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To date, his work has attracted great attention locally, regionally and internationally, but oddly enough not in the Netherlands, at least not outside Limburg. In The Perfect Eye, the Bonnefanten gives conclusive evidence for why Mantz’s oeuvre also belongs in the canon of Dutch photography. He occupies a unique position in history, due to his visual idiom, use of natural lighting and craftsmanship – Mantz had the perfect eye.

Werner Mantz, Werner Mantz, Siedlung Kalkerfeld (Housing estate in Kalkerfeld), Keulen (D/GER), 1928. Galerie Schürmann & Kicken portfolio, 1977. ©Collectie Bonnefanten