227
senschaft, vormals Friedrich Bruckmann and changed
name again in 1896 to Verlagsanstalt F. Bruckmann
A.G. After Friedrich Bruckmann’s death in Arco, South
Tyrol, 17 March 1898, both sons directed the company,
Alphons as technical director and Hugo as publisher.
Friedrich’s son Hugo was an early supporter of Adolf
Hitler and an active member of the National-Socialist
Party (NSDAP) which he joined in 1925. Although
the company did not publish a considerable amount of
ideological literature, it remained an extremely conser-
vative voice in art criticism, producing the catalogues
and posters for the Great German Art Exhibitions
in the House of German Art in Munich. In 1941 the
grandson Alfred Bruckmann, who had joined the fi rm
in 1922, became executive secretary. The Bruckmann
Ve r l a g was still considered essential during the war until
1943 and thus received suffi cient paper supplies. After
World War II the company was offi cially dismantled
as a result of its relationship with the Nazi regime,
but was refounded in 1948 and again developed into a
leading publisher of art prints. To the hitherto existing
areas art history and art books were added geography,
travel, leisure and alpine literature from the 1930s
onwards. In 1966 the company was taken over by the
Stiebner family. From 1999 onwards the art sector was
abandoned, leaving only publications on travel, leisure
and alpine subjects.
Friedrich Bruckmann had both a paedagogical and
commercial interest in popularizing art as one can see
from his art journals. He was in favour of artistic educa-
tion for wider sections of the public and discovered a
profi table source of income in the distribution of large
quantities of art reproductions to a broader public.
Stefanie Klamm
See Also: Albert, Josef; Archaeology; Architecture;
Art photography; Books illustrated with photographs:
1860s; Books illustrated with photographs: 1870s;
Books illustrated with photographs: 1880s; Books
illustrated with photographs: 1890s; Germany;
Collotype; Photomechanical: minor processes;
Woodburytype, Woodburygravure; History: 5.
1860s; History: 6. 1870s; History: 7. 1880s; History:
- 1890s; Miethe, Christian Heinrich Emil Adolf;
Photography and Reproduction; Photography of
Paintings; Photography of Sculpture; and Portraiture.
Further Reading
Flemmer, Walter. Verlage in Bayern [Publishers in Bavaria], Pul-
lach/Munich: Verlag Dokumentation Saur, 1974.
Foulon, Anne-Cécile. De l’art pour tous: les éditions F. Bruck-
mann et leurs revues d’art dans Munich ville d’art vers 1900
[The Art for All: the publisher F. Bruckmann and its art
journals in the city of art Munich around 1900], Frankfurt on
Main: Peter Lang, 2002.
Hübner, Klaus Achim. Die Kunst für Alle. Ein Beitrag zur Ge-
schichte der Kunstzeitschrift [The Art for All. Contribution
to the history of the art journal], Berlin: Dissertation at Free
University, 1954.
Meiner, Annemarie. “‘Artibus et Litteris.’ F. Bruckmann zum 100.
Geburtstag am 15. November 1958“ [Artibus et Litteris. On
the occasion of F. Bruckmann’s 100th birthday on 15. No-
vember 1958], in Börsenblatt für den Deutschen Buchhandel,
v. 14 issue 89, 7.11.1958, 1958, 1445–1450.
Meister, Jochen; Brantl, Sabine. Ein Blick für das Volk. Die Kunst
für Alle [A view for the people. The Art for All], 2006 online
publication, http://archiv.ub.uni-heidelberg.de/artdok/voll-
texte/2006/102/ (exhibition catalogue)
Pfeiffer-Belli, Erich. “100 Jahre Bruckmann. Brücke zur Kunst.”
Festschrift zur Feier des 100 jährigen Bestehens der F. Bruck-
mann KG., Verlag und Graphische Kunstanstalten [100 years
of Bruckmann. Bridge to Art. Festschrift to the celebration of
100 years F. Bruckmann KG., publisher and graphic institute],
Munich: F. Bruckmann, 1958.
Stiebner, Erhardt D. “Einführung“ [Introduction], in 75 Jahre
Rollen-Tiefdruck [75 years of], edited by Otto M. Lilien,
München: Bruckmann, 1980, 5–15.
Wittmann, Reinhard. Hundert Jahre Buchkultur in München [One
hundred years of book culture in Munich], Munich: Heinrich
Hugendubel, 1993.BUCHAR, MICHAEL
(active 1860s–1870s)
Professional photographer
Michael Buchar worked as a photographer in Orenburg
in 1860–1870s. He was the master of landscape and
ethnographic photography. He prepared an album of
photographs showing national types of the Orienburg
Province to present to the future Emperor Alexander III.
To make the ethnographic images look more natural-
istic he hand-coloured the monochrome prints. These
photographs were created in the studio and Buchar later
painted landscapes into the prints’ background.
The 1860s and the beginning of the 1870s in Russia
was the time in which Buchar was one of many photog-
raphers who created ethnographic albums which, apart
from being valuable for scientifi c purposes, depicted
the various regions and societies of the Empire as well.
Such albums were usually presented to the Emperor
or other members of the Romanov family. At the same
time as Buchar, photographer A. Karelin together with
the famous Russian landscape artist I. Shishkin, cre-
ated the album “Nizhniy Novgorod” which included
the landscapes of the city and its suburbs and included
photographs illustrating the nations living in Nizhniy
Novgorod province. Like Buchar, both Shishkin and
Karelin painted the prints using watercolor. The sole
copy of the album was presented to the Emperor Alex-
ander II. The Photographer Nekhoroshev created “The
Turkistan Album” published in 1871–72. One of the
copies was also presented to the Emperor Alexander
II.
Alexei Loginov