Blossfeldt, Karl. Art Forms in the Plant World by Karl Blossfeldt. 120 Full-Page Photographs.

Introduction by Karl Nierendorf.  Dover, 1985. Wraps, near fine with slight shelf wear at edges.  Reissue of Art Forms in Nature (1929), unabridged and slightly altered with a Publisher's Note that places Blossfeldt's work in historical context.   Blossfeldt's extraordinary close-up photos of plants were an influential component of Neue Sachlichkeit (New Objectivity), the German modern realist movement in the 1920s.  Summary:

Art Forms in the Plant World (Dover, 1985) is a high-fidelity reproduction of Karl Blossfeldt’s groundbreaking work, originally published in 1928 as Urformen der Kunst. A self-taught photographer and professor of sculpture, Blossfeldt used a handmade camera capable of 30x magnification to document botanical specimens, revealing the "totalitarian" architectural logic hidden within nature.

Core Themes and Narrative

• The "Original Forms" (Urformen): Blossfeldt’s central thesis was that nature had already invented every architectural and artistic motif used by humans—from the Corinthian column to Gothic tracery. He presented plants not as biological organisms, but as engineered structures.

• Nature as Designer: The book argues that there is no "accidental" beauty; every curve of a fern and every spike of a thistle is a result of structural necessity and mathematical rhythm.

• The "New Objectivity" (Neue Sachlichkeit): Blossfeldt became an accidental hero of the modernist movement. By stripping plants of their color and environment, he forced the viewer to see them as "Industrial Art," bridging the gap between the organic and the mechanical.

Visual and Technical Notes

• The "Sculptural" Finish: The 120 full-page photographs are characterized by a monumental, stone-like quality. Against neutral, flat backgrounds, common weeds like horsetails and umbels are rendered with the gravity of cast iron or carved marble.

• Macro-Precision: The style is extraordinarily sharp, highlighting microscopic textures—fine hairs, geometric seeds, and the serrated edges of leaves—that were invisible to the naked eye before his custom-built lenses.