295:
197:
174:, Charlotte Poehlmann and Amalie Schroer in the following year. Due to the objections of women students to the spartan dormitory conditions, in 1909 the school moved to a former hospital building to which it was given free occupation, opening it in May, 1911. Enrolments from both genders were subject to quotas, so that only ten female students were allowed to be admitted per semester, increasing to a 1:3 ratio. During the war years it rose to a 3:2 majority of female students, settling to a more balanced ratio in the 1920s; in 1925 when
88:
940:
116:"not mechanically learned soulless technique that left the stamp of artistic insignificance on the earlier products of professional photography, but rather expressing the individual capture of characteristic moments and one's own feelings in photographic works, recognising these principles that are indispensable for artistic creation in every single student: that is the task that the management primarily strives to carry out.”
928:
792:
W. Urban, 'Die Praxis der
Kornautotypie' in Küster, F. W. (April 11, 1901). Jahrbuch für Photographie und Reproduktionstechnik für das Jahr 1900. Unter Mitwirkung hervorragender Fachmänner herausgegeben von Hofrat Dr. JOSEF MARIA EDER, Direktor der k. k. Graphischen Lehr- und Versuchsanstalt in Wien,
511:
Matzer, U. (2015). "Le modèle tout complet" – Vienna's
Graphische Lehr- und Versuchsanstalt as a Study Center for Visual Communication. Maren Gröning (Ed.) in Cooperation with Ulrike Matzer, Frame and Focus. Photography as a Schooling Issue (Contributions to A History of Photography in Austria), 11,
185:'s lack of a school certificate was overlooked), and men had to be at least 15, and women at least 17 years old, and all had to meet the annual school fee of about 200 Reichsmarks (value $ US2,000 in 2020) which middle-class parents might afford while even the well-off blue-collar family might not.
120:
The curriculum was broad, and included not only “practical photography with negative and positive processes”, retouching and reproduction technology, but also drawing, compositional theory, vignette painting, physics, art and photography history, alongside commercial bookkeeping.
109:, Emmerich in his article 'Photographische Lehranstalten' ('Photographic Schools') he deplored the state of existing training for German professional photographers and agitated for the establishment of a photographic educational institution in Munich.
155:("Society for the Promotion of the Intellectual Interests of Women"), women struggled for access to creditable art and photography education, with the exception of private ladies 'academies of the arts', such as the Debschitz School. The
274:
attended the
Bayerische Staatslehranstalt für Lichtbildwesen over 1935 to 1937, then from 1947 to 1948 he attended its master class taught by Adolf Lazi, and that year assisted Lazi with the first post-war photography exhibition
258:
were no longer being financially supported by photoengravers and lithographers of Munich and discontinued, the rooms being taken over by the motion picture department. In 1928 the institution was nationalised as the
34:(The State Academy for Photo Design, Munich) was an independent training facility for photography and photo design in Munich with several predecessor institutions dating back to 1900. It was incorporated into the
530:
Emmerich, G. H. (1904). Werkstatt des
Photographen: Ein Handbuch für Photographen und Reproduktionstechniker. Wiesbaden. (Workshop of the photographer. 'A handbook for photographers and reproduction technicians')
521:
Allgemeine
Photographen-Zeitung: Zeitschrift für künstlerische Fach-Photographie, mit den Beiblättern 'Photographisches Vereinsblatt' und 'Technische Rundschau'. (1896). München: Georg D.W. Callwey
188:
Professor Hans Spörl, an author of photography books for amateurs as well as on advanced technique and materials, succeeded
Emmerich in 1919 and Professor W. Urban taught photochemistry.
166:
At its establishment only male candidates were initially admitted to study at the photography
Institute. In a progressive policy, by 1905 Emmerich was accepting women into its courses.
76:) oversaw a flowering of artistic and cultural activity in Bavaria which prospered under a liberal government and which attracted creative artists in all fields from across Europe.
50:
the training facility was founded as an initiative of the South German
Photographers Association ('Süddeutschen Photographen-Vereins') on October 15, 1900 in Rennbahnstrasse, near
250:
the government took over the school on 1 July 1921 and a department was added for the teaching of motion picture technique under
Professor Konrad Wolter. By 1924, facilities for
666:
G. H. Emmerich: Lexikon für
Photographie und Reproduktionstechnik (Lexicon for Photography and Reproduction Technology), A. Hartleben publisher, Vienna, Leipzig 1910, p. 169
331:"Photo design" is now a course of study in the Faculty of Design at Munich University of Applied Sciences, which since 2019 has been based in the historic aristocratic armory at
17:
476:
Jahrbuch der Lehr- und Versuchsanstalt für Photographie, Chemigraphie, Lichtdruck und Gravüre zu München., 1907–1916 / RHK 04394; BSBM Sign. 4 Bav. 1010u (je 900 Aufl.)
291:
in 1951 with an accompanying photo book. Wolfgang Reisewitz, also a founding member, studied at the institution contemporaneously with Keetman, during 1947-8.
975:
163:
from Poland defied the ban by disguising herself as her brother to study for a year before her deception was revealed and she was expelled from the Academy.
47:
615:'s position on photo education in Klaus Hentschel, '(Scientific) photography as a research-enabling technology – not a discipline'. In Maren Gröning (ed.)
642:
105:('German Photography Magazine: Journal for Artistic Photography) from 1892, and author of photography books from 1904. In the May 1899 edition of the
857:
Wolter, K. (1932). Photographier' mit Drei-Vier und Vier-Vier!: Ein Führer durch d. Gebiet d. Kleinfilm-Photographie f. Anfänger u. Fortgeschrittene.
783:
W. Urban (1912) Beiträge zur Praxis der gerichtlichen Photographie. (Contributions to the practice of judicial photography.) Eders Jahrbuch, p.276.
804:
578:
970:
270:, an avant-garde movement that promoted formalism in the service of a subjective and purely artistic, non-applied intent, is apparent.
848:
Kraszna-Krausz, A., Emmermann, C., Seeber, G., & Wolter, K. (1929). Kurble!: Ein Lehrbuch des Filmsports. Halle (Saale): W. Knapp.
960:
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The founder was photographic supplies dealer Georg Heinrich Emmerich (1870–1923), a keen advocate for, and amateur exhibitor of,
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263:('Bavarian Government Institute for Photographic Procedure'), a title that foregrounds 'scientific' photography.
839:, ('The animated film: a handbook for filmmakers and those who want to become one'). Halle (Saale): W. Knapp.
57:, as the "Lehr- und Versuchsanstalt für Photographie” (“Teaching and Research Institute for Photography”), a
320:
In 2002, the specialist academy was incorporated as a "Photo Design" course into Faculty 12 "Design" at the
348:
167:
156:
294:
206:
Though it incorporated physics and chemistry classes in teaching photography as a science as espoused by
178:
enrolled, half of the 51 students enrolling were women, and 80% were from non-German speaking countries.
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632:, (exhibition catalogue München, Fotomuseum im Münchner Stadtmuseum 1995/1996), München 1996, S. 17-195
628:
Pohlmann, Ulrich (1995) 'Schönheit ist Seele. Leben und Werk des Photographen Frank Eugene Smith', in:
151:
Despite Munich's more enlightened attitudes to women as intellectual beings in organisations like the
870:
Globalisierung, Vernetzung und Erwerbsarbeit : theoretische Zugänge und empirische Entwicklungen
429:
64:
Munich became a cultural centre of Europe over the period of its establishment under the regency of
755:. Beckers, Marion., Moortgat, Elisabeth., Verborgene Museum., Berlinische Galerie. Berlin: Hirmer.
196:
112:
He became its first director until 1919. He announced his intention that the school should offer;
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724:
479:
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Eva Besnyö : 1910-2003, Fotografin = woman photographer : Budapest, Berlin, Amsterdam
181:
Admission required an elementary school certificate (though during the war that was flexible;
124:
Emmerich's son Walter E. Lautenbacher studied at the college from 1947 to 1949 and founded the
308:("Bavarian State Institute for Photography") before, in 1990, the name was again changed, to
283:. In 1949 Keetman was a founding member of fotoform and his were key works in the exhibition
235:
354:
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department and renamed the "Teaching and Research Institute for Photography, Chemography,
8:
837:
Der gezeichnete Film : ein Handbuch für Filmzeichner un solche, die es werden wollen
160:
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218:, Berlin. In 1907 Emmerich appointed another Pictorialist, the renowned American-born
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230:, as a lecturer in 'Artistic Photography' until 1913, who during his tenure and with
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Elfriede Reichelt: 1883-1953 ; Atelierfotografie zwischen Tradition und Moderne
812:
411:
315:
231:
211:
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227:
223:
214:, the institution promoted art photography over the practical orientation of the
103:
Allgemeine Photographen-Zeitung. Zeitschrift für Künstlerische Fach-Photographie
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k. k. Professor an der k. k. Zeitschrift Für Anorganische Chemie, 27, 1, 79-80.
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182:
54:
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Pohlmann, Ulrich; Scheutle, Rudolf; Münchner Stadtmuseum. Fotomuseum (2000),
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Pohlmann, Ulrich; Scheutle, Rudolf; Münchner Stadtmuseum. Fotomuseum (2000),
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17. It continues to provide media education with an emphasis on creativity.
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The connection between the institution's post-WW2 design emphasis and
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Barbara Stenzel: Münchner Fotoschule 1900-2000. In: arthistoricum.
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58:
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Subsumption as a course in Munich University of Applied Sciences
84:
exclaimed that "München leuchtete" (literally; "Munich shone").
101:, and frequent contributor to photography magazines, including
51:
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727:
Lehrjahre, Lichtjahre : die Münchner Fotoschule 1900-2000
602: ; with a list of works. München, Univ., PhD Dissertation
482:
Lehrjahre, Lichtjahre : die Münchner Fotoschule 1900-2000
324:(FHM) and two years later the last 30 graduates emerged from
153:
Gesellschaft zur Förderung der geistigen Interessen der Frau
128:(BFF) ('Association of Freelance Photo Designers') in 1969.
170:
and Sophie Reynier were among the intake of 1905/1906, and
901:
Deutsches Museum: Deutsches Museum: Biographie Frank Eugen
873:. Wiesbaden: Deutscher Universitäts-Verlag. p. 255.
701:"kultur-online - Ab nach München! Künstlerinnen um 1900"
916:
61:
State Government Subsidised Educational Institution.
680:, Münchner Stadtmuseum : Süddeutsche Zeitung,
338:
146:
234:who visited him in 1907, experimented with colour
48:Höhere Graphische Bundes-Lehr- und Versuchsanstalt
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617:Frame and Focus. Photography as a Schooling Issue
441:William D. Sutherland (1982-1983) Meisterklasse -
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345:G. H. Emmerich (1900–1917), founder and director
542:
261:Bayerische Staatslehranstalt für Lichtbildwesen
32:Staatliche Fachakademie für Fotodesign München
678:Ab nach München! : Künstlerinnen um 1900
306:Bayerische Staatslehranstalt für Photographie
976:Educational institutions established in 1900
867:Krömmelbein, Silvia; Schmid, Alfons (2000).
748:
676:Voit, Antonia; Münchner Stadtmuseum (2014),
131:In 1904 the institution was expanded with a
577:: CS1 maint: numeric names: authors list (
18:Lehr- und Versuchsanstalt für Photographie
817:10.1093/gao/9781884446054.article.t027035
299:Fachakademie für Fotodesign entrance sign
27:German state tertiary photography academy
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310:Staatliche Fachakademie für Fotodesign
971:Munich University of Applied Sciences
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543:Eder, 1855-1944, Josef Maria (1978).
322:Munich University of Applied Sciences
36:Munich University of Applied Sciences
594:
592:
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538:
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435:Christoph von Wangenheim (1962–1964)
312:(“State Academy for Photo Design”).
835:Wolter, K., & Lutz, EG (1927).
549:. New York: Dover. pp. 692–3.
159:would not enrol women until 1917;
24:
438:Etienne C.I. van Sloun (1964–1966)
426:Walter E. Lautenbacher (1947–1949)
72:("The Prince Regent Years" or the
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630:Frank Eugene. The dream of beauty
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126:Bund Freischaffender Fotodesigner
80:in his novella about this period
961:German photography organisations
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390:Johannes Felbermeyer (1926–1928)
339:Notable graduates and associates
304:From 1954 the school became the
147:Education of women photographers
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643:"Münchner Fotoschule 1900-2000"
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417:Wolfgang Reisewitz (1948–1949)
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378:Wilhelm Castelli (1921-1923)
349:Wanda von Debschitz-Kunowski
279:in the Landesgewerbemuseum,
168:Wanda von Debschitz-Kunowski
7:
981:Art education organizations
444:Petra Gerschner (1982–1984)
157:Munich Academy of Fine Arts
10:
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408:Otti Zacharias (1930–1931)
41:
453:Martin Fengel (1986–1988)
423:(1935–1937 & 1947 -?)
402:Dieter Hinrichs (teacher)
803:Pitts, Terence (2003).
707:(in German). 2015-02-09
399:Willy Zielke (lecturer)
92:Georg Heinrich Emmerich
966:Photography in Germany
619:, Vienna 2015: 98-122.
598:Faber, Verena (2011),
546:History of photography
430:Floris Michael Neusüss
301:
285:Subjective Photography
203:
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749:Besnyö, Eva. (2011).
647:www.arthistoricum.net
405:Use Schneider-Lengyel
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46:Modelled on Vienna's
226:and founder of the
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611:see discussion of
484:, Schirmer/Mosel,
387:Huss Flöter, 1928.
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204:
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70:Prinzregentenjahre
880:978-3-663-08045-9
762:978-3-7774-4141-2
736:978-3-88814-943-6
687:978-3-86497-193-8
491:978-3-88814-943-6
361:Elfriede Reichelt
355:František Drtikol
172:Elfriede Reichelt
74:Prinzregentenzeit
16:(Redirected from
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161:Zofia Stryjeńska
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471:Bibliography
382:Lotte Jacobi
369:(1907–1913)
367:Frank Eugene
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242:Photo Design
222:, member of
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933:Visual Arts
649:(in German)
465:(1994-1999)
459:(1990–1993)
450:(1984–1986)
432:(1958–1960)
414:(1934–1936)
396:(1929-1990)
384:(1925-1927)
375:(1915-1917)
357:(1901–1903)
351:(1900–1902)
333:Lothstrasse
236:autochromes
78:Thomas Mann
955:Categories
822:2020-10-30
711:2020-10-31
653:2020-10-30
499:References
889:714820444
771:733723894
573:cite book
281:Stuttgart
256:collotype
141:engraving
137:collotype
38:in 2002.
268:fotoform
66:Luitpold
59:Bavarian
52:Munich's
945:Germany
919:Portals
565:4005270
42:History
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246:After
885:OCLC
875:ISBN
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731:ISBN
682:ISBN
579:link
561:OCLC
551:ISBN
486:ISBN
328:33.
254:and
210:and
139:and
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512:29.
248:WW1
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