Fritz Henle : in Search of Beauty / Photographs by Fritz Henle ; Text by Roy Flukinger
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For reasons of economy and speed, this volume has been printed from camera-ready copy furnished by the author, who assumes full responsibility for its contents. Copyright © 2009 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2009 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819, Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html FOR FRITZ AND MARIA The paper used in this book meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) (Permanence of Paper). Library of Congress Cataloging-in-Publication Data Henle, Fritz, 1909–1993 Fritz Henle : in search of beauty / photographs by Fritz Henle ; text by Roy Flukinger. — 1st ed. p. cm. — (Harry Ransom Humanities Research Center imprint series) Includes bibliographical references and index. ISBN 978-0-292-71972-9 (cloth : alk. paper) 1. Henle, Fritz, 1909–1993 2. Photography, Artistic. I. Flukinger, Roy, 1947– II. Title. TR653.H46 2009 779.092—dc22 2008034261 Book and jacket design by DJ Stout and Julie Savasky, Pentagram, Austin Photo Credit List to come . DIRECTOR’S FOREWORD In one sense, I think Fritz Henle gave me my first course in photography, which is not to say that he was didactic, but his words captured the essence of his images and taught me a great deal about the medium. Henle was the first world-class photographer I had ever met. In our earliest conversations, we discussed the relationship between the printed photograph and the taken photograph, how printing was, in a way, the realization of the image. From there, we talked about his New Orleans photographs, which I admire greatly, and his images of Europe, and especially Germany, in the 1930s. There is a haunting quality that emerges from those images of Europe on the eve of World War II and the rise of the Fascist state, whether they be of a silent street on a rainy evening or a Nazi parade in the midday sun. Indeed, those images evoke the essence of time and place in the same way as does the film directed by Sir Carol Reed of Graham Greene’s The Third Man. Henle’s evocation of place is less “misty” but equally haunting. I think Fritz Henle had a genius for catching the most arresting detail in rendering an epiphanic scene. He gave great texture to his photographs, as one can see in his images of the rippling sands of the desert or the crumbling stones of a pyramid. His photographs were full of movement, whether they captured a fish- erman casting his net or cowboys riding through an oil field. One must admit, as well, his eye for beauty. There are more than 1,300 prints by Fritz Henle at the Ransom Center, not including the two that are hanging on the walls of my office, gifts to me from Henle. My favorite is his portrait of Harry S. Truman. It is a portrait that captures the fortitude and determination that was so characteristic of Truman. Henle is the only photographer whose work is featured twice on my office walls. We are proud at the Ransom Center to showcase Fritz Henle’s remarkable work in an exhibition, greatly pleased to offer this published volume, and deeply grateful to the Lucky Star and Culture Dog foundations for enabling us to do both. I would also like to thank Roy Flukinger for so brilliantly portraying the spirit of Henle’s work in the exhibition and this catalog. Thomas F. Staley September 2008 Rainy Night at the English Garden, Munich. 1931. FRITZ HENLE ROY FLUKINGER IN SEARCH OF BEAUTY UNIVERSITY OF TEXAS PRESS, AUSTIN HARRY RANSOM CENTER RCA Building and Chevrolet Grill, New York City. 1937. The more one talked with Fritz Henle about his art and his career the one — learning the basics and refinements of the art of photography more one noticed that he always returned to one particularly defining while also being immersed in the equally eloquent art of music. The moment in his life. In 1927 the teenaged Henle had gone on a holiday experience became a deeply affecting and profound one, and music in his native Germany, hiking the hills and valleys of Franken and would continue to suffuse Fritz Henle’s personal and professional life exploring the medieval town of Rothenberg. For the vacation he had from that time forward. It entered his language whenever he dis- borrowed his father Adolf’s Icarette camera and had returned with cussed any aspect of the visual arts and became the focus of the many undeveloped rolls of film. experience of his being. Throughout the remainder of his days he On the heels of the trip Fritz persuaded his father to let him would always be shaped by the photographer’s song. build a darkroom in their Dortmund home. He and his mother found The arc of Fritz Henle’s life and career throughout the twen- an ideal location in the basement that provided ample darkness and, tieth century — his having been born in its first decade and departing being located next to the laundry room, a good water source. With with its final decade — is as complex as his contributions to the art the help of a carpenter from his father’s medical clinic he fashioned of photography. A direct, honest and openly optimistic individual, a light-tight work space of wood and cardboard about the size of a he rolled with the blows that life tried to throw at him, all the while telephone booth that was clean, orderly, and up and running within being consistent in pursuing and enriching the muse that drove One thing an artist can a few short days. It was in that space that Henle first taught himself him ever forward. His idealism was never false or naïve but rather photographic chemistry and learned both the hard work and the art grew out of the realism with which he faced each day of his life. The of securing a fine print. resulting fine photographs, which he produced with eloquent creativity Certainly the richest experience and influence of that newly con- and consistent excellence, serve, now that he has passed on, not only do in this world is to structed space came not from its function but rather from its location. as a record of countless people, places and events but even more so Photographer Unidentified. As it happened the section of the basement that housed Fritz’s darkroom as an undying testament to the humanity that can resonate through Fritz Henle and his father, Adolph, in was located directly beneath the family’s music room — one of the most the finest art. military uniforms. Dortmund, Germany. 1915. Adolph was home on leave from active spaces in the Henle family home. Adolf, among his many com- Throughout Fritz Henle’s professional career his photography the German army. Although Fritz had munity interests, also served as director of the Dortmund Philharmonic was recognized repeatedly for its artistry, eloquence and insight- been photographed by his father from remind people that there Society, and as a result, the room was always in use, whether by his fulness. Although his loyalty toward Rollei cameras at times still early on, this image was taken on the occasion when he said he first became string quartet or by notably famous visiting European musicians who distracts some technophiles and critics toward the camera instead aware of photography. utilized the room for practice and intimate performances. of the artist wielding it, Fritz’s position never wavered and his mes- It was a fruitful arrangement for Fritz, who had studied the sage to professionals and amateurs alike was always consistent: “Any violin briefly but felt that musical performance was not where his camera can be used for any picture story...provided the photographer is so much beauty that talents lay. He would spend many days and evenings in this dark- is thoroughly familiar with his camera and its operation is automatic room studying, exploring and testing the wonders of his new art while and almost intuitive. The camera’s role is secondary. The photog- 1 listening to the live music of Mozart and many other classical masters rapher’s principal role is vision and understanding of life’s beauty, drifting into his work space from the seeming firmament above. As he drama, poetry or even ugliness.”3 1 “Fritz Henle, Artistry on Exhibition.” The St. Croix Avis, February 1982: [1p.]. would later reflect upon the magical complement of these arts: “Ever Fritz Henle’s imagery has always proved, as the photohistori- you only have to see it. 2 Ibid: 5. since I taught myself to develop my films and print my photographs, ans Beaumont and Nancy Newhall once denoted, that his consistent 3 Irving Desfor. “Camera Angles.” music has become an integral part of my life. I began to realize that excellence was “not the production of an instrument, but the record of Associated Press, 1975. 4 FRITZ HENLE for me there was a close relationship and I believe that with my great [his] personal and sensitive vision...” Norman Hall, one of Britain’s 4 Beaumont Newhall. “Fritz Henle.” love for music I was able to develop a much keener sense for the true most famous photography editors from the mid-twentieth century, Infinity, March 1968: 5. 2 5 5 [Norman Hall.] Photography, meaning of my desire to express myself with pictures.” would label him the “maestro of the Rollei” while acknowledging December 1956: [24].