990
no person is identical. They also paid more attention to
better printing techniques like the platinum print and
the gum bichromate print. Apart from portraits, they
did landscapes, genre scenes, and city views; in this,
they were much inspired by the painters of The Hague
School. There is, perhaps, a certain nostalgia in Pictori-
alist pictures; scenes of quiet life on the land constitute
a substantial number of them. They usually display a
quiet atmosphere, largely due to the diffused incidence
of light. The concern felt for farmers, workmen, tramps,
and gypsies was rather superfi cial, however, as they
mainly served as picturesque motifs. The 1890s saw a
new élan, with the founding of photographic magazines
and the organisation of some international exhibitions.
In 1902, the Nederlandsche Fotografen Kunstkring
(NFK, Dutch Art Photographers’ Circle) was founded
to give some more direction to the Pictorialist school.
Some belonging to the fi rst generation of Pictorialists
could also be dubbed naturalist photographers, but as
their number was modest, like the amount of their pic-
tures that have survived, it is not always easy to make a
clear division between the two tendencies.
In the 19th century, Dutch photography followed a
course that did not differ much from what was happen-
ing abroad. Despite international exhibitions that were
held from time to time, some photographer’s member-
ship of foreign photographic societies, and the constant
infl ux of foreign—especially German—photographers
who settled in The Netherlands, 19th-century Dutch
photography did not develop to the same heights as in
some other countries.
Hans Rooseboom
See also: Bisson, Louis-Auguste and Auguste-
Rosalie; Pictorialism; Baldus, Édouard; Le Gray,
Gustave; Cartes-de-Visite; Asser, Eduard Isaac; and
Lumière, Auguste and Louis.
Further Reading
Coppens, Jan, and A. Alberts, Een camera vol stilte: Nederland
in het begin van de fotografie, 1839–1875, Amsterdam,
Meulenhoff, 1976.
Coppens, Jan, Laurent Roosens, and Karel van Deuren, “... door
de enkele werking van het licht ...”: introductie en integratie
van de fotografi e in België en Nederland, 1839–1869, Ant-
werp, Gemeentekrediet, 1989.
Leijerzapf, Ingeborg Th. (ed.), Fotografi e in Nederland 1839–
1920 , The Hague, Staatsuitgeverij, 1978.
Leijerzapf, Ingeborg Th. (ed.), Geschiedenis van de Nederlandse
fotografi e in monografi eën en thema-artikelen, Alphen aan
den Rijn/Amsterdam, Samson/Voetnoot, 1984–. [a series still
being published]
Rooseboom, Hans, De schaduw van de fotograaf. Status en posi-
tie van Nederlandse beroepsfotografen, 1839–1889, Leiden,
Primavera, 2006 or 2007.
Venetië, Robbert van, and Annet Zondervan, Geschiedenis van de
Nederlandse architectuurfotografi e, Rotterdam, 1989.
NETTLETON, CHARLES (1826–1902)
English studio owner and photographer
Charles Nettleton was born in 1826 in London, the son
of George Nettleton and Susannah Feathers. Charles
worked as a manufacturing chemist in London and in
1854 immigrated to Melbourne, Australia where he was
employed as a photographer in the studio of Duryea
and McDonald. Nettleton performed the outdoor work.
Nettleton set up his own studio in 1858 and plied a
trade in portraiture but he remained a prolifi c view pho-
tographer, working for the Victorian Government and
City of Melbourne Corporation, capturing all aspects
of Melbourne and the Victorian countryside, including
buildings, public works, transportation and sporting
teams. For a brief period in 1861 Nettleton was in
partnership with Charles Hewitt, during 1862 he man-
aged the Melbourne Stereoscopic Company and then
he formed another brief partnership with John Calder.
Finally in 1864 he established premises in Madeline
St., North Melbourne although various branch facilities
were opened over the years. Nettleton produced the fi rst
commercial album in Australia, Melbourne Illustrated
by Photographs in 1868 and he prolifi cally produced
views in carte de visite, full plate and mammoth plate
sizes for many years, being a master of the wet plate
process. Nettleton exhibited widely at Australian and
International Exhibitions. He fi nally retired from his
profession in 1893 and he died on 4 January 1902.
Marcel SafierNEUHAUSS, RICHARD (1855–1915)
Richard Neuhauss was a doctor of tropical medicine
who resided in Berlin but traveled widely. He published
on many medical subjects but also was a superb experi-
mentalist in photography with a special affi nity for the
Lippmann Process. Following German colonization he
traveled to Papua New Guinea and published on his
medical and photographic studies of the indigenous
people there. He made a number of photographs of
Otto Lilienthal’s early fl ight experiments, and worked
on early cinematography.
His Lippmann shooting records and about a half
dozen plates are held by the Preus Fotomuseum in
Vestfold, Norway, near Oslo. The lists describe more
than 2,500 test exposures, a record for the process.
Of these, only a tiny fraction, perhaps two dozen are
known to survive. Most may have been failures. Ac-
cording to the lists, their subjects were relatively few
and shot repeatedly, including self portraits, stuffed
parrots, dead butterfl ies, still-lifes of fl owers and foods,
and a few outdoor images. He published a number of
papers and a book on the process. He used his technical
skills to publish images of microscopic thin-sections of