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became famous for his photographs of city views, ar-
chitecture and reproductions of art works. As an artist
he used photography as a unique technique to make
reproductions as a way to distribute this art.
Very well known are his photographs of the Flem-
ish Primitives as is his view of the Quai Vert in Bruges
(made in 1848), which is one of the oldest known pho-
tographs of Bruges, published by Blanquart—Evrard in
the “Album de l’artiste et de l’amateur,” 1851. During
the years 1853–1854 he published the album “Varié-
tés Photographiques.” Some months later he left for
Cologne (Prussia), but his main residence remained in
Bruges however he later moved his domicile to Cologne
in 1855 and became a Prussian citizen by naturalization
the same year.
Museum art and the collection, classifi cation and
conservation of sculptures and other mediums became
a new role for and subject of photography long before
museums began to see photography themselves as ob-
jects of art. The photographer captured images of the
building and its furnishings, but above all of the objects
exhibited there. Michiels gained, in Cologne during the
period 1852–1857, a fi ne reputation as an architectural
photographer, thanks to his close collaboration with the
publisher Franz Carl Eisen (1812–1861). He recorded
the construction of Cologne Cathedral and published
albums of the new stained-glass windows “Die neuen
Glasgemälde im Dome zu Köln,” fi ve prints, 1853;
“Album von Köln,” fourteen prints, 1854; “Album von
Berlin, Potsdam und Sans-Souci,” sixty prints, 1857.
These photographs were fi nancially successful thanks
to the commercial spirit and merchandising of Eisen
who already had a fl ourishing business that sold graphic
prints. An album of his reproductions of the shrine of
Saint Ursula, ‘Der Reliquienschrein der heiligen Ursula
zu Brügge” with eight 22 × 31 cm albumen prints, ap-
peared under the Eisen imprint in 1854 and in 1857,
Michiels returned to Bruges.
Michiels’ diplomatic skills won him a wide circle
of upper class admirers. He was invited to teach pho-
tography to the crowned prince of Prussia, who later
became de Emperor Friedrich III. He also had an ex-
hibition as member of the Prussian delegation in Paris.
During this period Michiels traveled to Russia to take
photographs of works of art in the Hermitage Museum
in Sint-Petersburg.
In 1858 he began with A. Laureyns an établissement
photographique in Bruges, which found success for one
year only.
During 1859–1860 he lived in Brussels working for
several museums and had his photographs of works of
art in the collections at European Museums published
by Gestewitz in Düsseldorf.
The recognition of the history of art as a discipline
was responsible for a renewed interest for Old Art and
photography made a signifi cant contribution to the re-
discovery of Old Art. National heritage was transferred
to a glass plate or a sheet of paper and subsequently
disseminated to those interested. The search to fi nd the
best methods of reproduction of works of art stimulated
the technical skills and even inventions in this fi eld.
Photography came in a position concurrent with gravure
and lithography. But soon the photographic medium cre-
ated its own place in artistic and contemporary debates;
slowly but surely, photography became intertwined with
the professional activities of lithographers and printers,
while photographs became increasingly employed for
illustrating of books and other publications.
From 1861 to around 1864 Michiels set up a studio
in Brussels, Rue Neuve, 88. After the death of his son
Bruno in 1863, he fi nally moved back to Germany
and opened a shop selling art objects with two of his
daughters.
His photographs of museums bear witness to the
signifi cance that was attached to these relatively mod-
ern institutions. In topographical surveys of cities and
regions, pictures of museums were included alongside
churches, palaces and old town halls. Museums had a
symbolic function as guardians of material culture; they
gave the nation its cultural identity, while serving as a
major attraction for tourists in search of souvenirs.
He died in Cologne on 21 January 1887 and his
funeral was held in the Dom in Köln.
Johan SwinnenSee also: Photography and Reproduction; Blanquart-
Evrard, Louis-Désiré; Photography of Paintings;
Photography of sculputure, Architecture.Further Reading
Andries Pool (ed.), Camera Gothica: Gothische kerkelijke archi-
tectuur in de 19de-eeuwse Europese fotografi e, Antwerpen,
O.-L. Vrouwekathedraal, Provinciebestuur, Antwerpen,
1993.
Joseph, Steven; Schwilden, Tristan; Claes, Marie-Christine, Di-
rectory of photographers in Belgium 1839–1905, Volume I,
text, Uitgeverij C. de Vries-Brouwers, Antwerpen, 1997.
Michiels, Guillaume, De fotografi e en het leven te Brugge
1839–1918, Brugge, 1978.
Ruys, Christoph (ed.), Belgische fotografen 1840–2005, Foto-
Museum Provincie Antwerpen/Ludion, 2005.
Swinnen, Johan. De paradox van de fotografie, Uitgeverij
Hadewijch/Cantecleer, Antwerpen, 1992.MICROPHOTOGRAPHY
The term “microphotography” has been used to de-
scribe two very different processes. According to its
etymology, the term microphotography should describe