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Further Reading
Debroise, Olivier, Fuga Mexicana: Un recorrido por la Foto-
grafía en México, México, D.F.: Consejo Nacional para la
Cultura y las Artes, 1994.
Imagen Historica de la Fotografi a en México/Museo Nacional de
Historia, Museo Nacional de Antropología, Mayo-Agosto de
- México: Instituto Nacional de Antropología e Historica,
Fondo Nacional para Actividades Sociales, 1978.
Jesús Hernández García, Manuel de, Los Incios de la fotografía
en México: 1839–1885 México: Editorial Hersa, 1985.
Memoria del Tiempo: 150 Años de Fotografía en México/Consejo
Nacional para la Cultura y las artes, Instituto Nacional de Bel-
las Artes. [México City]: Museo de Arte Moderno, 1989.
Nagar, Carole Naggar, and Fred Ritchin, eds., México through
Foreign Eyes, 1850–1990/Visto por Ojos Extranjeros, 1850– - New York: W.W. Norton, 1993.
Ojos franceses en México: [el catálogo de la exposición]. México:
IFAL: Centro de la Iagen, 1996.
Tovar, Guillermo, La Ciudad de los Palacios: Crónica de un
Patrimonio Perdido. Mexico City: Vuelta, 1990.
MEYDENBAUER, ALBRECHT
(1834–1921)
German photographer
Albrecht Meydenbauer was born in Tholey, Saarland, on
30 April 1834, to the physician Albrecht Meydenbauer
senior and his wife Friederike. In 1856–58 he studied
architecture at the Bauakademie [School of Architecture]
in Berlin and became a construction surveyor for the
Prussian government. After an accident at the Wetzlar
cathedral in 1858, Meydenbauer developed the idea
that the direct measurement of sites could be replaced
by indirect measurements using photographic images.
In a memorandum, written in the fall of 1859, he laied
out a project to photograph all Prussian monuments
with the greatest detail and accuracy with the intention
of gathering and protecting the images in an archive of
cultural heritage. In the course of his work he designed a
photogrammetric camera that combined a photographic
camera with a measuring instrument and began testing it
in 1867 with other scientists, on architecture and topo-
graphical views. 1885 Meydenbauer was called to the
Prussian Ministry of Culture and founded the Königlich
preußische Meßbildanstalt [Royal Prussian Photogram-
metric Institute] in Berlin, the fi rst institution worldwide
for the photogrammatic documentation of architectural
heritage. Between 1885 and 1920 the institute produced
records of about 2,600 objects in nearly 20,000 photo-
grammetric images on glass plates, in and around Berlin
and the Prussian territories until 1900, and then operating
abroad (Athens, Baalbeck-Lebanon, Istanbul). Meyden-
bauer resigned in 1909 and moved to Bad Godesberg,
near Bonn, where he died on 15 November 1921. The
photogrammetric archive now resides in the Brandenburg
Landesamt für Denkmalpfl ege [Landmark Preservation
Offi ce of the Federal State of Brandenburg] in Wünsdorf
near Berlin.
Stefanie KlammMICHETTI, FRANCESCO PAOLO
(b. 1851)
Francesco Paolo Michetti was born in Tocco di Casàuria
(Italia) in 1851, and soon after his birth, his family
moved to Chieti, where he later attended a technical
school.
He was awarded a scholarship to attend the Acca-
demia di Belle Arti (Academy of Art) in Naples, where
he studied with the painter Morelli. After his studies he
moved to Francavilla where he bought an ex-nunnery.
Francesco participated in the Biennale in Venice
with the portrait La fi glia di Iorio, in the Exposition
Universelle in 1878, and in other expositions in Ger-
many and in London where he displayed some of his
paintings and statues. His style was similar to that of
the current Verismo, but it wasn’t until 1871 when he
went to Paris that he devoted himself fully for the fi rst
time to photography.
He immediately understood the peculiarity of the two
expressive means, and always emphasized the differ-
ences between the two techniques and their autonomy
without submitting one to the other.
In the 1870s his subjects were static but after photo-
graphs become more like snapshots he devoted himself
to reportage of life in Abruzzo from 1890 to 1895. He
used photography not only as a way to make his paint-
ings more realistic, but, together with painting, devel-
oped an instrument to describe natural life by giving his
personal, subjective views.
After 1900 he stopped painting and devoted himself
to photography.
Carlo BeniniMICHIELS, JOHANN FRANZ
(1823–1887)
Photographer
Michiels was born in Bruges (Belgium) on 4 October
1823 and he died on 21 January 1887 in Cologne (Ger-
many). From around 1850 to 1859, Michiels worked
in Bruges as a wood-carver and sculptor. He created
the pulpit in the church of Saint-Jacques in Ypres and
the pulpit in the church in Roesbrugge, both of which
were destroyed during the First World War. He worked
as wood-carver till 1843. During this period he had
also become interested in photography after seeing
daguerreotypes in Brussels.
Michiels became a photographer and publisher and