Further Reading
Andries, Pool, ed.Antwerpen 93: een stad gefotografeerd, a city
in photographs. Antwerpen: Museum voor Fotografie, 1993.
Eskildsen, Ute. Museum Folkwang: Die fotografische
Sammlung. Essen: Folkwang Museum, 1983.
Gruber L. Fritz, and Renate Gruber.The Imaginary Photo
Museumby Helmut Gernsheim, Cologne, 1981. English
trans: New York: Harmony Books, 1981.
Gelpke, Andre ́.Sex-Theater. Munich, 1981.
———.Fluchtgedanken, Ein monoloog.Mu ̈nchen: Mah-
nert-Lueg Verlag, 1983.
———.Der Schiefe Turm von Pisa, Reisebilder 1972–1985.
Braunschweig: Museum fu ̈r Photography, 1985.
———.Siemens Fotoprojekt.Mu ̈nich, 1991.
Heller, Martin, Andre ́ Gelpke, and Ulrich Heller Go ̈rlich,
eds.Die Klasse. Photography Department, Zu ̈rich School
of Design, Zu ̈rich: Museum fu ̈r Gestaltlung, 1966.
Hopkinson, Amanda, ed. Contemporary Photographers,
Detroit: St. James Press, 1995.
Neusu ̈ss, Floris, ed.Deutsche Fotografie nach 1945. Kassel: 1979.
Swinnen, Johan.Photography on Landscape, the Paradox of
Andre ́Gelpke. Alden Biesen: Aksent, 1989.PHOTOGRAPHY IN GERMANY AND
AUSTRIA
Germany and Austria are Central European coun-
tries with few natural borders, which has led to
several dividing and unifying processes in their his-
tory. In the course of the twentieth century, Ger-
many and Austria have changed their frontiers more
than once; in the aftermath of World War II, Ger-
many was divided into two parts for over 40 years,
reunifying in 1989. The histories of German and
Austrian photography therefore have been charac-
terizedmorebyindividualcontributionsandvarious
stylistic approaches than by distinctive national ten-
dencies. On the other hand, the countries’ geopoliti-
cal situations drew the attention of countless
wanderers between East and West, which allowed
German and Austrian art and culture to develop in-
tegrally within larger international movements.
German and Austrian photography in the twen-
tieth century has been, for the most part, a mirror
of the medium’s history, but with a certain empha-
sis on singular developments. This ponderation is
mainly due to the German language, which empha-
sizes precise formulation and descriptive qualities,
often at the cost of elegance and dignity. German
science and art have been described as concep-
tually strong and devoted to long-term develop-
ments, even if they come comparatively late. The
stylistic histories of the visual arts and architecture
in Germany and Austria demonstrate that these
countries have rarely been the site of inventions
or innovations but often that of the maturation
of a particular technique or style. As German and
Austrian photography encompasses virtually all
developments in photography, they reflect the gen-
eral historical development of photography in the
twentieth century.
The widespread fine art photography, or Pic-
torialist movement, brandished its waves on the
German shore but left little impact on history as a
whole. The Viennese Trifolium (Hugo Henneberg,
Heinrich Ku ̈hn, Hans Watzek), founded in 1891
and dissolved by Watzek’s death in 1896, was
exhibited in Berlin, Dresden, Hamburg, and Mu-
nich, but only a few followed the American Alfred
Stieglitz’s clarion call for artists. The brothers
Theodor and Oskar Hofmeister from Hamburg
exhibited widely throughout the country, as well
as the Krefeld sports teacher Otto Scharf, the Ham-
burg merchant Heinrich Wilhelm Mu ̈ller, the pain-
ter Friedrich Matthies-Masuren, and the military
officer Ludwig David from Berlin. Some of the fine
art photographers specialized within the field,
many in portraiture: Rudolf Du ̈hrkoop and his
daughter Minya Diez-Du ̈hrkoop in Hamburg and
Bremen, Hugo Erfurth in Dresden, Jacob Hilsdorff
in Bingen and Munich, and Nicola Perscheid in
Berlin. The Wiener Kamera Klub founded in Vien-
na spread Pictorialist ideas.
Two men were, on different levels, influential in
spreading the idea of photography as a fine art
among a larger public. One was the German-Amer-
ican and co-founder of the Photo-Secession Frank
Eugene, who, having studied painting in Munich,
stayed in town and effectively pursued both arts
among the scene; his close collaboration with theGELPKE, ANDRE ́