{"id":2215,"date":"2024-04-12T13:23:12","date_gmt":"2024-04-12T18:23:12","guid":{"rendered":"https:\/\/artfineline.com\/?p=2215"},"modified":"2026-08-01T18:17:59","modified_gmt":"2026-08-01T23:17:59","slug":"herbert-list-the-monograph-schirmer-mosel-munich-2000","status":"publish","type":"post","link":"https:\/\/artfineline.com\/ja\/herbert-list-the-monograph-schirmer-mosel-munich-2000\/","title":{"rendered":"Herbert List \u2014 The Monograph \u2014 Schirmer\/Mosel, Munich, 2000"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"2215\" class=\"elementor elementor-2215\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2b49428e elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2b49428e\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-448d753e\" data-id=\"448d753e\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-10e9a9c4 elementor-widget elementor-widget-text-editor\" data-id=\"10e9a9c4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Edited by Max Scheler and Matthias Harder, with preface by Bruce Weber and a beautiful\u00a0Edmund White&#8217;s essay \u2014 &#8220;Eros and Photography: The Passionate Intermediaries of the Body&#8221;<\/strong><\/p><h4 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\" dir=\"ltr\">The Book<\/h4><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><em>Herbert List: The Monograph<\/em> stands as the first comprehensive survey of a photographer whose career resists easy summary \u2014 spanning Weimar-era still lifes, sun-struck Greek antiquity, wartime portraiture, postwar rubble, and Italian street life across four decades. Published by Schirmer\/Mosel in Munich in 2000, the volume contains over 300 photographs and 420 black-and-white illustrations across 328 pages. It accompanied a retrospective organized by the Herbert List Estate in conjunction with the Fotomuseum im M\u00fcnchner Stadtmuseum.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Physical specifications:<\/strong> The hardcover edition is bound in grey cloth with a dust jacket, measuring 32 \u00d7 27.5 cm \u2014 a format generous enough to give List&#8217;s compositions room to breathe without dwarfing the intimate scale of many of his images. A softcover edition was published simultaneously; Monacelli Press issued the North American edition (ISBN 9781580930581). On paper: at this format and image density, coated stock in the 150 gsm range is the standard production choice for a black-and-white photography book of this ambition \u2014 smooth enough to hold fine halftone detail, substantial enough to prevent show-through. Schirmer\/Mosel has a long-established reputation for printing fidelity in monochrome, and this volume is considered one of their stronger achievements.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Structure:<\/strong> Rather than a chronological march through List&#8217;s life, the book is organized thematically by critical essay, each section introduced by a different writer. Bruce Weber opens with a personal preface tracing his own encounter with List&#8217;s work. Ulrich Pohlmann surveys the photographs as a whole. G\u00fcnter Metken addresses the early metaphysical work and its debts to Surrealism. Matthias Harder examines the Greek and postwar German material. Edmund White takes on the erotic dimension of the male nudes. Wilfried Wiegand covers the portraits. Max Scheler \u2014 the estate&#8217;s custodian and himself a photographer \u2014 closes with the photo-essays and single shots. A selection of List&#8217;s own writings on photography, from 1943 to 1973, is included alongside a full chronology, bibliography, and exhibition record. The result is less a catalogue than a critical conversation, with List&#8217;s images functioning simultaneously as subject and evidence.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Critical reception:<\/strong> Reviews at publication emphasized both the quality of production and the long overdue nature of the project. Library Journal described the images as &#8220;sensitive, monumental, and tonally rich,&#8221; called the accompanying essays &#8220;wonderfully informative,&#8221; and recommended the volume strongly for large public and academic library collections. The book is now out of print in most editions and commands significant prices on the secondary market.<\/p><hr class=\"border-border-200 border-t-0.5 my-3 mx-1.5\" \/><h4 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\" dir=\"ltr\">The Photographer: Herbert List (1903\u20131975)<\/h4><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\">Herbert List was born on 7 October 1903 in Hamburg, into the kind of prosperous mercantile family that in Wilhelmine Germany combined commercial ambition with genuine cultural education. His father Felix ran a coffee import business; his mother Luise ensured that the household was literate, art-aware, and socially connected. List attended the Johanneum Gymnasium, then studied literature and art history at Heidelberg University from 1921, while simultaneously beginning an apprenticeship at a Heidelberg coffee dealer aligned with the family trade. The combination was formative: a classical education running in parallel with a commercial one, neither fully defeating the other.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>First photographs:<\/strong> Between 1924 and 1928 he traveled for the family&#8217;s coffee import company \u2014 to South America, Central America, and the Caribbean \u2014 and began taking photographs along the way, more as personal notation than artistic statement. The camera was simply the most direct tool available for registering the visual strangeness of the world he was passing through. He returned to Hamburg in 1928 as a company shareholder, but the pull of photography had become serious. The introduction to the Rolleiflex in 1930, through the photographer Andreas Feininger, was a turning point: the twin-lens format demanded composed, deliberate images rather than quick reactions, and it suited perfectly the temperament of a man trained in Greek sculpture and Dutch still life painting.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Fotografia Metafisica:<\/strong> During the early 1930s, List came under the influence of both the Bauhaus and French Surrealism, and began producing a body of still lifes and staged visions that would later be grouped under the term <em>Fotografia Metafisica<\/em> \u2014 a label borrowed from de Chirico, whose raking light, elongated shadows, and sense of objects-under-mysterious-pressure List translated into photographic terms. Masks, mannequins, architectural fragments, and light as an active compositional force rather than mere illumination: these became his materials. The images have an atmosphere of uncanny stillness \u2014 the world paused between one meaning and another.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Exile and Greece:<\/strong> The political climate in Germany sharpened after 1933 into something genuinely dangerous for List on two counts: his partially Jewish heritage and his openly homosexual life. In 1936 he left for Paris and London, and in 1937 held his first solo exhibition at the Galerie du Chasseur d&#8217;Images \u2014 the first Paris gallery dedicated to photography \u2014 before traveling to Greece, where he would spend the better part of three years. The encounter with Greece was transformative. Ancient temples, sculpted marble, island landscapes bleached by Mediterranean light, and young men photographed with the same attentiveness as Hellenistic statuary: all of this gave his <em>Fotografia Metafisica<\/em> a new, mythological ground to stand on. His first book, <em>Licht \u00dcber Hellas<\/em>, would eventually collect this work, though it was not published until 1953.<\/p><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Key bodies of work:<\/strong><\/p><ul class=\"[li_&amp;]:mb-0 [li_&amp;]:mt-1 [li_&amp;]:gap-1 [&amp;:not(:last-child)_ul]:pb-1 [&amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3 print:block print:space-y-1\" dir=\"ltr\"><li class=\"font-claude-response-body whitespace-normal break-words pl-2\"><em>Fotografia Metafisica<\/em> (1931\u201339): Staged, enigmatic images of objects, shadows, and human forms that run parallel to Surrealist painting without being illustrations of it. The light is always doing something uncanny; the stillness always feels provisional.<\/li><li class=\"font-claude-response-body whitespace-normal break-words pl-2\"><em>Greece<\/em> (1937\u201339 and postwar): The ancient world \u2014 ruins, stone, the geometry of columns against sky \u2014 photographed with a classicist&#8217;s sense of formal perfection. These images are not archaeological records; they are acts of aesthetic homage.<\/li><li class=\"font-claude-response-body whitespace-normal break-words pl-2\"><em>Male nudes<\/em>: Throughout his career, and particularly in Italy and Greece, List photographed the male body with the same compositional seriousness he applied to architecture \u2014 sculptural, tonally controlled, and consistently situated in relation to the classical tradition that preceded him. The work anticipates Robert Mapplethorpe by several decades, though with less confrontation and more reverence.<\/li><li class=\"font-claude-response-body whitespace-normal break-words pl-2\"><em>Wartime portraits<\/em>: Stranded in German-occupied Europe and forbidden to publish because of his heritage, List nevertheless managed brief visits to Paris and Vienna. The portraits he made there \u2014 Picasso, Cocteau, B\u00e9rard, Braque, Arp, Mir\u00f3, Honegger \u2014 are among the most searching artist portraits of their period: calm, psychologically acute, and without vanity in either direction.<\/li><li class=\"font-claude-response-body whitespace-normal break-words pl-2\"><em>Postwar Munich<\/em> (1946): Images of a city in rubble that apply the same formal intelligence List had used on Greek ruins \u2014 destruction seen through the eyes of someone who had long understood how civilizations become archaeology.<\/li><li class=\"font-claude-response-body whitespace-normal break-words pl-2\"><em>Italy<\/em> (1950\u201362): After meeting Robert Capa in 1951 and beginning a loose association with Magnum, List shifted his working method considerably. The 35 mm camera, adopted in 1953, freed him into a more spontaneous register. Street photography, photo-essays, architectural views, and further portraits of artists living in Italy occupied the final productive decade of his photographic life. The books <em>Rome<\/em> (1955) and <em>Napoli<\/em> (1962) \u2014 the latter made with Vittorio De Sica \u2014 belong to this period.<\/li><\/ul><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"><strong>Withdrawal:<\/strong> Around 1962, List stopped photographing and turned his full attention to building a collection of Italian Old Master drawings from the sixteenth to eighteenth centuries \u2014 a pursuit that occupied the remaining thirteen years of his life and took him across Europe visiting collectors, museums, and auction houses. It was not an abandonment so much as a completion: the same eye that had spent decades finding the sculptural in photography now turned to sculpture&#8217;s own closest relative on paper. He died in Munich on 4 April 1975.<\/p><hr class=\"border-border-200 border-t-0.5 my-3 mx-1.5\" \/><h4 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\" dir=\"ltr\">A Note on the Editors<\/h4><p class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\">Max Scheler \u2014 himself a working photographer \u2014 has maintained the Herbert List Estate since List&#8217;s death, and his editorial control over the monograph ensures that the selection of images reflects genuine archival authority rather than received reputation. Matthias Harder, then curator at the Fotomuseum im M\u00fcnchner Stadtmuseum, provides the institutional scholarly grounding. The critical essays by Edmund White, Wilfried Wiegand, G\u00fcnter Metken, and Ulrich Pohlmann bring literary, art-historical, and curatorial perspectives that together give the book an unusual critical density \u2014 less a monograph in the conventional sense than a sustained collective reckoning with a body of work that resisted, throughout its author&#8217;s lifetime, comfortable categorization.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Edited by Max Scheler and Matthias Harder, with preface by Bruce Weber and a beautiful\u00a0Edmund White&#8217;s essay \u2014 &#8220;Eros and Photography: The Passionate Intermediaries of the Body&#8221; The Book Herbert List: The Monograph stands as the first comprehensive survey of a photographer whose career resists easy summary \u2014 spanning Weimar-era still lifes, sun-struck Greek antiquity, wartime portraiture, postwar rubble, and Italian street life across four decades. Published by Schirmer\/Mosel in Munich in 2000, the volume contains over 300 photographs and 420 black-and-white illustrations across 328 pages. It accompanied a retrospective organized by the Herbert List Estate in conjunction with the Fotomuseum im M\u00fcnchner Stadtmuseum. Physical specifications: The hardcover edition is [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[73],"tags":[],"class_list":["post-2215","post","type-post","status-publish","format-standard","hentry","category-photography-books"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.10 - 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