Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii
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| adam_text | CURPINS Introducere................................................................................................................................................11 Clasificarea scopurilor şi puncte de referinţă.........................................................................................!3 Capitolul L „Argint din raza soarelui”. Originile fotografiei reprezentate prin evoluţii tehnice între 1800 şi 1910......................................................................................25 1.1. Etimologia termenului „fotografie”...................................................................................................26 1.2. Principii generale ale camerei obscure.............................................................................................. 27 1.3. încercări timpurii de obţinere şi fixare a imaginii........................................................................... 30 1.4. „Imaginea latentă” şi procedee direct pozitive..................................................................................33 4.1. Heliografia..................................................................................................................................33 4.2. Dagherotipul..............................................................................................................................35 4.3. Dagherotipul îmbunătăţit şi aplicaţiile sale în portretistică.................................................... 43 4.3.1. Expresia estetică a societăţii: prezentarea şi valorificarea dagherotipurilor........... 47 4.4. în căutarea unor
metode alternative........................................................................................ 49 4.4.1. Procedeul Bayard.........................................................................................................49 4.4.2. Ferotipul....................................................................................................................... 50 1.5. Negativul pe hârtie, o nouă capacitate sintactică a evoluţiei tehnice..............................................52 5.1. Desenul fotogenic...................................................................................................................... 52 5.2. Negativul pe hârtie şi calotipia.................................................................................................. 53 5.3. Aspiraţii artistice. Definirea imaginii fotografice prin aplicarea culorii................................ 58 5.4. Reinterpretările negativului pe hârtie şi introducerea albuminei...........................................65 1.6. Negativul pe sticlă, tranziţia de la tehnică la semnificaţie...............................................................66 6.1. Negativul pe sticlă şi colodiul umed.........................................................................................66
6.2. Aplicaţiile tehnice ale colodiului umed.................................................................................... 70 6.2.1. Ambrotipul...................................................................................................................70 6.2.2. Retorică şi reinterpretare. Cartea de vizită şi evoluţia fotografiei creative............. 72 6.2.3. Cartea de vizită şi apariţia albumelor fotografice......................................................79 6.3. Negativul pe sticlă şi colodiul uscat (clişeul uscat, emulsia de gelatină)................................82 I. 7. O nouă cucerire: negativul flexibil.................................................................................................. 86 7.1. Negativul pe suport flexibil de hârtie........................................................................................86 7.2. Negativul pe celuloid (rolfilm).................................................................................................. 87 Capitolul II. Tendinţele occidentale şi apariţiei fotografiei în Banat..................................................91 II. 1. Renaşterea fotografiei în Imperiul Austriac.................................................................................. 91 ĪI.2. Originile imaginii fotografice în Banat.......................................................................................... 104 2.1. Fotografi itineranţi prin Timişoara între 1839 şi 1859. Dagherotipul, Silueta, Calotipia................................................................. 105 2.2. Incursiune prin
ateliere dagheriene din Banat între 1851 şi 1860....................................... 120 CA PI TO LUL 111. Fotografìa în Banat: relaţia dintre subiect, formă şi percepţie în secolul al XIX-lea.........................................................................................................................125 ПІЛ. Contribuţii plastice la reprezentarea fotografică din Banat (1839-1860).................................. 125 1.1. Dagherotipul retuşat prin culoare............................................. 125 1.2. Calotipia şi fotografia pictată pe suport de hârtie.................................................................131 III. 2. Seriile şi proiectele foto-documentare oficiale din Banatul Montan...................................... 137 2.1. Proiectul fotografului vienez Andreas Gröli: „Album der Banater Besitzungen“ (1862).... 138 2.2. Fotograful Anton Rohrbach, martor al proiectelor feroviare bănăţene (1861-1863)............144 2.3. „ Weltausstelung” şi exponenţii fotografiei documentare din Banat în anul 1873............... 146 2.4. Tematica industrială redată în fotografia din Banat între 1874 şi 1900.............................. 157
Capitolul IV. Arta fotografică din Banat între 1855 şi 1890....................................................................... 165 IV. 1. „Timpul într-un cadra”. Timişoara fotografică între 1855 şi 1890............................................165 Capitolul V. O analiză topografică a fotografiei din Banat între 1860 şi 1900................................... 183 V. l. Lugojul şi fotografia până la 1900.............................................................................................. 184 V.2. Oraviţa şi atelierele de fotografie între 1860 şi 1900.................................................................... 192 V.3. Atelierele de fotografie din Reşiţa între 1870 şi 1900.................................................................. 198 V.4. Ateliere de fotografie din Bocşa.....................................................................................................200 V.5. Ateliere de fotografìe din Steierdorf-Anina..................................................................................201 V.6. Ateliere de fotografie din Caransebeş........................................................................................... 203 V.7. Băile Herculane, centru al fotografiei de vilegiatură.................................................................... 207 V. 8. Atelierele de fotografie din Orşova între 1865 şi 1900..............................................................224 Capitolul VI. Statutul fotografului şi practicarea comerţului de profil în Banat........................... 229 VI. 1. Cadrul legislativ şi
fotografia....................................................................................................... 229 VI.2. Comercianţii cu articole fotografice în Banat............................................................................. 234 VI.3. Banatul secolului al XIX-lea văzut prin lentilele camerei stereoscopice.................................... 241 VI.4. Albumele de fotografie în Banatul secolului al XIX-lea..............................................................262 VI.5. „Curiozităţi fotografice” în Banatul secolului al XIX-lea...........................................................266 VI.6. Aspiraţii artistice. Evenimente, expoziţii şi societăţi de fotografie din Banat între 1847 şi 1914 ....................................................................................................................... 270
Cuprim Capitolul VII. Paşi spre modernitate. Evoluţia fotografiei din Banat între 1900 şi 1918.................. 283 VIL 1 .Timişoara....................................................................................................................................... 283 1.2. între artă şi mediatizare. Atelierul Kossak şi continuitatea tradiţiei fotografice timişorene ..285 VII.2. Lugoj.............................................................................................................................................. 287 VĪI.3. Activitatea fotografică în localităţile Banatului până la 1914....................................................289 VII.4. Perspectivele Marelui Război reflectate în fotografia din Banat...............................................293 4.1. Fotografia acasă şi amatorii pe front între 1914 şi 1918........................................................293 4.2. Fotografia aeriană în timpul războiului.................................................................................. 306 4.3. Sfârşitul războiului şi parada trupelor în fotografie.............................................................. 311 ARTIŞTI FOTOGRAFI DIN BANAT. STUDII DE CAZ................................................... 319 I. Fotograful Fridolin Franz Hess...........................................................................................................321 II. Fotograful Wilhelm Friedrich Hess.................................................................................................. 341 III. Fotograful Basil
Danilović................................................................................................................ 344 IV. Preotul József Brand şi „revelaţia fotografiei”................................................................................. 350 V. Fotograful imperial Kossak József-Bohrer....................................................................................... 366 VI. Fotograful Hutterer Géza şi sudul Banatului..................................................................................405 Concluzii................................................................................................................................................ 413 Surse documentare................................................................................................................................ 417 Summary................................................................................................................................................ 431 Abrevieri ................................................................................................................................................435 Sursele ilustraţiilor copyright............................................................................................................ 437
SURSE DOCUMENTARE A. Surse inedite Albertina Museum Wien (Muzeul Albertina, Viena). Arhiva Mitropoliei Banatului Timişoara. Archivům Diocesanum Timisoarensis- ADT (Arhiva Episcopiei Catolice de Timişoara) Arhiva Franc-Masoneriri Maghiare, Budapesta, Fond Loja Zu dem drei weissen Lilien. Biblioteca Naţională a României, Bucureşti, Colecţia de fotografii. Civici Musei di Storia ed Arte Trieste, Archivio Sartorio Scatola, 6 (Muzeul orăşenesc de istorie şi artă din Trieste, Italia, Arhiva Sartorio Scatola). Muzej primenjene umetnosti Beograd, Srbja (Colecţia Muzeului de Arte Aplicate din Belgrad, Serbia). Colecţiile Teatrului Vechi „Mihai Eminescu” din Oraviţa, Caraş-Severin. - Fond Mapă Fotografii. - Fond Istoric. Complexul Muzeal Arad. Muzeul de Relicve. - Fond Colecţia de Fotografii. Gradski Muzej Vršac, Srbja (Muzeul oraşului Vârşeţ, Serbia). Historical Archive of Bela Crkva, Srbja (Arhivele istorice din Biserica Albă, Serbia). Magyar Műszaki és Közlekedési Múzeum (Muzeul Tehnicii din Budapesta). OMM, F 813/1; F 813/4 şi F 814/2. Magyar Fotográfiai Múzeum Kecskemét (Muzeul de Fotografìe al Ungariei din Kecskemét). Magyar Nemzeti Múzeum, Budapest (Muzeul National al Ungariei, Budapesta). Muzeului Banatului din Timişoara-MBT. - Colecţiile Secţiei Istorie. - Colecţia de clişee fotografice. Muzeul Banatului Montan Reşiţa, Colecţia de fotografii şi clişee pe sticlă. Muzeul de Istorie, Etnografie şi Artă Lugoj - MIEAL, Colecţia de fotografii şi clişee pe sticlă. Muzeul de Artă Timişoara, Colecţia de artă bănăţeană şi fotografii. Photoinsitut Bonartes, Viena, Colecţia de
fotografii. Serviciul Judeţean Caraş-Severin al Arhivelor Naţionale (SJCSAN).
Bibliografìe 418 - Fond Documentele StEG. - Fond Camera de Comerţ şi Industrie Lugoj. - Fondul de fotografii. - Fond Tribunalul judeţului Severin. Serviciul Judeţean Mehedinţi al Arhivelor Naţionale (SJMAN). - Fond Pavel Gobanu. Serviciul Judeţean Timiş al Arhivelor Naţionale (SJTAN). - Fond Aurel Cosma Jr. - Fond Colecţia de fotografii şi clişee. - Fondfirme individuale. - Fond Registre Matricole Parohiale. - Fond Registrul Comerţului. - Fond Sim. Sam. Moldovan. - Tribunalul Timiş-Torontal. Colecţii particulare din România: Adrian-Silvan Ionescu, Bucureşti. Cornel Hamat, Timişoara. Cristian Graure, Timişoara. Dan Leopold Ciobotaru, Timişoara. Eugen Bercei, Timişoara. Ionel Bota, Oraviţa, Caraş-Severin. Liubomir Stepanov, Timişoara. Liviu Groza, Caransebeş. Stevan Bugarski, Timişoara. Victor Tăutu, Şasea Montană, Caraş-Severin. Colecţii particulare din afara României: Endre Kémény, Ungaria. Günther Friedmann, Germania. Helmut Wälde, Germania. Luzian Geier, Germania. B. Surse edite Amateur-Kunst, 37 Photogravuren nach Naturaufnahmen aus der unter dem höchsten Protectorate Ihrer Kaiserlichen Hoheit der durchlauchtigsten Frau Erzherzogin Maria Theresia veranstalteten Internationalen Ausstellung künstlerischer Photographien zu Wien 1891, Wien, Verlag der Gesellschaft für vervielfältigende Kunst, 1891.
Cristian GRAURE Anthony, Edward, A comprehensive and systematic catalogue of photographic apparatus and material. Manufactured by E. Anthony, Henry H. Snelling, New York, 1854. Archer, Frederick Scott, Esq., On the use of Collodion on Photography ín The Chemist, a monthly journal of chemical and physical science. Edited by John and Charles Watt, volume II, New Series, London, 1851. Ausstellung des Deutschen Photographen-Vereines in Berlin, in Photographische Correspondem. Organ der Photographische Gesellschaft in Wien, Verlag H. Vogel, Leipzig, Wien, 1900. Daguerre, Louis Jacques Mandé, Historique et description des procédés du daguerréotype et du diorama, Susse Freres, Paris, 1839. Du Vernay, J-D., Statistique de la photographie, in La Lumiere, September, 1852. Ethnographisch-topographische Beschreibung des Bergortes Steierdorf im Banat, 1859. Foto-Ausstellung. Österreichs Bundesländer im Lichtbilde, Ausst.-Kat., Wien, Leipzig: Fiba, 1933. Gaudin, Marc Antoine, Traité pratique de photographie, exposé complet des procédés relatifs au Daguerréotype, avec description de sa nouvelle méthode pour travailler au bain d argent, Paris, J. J. Dubochet, 1844. Grofşorean, Bela K., Az 1912. Evinagy arviz emlek-albuma, Gutenberg Kiadó, Lugos, 1912. Katalog der Jubiläums-Ausstellung der Photographischen Gesellschaft in Wien anlässlich ihres 40jährigen Bestandes, Ausst.-Kat., Wien, Selbstverlag, November 1901, (2. Aufl.) 1901. Maniei, Vincent Jaques, Katalog der Staats-Eisenbahngesellschaft anlässlich der Londoner Austeilung, Wien, 1862. Photographische Gesellschaft in Wien, Mitglieder-
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Bibliografie 420 Atenaeum Journal of Literature, S.cience and the Fine Arts, London, 1840. A város, Debreczen, 1909. Banatica. Beiträge zur deutschen Kultur, Freiburg in Br., 1990-2002. Banater Telegraph, Temeswar, 1851. Banatul, Timişoara, An 1,1919. Berggeist Orawitzer Wochenblatt, Oravicza, nr. 1, anul 1,1868. Blackwood s Edinburgh Magazine, Edinburgh, No. CCCXXIII, September, 1842. Bucureşti. Materiale de istorie şi muzeografie, Muzeul Municipiului Bucureşti. Bukarester Deutsche Zeitung, Bukarest, 1853. Buletinul Justiţiei, Cluj, 1925. Délmagyarországy Közlöny, Temesvár, 1890,1891. Erdélyi Híradó, Kolozsvár, 1848. Fényképészeti Értesítő, Pest, 1896. Fényképészeti lapok, Kolozsvárit, 1882-1898. Folia Archaeologica, Budapest, X, 1958. Fotóművészet, Budapest, 2010. Gazeta de Transilvania, Braşov, 1842. History of Photography, Spring Books, London, Volume 11,1987; volume 17,1993. Honművész, Pest, 1833. Journal of the Royal Institution, London, No. 9, 22 June, 1802. Kiállítási Lapok, Budapest, 1885. Krassó-Szórenyi Zeitung, Lugos, 1890. Krassoer Zeitung, Lugos, 1866-1879. Literary Gazette, London, 1840. Mindenki Kalendáriuma, Temesvár, 2009. Nera. Weisskirchner Zeitung, Weisskirchen, 1867. Neue Banater Zeitung-NBZ, Temeswar, 1978-1982. Neue Temeswarer Zeitung, Temesvár, 1870,1874-1882. Oraviczaer Wochenblatt, Oravicza, 1884-1888. Orschowaer Wochenblatt, Orşova, 1890-1913. Orsovaer Zeitung, Orşova, 1880-1913. Pesti Napló, Pest, 1851. Photographische Chronik. Beiblatt zum Ateliers des Photographen, Verlag von Wilhelm Knapp, Halle, 1896. Photographische Correspondem,
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Cristian GRAURE 42! Photographen-Zeitung, Berlin, 1898. Răsunetul, Lugoj, 1920-1949. Schwäbischer Volkskalender, Temesvár, 1928. Städtische Pressburger Zeitung, Pressburg, (1822). Studii şi comunicări, Museum Arad, 1999-2004. Südungarische Bote, Lugos, 1881. Szegedi Híradó, Szeged, 1859. Temesvári Üzlet-czimtár és lakczimmutató, Temesvár, 1901. Temesvári üzlet- czímtár, Temesvár, Kiadja SzalatzkyTstván, 1902. Temesvárer Zeitung, Temesvár, 1889-1909. Terra Sebvs. Acta Musei Sabesiensis, Muzeul oraşului Sebeş, 2011. Timpul, Reşiţa, 1995. Történelmi és Régészeti Értesítő, Temesvár, 1875-1909. Tribuna Poporului, Arad, 1890-1909. Temeswarer Wochenblatt, Temesvár, 1839-1860. Temesvarer Zeitung, Temesvár, 1857-1922. TheAtenaeum. Journal of Literature, Science and the Fine Arts, London, No. 656,1840. The British Journal of Photography, London, February 1878. The Chemist A monthly journal of chemical and physical science. Edited by John and Charles Watt, volume II, New Series, London, 1851. The Monthly Chronicle ofEvents, Discoveries, Improvements, and opinions, voi. I, Boston, 1840. The Times, London, 1839. The War Illustrated, London, 1917. Umts und Intelligenzblatt, Temesvár, 1859. Vasárnapi Újság, Budapest, 1864-1909. Vestitorul Românesc, Bucureşti, 1851. Volkszeitung, Kronstadt, 1966. Werschetzer Gebirgsbote, Werschetz, 1859-1863. Wiener Tagesbericht, Wien, 1862. Wiener Zeitung, Wien, 1841. Zeitschriftfür Siebenbürgische Landeskunde, Böhlau Verlag Köln-Weimer-Wien, 28 (2005). Publicaţii generale Acea, Stelian, Fotografia- repere istorice, Ed. Brumar, Timişoara, 2013. Agnster,
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Szathmári, pionier alfotografiei şi contemporanii săi, Ed. Oscar Print, Bucureşti, 2013. Idem, Războiul cel mare. Fotografia pe frontul românesc, 1916-1919, Ed. Institutului Cultural Român, Bucureşti, 2014. Keckeis, Martin (Ed.), Bildpolitik der Ingenieure: Fotokampagnen der к. к. privilegierten österreichischen Staats-Eisenbahn-Gesellschaft 1855-1879 (Beiträge zur Geschichte der Fotografie in Österreich), Wien Photoinstitut Bonartes, Fotosammlung der Albertina Wien, 2006. Kincses, Károly (Ed.), Jacques Faix az aradi klasszikus, Magyar Fotográfiai Múzeum, Kecskemet, 2004. Knôtik, T. Marta, Fenyirok ésfenyirdak Szegeden, Szeged, 2009. Kulhánek, Helmut, Cartofilie reşiţeană. Ilustrate istorice din patru decenii 1898-1938/ Reschitz. Historische Ansichtskarten aus vier Jahrzehnten 1898-1938, Editura Cosmopolitan-Art, Timişoara, 2013. Malič, Goran, FotografMilan Jovanovič, Beograd, 1997. Idem, Letopis srpske fotografije (1839-2008), Fotogram, Beograd, 2009. Miklosik, Elena, Oameni uitaţi, în Studii şi comunicări, 4-5, Museum Arad, 1999, p. 352-371. Németh, Ferenc, A bánáti fényképészet története 1848-1918, Fórum Kiadó, Újvidék, 2002. Perac, Jelena, Passing on Memories. Family Photograph Albums from the Museum of Applied Art Collection, Muzeum of Applied Art, Belgrade, 2008. Radosavljevič, Ozren, O. Pomenik belocrkvanskih fotografa, Bela Crkva, 1989.
430 Bibliografie Rutheford, Emma, Silhouette: The Art of the Shadow, Rizzoli International Publications, New York, 2009. Săvulescu, Contantin-E. Fiap, Cronologia ilustrată a fotografiei din Romania, Bucureşti, 1985. Stari, Timm, Lexikon zur Fotografie in Österreich 1839 bis 1845, Albumverlag, Wien, 2005. Sontag, Susan, On Photography, New Edition, Penguin Books, London, 1977. Stoichiţă, Ieronim Victor, Scurtă istorie a umbrei, Ed. a 2-а, Bucureşti, Editura Humanitás, 2008. Szakács, Margit, Fényképészek és fényképészműtermek Magyarországon (1840-1945), Budapest, 1997. Szilágyi, Gábor, Ճ fotomuveszeti kiállítások szakrepertoriuma (1890-1945), Magyar Fotóművészek Szövetsége, Budapest, 1978. Tomic, Natasa, Anastas Jovanovič. The first Serbian Photographer and Lithographer in Collections of the Military Museum, Belgrade, 2011.
SUMMARY Since 1839 Photography imposed as a stylistic shift in arts, in portraiture and narrative subjects, popularizing new forms of visual expression through a variety of methods that were more efficient. Documentary photography, social, themed studio portraiture of war has stressed the importance of culture and gradually modern fine art. Photography contribution from this period was not limited only to the perfection of artistic figurative representations but also to transpose their visions, not always in line with the trends that governed the early part of the nineteenth century. Impulse creative photography was not allways in relation to the art of its time, with the romantic trends specific in the rhetorical distortions, characteristic to the work of Delacroix or of mystical reveries in the case of Caspar David Friedrich and can be categorize in the inner requests specific as a trend of post-romantic art. Natural interest shown by the photographers during the second half of the nineteenth century from all walks of life, required also a gradual recognition of the intrinsic value of the photo that brought new concepts and modern vision. Photography was the result of technical development, realistic and objective observation of the environment and outlining an evolutionary path that imposed its own ways as a form of visual expression. During this time, copies of the testimonies of prominent Western photographers have become evident for those who adopt this creative field and also in other parts of Europe. First it has noticed how quickly the daguerreotype technique was
spread to provinces such as Banat and subsequently increased interest shown by the local population to this process of visual representation. The constant emergence of new daguerrian studios both in Banat and in various other parts of the continent or even overseas and whose activity has expanded several decades, can only attest the success that it has registered since the beginnings of photography. The image of which use pinhole camera to record fleeting moments was perceived by modern society as being the adventurer, the person experimental and highly mobile, which operate until the middle of the nineteenth century under the name so common: itinerant photographer . During these trips, photographers Philipp Dombeck, Gottfired Barth, Prokesch Wenzel and others for
432 Bibliografie shorter periods in Timisoara mediated the access to local notions which obtained images using innovative new techniques. If the first part of the nineteenth century, photography was practiced by non-professionals, mostly from the lack of schools in the field and in the decades ahead reached a higher level in techniques by attending special courses in other provinces or in the schools opened in the European capitals. Street scenes, types and other everyday subjects achieved during this period owes its vitality and expressiveness, knowledge accumulated by the photographer through the filter of his artistic subjectivity. Towards the end of the twentieth century, the historiography dedicated to photography could not ignore the work of amateur photographers, whose work began to emphasize in the last quarter of the previous century, under the qualitative report and all sides of creation. From documentarism events dedicated to artistic photography or the series of portraits in studio, stands Banat activity of Fridolin Hess, József Brand, William Hess, Carl Schaffer, etc. The same period is also characterized by a smooth transition from the concern for transposing individual object to the general assembly of the frame and composition (Agnelly Istvan, Nikolaus Stokmann), overall the photographer begins to recognize and realize in terms of plastic image and other items of symbolic value (Adolf Zeller, Carl Schaffer, Franz Wentzl). Another aspect is the photographic trade, which became present in major cities of the era and whose success was certainly determined by
the location of the studios. Naturally, business owners opted to availability for locations within the city s main thoroughfares or public squares, where was the seat of important institutions. Thus, in Timisoara many photo shops open in the latter part of the nineteenth century were built in St. George square that the position be a transit point between Parades Square and one of the main access routes into the city. For example, photographer József Kossak did not chose by chance to mount one of the most impressive showcases in this market, used to expose the newest and most outstanding photos. Near his imposing studio opened other studios and other photographers or later opticians arriving from European capitals, but have not come to know his success. By the mid nineteenth century the photographers practice their profession under the regulation of general commercial laws addressed in ancillary areas and only in the following period they were covered thereby achieving a formula that allowed the practice of activity in the liberal arts category. Thus were created the conditions for better regulation of trade and determined while images move towards the establishment of photographic associations and trade organizations and Timisoara after 1880.
Cristian GRAURE 433 Whereas technical progress of photography in the second half of the nineteenth knew no barriers except the only the cases had acquired licenses for use, artists photographers from Banat were aware of most news arrived from the West. Towards the end of the nineteenth century photographs already occupied important positions in public institutions, and started to be recognized as true personalities of social and cultural life of the province. Photographer Fridolin Hess, Kossak József or Basil Danilović were remarkable personalities in arts events and commercial activities in Banat which can add status active members of prestigious photographic societies in Europe. Much of the representative photographers of Banat honored equally artistic and the commercial side, sharing their work in a context for the audience requirements. In terms of how to deal with artistic motifs taken in the workshop, especially portraits, photo-lend itself to certain technical patterns, suggestive stereotypes and model attitudes became accepted at the time. For frameworks made outside the studio photographer treat in most cases, both the composition and objectives of interest, according to personal concerns. An example of longevity workshops that have manifested such concerns is the most open Kossak József, Naschitz László, or Carl Kehrer who left behind a high productivity in terms of the number of photos, but unfortunately have withstood time in very small numbers and kept in collections dispersed by date. Analyzing captured image by the late nineteenth century interior retouching
laboratory studio of Kossak, we can deduce the impressive number of glass plates placed in boxes, archived and stored on the shelves of the room. From this perspective, degradations suffered by these iconographie documents, especially those made in the early period, plus in some cases and improper storage, emphasizing not only the leading to the irrecoverable deterioration. Banat artists and amateur photographers who acquired possibilities of visual expression with time and by force of creation have shaped modern culture in this part of the world, offering the possibility to recall the legacy of everyday picture. One of the most important tasks that the picture has acquired the artistic form, regardless of country or region, was the unique ability to reconstitute a true chronicle of the culture. Independent of political nuances and its influences, the photograph has perhaps the most important task of all areas of creation: to reflect true human nature.
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| any_adam_object | 1 |
| author | Graure, Cristian ca. 20./21. Jh |
| author_GND | (DE-588)120158082X |
| author_facet | Graure, Cristian ca. 20./21. Jh |
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| author_sort | Graure, Cristian ca. 20./21. Jh |
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| building | Verbundindex |
| bvnumber | BV046280689 |
| ctrlnum | (OCoLC)1043844995 (DE-599)BSZ506147843 |
| era | Geschichte 1839-1918 gnd |
| era_facet | Geschichte 1839-1918 |
| format | Book |
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| geographic_facet | Banat |
| id | DE-604.BV046280689 |
| illustrated | Illustrated |
| indexdate | 2024-12-24T07:57:34Z |
| institution | BVB |
| isbn | 9786063204906 |
| language | Romanian |
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| physical | 433 Seiten Illustrationen |
| psigel | BSB_NED_20191213 |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Editura Eurostampa |
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| spellingShingle | Graure, Cristian ca. 20./21. Jh Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii Fotografie (DE-588)4045895-7 gnd |
| subject_GND | (DE-588)4045895-7 (DE-588)4004408-7 |
| title | Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii |
| title_auth | Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii |
| title_exact_search | Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii |
| title_full | Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii Cristian Graure |
| title_fullStr | Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii Cristian Graure |
| title_full_unstemmed | Istoria artei fotografice din Banat între 1839 şi 1918 identităţi vizuale în era modernităţii Cristian Graure |
| title_short | Istoria artei fotografice din Banat între 1839 şi 1918 |
| title_sort | istoria artei fotografice din banat intre 1839 si 1918 identitati vizuale in era modernitatii |
| title_sub | identităţi vizuale în era modernităţii |
| topic | Fotografie (DE-588)4045895-7 gnd |
| topic_facet | Fotografie Banat |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031658314&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=031658314&sequence=000003&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=031658314&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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