{"id":56,"date":"2016-11-29T23:53:40","date_gmt":"2016-11-29T22:53:40","guid":{"rendered":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/?p=56"},"modified":"2016-11-29T23:55:27","modified_gmt":"2016-11-29T22:55:27","slug":"la-nouvelle-objectivite","status":"publish","type":"post","link":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/2016\/11\/29\/la-nouvelle-objectivite\/","title":{"rendered":"La \u00ab\u00a0Nouvelle objectivit\u00e9\u00a0\u00bb"},"content":{"rendered":"<p>D\u00e8s 1915-1916, aux Etats-Unis, Paul Strand, inaugure un nouvel \u00e2ge photographique en proposant\u00a0une s\u00e9rie de natures mortes (<i>Pot et fruits<\/i>, <i>Orange et bols<\/i>) aux traits nets et aux contrastes affirm\u00e9s, en choisissant des\u00a0plans rapproch\u00e9s audacieux.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-58\" src=\"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-300x226.jpg\" alt=\"capture-decran-2016-11-29-a-23-52-00\" width=\"300\" height=\"226\" srcset=\"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-300x226.jpg 300w, https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-768x579.jpg 768w, https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-1024x772.jpg 1024w, https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-560x422.jpg 560w, https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-260x196.jpg 260w, https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00-160x121.jpg 160w, https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/Capture-d\u2019\u00e9cran-2016-11-29-\u00e0-23.52.00.jpg 1598w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p>Paul Strand, <em>The White Fence, Port Kent, New York<\/em>, 1916, tirage argentique, 16,5 cm x 21,5 cm. <em>La Barri\u00e8re blanche<\/em> est l&rsquo;une des plus c\u00e9l\u00e8bres images du photographe.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Ce courant se rattache \u00e0 la \u00ab\u00a0Straight photography\u00a0\u00bb (photographie directe et pure), et revendique un usage des propri\u00e9t\u00e9s m\u00e9caniques de la camera, qui va se traduire par des images pr\u00e9cises nettes, qui veulent trancher avec tout effet pictorialiste.<\/p>\n<p>En Allemagne, les deux chefs de file de la \u00ab\u00a0Nouvelle objectivit\u00e9\u00a0\u00bb (<i>Neue Sachlichkeit<\/i>) sont \u00a0:<\/p>\n<ul>\n<li>Karl Blossfeldt<\/li>\n<li>Albert Renger-Patzsch<\/li>\n<\/ul>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-57\" src=\"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/files\/2016\/11\/10-renger-patz-219x300.jpg\" alt=\"10-renger-patz\" width=\"219\" height=\"300\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>D\u00e8s 1915-1916, aux Etats-Unis, Paul Strand, inaugure un nouvel \u00e2ge photographique en proposant\u00a0une s\u00e9rie de natures mortes (Pot et fruits, Orange et bols) aux traits nets et aux contrastes affirm\u00e9s, en choisissant des\u00a0plans rapproch\u00e9s audacieux. &nbsp; Paul Strand, The White&hellip;<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/2016\/11\/29\/la-nouvelle-objectivite\/\">Read more &rarr;<\/a><\/p>\n","protected":false},"author":308,"featured_media":58,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70313,4704],"tags":[70458],"class_list":["post-56","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nouvelle-objectivite","category-photographie","tag-nouvelles-objectivite"],"_links":{"self":[{"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/posts\/56","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/users\/308"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/comments?post=56"}],"version-history":[{"count":1,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/posts\/56\/revisions"}],"predecessor-version":[{"id":59,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/posts\/56\/revisions\/59"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/media\/58"}],"wp:attachment":[{"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/media?parent=56"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/categories?post=56"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/dam-histoire-art\/wp-json\/wp\/v2\/tags?post=56"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}