barns, water towers, coal tipples, cooling towers, grain elevators, coal bunkers, coke ovens, oil refineries, blast furnaces, gas tanks, storage silos, and warehouses. At each site the Bechers also created overall landscape views of the entire plant, which set the structures in their context and show how they relate to each other.

In , they undertook a six-month journey through England and south Wales, taking hundreds of photographs of the coal industry around Liverpool, Manchester, Sheffield, Nottingham and the Rhondda Valley. By the mids the Bechers had settled on a preferred presentational mode: the images of structures with similar functions are then displayed side by side to invite viewers to compare their forms and designs based on function, regional idiosyncrasies, or the age of the structures.

Before him, photography had been excluded from what was largely a school for painters. He influenced students that later made a name for themselves in the photography world.

Bernd died in Rostock. Their work became better known in the United States with the publication of their book Anonyme Skulpturen Anonymous Sculptures in In , the Institute of Contemporary Arts , London, organized an exhibition of their work, which toured the United Kingdom.


Bernd und Hilla Becher | Anonyme Skulpturen

Photo Histories is not responsible for third party content such as adverts and websites linked to from skulptkren. Look on the walls of any gallery showing photography as art today and you will see their legacy. A typography of technical constructions. I n the monograph Anonymous Sculptures the conceptual artists Bernhard and Hildgard Becher grouped clinically shot large format black and white images of uniform but non-identical structures in a way that exposed the differences and the similarities of these structures in a compelling way. Often they waited for days for the required flat non-expressive light so that each structure could be recorded in the same highly-standardised manner, a manner that alludes to earlier traditions in German photography. Hardcover, cloth bound with dustjacket, black and white photographs of lime-kins, cooling towers, blast furnaces, winding-towers, water-towers, gas-holders and silos.


Anonyme Skulpturen by Becher Bernd Und Hilla


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