August Sander’s People of the 20th Century (German: Menschen des 20. Jahrhunderts) stands as an ambitious and expansive photographic project undertaken by the German photographer. Created over several decades, primarily from the 1910s through the 1950s, the project seeks to portray the multifaceted structure of German society during the tumultuous first half of the 20th century. Born in Herdorf, a small town in the Westerwald region, Sander’s career evolved from conventional studio photography to a profound exploration of documentary and conceptual portraiture. This monumental endeavor was first previewed in his 1929 publication Face of Our Time (German: Antlitz der Zeit), which included 60 portraits and set the stage for his larger work, though it was later banned by the Nazi regime for its depiction of diversity and its nonconformity to Aryan ideals.
The project is deeply embedded in the historical and cultural currents of its era. It captures the Weimar Republic’s social dynamism, the rigid stratifications of class, and the societal upheavals brought about by industrialization, political turmoil, and two World Wars. Sander’s work was informed by the concept of Neue Sachlichkeit (New Objectivity), a German artistic movement emphasizing realism and clarity. His intent was to document the "archetypes" of society through meticulously arranged portraits, organized into seven thematic groups: The Farmer, The Skilled Tradesman, The Woman, Classes and Professions, The Artists, The City, and The Last People, the latter addressing themes of old age, illness, and death. This typological structure reflects Sander’s holistic vision to create a “picture of an age.”
Sander’s photographic style is characterized by its directness and simplicity, avoiding dramatization while emphasizing the individuality and dignity of his subjects. His subjects are often depicted with tools or attire emblematic of their social roles, enhancing the visual narrative of their identities. The black-and-white photography complements the timeless and universal aspects of his exploration, while the neutral backgrounds and straightforward compositions direct the viewer’s attention to the sitter’s posture, expression, and attire. This aesthetic approach aligns with his belief in photography as a universal language capable of objectively revealing societal truths.
Technically, Sander worked primarily with large-format cameras, enabling him to capture exquisite detail. His process involved a blend of posed and candid techniques, ensuring that the portraits conveyed authenticity and introspection. Despite the disruption of his work by the rise of the Nazi regime—which led to censorship and the destruction of parts of his archive—Sander’s commitment to his project remained unwavering until his death in 1964.
After 1945, selections reappeared in exhibitions such as Photokina (Cologne, 1951) and MoMA’s The Family of Man (1955). A key early UK presentation followed at the Scottish Photography Group/Stills in Edinburgh (1977). Later, the project coalesced in editorial form with the seven-volume People of the 20th Century (2002). Subsequent surveys—including the Metropolitan Museum of Art’s 2004 presentation and MoMA’s acquisition of a complete set in 2016—consolidated its visibility. Today the work is widely regarded as a foundational model for typological and documentary portraiture, informing practices from Bernd Becher and Hilla Becher to contemporary approaches to social portraiture.
![Mother and Daughter [Helene Abelen with Daughter Josepha], c. 1926. Collection of The Museum of Modern Art. Image courtesy...](https://res.cloudinary.com/dkvtc5ncc/image/upload/c_limit,w_1080/f_auto/q_auto/v1735219123/People_of_the_20th_Century_42_9983177fcf?_a=BAVC1WID0)
![Kinetics Researcher from Vienna [Max Thun-Hohenstein], c. 1930. Collection of The Museum of Modern Art. Image courtesy of ...](https://res.cloudinary.com/dkvtc5ncc/image/upload/c_limit,w_1080/f_auto/q_auto/v1735219123/People_of_the_20th_Century_33_04693907f9?_a=BAVC1WID0)
