1288
Gesellschaft; and in 1888 with erste Ausstellung des
Clubs der Amateur-Photographen in Wien, and again
in 1891 with the Club der Amateur-Photographen in
Wien—Internationale Ausstellung künstlerischer Photo-
graphien.
The opening of Eröffnung der K.K. Lehr and Versuch-
sanstalt für Photographie und Reproductionsverfahren
in Vienna, today Höhere Graphische Bundes-Lehr- und
Versuchsanstalt (GLV) was in 1888. This fully equipped
technical school worked in Austria to maintain the tradi-
tion of photography as a discipline of civil buergerlich-
gediegener handicraft and engineer art. The establishment
of the GLV was known world-wide and received their
international reputation for the work completed during
the term of photo chemist Josef Maria Eder who was the
fi rst director from 1888 to 1923. Industrial magnates of
photographic production did not develop in Austria as
dynamically as in other countries. In the last quarter of the
19th century however from 1882 to 1918 and still under
the monarchy, the very active protogewerkschaftlichen
initiative came into being, which later became Verein
photographischer Mitarbeiter.
Finally in 1887, the earliest association of moder-
ately active photographer collectives in Europe was the
Club der Amateur-Photographen in Vienna (renamed
Camera Club in 1893,) stressed and aimed for an artis-
tic dynamic. The fi rst large exhibition in the Austrian
museum for art and industry was organized by the
“club.” In 1888 they held a show, the fi rst of which was
for amateurs only. Doing this was enough however to
shake up some members of the established photographic
community in Vienna. More specifi cally, in exhibiting
their photographs in this unusually, selectively arranged
international exhibition, the amateur photographers
challenged the aesthetic guidelines established by the
contemporary painters and commercial artists. Most
notable were the images that came from English pho-
tographers such as Peter Henry Emerson and George
Davidson. It was from their design principles in the
“Paysage Intime” that the idea was had to minimize the
hole though which light came, later becoming known as
small apertures and extended depths of fi eld. The most
consistent representatives of these techniques were Hans
Watzek, Hugo Henneberg and Heinrich Kühn as well
as the American art photographer, Alfred Stieglitz all of
whom crucially changed the international photography
scene circa 1900.
Maren Gröning
See also: Burger, Wilhelm Joseph; Eder, Joseph
Maria; Natterer, Johann and Joseph; Petzval, Josef
Maximilian; von Voigtländer, Baron Peter Wilhelm
Friedrich; Société française de photographie;
Emerson, Peter Henry; Davidson, Thomas; Kühn,
Heinrich; Watzek, Hans; and Stieglitz, Alfred.
Further Reading
Eder, Josef Mari,. Geschichte der Photographie (Ausführliches
Handbuch der Photographie, Band 1, Teil 1), 4, Aufl age, Halle:
Verlag von Wilhelm Knapp, 1932.
Auer, Anna u.a., Geschichte der Fotografi e in Österreich, Bad
Ischl: Verein zur Erarbeitung der Geschichte der Fotografi e
in Österreich, 1983.
Starl, Timm, Biobibliografi e zur Fotografi e in Österreich 1839
bis 1945, 1998ff. (wird regelmäßig aktualisiert) http://alt.
albertina.at/d/fotobibl/einstieg.html.
Starl, Timm, Lexikon zur Fotografi e in Österreich 1839 bis 1945,
Wien: Album, Verlag für Photographie, 2005.SOCIETIES, GROUPS, INSTITUTIONS,
AND EXHIBITIONS IN BELGIUM
The multiple and potentially protean nature of photogra-
phy is clearly refl ected in the broad range of institutions
which assisted the introduction of the new medium to
Belgium—artistic, technological, and learned. the pa-
trons of the fi ne arts were the fi rst to witness a public
display of daguerreotypes in Belgium at the triennial
exhibition held in Brussels in September 1839. the
crowded walls of competing portraiture, landscapes,
and history paintings also welcomed fi ve daguerreotype
plates—two by Daguerre (who had presented them to
King Leopold I), and three local views by rival Brussels
pioneers Jean Baptiste Jobard (1792–1861), inventor and
journalist, and Antoine Dewasme (1797–1851), lithog-
rapher and director of the Société des Beaux-Arts.
Simultaneously, the country’s leading learned soci-
ety, the Académie royale des Sciences et Belles-Lettres
(Royal Academy of Science and Literature), was called
upon to evaluate a paper process invented by Albert
Breyer (1812–1876), a medical student, whose Brey-
erotype was a form of refl ectography or photocopy
enabling direct positive prints of engravings, drawings,
and written documents. the Académie would reprise
this role in the 1840s and 1850s, when work by W.H.F.
talbot, Abel Niépce de Saint-Victor, Guillaume Claine
and Edmond Fierlants was submitted for opinion, in the
latter two cases within the context of grant applications
made to the Belgian government. Furthermore, pho-
tography featured in one of the prize essays set by the
Académie in 1847, on a topic covering “les avantages
et les inconvénients de la découverte des procédés pure-
ment mécaniques” (advantages and drawbacks of the
discovery of purely mechanical processes).
Another semi-official body to take a sustained
interest in photography in the early decades was the
Musée de l’Industrie, headed by Jean Baptiste Jobard
in the 1840s. Despite its name, the Musée was more a
technology centre and forum for the dissemination of
inventions. As such, the progress of the new medium
was monitored by the institution, a process culminating
in the association of Gustave De Vylder (1824–1895),