DOI Artikel:
Hinton, A. Horsley: Pictorial photography in Austria and Germany
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.27086#0130
AUSTRIA AND GERMANY
countries concerned where the leading exponents affect very large
prints and bold and aggressive compositions.
In the last Exhibition of the Royal Photographic Society there
was to be seen a collection of large German prints in Gum Bichro-
mate, many of which had been printed in two or more colours, and,
compared with the simpler subjects and more conventionally-treated
English work in the same building, these visitors from Europe
seemed to many bizarre and of a strength amounting to barbarity.
Yet it cannot be denied that they held the attention and grew upon
one. In those which were produced in two or three pigments the
colours were crude and elementary, and, without attempting to be
realistic, possessed a quality which we are accustomed to look for
in the modern poster. In this tremendous vigour have we not the
evidence of the same influence which is seen to dominate German
art generally ? Then, too, in the choice of subjects, especially in
landscapes, the German photographer, like his painter compatriot,
does not attempt to ingratiate himself by any elegance or prettiness.
The motive or subject is chosen merely as an opportunity of
vigorous impression of light and shade effects of which he delivers
himself with a harshness accompanied by deep sentiment which is so
characteristically German.
The brothers Theodore and Oskar Hofmeister, of Hamburg, may
perhaps be regarded as the pioneers of the new school in their own
country, and from producing excellent photographic illustrations of
the life of fisher-folk, showed in 1898 a change in manner as the
result of the example set by the Viennese masters already referred to.
The Hofmeisters invariably work together, the elder, Theodore,
thinking out and studying the theme, and the younger, Oskar,
executing it. In their operations no chance or happy accident
enters in. Hand exposures are never made. The subject is sought
out and deliberated upon, and then the execution, from exposure of
the plate to the huge gum print, is elaborated with care and premedi-
tation. Such seriousness of purpose and persistent effort may at least
command tolerant consideration if it does not go so far as to inspire
respect. One may resent the too arbitrarily chosen colours, one
may feel that the mere area of the prints exceeds the limitations of
the process, and, valuing photography for the delicacy of its subtle
tones, experience disappointment in what by contrast seems coarse
and barbaric ; yet the unprejudiced observer can hardly miss the
earnestness of it all and enquire what is the purpose and intention of
this very unphotographic photography. What is the goal to win
which those distinctive qualities hitherto regarded as photography’s
g 6
countries concerned where the leading exponents affect very large
prints and bold and aggressive compositions.
In the last Exhibition of the Royal Photographic Society there
was to be seen a collection of large German prints in Gum Bichro-
mate, many of which had been printed in two or more colours, and,
compared with the simpler subjects and more conventionally-treated
English work in the same building, these visitors from Europe
seemed to many bizarre and of a strength amounting to barbarity.
Yet it cannot be denied that they held the attention and grew upon
one. In those which were produced in two or three pigments the
colours were crude and elementary, and, without attempting to be
realistic, possessed a quality which we are accustomed to look for
in the modern poster. In this tremendous vigour have we not the
evidence of the same influence which is seen to dominate German
art generally ? Then, too, in the choice of subjects, especially in
landscapes, the German photographer, like his painter compatriot,
does not attempt to ingratiate himself by any elegance or prettiness.
The motive or subject is chosen merely as an opportunity of
vigorous impression of light and shade effects of which he delivers
himself with a harshness accompanied by deep sentiment which is so
characteristically German.
The brothers Theodore and Oskar Hofmeister, of Hamburg, may
perhaps be regarded as the pioneers of the new school in their own
country, and from producing excellent photographic illustrations of
the life of fisher-folk, showed in 1898 a change in manner as the
result of the example set by the Viennese masters already referred to.
The Hofmeisters invariably work together, the elder, Theodore,
thinking out and studying the theme, and the younger, Oskar,
executing it. In their operations no chance or happy accident
enters in. Hand exposures are never made. The subject is sought
out and deliberated upon, and then the execution, from exposure of
the plate to the huge gum print, is elaborated with care and premedi-
tation. Such seriousness of purpose and persistent effort may at least
command tolerant consideration if it does not go so far as to inspire
respect. One may resent the too arbitrarily chosen colours, one
may feel that the mere area of the prints exceeds the limitations of
the process, and, valuing photography for the delicacy of its subtle
tones, experience disappointment in what by contrast seems coarse
and barbaric ; yet the unprejudiced observer can hardly miss the
earnestness of it all and enquire what is the purpose and intention of
this very unphotographic photography. What is the goal to win
which those distinctive qualities hitherto regarded as photography’s
g 6