1297
(Preussische Messbildanstalt) in Berlin to produce
and catalogue photogrammetric data of buildings to be
preserved.
Exhibiting photography started with its own birth: In
fall 1839, there were a number of exhibitions showing
Daguerreotypes from Paris in all big cities of the Ger-
man speaking countries. The fi rst one-man travelling
show was installed in 1840 by Johann Baptist Isenring
from the Swiss Schaffhausen but shown mainly in
Southern Germany. Although the Germans were slow
in presenting themselves at the World Fairs of 1851
and 1855 in London and Paris, photography had been
present in both apparatus and images at all of the Ger-
man industrial fairs from 1840 onwards. Permanent
exhibitions in showrooms common in the USA since
the 1850s only appeared irregularly in Vienna and
Berlin in the 1860s. A special form of exhibiting ste-
reo photographs was patented and installed by Ernst
Fuhrmann in 1877 named the Emperor’s Panorama
(Kaiserpanorama).
Exhibitions of photographc images fl ourished for a
relatively short time after photography’s 25th anniver-
sary in 1864. The same year, Anton Martin from Vienna
had curated an exhibition on early photography and
shown some work of his contemporaries; the German
photographers concentrated on having a banquet with
a burlesque comedy accomanying it. In 1865, Hermann
Wilhelm Vogel and his Berlin society tried to establish
an annual show of photography but these efforts ceased
within three years. But by 1889, photography’s 50th
anniversary was the occasion for installing huge exhibi-
tions of both images and apparatus in Berlin and Vienna.
The Berlin exhibition held in the Prussian War Academy
was the fi rst to show the greater importance of amateur
photography over the average craftmenship practised so
far; the best featured exhibitor was a 25-year-old student
of Hermann Wilhelm Vogel: Alfred Stieglitz. By this
time Alfred Lichtwark had already been established as
head of the Hamburg Art Hall (Kunsthalle); he started
the annual exhibition of Fine Art Photography in 1893.
A last instauration of the year 1895 combined all ef-
forts described here: The South German Association of
Photographers (Sueddeutscher Photographen-Verein)
was founded to hold annual exhibitions for the sake of
photographic art and artists in a Secessionist manner, it
helped to instigate the Munich school of photography,
it collected a large number of images to set the ground
for a National Museum of Photography, and by a pil-
grimage to Pope Leo XIII. in Rome, it installed Saint
Veronica as the holy guardian for all photographers and
their necessities.
Rolf Sachsse
See also: Vogel, Hermann Wilhelm; Stieglitz, Alfred;
and Lichtwark, Alfred.
Further Reading
Hoerner, Ludwig, “Allgemeiner Deutscher Photographen-Ve-
rein.” Gründung und Werdegang 1858–1863. In: Fotoges-
chichte. Beiträge zur Geschichte und Theorie der Fotografi e,
3–12, Frankfurt am Main, 1984.
——, Das photographische Gewerbe in Deutschland 1839–1914,
105–113, Düsseldorf 1989.
Pohlmann, Ulrich, “Harmonie zwischen Kunst und Indust-
rie”—Zur Geschichte der ersten Photoausstellungen. In Bodo
von Dewitz, Reinhard Matz (eds.), Exh.cat. Silber und Salz,
Zur Frühzeit der Photographie im deutschen Sprachraum
1839–1860, 496–513, Heidelberg 1989.
Sachsse, Rolf, Daguerre-Büste, Photographenmarsch und Wer-
betonfi lm, Jubiläumsausstellungen und Geburtstagsfeiern
für die Photographie. In Bodo von Dewitz, Reinhard Matz
(eds.), 584–597.
Exh.cat. Silber und Salz, Zur Frühzeit der Photographie im
deutschen Sprachraum 1839–1860, Heidelberg 1989.SOCIETIES, GROUPS, INSTITUTIONS,
AND EXHIBITIONS IN ITALY
At the beginnings of photography, in 1839, Italy was not
yet a unifi ed state. In the months following the Arago
announcement, daguerrotypy was presented in a number
of the most prestigious scientifi c institutions and rapidly
spread through the various states of the country, with
different outcomes according to the different cultural
infl uences. Even in unifi ed Italy, however, the Italian
photographic associations continued to maintain strong
local characteristics.
The fi rst photography associations were established
primarily around the practice of calotypy, and were often
also composed of foreign artists traveling in Italy on the
classic grand tour. One of the fi rst was the Circolo di
calotipisti set up in Rome (1850–52) on the initiative of
Count Frédéric Flachéron. The meetings were attended
by Prince Giron des Anglonnes, Eugène Constant, Henri
Peach Robinson, and Giacomo Caneva.
In March of 1888, the Associazione degli Amatori
di Fotografi a was established in Rome, presided over
by the Duke of Artalia. The founders included Enrico
Valenziani and the engineer and architect Giovanni
Gargiolli. The latter, who had already founded the
Società Amici della Fotografia in Naples in 1887,
subsequently played an important role in the debate on
the use of photography in an area traditionally covered
by engraving, i.e. the reproduction of works of art, a
sector in which Italian photography would always be
extremely prolifi c. Obstructed in his project to create a
photogravure laboratory at the National Copper-engrav-
ing Institute in Rome, he set up the Royal Photography
Laboratory at the Ministry of Education (1892), which
defi nitively established the use of photography in art
reproductions.
Another active center was the city of Turin, which was
particularly favorable to the diffusion of photography