Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries
This volume gathers the papers presented at the international conference held to celebrate the 200th anniversary of the birth of Carol Popp de Szathmari. The contributors offer fresh insight into the life and career of this gifted artist, who has gained fame both as a photographer and as a painter....
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| 520 | |a This volume gathers the papers presented at the international conference held to celebrate the 200th anniversary of the birth of Carol Popp de Szathmari. The contributors offer fresh insight into the life and career of this gifted artist, who has gained fame both as a photographer and as a painter. Richly illustrated, the publication includes a number of previously unpublished pictures | ||
| 546 | |a Beiträge teilweise englisch, teilweise rumänisch, teilweise deutsch. - Zusammenfassungen in englischer Sprache | ||
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Datensatz im Suchindex
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CUPRJNS
ADRIAN-SILVAN IONESCU
-
PRECUVENTARE
.
ADRIAN-SILVAN ION
ESCU
-
FOREWORD
.
ADRIAN-SILVAN ION
ESCU, SZATHRNARI:
SKETCH
FOR
AN ARTIST'S PORTRAIT
.
LARRY J. SCHAAF, SILVER FROM SUNSHINE: THE PHOTOGRAPHIC
.
WORLD
OF SZATHRNARI
CATALINA MACOVEI, CAROL
POP DE SZATHRNARI.
DE LA FOTOGRAFIE
LA HELIOCRORNO-LITOGRAFIE
I
OLEOGRAFIE
.
RUXANDA BELDIMAN, ARHITECTURA CIVIL2
I
ECLEZIASTICA IN
FOTOGRAFIA LUI
CAROL POP DE SZATHRNARI
.
HORIA
VLADIMIR SERBANESCU,
CAROL SZATHRNARI, FOTOGRAF RNILITAR
.
ADRIANA DUMITRAN, GRAFICA PUBLICITARA A CARTOANELOR
FOTOGRAFICE ALE LUI
CAROL SZATHRNARI
.
RUXANDRA DREPTU, SZATHRNARI,
FOTOGRAFUI
PICTOR
AL DEPZRTZRILOR
.
MONIKA FAB
ER,
DAS
ALBUM DER BANATER BESITZUNG DER STEG
DES FOTOGRAFEN
ANDREAS GR611
.
SILVANA RACHIERU, DE LA PORTRETE
DE FARNILIE
LA PROPAGANDA
IMPERIAL2
FOTOGRAFIA
IN IRNPERIUL
OTORNAN
.
KONRAD KLEIN, EIN
SIEBENBIIRGISCHER FOTOPIONIER.
ANRNERKUNGEN
ZU LEBEN
UND
WERK DES
ZEICHENLEHREVS,
MALERS UND FOTOGRAFEN
THEODOR GLATZ
.
ALFRED SCH
U PLER, VERESS FERENCZ
.
CRISTIAN G RAU
R
E,
CONTRIBUTII DOCURNENTARE LA ISTORIA
FOTOGRAFIEI DIN
BANAT. PAROHUL JQEF BRAND
ZI
REVELAFIA
FOTOGRAFIEI
.
CRISTIAN GRAURE,
0
NOUA VIZIUNE ASUPRA LURNII.
BANATUL SECOIULUI
AL XIX-LEA VAZUT PRIN ,,LENTILELE
CAMEREI
.
STEREOSCOPICE"
Clip Nils ADRIAN-SILVAN IONESCU - Precuväntare. 21
ADRIAN-SILVAN ION ESCU - Foreword. 24
ADRIAN-SILVAN ION ESCU, Szathmari:
Sketch for an Artist's Portrait. 27
LARRY J. SCHAAF, Silver from Sunshine: the Photographic
World of Szathmari. 35
CÄTÄLINA MACOVEI, Carol Pop de Szathmari. De lafotografie
la heliocromo-litografie §i oleografie . 57
RUXANDA BELDIMAN, Arhitecturä civilä §i ecleziasticä in
fotografía lui Carol Pop de Szathmari. 65
HORIA VLADIMIR §ERBÄNESCU,
Carol Szathmari, fotograf militar. 71
ADRIANA DUMITRAN, Grafica publicitara a cartoanelor
fotografice ale lui Carol Szathmari. 83
RUXANDRA DREPTU, Szathmari,
fotograful pictor al depärtärilor. 91
MONIKA FABER, Das Album der Banater Besitzung der Steg
des Fotografen Andreas Groll. 101
SILVANA RACHIERU, De la portrete de familie
la propaganda imperialä: fotografía Tn Imperiul Otoman. 113
KONRAD KLEIN, Ein Siebenbürgischer Fotopionier.
Anmerkungen zu Leben und Werk des Zeichenlehrers,
Malers und Fotografen Theodor Glatz. 137
ALFRED SCHUPLER, Veress Ferencz. 181
CRISTIAN GRAU RE, Contribu^ii documentare la istoria
fotografiei din Banat. Parohul Josef Brand §i revelaba
fotografiei. 189
CRISTIAN GRAURE, 0 nouä viziune asupra lumii.
Banatul secolului al XlX-lea väzut prin „lentileie camerei
stereoscopice". 201
17
IOANA VLASIU, Fotografía ca loe de ¡ntálnire a
moder-nitátüor. Carol Popp de Szathmari revizitat de
Ion Grigorescu. 215
ADRIAIM-SILVAIM IONESCU, Szathmari in lumina
documentelor de arhiva. 227
ADRIAN-SILVAN IONESCU, Cronologie/Chronology. 242
ANEXE. 257
ANEXA I, ADRIAN A-NATA LIA BANGÄLÄ,
Albumele Romanía de Carol Pop de Szathmari ín colectiile
Bíbliotecii Academiei Romane, ale Muzeului National de Arta
al Romániei, ale Institutului de Istoria Artei „G. Oprescu",
ale Bíbliotecii Centrale Universitäre din Ia§¡, cu asemänärile
§i deosebirííe lor. 258
ANEXA II, Albumul electorilor munteni (1859). 282
ABSTRACTS. 283
AUTORI / AUTHORS. 292
l\LB. Studí i le din acest volum au fost publícate in limba in care au fost
prezentate de autor i.
The studies in this volume are published in the language they have been
presented by the authors.
18
ABSTRACTS
Adrian-Silvan Ionescu
Szathmari: Sketch for an Artist’s Portrait
This article mainly tries to look at the complex artist Carol Pop de Szathmari through the
magnifying glass of the historian, careful with every detail when drawing a biographical sketch.
Larry J. Schaaf
Silver from Sunshine: the Photographic World of Szathmári
Carol Pop de Szathmari (1812-1887), perhaps the best-known photographer in Romania,
remains little known to the rest of the world. An accomplished artist before photography’s public debut
in 1839, his first success was with a paper negative in 1848. Szathmari’s photographic reputation was
firmly established by his 1854 efforts to photograph the Crimean War. From there, using his artistic
training and noble connections, he emerged as a premier portraitist, landscape artist, and a recorder of
traditions.
Prof. Schaaf will set Szathmari’s early accomplishments in context, starting with the rapid
development of the new art in its first decade, particularly through the invention by the Englishman,
William Henry Fox Talbot, and the unprecedented early portraiture by Hill Adamson in Scotland.
By the time of the Crimean War, negatives on glass had largely replaced those on paper, leading
to finer detail and shorter exposures. However, these large glass wet collodion plates had to be coated
and developed in the field, an extraordinary effort and accomplishment.
Some of Szathmari’s work can be compared to the English master, Roger Fenton, whereas his
later studio portraiture stood in contrast to his arch-rival, the Frenchman who simply went by the name
of Nadar. Szathmari’s artistic accomplishments grew in parallel with those of the art of photography.
Cátálina Macovei
Carol Pop de Szathmari. From Photography to Photochromatic and Oleography
Carol Pop de Szathmari’s work as a lithographer has a very controversial character. Trained in
the Reformed College in Cluj and Vienna he proves in his „Transylvanian images” album, made during
his Transylvanian period, to be an artist who knows how to use with sensibility pencil and lithographic
chalk. Once settled for good in Wallachia (1843), his curiosity and the diversity of activities as a drawer,
watercolourist, lithographer, photographer, but mostly as a traveler, allow him to do works that justify
questions like: how can they be catalogued?
The artist used to be a great admirer of ethnography and romantic landscapes, he was astonished
and felt melancholy when looking at the sublime magnificence of nature. We find those feelings in his
work as a drawer, watercolourist, lithographer and photographer. Lithography and photography were at
their very beginnings in our country.
When talking about paradox, we refer to his precise and vivid drawings he makes on the spot
during his travels, also his charming watercolours contain small comments in French, German, or even
in a poor Romanian, all of them showing a picturesque character. We also refer to his lithographic
work, which remembers his life in Transylvania, the few portraits or historic scenes, as well as the
photographs in the Romania Album or the ones from the Coronation festivities album, all attempts of
coloured photography and coloured lithography even painting.
Theodor Enescu writes in one of his essays: ‘Those sketches in the technique of oleography are
a coloured and varnished option of chromolithography”, other specialists consider chromolithography a
sort of coloured lithography based on photography. In fact Szathmari writes on the cover of his albums,
that his works use the helio-chromolithography technique.
We will try to follow the evolvement of his work, from the drawing stage to the final step and
establish its place in the 19th century Romanian artistic phenomenon.
283
Ruxanda Beidiman
Carol Pop de Szathmari Civil and Ecclesiastical Architecture Photography
Szathmari is documenting on princely order, but also for his own professional interest, important
buildings, nowadays considered important monuments for the history of Romanian civilisation. With
their documentary value and the high quality of the pictures, his legacy allows him to occupy an
important place in the history of photography. His pictures document for researchers, people interested
in the history of architecture and monuments a certain moment in the history of that civil or ecclesiastical
building, as many of them have suffered major changes during the 19th and 20th century.
My paper intends to speak about about a less studied part in Carol Pop de Szathmari’s work,
the architectural photography.
The photos become a visual document, bringing important information to the history of
the respective building, whose aspect has been modified (the University of Bucharest), or has been
demolished (the Colfea Tower), showing the urbanistic frame of the capital, or the aspect of the
monasteries in the region of Oltenia at the end of the 19th century.
Horia Vladimir §erb nescu
Carol Szathmari, Military Photographer
Carol Szathmari was the first war photographer. He started his career as a military photo reporter
during the Crimeean War, immortalizing figures of officers and troops and aspects of everyday military
life of, both, the imperial russian army, when she invaded the Romanian principalities and of the allied
troops in Crimea. The greatest part of the photographs taken on that occasion was gathered in an album
presented at the Universal Exhibition of Paris, in 1855, where it was awarded with a medal. Then the
album was offered to the emperor Napoleon III, the queen Victoria, the emperors of Austria and Russia
and to other monarchs in Europe.
After the end of the war Carol Szathmari continued his work as a photographer. He installed his
studio in Bucharest and won a great prestige by the quality of the photographs he made, most of them
studio pictures but also landscapes, churches, monasteries or historical buildings. Among the subjects
tackled by Carol Szathmari were also the military, posing in individual or group photographs, on private
circumstances, sometimes standing by civilian people, or in official individual or group pictures, such
as the famous photograph of the Romanian army regiments commanders, taken in 1862.
In 1863, Carol Szathmari was designated as official painter and photographer of prince
Alexandra loan I and produced the official picture of the prince, dressed in various military uniforms,
and also of his wife, princess Elena Cuza. These images, also reproduced in lithographs, which saw a
wide spreading, imposed prince Cuza’s figure among the Romanian public conscience.
From 1866 Carol Szathmari became the official photographer of the new prince Carol I, making
photos of him dressed in a general-en-chef uniform, but also of different military, most of them officers.
In 1877 Szathmari was included into the artists and war correspondents group who was accepted
to accompany the Romanian and Russian troops in campaign, ambulances, etc. Beside, Szathmari also
took pictures of the Russian military. Some of these photographs were used as a documentary source
for lithographs published in famous illustrated magazines, such as: L’Illustration, Illustrated London
News, Ilustrierte Zeitung or Resboiul.
The study is accompagnied by several pictures which present the most significant military
photographs made by Carol Szathmari.
Adriana Dumitran
Advertising Graphic of Carol Pop de Szathmari Photo Cards
In the 19th century graphic advertising used on photo cards had the specific purpose to identify
the photographers establishment and its location. Along with this essential information the official
284
status of the photographer was also announced as well as the awards received for his activity. Graphic
advertising created a visual identification for each photographer, a brand in nowadays words, by a
specific design, colors and complexity of information.
Carol Pop de Szathmari created and used several types of photo cards where he advertised each
change of this official status - becoming the Court photographer for Alexandru loan Cuza or Carol I,
medals and awards received at the international exhibitions or the different locations of his photographic
establishment. The subject of this paper is to analyze the evolution of the graphic advertising of Carol
Pop de Szathmari photo cards.
Ruxandra Dreptu
Szathmari the Photographer - Painter of the Remotness
Both photo and picture are visual images bound together by a similar kind of view. The artist
transposes on canvas what the photographer might have seen. But, the painter’s eye used with the
esthetic of limitation is the one who frames the landscape. Through the camera lens the artist observes
and reproduces what he learned at the Academy of Fine Arts.
Sometimes the result is the same, the images overlap. Szathmari paints far-away landscapes
because he loves to take photos from the distance. Cheile Dámbovicioarei photos have panoramic sight
to cover as much of the impressive landscape. The painting with the same title is a replica of the photo,
only the chromatic is different in a fine transition from dark to light nuances due to the perspective. The
minimized people make the image monumental and suggest the far away.
The unique portrait of Carol Pop de Szathmari was painted by Misu Pop where he looks like a
stylish, nostalgic traveler.
Monika Faber
Andreas Groll (1812-1872)
„Album der Banater Besitzung der STEG”
Portfolio of the State Railway Company’s Possesions in the Banat Region 1859/61
By the end of 1854 the Austrian Emperor Franz Josef sold not only the existing lines of the
southern railroad, but the right to exploit the natural resources of a whole region, the hilly parts of the
Banat, today in the west of Roumania, as well. All this was acquired by a joint stock company with the
headquarters in Paris, the Staatseisenbahngesellschaft (StEG). Within the next few years, the mining
industry there developed from dispersed shafts and small metal working units into an agglomeration
of big manufacturing plants in the latest state of art. But not only the industry underwent an enormous
change, the local infrastructure was also transformed radically through the input oft he StEG. New
villages were founded along the needs of the company’s production, new public conveyance made it
possible to transport goods rapidly within the region and abroad.
Along material in archives in Romania and Vienna, some extraordinary sources tell us stories
about this rapidly developing region. More than 100 pictures made by Andreas Groll, a Vienna based
photographer have survived. An impressive number of these photographs was shown at the London
International Fair in 1862 for the first time. Andreas Groll had worked for the StEG since 1855. He took
photographs of all the locomotives in use on the Austrian Southern railways, thereby creating a kind of
inventory. Evidently all production sites where photographed. Groll took pictures of the hard coal shafts
and of the charcoal kilns, the mills and the furnaces, the court house and the administration buildings, a
paraffin plant and facilities for distillation, the new railroad viaduct, the port at the Danube and so forth.
So far the topics are comparable with the beginning practice of photography for industrial use.
Therefore the photographs also include many group portraits of peasants in their local costumes, as well
as pictures of the rural landscape, churches and workers* dwellings, traditional oxcarts, old watermills
and much more. All this together makes Groffs portfolio of the Banat a unique document of a region
in Central Europe around 1860.
285
Silvana Rachieru
From Family Portraits to Imperial Propaganda: Photography in the Ottoman Empire
The second half of the nineteenth century brought not only reforms and modernization to
the Ottoman Empire, but also a new fashion: photography, as the most popular form to preserve the
memories and share them with others at the same time. In the heart of Pera, the modem European
quarter of Istanbul, photographers opened prestigious studios by 1900 and had long lists of important
names of the Empire among their clients. The most imposing inscription on the windows was “official
photographer of the Sultan”, the slogan which opened the way to a wide success. Photographers were
not used exclusively for personal purposes, they served the official imperial propaganda which aimed to
present the Empire as a modem European state. Images varied from monuments to everyday life scenes
and different comers of the empire were included in the albums sent as gifts to the European courts.
The paper will focus on the development of photography in the Ottoman Empire, viewed from the
perspective of an Islamic state which avoided for centuries any human representation and consequently
art of portraits did not have a place inside the Ottoman world. The role of photographers in Istanbul’s
high-life society, the attraction to family portraits, imperial albums and the use of photography as a
personal and state propaganda are among the topics of this presentation.
Konrad Klein
Ein siebenburgischer Fotopionier
Anmerkungen zu Leben und Werk des Zeichenlehrers,
Malers und Fotografen Theodor Glatz
The history of photography in Transylvania and especially in Sibiu (Hermannstadt) is closely
connected to the name of the drawing teacher, painter and photographer Theodor Glatz (1843-1871).
Since Charles Boner’s famous book Transylvania, its products and people (1865), where he described
the art of photography in the cities of Cluj-Napoca, Sibiu and Bistrita as being in a very advanced
state, it is well known that Ferenc Veress, Theodor Glatz and Carl Koller were pioneers in their field.
The following study explores the life and work of Glatz, who, since his early beginnings, was a
restless, nearly monomanic documentarist of people and places, first with his sketchbook and later
with his camera. To this aim, visual and textual documents - some of them previously unpublished
- are presented and analyzed by putting them into the context of contemporary local history, thereby
throwing light on the circumstances of Glatz’s activities and pioneering role as a photographer. His
passion as well as his outstanding influence can be observed by looking at the works of those who were
introduced by him into the secrets of photography: Carl Koller, his niece Camilla Asboth (probably
the first woman photographer in Transylvania), Albert Schivert, Alexander Maierhofer and others.
For his works shown at expositions in Paris (1867), Hamburg (1868) and Groningen (1869), he was
rewarded with a mention honorable and two silver medals. Glatz’s photographies were also very much
appreciated in the Austrian Empire and in Bavaria, e.g. by the history painter Wilhelm von Kaulbach.
- The research results presented in this article will be further elaborated in a monographic study on
Glatz’s photographic work.
Albert Schupler
Veress Ferenc
The beginnings of Transylvanian photography are attributed to Verres Ferenc, the founder of
the first photography workshop (1853). With a prodigious career of over 60 years, during which he
took over 200 000 photos, the Transylvanian photographer was for a long period of time the only one
concerned with all aspects of photography. His research and experiments were to lay the foundation
for color photography, photocromation, the images obtained with this technique were presented at
the World Exhibition in Paris (1889). His passion takes him on many journeys where he would meet
numerous leading photographers like Niepce, Vaillant, Charles Gayner, Anton Martin, Locherer and
286
others. He became the first photography teacher at the Ferenc József University in Cluj Napoca (1881)
and was the editor and publisher of one the most prestigious photography magazine. His most important
writings: A fényképészet múltja, jelene és jóvóje hazánkban. Torténeti eszmetoredék (The past, present
and future of photography in our country), Hasznos jegyzetek a száraz eljárás korüli elóidézések - és
erósítésekról (Practical Notes on dry developing and fixing procedures).
Among other significant achievements, Verres obtained notable results in photoceramics, but
most important, he succeeded in producing clichés on glass plates as negatives to make positive copies
using them.
Cristian Graure
“A New Vision of the World”-
Nineteenth Century Banat Seen through the Lens of the Stereoscopic Camera
The emergence and practice of photographic stereoscopic format throughout Europe, coincides
largely with the industrial development and technical dimensions offered by The Victorian Era of the
United Kingdom and the Second French Empire. Invented by the Englishman Sir Charles Wheatstone
in the late 40’s of the nineteenth century, this process was later patented by the French optician Dubosq
and was revealed for the first time to the public at the “Great Exhibition” held at Crystal Palace in
London in 1851, beeing largely mediated by the new developments and the introduction of the wet
collodion and the negative glass process of F.S. Archer.
Joining this new method of expression by creating photographic images of space and depth
effect had a fast impact in Continental Europe spreading in the “Belle Epoque Era”, and over the eastern
extremity of the cultural and geographic spaces, encouraged by the policy of the Austro-Hungarian
Empire under the patronage of Franz Joseph, arriving in the Banat, a region with high affinity for the
new modem visions, especially for photography.
Made using a camera provided in front with double lens, positioned in relation to the
interpupillaiy normal distance of the human eyes, and viewed through a stereoscope, these pairs of
images have become a popular way of entertainment in the second half of the nineteenth century. Seen
as a tool to local promovation, this practicing method occurred shortly after entering the market, and
since 1860 by the emergence of specialized establishments in their production, such as the Reverend
Joseph Brand’s studio in Timisoara, one of the local pioneers in the field with Optical and photographic
experiments, and later by the initiatives of Fridolin Hess and of his grandson Joseph Kossak-Bohr, so
much in the region’s capital and together with the photographer Adolf Wippler in Herculane Spa.
Cristian Graure
Documentary Contributions to the History of Photography in Banat:
Jozsef Brand and the Revelation of Photography
Brand was bom in 1841 in the village of Scaius, Caras County (Banat region). After he
completed his studies at Timisoara between 1852 and 1866, he occupies several functions as chaplain,
administrator and teacher at Lugoj.
Starting with the year 1870 he becomes a teacher at Timisoara and then Parochial Priest at the
Church of St.Ecatherine in the Citadel City.The first contacts with photography happens during his
activity as a teacher at the „Piarist Gymnasyum”, being drawn by phisics and optic phenomena, and in
a short period he adopts especially the stereoscopic photography genre, a practice that follows him to
the end of his life.
He collaborates at the beginings with Fridolin Hess in Lugoj, then in Timisoara, later with
the famous vienese photographer, Fritz Luckhardt and then with Kossak Jozsef, with whom later will
accomplish a series of photographic images in the Banat region and also in Paris, Germany, Austria,
Bulgaria and especially in Rome, where he was designated to go on a pilgrimage.
In his personal house in the St. George Square he will set up a photo studio, where he will
practice photography in his own personal use. His place at that period of time is unveiled by a series
of his own photo images taken during several years, together with a series of remarkable images of
287
the city Timisoara. Passionate about arts and science, Brand was a collector of diferent objects from
different fields, especially optics and photographic, and he will manage to arrange his own laboratory
in the house. He experiments with the Dallmeyer lenses and produces a series of images with incredible
clarity for that period.
Ioana Vlasiu
Photography as a Meetingplace of Modernities. Szathmari Revisited by Ion Grigoreseu
The enthusiasm generated by photography, already at its beginning, has to be correlated, as far
as the 19th century is concerned with the discovery of nature and reality, with the obsession of truth and
a positivist mentality, as well as with the success of realist trends in art.
The capacity of photography to be exact, to compete with painting, impressed from its very
beginning, but at the same time generated violent criticism (see Baudelaire), as exactness wheedles
the taste of crowds incapable of understanding art. Szathmari and Aman, main figures of Romanian
modernity, used to act like artists of their time, when they use photography as contributory to painting, as
they were convinced, they were able to replace what they thought to be a sort of deficiency of painting and
their place in a history of connections between painting and photography has been thoroughly studied.
In the 70s Romanian art had already pushed aside the socialist realism style, rejected as a mean
of propaganda and forgery. Abstract art had come in first place, also probably as an excessive reaction
to the ideological constraint of the 1950s. An artist like Ion Grigoreseu is considering abstraction as
a nonsense, and so distressing daily reality becomes a subject of reflexion, to him as an artist. His
interest in photography starts at this point and becomes a main source to his imaginary, he uses in his
work - painting, graphics, photography, film - “realityframes”, as a critic used to call them. Grigoreseu
discovers an “ancestor” in Carol Szathmari and starts to write articles about him in the “Arta” Revue on
him. He also makes copies from glass negatives by Szathmari in the Storck Museum.
Our paper intends to decode the approach and interest of this contemporary artist, obsessed by
truth and a passionate of photography, in the work of a predecessor, a meeting thta benefitted them both.
Adrian-Silvan Ionescu,
Szathmari as Revealed by the Archives
It is the express intention of this article to emphasize the crucial importance for every researcher
to dig deep into the archives before venturing to talk about the life and work of Szathmari. The
bicentenary of the artist was marked by a plethora of publications; unfortunately not all of them rose to
the occasion and the main reason for the mistaken data that hindered some of these articles is the lack
of adequate research; the archive documents about Szathmari lying down undisturbed in the National
Archives and other Museums and Libraries.
To mention only a fragrant mistaken identity professed by several articles for the public at large:
the portrait of an elegant dandy that stood for a photo shoot in the artist’s studio became a self portrait
of Szathmari for some pseudo researchers who didn’t bother to compare this portrait with the other
well known self portraits, 11 in total and see that it bears no resemblance. And breaking news is the
discovery of the 1880 official documents that proclaimed Szathmari Romanian Citizen together with
his 1865 renunciation to the Austrian citizenship.
Adriana-Natalia Bangala
A Selection of Pictures from Carol Pop de Szathmari’s Albums ’’Romania”
to be found in The Prints Cabinet of Library of The Romanian Academy
Carol Pop de Szathmari was aknowledged in the world history as a pioneer photographer.
He was the first who took pictures in the battle fields of Crimeea, using the most advanced technics
of photography in the 19th century, accomplishments enriched by his painter natural gift. The art of
photography gave him the national recognition as the Court’s official photographer and international
fame through high European distinctions.
288
As the official painter and photographer of the rulers Alex. loan Cuza and Carol I, Szathmari
joined them in the journeys and took some series of pictures, gathered in gift albums later on.
The Library of the Romanian Academy is the owner of five albums with the signature of C.P. de
Szathmari; the album dedicated to Princess Elena Cuza, a gift from 1863, the album with photographs
of The Episcopal Church from Arge§ Court, dedicated to Prince Carol I, in 1866, and another three
albums from 1867, entitled by the author: Romania. Album of H.M. Prince Carol I.
The latest researches on the albums named Romania revealed the photographer’s route of
taking these series of pictures: from Oltenia, Craiova, to Prahova Valley and from Bucharest environs,
to the capital town. Based on Prince Carol’s diary, some of the photos within Romania were framed
chronologicaly, and the archive study in the Library of the Romanian Academy helped us to establish
the initial order of the pictures composing the albums.
289 |
| any_adam_object | 1 |
| author2 | Ionescu, Adrian-Silvan 1952- |
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| building | Verbundindex |
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| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Conference Proceeding Book |
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| indexdate | 2025-01-03T06:54:09Z |
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| spelling | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries coordonarea volumului, prefaţă şi cronologie/edited by, and with a foreword and chronology by Adrian-Silvan Ionescu Szathmári: pioneering photographer and his contemporaries Bucureşti Editura Oscar Print [2014] 300 Seiten Illustrationen, Porträts txt rdacontent n rdamedia nc rdacarrier This volume gathers the papers presented at the international conference held to celebrate the 200th anniversary of the birth of Carol Popp de Szathmari. The contributors offer fresh insight into the life and career of this gifted artist, who has gained fame both as a photographer and as a painter. Richly illustrated, the publication includes a number of previously unpublished pictures Beiträge teilweise englisch, teilweise rumänisch, teilweise deutsch. - Zusammenfassungen in englischer Sprache Szathmári Pap, Károly 1812-1887 (DE-588)129163775 gnd rswk-swf Geschichte gnd rswk-swf Maler (DE-588)4037215-7 gnd rswk-swf Fotograf (DE-588)4045893-3 gnd rswk-swf Ungarn (DE-588)4078541-5 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 14.05.2012-16.05.2012 Bukarest gnd-content Szathmári Pap, Károly 1812-1887 (DE-588)129163775 p Ungarn (DE-588)4078541-5 g Fotograf (DE-588)4045893-3 s Maler (DE-588)4037215-7 s Geschichte z DE-604 Ionescu, Adrian-Silvan 1952- (DE-588)1176441744 edt wpr Szathmari, Pionier al Fotografiei, şi Contemporanii săi (Veranstaltung) 2012 Bukarest Sonstige (DE-588)1107818478 oth Digitalisierung ZIKG München application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029096348&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029096348&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029096348&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries Szathmári Pap, Károly 1812-1887 (DE-588)129163775 gnd Maler (DE-588)4037215-7 gnd Fotograf (DE-588)4045893-3 gnd |
| subject_GND | (DE-588)129163775 (DE-588)4037215-7 (DE-588)4045893-3 (DE-588)4078541-5 (DE-588)1071861417 |
| title | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries |
| title_alt | Szathmári: pioneering photographer and his contemporaries |
| title_auth | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries |
| title_exact_search | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries |
| title_full | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries coordonarea volumului, prefaţă şi cronologie/edited by, and with a foreword and chronology by Adrian-Silvan Ionescu |
| title_fullStr | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries coordonarea volumului, prefaţă şi cronologie/edited by, and with a foreword and chronology by Adrian-Silvan Ionescu |
| title_full_unstemmed | Szathmári pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries coordonarea volumului, prefaţă şi cronologie/edited by, and with a foreword and chronology by Adrian-Silvan Ionescu |
| title_short | Szathmári |
| title_sort | szathmari pionier al fotografiei si contemporanii sai szathmari pioneering photographer and his contemporaries |
| title_sub | pionier al fotografiei şi contemporanii săi = Szathmári: pioneering photographer and his contemporaries |
| topic | Szathmári Pap, Károly 1812-1887 (DE-588)129163775 gnd Maler (DE-588)4037215-7 gnd Fotograf (DE-588)4045893-3 gnd |
| topic_facet | Szathmári Pap, Károly 1812-1887 Maler Fotograf Ungarn Konferenzschrift 14.05.2012-16.05.2012 Bukarest |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029096348&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029096348&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029096348&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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