Benutzer:MYR67/Artikelwerkstatt Franz Duschek

Franz Duschek senior (geb. 1830 in Prag; gest. 1884 in Alexandria) war ein aus Tschechien stammender Fotograf mit eigenem Studio in Bukarest. Er fotografierte unter anderem im Krimkrieg (1853 bis 1856) und im russisch-osmanischen Krieg von 1877/78 und gehört damit zu den frühesten Kriegsfotografen.

Lebensweg

Verso einer Fotografie von Franz Duschek, Atelier-Adresse: Strada Noua

Verso einer Fotografie von Franz Duschek, Atelier-Adresse: Strada Franclin No. 3

Wo und bei wem Franz Duschek das Fotografenhandwerk erlernt hat, ist nicht bekannt. Anders als viele seiner damaligen Berufskollegen war Duschek kein Maler.

Franz Duschek hat offenbar mit seinem Onkel, dem Fotografen Carol Popp de Szathmári (Károly Szathmáry Papp, 1812–1887), im Krimkrieg fotografiert. Duschek zählt damit zu den ersten Kriegsfotografen.

Franz Duschek ließ sich 1852 in Bukarest nieder und eröffnete dort ein elegantes Fotostudio in der Strada Noua (Neuen Straße). Im Jahr 1860 erstellte Duschek ein Fotoalbum mit Aufnahmen der eleganten Sommerresidenz der Familie Oteteleşanu in Măgurele (Magoureli) nahe Bukarest, mit dem Titel Vues de Magoureli. Am 8. April 1867 verlieh Fürst Carol I. Duschek den Titel eines Hofphotographen. In den Jahren 1874 und 1875 machte Duschek Aufnahmen von Sehenswürdigkeiten in Bukarest, etwa der Bucur- und der Stavropoleos-Kirche, des Klosters Radu Vodă und der Zlătari-Kirche, von mehreren Brücken über die Dâmboviţa und vom Casa Apelor (einer Anlage zur Reinigung des schlammigen Wassers dieses Flüsschens), der Universität Bukarest und eines Teils des Soutzo-Palastes, von der Spitze des Colţea-Turms (Turnul Colței) aus gesehen. Duscheks Fotos wurden teils als eigenständige Abzüge veröffentlicht, teils in Alben gebunden. Die Bildtafeln wurden in deutscher Sprache beschriftet und auf der Rückseite mit dem Namen und der Adresse ihres Urhebers versehen. Einige von Duscheks Fotos wurden, meist anonym, als Holzschnitte in europäischen und amerikanischen illustrierten Zeitschriften reproduziert. Bei Ausbruch des russisch-osmanischen Krieges von 1877 folgte Duschek den Armeen auf die Schlachtfelder. Warum er sich den russischen und nicht den rumänischen Truppen anschloss, ist unbekannt. Von Anfang an dokumentierte Duschek das Vorrücken der russischen Armeen, sowohl in ihren Lagern in und um Ploiești - wo der russiche Zar und seine Großfürsten untergebracht waren - als auch, nach der Überquerung der Donau, in Bulgarien. Während des russisch-osmanischen Krieges bewohnte Duschek gemeinsam mit seinem Schwager, dem Fotografen Andreas D. Reiser, ein sehr bescheidenes bulgarisches Häuschen.

Die Fotografien des Feldzugs von 1877 von Franz Duschek und Andreas D. Reiser machte Szathmári zusammen mit seinen eigenen Aufnahmen bekannt, insbesondere durch das kurz nach Kriegsende veröffentlichte Fotoalbum Souvenir de resbel.

1878 machte Duschek erneut Aufnahmen in der Bukarester Innenstadt. Er fotografierte die Statue von Mihai Viteazul (Michael dem Tapferen), ein Werk des französischen Bildhauers Albert-Ernest Carrier-Belleuse, die Ende 1874 vor der Universität enthüllt wurde.

Das 1882 erschienene Buch Roumania Past and Present von James Samuelson (1829–1918) enthält mehrere Abbildungen nach Fotografien von Franz Duschek.

Duschek wurde mit der preußischen Goldenen Kunstmedaille, dem österreichischen Goldenen Verdienstkreuz und der rumänischen Bene Merenti-Medaille ausgezeichnet, während der russische Zar ihm einen kostbaren Ring mit einem großen Diamanten schenkte.

Im Jahr 1883 beschloss Duschek, Rumänien zu verlassen. Er verkaufte seine Geschäftsanteile in Bukarest und ging nach Ägypten, wo er ein Jahr später in Alexandria starb.

Selbstporträt von Franz Duschek junior, eines Sohnes von Franz Duschek senior

Franz Duscheks Sohn und Erbe, Franz Duschek junior, wurde in Bukarest geboren und war dort zwischen 1885 und 1919 als Fotograf tätig. Bekannt wurde sein Fotoalbum: Ansichten der Dekorationen der Stadt Bukarest anlässlich des Besuchs Seiner Majestät Franz Joseph I., Kaiser von Österreich und König von Ungarn (Vederi dupe decoratiunile orasului Bucuresci cu ocasia visitei Majestatii Sale Francisc Josif I Imperatul Austriei si Rege al Ungariei) von 1896 und vor allem sein Malerisches Album Rumäniens (Album pittoresque de la Roumanie / Albumul Pittoresc al României), für das er auf der Weltausstellung 1900 in Paris den großen Preis erhielt. Ein weiterer Sohn von Franz Duschek senior war Albert Duschek, der in den 1880er und 1890er Jahren als Fotograf im rumänischen Focșani tätig war.

Zettelkasten

• Lebensdaten: geb. 1830[?] in Prag; gest. 1884 in Alexandria (Ägypten)

• ließ sich 1862 in Bukarest nieder, eröffnete ein elegantes Fotoatelier in der Strada Noua (New Street)

• Am 8. April 1867 verlieh Fürst Carol I. Duschek den Titel eines Hofphotographen.

• Bei Ausbruch des russisch-osmanischen Krieges von 1877 folgte Duschek den Armeen auf dem Schlachtfeld. Warum er sich den russischen und nicht den rumänischen Truppen anschloss, ist noch immer Gegenstand von Vermutungen. Von Anfang an dokumentierte er das Vorrücken der russischen Armeen, sowohl in ihren Lagern in und um Ploiesti - wo der Zar und die Großfürsten in den elegantesten Häusern der Stadt untergebracht waren - als auch, nach der Überquerung der Donau, in Bulgarien.

• während des russisch-osmanischen Krieges bewohnte er gemeinsam mit seinem Schwager[?], dem Fotografen Andreas D. Reiser, ein sehr bescheidenes bulgarisches Häuschen. | he shared a poor Bulgarian house with Andreas D. Reiser during the war

• Franz Duschek (1830–1884), a Czech photographer who settled in Bucharest in 1852, produced an album with images taken at the elegant summer residence of the Otetelesanu family at Magurele, nearby Bucharest. It was one of the most beautiful manor houses built in the early 1850s. The album, produced in 1860, was entitled Vues de Magoureli, and showed both the house and its glowing garden

• Franz Duschek Sr. [S. 164:] produzierte ein Album mit Bildern [S. 165:] von der eleganten Sommerresidenz der Familie Oteteleşanu in Măgurele, nahe Bukarest. Es war eines der schönsten Herrenhäuser, die in den frühen 1850er Jahren gebaut wurden. Das Album aus dem Jahr 1860 trug den Titel „Vues de Magoureli“ und zeigte sowohl das Haus als auch seinen Garten.

• [S. 166:] In den Jahren 1874 und 1875 machte Duschek einige Aufnahmen von Bukarest mit alten und neuen Denkmälern wie der Bucur- und der Stavropoleos-Kirche, Radu Vodă [S. 167:] und das Zlătari-Kloster, einige der Brücken über die Dâmboviţa und das Casa Apelor (das Wasserhaus, eine Anlage zur Reinigung des schlammigen Wassers dieses Flüsschens), die Universität und einen Teil des Soutzo-Palastes von der Spitze des Colţea-Turms aus gesehen. [...] 1878 machte Duschek neue Aufnahmen vom zentralen Bereich der Stadt. Er fotografierte die Statue von Michael dem Tapferen, ein Werk des französischen Bildhauers Albert-Ernest Carrier-Belleuse, die Ende 1874 vor der Universität enthüllt wurde.

• Seine Fotos zirkulierten entweder als eigenständige Abzüge oder in Alben gebunden, wobei jede Tafel in deutscher Sprache beschriftet und auf der Rückseite mit dem Namen und der Adresse des Autors versehen war. Einige seiner Bilder wurden, meist anonym, als Holzschnitte in den europäischen und amerikanischen illustrierten Zeitschriften reproduziert.

• Das Buch: James Samuelson, Roumania Past And Present. Illustrated With Maps (By E. Weller), Portraits, Autotype and Other Full-Page Plates, and Numerous Plans and Woodcuts (By G. Pearson), Chiefly From Photographs By F. Duschek, Bucarest, London; Longmans, Green, and Co. 1882, https://www.gutenberg.org/files/18240/18240-h/18240-h.htm , enthält mehrere Abbildungen nach Fotografien von Franz Duschek

• Duschek wurde mit der preußischen Goldenen Kunstmedaille, dem österreichischen Goldenen Verdienskreuz und der rumänischen Bene Merenti-Medaille ausgezeichnet, während der russische Zar ihm einen kostbaren Ring mit einem großen Diamanten schenkte.

• Franz Duschek-father, his [= Szathmaris] nephew by marriage and his competitor, began his activity. An album presenting Otetelisanu’s estate in Magurele still amazes today through grace and poetry. The photographer – the first who was not also a painter – captured those parts of the park that seemed to resonate with his sensitivity.

• Franz Duschek senior war offenbar mit Szathmari im Krimkrieg: »The War of 1877 meant a new challenge for Szathmari, 65 years of age by then. However, he never left alone for the battlefield. Just as in 1854, he was accompanied by Franz Duschek, Andreas Reiser, Sava Hentia, G. D. Mirea, and Nicolae Grigorescu – some photographers, others painters.«

• »Unlike Szathmári, Franz Duschek and A.D. Reiser, his fellow war photographers in 1877, had a narrower diffusion of purely photographic images. Carol Szathmári together with Franz Duschek and A. D. Reiser made known their photos taken during the 1877 campaign, especially through the photo album Souvenir de resbel published shortly after the end of the war.«

• Im Jahr 1883 beschloss Duschek, Rumänien zu verlassen. Er verkaufte seine Geschäftsanteile in Bukarest und ging nach Ägypten, wo er ein Jahr später starb.

• Franz Duschek jr., Sohn und Erbe von Franz Duschek, wurde in Bukarest geboren. Dort war er zwischen 1885 und 1919 tätig. Er hatte große Erfolge, etwa mit seinen großen Fotografien der Brücke CAROL I über die Donau in Cernavoda (1895), dem Album »Vederi dupe decoratiunile orasului Bucuresci cu ocasia visitei Majestatii Sale Francisc Josif I Imperatul Austriei si Rege al Ungariei«, 1896 (Ansichten der Dekorationen der Stadt Bukarest anlässlich des Besuchs Seiner Majestät Franz Joseph I., Kaiser von Österreich und König von Ungarn, 1896) und vor allem mit dem »Album pittoresque de la Roumanie« (Malerisches Album Rumäniens), für das er auf der Weltausstellung 1900 in Paris den großen Preis erhielt.

• Andreas D. Reiser war mit einer Schwester Franz Duscheks verheiratet. Er richtete ein Atelier im Haus von Oteteleseanu ein. Er begleitete Duschek, der in die Nähe des Hohen Stabes der zaristischen Armee gesandt worden war, im Krieg von 1877 und nahm vom Dealul Spirii aus ein Panorama von Bukarest auf, das aus dokumentarischer Sicht interessant ist 4 .

Schögl (Hg.), Die Fotosammlung der Österreichischen Nationalbibliothek

S. 44:

Textabb. 2 Franz Duschek »Verlassenes türkisches Haus, durch Fotografen occupiert« Aus dem Album »Fotografische Skizzen aus dem Hauptquartier in Bulgarien 1877« Albuminpapier, 12 x 18,6 cm ÖNB, Slg POR, Pk 461, 132

S. 46:

Textabb. 3 Franz Duschek »Kapitulation der Armee Osman Paschas im Thale von Plewna« Aus dem Album »Fotografische Skizzen aus dem Hauptquartier in Bulgarien 1877« Albuminpapier, 12,5 x 38 cm ÖNB, Slg POR, Pk 461, 185

Monika Faber, Für das Auge des Kaisers bestimmt. Veduten, Technik-, Reise- und Katastrophenbilder aus gewidmeten Alben und Mappenwerken, S. 43–63, In: Uwe Schögl (Hg.), Im Blickpunkt. Die Fotosammlung der Österreichischen Nationalbibliothek, Haymon-Verlag, Innsbruck 2002

Ionescu, Photographers in Romania 1840-1940. A Dictionary

[S. 47:]

Albert Duschek was photographer in Focsani in the 1880s-1890s. He was one of the sons of celebrated Franz Duschek Sr.

Franz Duschek (Prague 1830?-1884 Alexandria, Egypt) was a distinguished photographer in Bucharest where he settled in 1862. (Fig. 20) He opened an elegant studio on Strada Noua (New Street) which soon became the most fashionable one and attracted the high society. Each one wanted to have his or her likeness taken at Duschek. During the carnival, after every costumed ball, those who took part came for a portrait in the appropriate costume (Fig. 21, 22). He was also a master of children portraits which were the most difficult to be taken. Giving them puppets or candies he tried to distract their attention while posing for the frightening camers. But sometimes he had to ask their mothers or nurses to pose beside in order to quiet and encourage them (Fig. 23, 24) He was attracted also by the folk types and took pictures with costumes now and then even though he hadn’t produced large series as those of Szathmari’s. (Fig. 25, 26) He was more interested in architecture and cityscapes and produced some unforgettable pictures (Fig. 27, 28). After Prince Alexandru Ioan’s abdication on 11 th February 1866 he took portraits to all the conspirators and edited a carte-de-visit series which was later lithographed on larger format by his colleague M. B. Baer. He also portrayed the new ruler, Prince Carol I, after his arrival. The young prince posed both in civilian

[S. 48:]

clothes (Fig. 29) and in military uniform for those portraits. As a reward, the prince bestowed on Duschek the title of Court Photographer on 8 April 1867. Ten years later, at the outbreak of the Oriental War of 1877, Duschek followed the armies on the battlefield. It is still a matter of conjecture why was he affiliated to the Russian and not to the Romanian troops. From the beginning he documented the progress of the Russian armies both in its camps in and around Ploiesti - where the Tsar and the Grand Dukes were accommodated in the most elegant houses of the town – and after the crossing of the Danube, in Bulgaria (Fig. 30). His camp scenes and military portraits are full of vividness.(Fig. 31) He also immortalised the meeting between Prince Carol I of Romania and Tsar Alexander II, surrounded by the Grand Dukes and his staff at Gorni Studen (Fig. 32). In one picture he showed Prince Carol I in his coach heading for the battlefield (Fig. 33). As a keepsake he took a self portrait on the porch of a poor Bulgarian house which he shared with Andreas D. Reiser during the war (Fig. 34). His pictures circulated either as independent copies or bound in albums, each plate labelled in German and with the author’s name and address on its back. Some of his pictures were reproduced, mostly anonimous, as woodcuts, in the European and American illustrated magazines. For this accomplishment he was awarded the Prussian Golden Medal for the Arts, the Austrian Golden Cross for Merit (Goldenes Verdienskreuz) and the Romanian Bene Merenti medal, while the tsar offered him a precious ring adorned with a large diamond. In 1878 he printed this distinctions on the back of his pictures. The campaign hardships ruined Duschek’s health, who was already a freil man. His consumption progressed and, in 1883, he decided to leave Romania for a milder climate. Selling his interests in Bucharest he went to Egypt where he died a year later. His legacy is one of the most important in the Romanian history of photography.

Franz Duschek Jr., son and heir of Franz Duschek. Born in Bucharest he was active in the same capital city between 1885 and 1919. He had great accomplishments such as the large pictures of the CAROL I bridge over the Danube at Cernavoda (1895), the album Vederi dupe decoratiunile orasului Bucuresci cu ocasia visitei Majestatii Sale Francisc Josif I Imperatul Austriei si Rege al Ungariei, 1896 (Views of the City of Bucharest’s Decorations for the Visit of His Majesty Franz Joseph I, Emperor of Austria and King of Hungary, 1896) and, especially, Album pittoresque de la Roumanie (Picturesque Album of Romania) for which he received the great prize at the 1900 Exposition Universelle in Paris.

https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://biblioteca-digitala.ro/reviste/muzeulnationaljournal/dl.asp%3Ffilename%3D20-Muzeul-national-XX-2008.pdf&ved=2ahUKEwj2_fyE1MKGAxVT_rsIHYUbIeQQFnoECBgQAQ&usg=AOvVaw0MUKtGcselzjkMRAxTgWsh 20-Muzeul-national-XX-2008.pdf

Adrian-Silvan Ionescu, Photographers in Romania 1840-1940. A Dictionary, in: Muzeul National Vol. XX 2008, S. 45–70, S. 47/48, https://biblioteca-digitala.ro/reviste/muzeulnationaljournal/dl.asp%3Ffilename%3D20-Muzeul-national-XX-2008.pdf https://biblioteca-digitala.ro/reviste/muzeulnationaljournal/dl.asp%3Ffilename%3D20-Muzeul-national-XX-2008.pdf

Samuelson, Roumania Past And Present

James Samuelson Roumania Past And Present James Samuelson Of the Middle Temple, Barrister-at-Law Illustrated With Maps (By E. Weller), Portraits, Autotype and Other Full-Page Plates, and Numerous Plans and Woodcuts (By G. Pearson), Chiefly From Photographs By F. Duschek, Bucarest

Post Tenebras Lux London Longmans, Green, and Co. 1882 All rights reserved https://www.gutenberg.org/files/18240/18240-h/18240-h.htm

Baleva, Revolution in the Darkroom

S. 366:

Hadzhi Dimitar died in the fighting and Karadzha later died of his wounds as a prisoner of war. Like many other Bulgarian emigrants, both had photographs taken of themselves while in Romania by, for instance, Romanian court photographer Carol Popp de Szathmari (in Hungarian, Károly Szathmáry Papp), Franz Duschek, and Babet Engels.

S. 371:

16 The studio portrait of Hadzhi Dimitar is incorrectly attributed to Carol Popp de Szathmari. My own inquiry has showed, that the portrait was taken by Franz Duschek, Full-body portrait of Hadzhi Dimitar, Bucharest, around 1866, carte-de-visite (10.5 × 6 cm), Photo Archives of the National Library “Kiril i Metodij,” Soia, signed [...] 1151; Pante Ristich: Full-body portrait of Stefan Karadzha, Belgrad, around 1868, Carte-de-visite (10.5 × 6 cm), Photo Archives of the National Library “Kiril i Metodij,” Soia, signed [...] 41.

S. 382:

Karadzha also had himself photographed in the same pose and wearing the same uniform (Fig. 4). Unlike Voyvodov, however, Karadzha dispensed with the gaudy drapery, the telescope, the rings, and the additional ornamental clothing and spats. The other details of the portrayal, however, are identical, including the console, the landscape-coulisse, and the wooden floor, not to mention the uniform and the pose. Karadzha faces the camera, his right hand is placed on the console, and his fist is clenched. In his left hand he is holding the sameceremonial saber as that of his compatriot, and his left leg (like Voyvodov’s left leg) is placed a little bit in front and to the side of his right leg in order to hide the apparatus that is helping him maintain his pose for the duration of the exposure. Only the differing states of the two photographs prompt one to discern the differences, instead of the similarities, between them. They were made in the atelier of photographer Franz Duschek in Bucharest. On the basis of the clothing and the fact that both men died in 1868, they must have been taken either in 1867 or1868. Both men must have gone to the atelier in preparation for the armed acts of resistance in order to have themselves immortalized in their future role as commanders.

S. 383:

Figure 3: Franz Duschek: Full-body portrait of Nikola Voyvodov, Bucharest, before 1867, Carte-de-visite (10.5 × 6.5 cm)

S. 384:

Figure 4: Franz Duschek: Full-body portrait of Stefan Karadzha, Bucharest, before 1868, Carte-de-visite (10.5 × 6.5 cm)

Martina Baleva, Revolution in the Darkroom. Nineteenth-Century Portrait Photography as a Visual Discourse of Authenticity in Historiography Hungarian Historical Review 3, 2014, no. 2, pp. 310-337 https://www.academia.edu/7740903/Revolution_in_the_Darkroom_Nineteenth_Century_Portrait_Photography_as_a_Visual_Discourse_of_Authenticity_in_Historiography

Boangiu, Contribution of photography to the recognition of Great Union of Romania

Franz Duschek is another successuful photographer of the period. Friend and competitor with Szathmari he had an impressive studio in the center of the capital surrounded by the houses of the most influential inhabitants of the city. At the recommendation of Constantin Kretzulescu he obtained from Carol I the title of photographer of the Court, in 1867. There is even a “Duschek style” was of photography. His work was continued by Duschek-son 3 . Andreas D. Reiser completes the circle of photographers-personalities of the end of the century. Married to Duschek's sister, he sets up a studio in Oteteleseanu's house. He accompanies Duschek, detached near the High Staff on the Tsarist army, in the war or 1877 and realizes a panorama of Bucharest seen from the Dealul Spirii, interesting from a documentary point of view 4 .

Gabriela Boangiu, Contribution of photography to the recognition of Great Union of Romania 71, https://npissh.ro/wp-content/uploads/2019/12/AICSU-Plopsor-2019-site-19-12-2019-sitedf.pdf

Academia Româna, Cresterile colectiunilor in anul 1905

UNERGIEBIG

Cresterile colectiunilor in anul 1905 by Academia Româna. Biblioteca Publication date 1907 https://archive.org/details/creterilecoleci00biblgoog/page/n102/mode/2up?q=Duschek

Holzer (Hrsg.): Mit der Kamera bewaffnet

S. 7, Fußnote 6:

Das Kriegsalbum „Fotografische Skizzen aus dem Hauptquartier in Bulgarien 1877“, in dem sich Aufnahmen des österreichischen Fotografen Franz Duschek vom russisch-türkischen Krieg 1877 finden, enthält u. a. ein breitformatiges Panoramabild, das „die Kapitulation der Armee Osman Paschas im Thale von Plewna“ zeigt. Das Bild wurde offenbar um den 9. oder 10. Dezember 1877 aufgenommen. Der Fotograf hält sichtlich Abstand zu beiden Kriegsparteien, die Kriegsaufnahmen waren als Geschenk an das österreichische Kaiserhaus gedacht. Sie befinden sich heute im Bildarchiv der Österreichischen Nationalbibliothek in Wien. Vgl. dazu Uwe Schögl (Hrsg.), Im Blickpunkt. Die Fotosammlung der Österreichischen Nationalbibliothek, Innsbruck 2002, S. 46.

Autor: Holzer, Anton. Titel: Das fotografische Gesicht des Krieges. Eine Einleitung. Quelle: Anton Holzer (Hrsg.): Mit der Kamera bewaffnet. Krieg und Fotografie. Marburg 2003. S. 7-20. Verlag: Jonas Verlag für Kunst und Literatur GmbH file:///C:/Users/Jens/Downloads/Holzer,%20Anton%20-%20Mediaculture%20online.pdf https://www.yumpu.com/de/document/view/21694744/holzer-anton-mediaculture-online#

Gutmeyr (ed.), The Russo-Ottoman War 1877–1878

S. 48: On 3 November 2009 the photo-exhibition “Forgotten photos of the Russo-Ottoman War” opened in the State Central Museum of Contemporary History of Russia. Copies of unique archive photos from a private collection (the works of Franz Duschek) were displayed and so were genuine medals and arms from the funds of the State Central Museum of Contemporary History of Russia.

Editor: Dominik Gutmeyr, Balcanistic Forum Vol. 1-2-3/2014, Heroes ans Places of Memory. The Russo-Ottoman War 1877–1878, darin: Olga O. Chernyshova, Alla S. Kondrasheva, The Places of Memory in Russia regarding the Russo-Ottoman War of 1877 – 1878: Stages of Transformation, S. 38–50, S. 48, http://memoryrow.weebly.com/uploads/1/3/8/5/13852932/gutmeyr_ed._heroes_and_places_of_memory._the_row_1877-1878.compressed.pdf

Pranzl, Der Balkanismus in Österreich

S. 28:

Franz Duschek war im russisch-osmanischen Krieg

S. 29:

1877/78 in Bukarest für Russland als Kriegsfotograf tätig und überlieferte dabei eine Reihe von Fotographien.157

Fußnote 157: 157 Fischer-Westhauser, Ulla, 2017: „…dass man die Photographien noch nicht neben dem Wege pflücken kann.“. Frühe Fotografie am Balkan, in: Johannes Seidl u.a. (Hg.), Deutsche und österreichische Forschungsreisen auf den Balkan und nach Nahost, Bd. 13: Europäische Wissenschaftsbeziehungen, Aachen, 159–182.

Joachim Pranzl, Der Balkanismus in Österreich: Eine Analyse journalistischer Monographien aus der Zeit des Jugoslawienkrieges von 1991 bis 1995, Masterarbeit, 2019, https://www.academia.edu/43210856/Der_Balkanismus_in_%C3%96sterreich_Eine_Analyse_journalistischer_Monographien_aus_der_Zeit_des_Jugoslawienkrieges_von_1991_bis_1995

Rumanian Review, Band 42, Ausgaben 7-12, 1988

About the time of the War of Independence (1878), another noted photographer, Franz Duschek, set up a studio in Noua Street, near Slatineanu Hall, i.e., in a street recently opened after the demolition of some old houses (the present Edgar Quinet Street). Duschek's pictures were very good and Szathmary had a serious competitor in him; later on, Prince ...

Rumanian Review, Band 42, Ausgaben 7-12, Europolis Pub., 1988, https://books.google.de/books?id=3dYVAQAAMAAJ&newbks=1&newbks_redir=0&printsec=frontcover&dq=Franz+Duschek+Fotograf&q=Franz+Duschek+Fotograf&hl=de&redir_esc=y

Badescu, A Phenomenology of Photography in Nineteenth-Century Romania

S. 137:

The years after the Crimean War abounded in pictures: portraits, group images, and vedutae, most of them of Bucharest. The first photos on ethnographic themes appeared, made in the beginning by Szathmari, then by other photographers, more or less talented artists. An album compiled by Szathmari in 1862 and offered with dedication to Elena Cuza is a perfect example of the moment. There are photographs of outstanding quality, some of them betraying his artistic searches in this apparently hostile area.

S. 138:

Since then, the famous photographer Franz Duschek-father, his nephew by marriage and his competitor, began his activity. An album presenting Otetelisanu’s estate in Magurele still amazes today through grace and poetry. The photographer – the first who was not also a painter – captured those parts of the park that seemed to resonate with his sensitivity.

S. 139:

The War of 1877 meant a new challenge for Szathmari, 65 years of age by then. However, he never left alone for the battlefield. Just as in 1854, he was accompanied by Franz Duschek, Andreas Reiser, Sava Hentia, G. D. Mirea, and Nicolae Grigorescu – some photographers, others painters. We inherited from them essential, very well known images.

S. 140:

Let me remind you that, from the beginning of the last decade of the 19th century, [Franz ] Mandy had two formidable competitors, Franz Duschek-son and John Spirescu. The former flirted with modernist photography – sometimes of a Cubist strain, such as the photos of the Cernavodã Bridge obtained between 1890 and 1895. The latter focused on the poetic image, his vedutae impressing by their freshness, shadows and reflections, appreciated by jury of the Universal Exhibition in Paris in 1900. These artists (as they were not only photographers) were clearly his “fellows”, who increased their number every decade in geometric progression and remained “eternal”, only by their quality – absolutely by chance – as witnesses of the time.

Emanuel Badescu, A Phenomenology of Photography in Nineteenth-Century Romania Uncommon Culture, https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://journals.uic.edu/ojs/index.php/UC/article/download/6051/4604/43644&ved=2ahUKEwjwzozksOCGAxUaBNsEHa8LDR8QFnoECCsQAQ&usg=AOvVaw3Gmcc-r75psLADgv-QruOZ https://journals.uic.edu/ojs/index.php/UC/article/download/6051/4604/43644&ved=2ahUKEwjwzozksOCGAxUaBNsEHa8LDR8QFnoECCsQAQ&usg=AOvVaw3Gmcc-r75psLADgv-QruOZ file:///C:/Users/Jens/Downloads/ojsAdmin,+136-141-Romania.pdf

In Focus: Photography in Romania

At the outbreak of the next Oriental War (1877–1878) between the Russian and the Ottoman Empires, photographers returned to the battlefield. It should be mentioned that Romania’s involvement led to the country’s independence from the Turks and this war is therefore known as the War of Independence in Romanian history books. Szathmari, by now the official painter and photographer at the court of Prince Carol I, accompanied the Prince during the military campaign and took a set of photos. Franz Duschek (1830–1884), another Bucharest photographer, was assigned to accompany the Russian armies (_fig. 3). 7 Both assembled their sets of photographs in lavishly bound albums.

S. 6:

Romania has always been an ethnographer’s paradise and photography provides an ideal way of recording it. One of the first photographers to explore the richness of the country’s typologies was Ludwig Angerer (1827–1879). He arrived in Bucharest as a military pharmacist with the Austrian troops that occupied the Romanian Principalities during the Crimean War.8 Throughout the 19th and the first part of the 20th century, it became trendy to capture scenes of picturesque villagers in their traditional attire, street traders, peddlers, all kinds of craftsmen, wagons and carts full of wares, fair days and gipsies.9 C. P. de Szathmari (_fig. 4), Franz Duschek, Andreas D. Reiser, K. F. Zipser ( _fig. 5), and Herman Leon outdid each other in taking iconic images of the southern part of Romania.10

In Focus: Photography in Romania http://www.eshph.org/journal/wp-content/uploads/sites/2/2020/10/PHR34_AutorInnen.pdf

The Evolution of the Press Photography in Romania (1860-1919)

S. 10:

We studied how photography was used to reflect the War of Independence in the two publications, and as far as we could, we tried to track the circulation of these images in the European press. Unlike Szathmári, Franz Duschek and A.D. Reiser, his fellow war photographers in 1877, had a narrower diffusion of purely photographic images. Carol Szathmári together with Franz Duschek and A. D. Resiser made known their photos taken during the 1877 campaign, especially through the photo album Souvenir de resbel published shortly after the end of the war.

The Evolution of the Press Photography in Romania (1860-1919). http://www.iini.ro/SCOSAAR/Sustineri%20teze/Adriana%20Dumitran/Adriana%20Dumitran_rezumat_engleza.pdf

Ivanov, Photographic icons from the Russo-Turkish War of 1877-1878

Ziemlich unergiebig

Photographic icons from the Russo-Turkish War of 1877-1878, published on 3/3/22 10:30 AM Author: Ivo Ivanov, https://bnr.bg/en/post/101607311/photographic-icons-from-the-russo-turkish-war-of-1877-78-g

Ionescu, Bucharest Through The 19th Century Travellers’ Eyes And Pioneer Photographers’ Lenses

Mit zahlreichen Fotos von Duschek!

S. 52:

Szathmari was not the only photographer to document the capital city and the old monuments of the country. Franz Duschek (1830–1884), a Czech photographer who settled in Bucharest in 1852, produced an album with images taken at the elegant summer residence of the Otetelesanu family at Magurele, nearby Bucharest. It was one of the most beautiful manor houses built in the early 1850s. The album, produced in 1860, was entitled Vues de Magoureli, and showed both the house and its glowing garden (Figs. 29, 30). Almost twenty years apart from Talbot’s landscapes taken on his estate at Lacock Abbey, and probably without knowing the calotype experiments done by the father of modern photography 49 , Duschek made some masterly compositions with the exotic plants in the garden and the pond with its China bridge arching over the waters (Figs. 31, 32). Unable to take snapshots the photographer managed to simulate them by adding some birds flying over the park which he drew in black ink. He took also some very interesting cityscapes of the Capital probably with the intention to bind the proofs in an album which he never completed. As did his friend and colleague some years before, Duschek climbed the Coltea Tower Turnul Colței and took a picture with the University where is seen also the roof of the Soutzo Palace (Fig. 33).

S. 57:

In 1878, a few months after his return from the Bulgarian battlefields where he documented the Russian troops fighting in the Oriental War along with the Romanian army 55 Duschek took new pictures on the central area of the city.

“The City Of Pleasure”: Romantic Bucharest Through The 19th Century Travellers’ Eyes And Pioneer Photographers’ Lenses, By Adrian-Silvan Ionescu. https://www.scia.ap.istoria-artei.ro/resources/2014/SCIA.AP-2014-Art%2002.pdf

Ionescu, Romanian Architecture As Seen By 19th-Century Photographers

S. 157: Szathmari, Baer, Duschek, Pesky and Spirescu were leading Bucharest photographers who took pictures on the streets or captured old monuments on their wet collodion plates.

S. 164: Szathmari was not the only photographer to document the capital city and the old monuments of the country. Franz Duschek (1830–1884), a Czech photographer who settled in Bucharest in 1852, produced an album with images

S. 165: taken at the elegant summer residence of the Oteteleşanu family at Măgurele, near Bucharest. It was one of the most beautiful manor houses built in the early 1850s. The album, produced in 1860, was entitled Vues de Magoureli, and showed both the house and its glowing garden.

S. 166: In 1874 and 1875, Duschek took some pictures of Bucharest, with both old and new monuments such as the Bucur and Stavropoleos Churches, Radu Vodă

S. 167: and Zlătari Monasteries, some of the bridges across the Dâmboviţa and Casa Apelor (the Water House, an installation to purify the muddy waters of that rivulet), the University and part of the Soutzo Palace seen from the top of the Colţea Tower. [...] In 1878, Duschek took new pictures of the central area of the city. He photographed Michael the Brave’s statue, the work of the French sculptor Albert-Ernest Carrier-Belleuse, uncovered in late 1874 in front of the University. On both sides were placed the Turkish guns captured from the Ottoman Army at the siege of Griviţa in 1877, during the Oriental War.

S. 169: ... in 1896, to honor Emperor Franz Joseph’s visit to Romania, the capital city was lavishly decorated. Some of the distinguished photographers in Bucharest, such as Franz Mandy, Ioan Spirescu, Gustav Waber and Franz Duschek Jr., immortalized these decorations. [...] At the 1900 Exposition Universelle in Paris, many Romanian photographers exhibited their works and received important prizes: Franz Duschek Jr. and Franz Mandy were awarded the silver medal, whereas Ioan Niculescu and Ioan Spirescu

S. 170: were awarded the bronze medal. Some of these medals were rewarding cityscape albums exhibited on that occasion.

Adrian-Silvan Ionescu, Romanian Architecture As Seen By Nineteenth-Century Photographers, “Historical Yearbook,” vol. VIII, 2011, pp. 157–170, https://www.historicalyearbook.ro/wp-content/volumes/hy_2011/12-ionescu.pdf

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S. 157: Szathmari, Baer, Duschek, Pesky und Spirescu waren führende Bukarester Fotografen, die auf den Straßen fotografierten oder alte Denkmäler auf ihren nassen Kollodiumplatten festhielten.

S. 164: Szathmari war nicht der einzige Fotograf, der die Hauptstadt und die alten Monumente des Landes dokumentierte. Franz Duschek (1830-1884), ein tschechischer Fotograf, der sich 1852 in Bukarest niederließ, produzierte ein Album mit Bildern

S. 165: aufgenommen in der eleganten Sommerresidenz der Familie Oteteleşanu in Măgurele, nahe Bukarest. Es war eines der schönsten Herrenhäuser, die in den frühen 1850er Jahren gebaut wurden. Das Album aus dem Jahr 1860 trug den Titel Vues de Magoureli und zeigte sowohl das Haus als auch seinen leuchtenden Garten.

S. 166: In den Jahren 1874 und 1875 machte Duschek einige Aufnahmen von Bukarest mit alten und neuen Denkmälern wie der Bucur- und der Stavropoleos-Kirche, Radu Vodă

S. 167: und das Zlătari-Kloster, einige der Brücken über die Dâmboviţa und das Casa Apelor (das Wasserhaus, eine Anlage zur Reinigung des schlammigen Wassers dieses Flüsschens), die Universität und einen Teil des Soutzo-Palastes von der Spitze des Colţea-Turms aus gesehen. [...] 1878 machte Duschek neue Aufnahmen vom zentralen Bereich der Stadt. Er fotografierte die Statue von Michael dem Tapferen, ein Werk des französischen Bildhauers Albert-Ernest Carrier-Belleuse, die Ende 1874 vor der Universität enthüllt wurde. Auf beiden Seiten wurden die türkischen Geschütze aufgestellt, die von der osmanischen Armee bei der Belagerung von Griviţa 1877 während des Orientalischen Krieges erbeutet wurden.

S. 169: ... 1896, zu Ehren des Besuchs von Kaiser Franz Joseph in Rumänien, wurde die Hauptstadt aufwendig dekoriert. Einige der angesehenen Bukarester Fotografen wie Franz Mandy, Ioan Spirescu, Gustav Waber und Franz Duschek jr. verewigten diese Dekorationen. [...] Auf der Exposition Universelle 1900 in Paris stellten viele rumänische Fotografen ihre Werke aus und erhielten wichtige Preise: Franz Duschek Jr. und Franz Mandy wurden mit der Silbermedaille ausgezeichnet, während Ioan Niculescu und Ioan Spirescu

S. 170: mit der Bronzemedaille ausgezeichnet wurden. Einige dieser Medaillen waren Belohnungen für Alben, die bei dieser Gelegenheit ausgestellt wurden.

Adrian-Silvan Ionescu, Romanian Architecture As Seen By Nineteenth-Century Photographers, “Historical Yearbook,” vol. VIII, 2011, pp. 157–170, https://www.historicalyearbook.ro/wp-content/volumes/hy_2011/12-ionescu.pdf

Luminous Lint

Franz Duschek Jr. Self portrait of Franz Duschek n.d.

Albumen print Library of the Romanian Academy Inventory nr: F I 94627

LL/91920

The photography is part of a photographic album entitled "Schützen-gesellschaft - Bucarest haupt Schiessen 1866", shelfmark AF II 645, that gathers together the portraits of all the members, carte-de-visite format portraits by: Franz Duschek (Bucharest), Carol Popp de Szathmari (Bucharest), K. F. Zipser (Bucharest), Friedrich Schiller (Wien), M. B. Baer (Bucharest) and many others.

Text: Adrian-Silvan Ionescu, Photographers in Romania 1840-1940

Franz Duschek, self portrait (Prague 1830?-1884 Alexandria, Egipt), was a distinguished photographer in Bucharest where he settled in 1862. He opened an elegant studio on Strada Noua (New Street) which soon became the most fashionable one and attracted the high society. Each one wanted to have his or her likeness taken at Duschek. During the carnival, after every costumed ball, those who took part came for a portrait in the appropriate costume. He was also a master of children portraits which were the most difficult to be taken. Giving them puppets or candies he tried to distract their attention while posing for the frightening camers. But sometimes he had to ask their mothers or nurses to pose beside in order to quiet and encourage them. He was attracted also by the folk types and took pictures with costumes now and then even though he hadn’t produced large series as those of Szathmari’s. He was more interested in architecture and cityscapes and produced some unforgettable pictures. After Prince Alexandru Ioan’s abdication on 11th February 1866 he took portraits to all the conspirators and edited a carte-de-visit series which was later lithographed on larger format by his colleague M. B. Baer. He also portrayed the new ruler, Prince Carol I, after his arrival. The young prince posed both in civilian clothes and in military uniform for those portraits. As a reward, the prince bestowed on Duschek the title of Court Photographer on 8 April 1867. Ten years later, at the outbreak of the Oriental War of 1877, Duschek followed the armies on the battlefield. It is still a matter of conjecture why was he affiliated to the Russian and not to the Romanian troops. From the beginning he documented the progress of the Russian armies both in its camps in and around Ploiesti - where the Tsar and the Grand Dukes were accommodated in the most elegant houses of the town – and after the crossing of the Danube, in Bulgaria. His camp scenes and military portraits are full of vividness. He also immortalised the meeting between Prince Carol I of Romania and Tsar Alexander II, surrounded by the Grand Dukes and his staff at Gorni Studen . In one picture he showed Prince Carol I in his coach heading for the battlefield. As a keepsake he took a self portrait on the porch of a poor Bulgarian house which he shared with Andreas D. Reiser during the war. His pictures circulated either as independent copies or bound in albums, each plate labelled in German and with the author’s name and address on its back. Some of his pictures were reproduced, mostly anonimous, as woodcuts, in the European and American illustrated magazines. For this accomplishment he was awarded the Prussian Golden Medal for the Arts, the Austrian Golden Cross for Merit (Goldenes Verdienskreuz) and the Romanian Bene Merenti medal, while the tsar offered him a precious ring adorned with a large diamond. In 1878 he printed this distinctions on the back of his pictures. The campaign hardships ruined Duschek’s health, who was already a freil man. His consumption progressed and, in 1883, he decided to leave Romania for a milder climate. Selling his interests in Bucharest he went to Egypt where he died a year later. His legacy is one of the most important in the Romanian history of photography.

Luminous Lint, https://luminous-lint.com/app/image/7565699837919200211982548/

Flickr, Andrei George

Andrei George

A Standing Gentleman with Balustrade - Portrait by Franz Duschek

Photographer: Franz Duschek (born in Budapest around 1830 - died in Suez 1884) Aristocratic and intellectual family from Prague.

His father (also Franz Duschek – 1797-1873) was finance minister in the Kossuth revolutionary government (therefore, after 1850, he had to go in an internal exile, to Czernowitz/Cernăuţi)

Married in Czernowitz/Cernăuţi, around 1860, Rózsa Szathmáry, the sister of the famous photographer Szathmáry Popp Károly, who at the time worked in Bucharest. The couple moved to Bucharest where Duschek learned the art of photography, from his brother in law.

1862 – Album “Vues de Magoureli”

1864- opened a photo studio in the Slătineanu Houses on Strada Nouă (future Edgar Quinet); it became a very successful business, Duschek becoming the ”à la mode” photographer of Bucharest.

1867: he became photographer of the court

1869: “Gold-Medaille für Kunst” - Berlin

10 May 1871: his studio is destroyed during a Francophile liberal demonstration, against the German residents that were celebrating, in the Slătineanu Hall, the Frankfurt Treaty (that put an end to the Franco-Prussian War).

1871: temporary new photo studio on Podul Mogosoaiei 21

1872: opens a new and large photo studio (which included an exhibition) on another new street (Strada Nouă), this address was to become Franklin street nr. 3., where he was to portray almost all the Romanian celebrities of the time.

1877-1878 together with Andreas D. Reiser, he captured many historical photos during the Independence War against the Ottoman Empire

1882- sells his No. 3, Franklin street photo studio to József Szöllösy

1882-1884 diminished activity due to illness

1884 July: he died of tuberculosis, in Suez, where he had just established, in June.

Date: probably 1872-1873

Location: Bucharest, Romania

The portrayed: ? possibly Alecu Obreja, at about 42 years.

Format: CDV

(By courtesy of Mrs. Lilian Theil)

Flickr, https://www.flickr.com/photos/58646687@N08/5730342465/

Albertina

Albertina Sammlungen Online, »Franz Duschek«, https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[Foto2007/337/18]&showtype=record#/query/c0c6dc2f-80a0-42d4-94de-70bb2e41a170

???

S. 169: Franz Duschek’s studio house on strada Nouă

Despite his consolidated status as one of the foremost photographers of his time in Bucharest, basic aspects of Franz Duschek’s biography and photographic oeuvre remain to this day unclarified.31 Fortunately, his career accounts for one of the most substantial sequences of records found so far in the archives of the Technical Department. Franz Duschek was active as a professional photographer in Bucharest by 1865.32 Some of his earliest surviving cartes de visite (locating his studio in Bucharest, without an address) can be dated to 1865 on the basis of surviving annotations, while the Adressenbuch von Bukarest does not include him in the photographers’ section of its 1866 edition (most likely compiled at the end of 1865).33 Taken together, this circumstantial evidence hints to Duschek’s recent arrival on the local scene. Nevertheless, by 1866 his business was firmly established in str. Nouă (literally: New Street; today str. Edgar Quinet), a side street ...

https://eds.p.ebscohost.com/eds/detail/detail?vid=1&sid=d119ff8d-fdda-4c9e-b633-c7e74ee6a731%40redis&bdata=Jmxhbmc9ZGUmc2l0ZT1lZHMtbGl2ZSZzY29wZT1zaXRl#AN=177386213&db=asu PDF-Volltext: https://eds.p.ebscohost.com/eds/pdfviewer/pdfviewer?vid=0&sid=d119ff8d-fdda-4c9e-b633-c7e74ee6a731%40redis

Ionescu, Penel şi sabie

Adrian-Silvan Ionescu Penel şi sabie Artişti documentarişti şi corespondenţi de front în Războiul de Independentă ( 1877 - 1878 )

Editura Biblioteca Bucureştilor

Adrian Silvan Ionescu, »Penel Si Sabie. Artisi documentaristi si correspondent de front in Razboiul de Independenta (1877-1887)«, Editura Biblioteca Bucurestilor

Ergiebig, etliche Fotos von Franz Duschek, Text auf Rumänisch

[Fürstlich Wiedisches Archiv, Neuwied, https://archive.org/details/adrian-silvan-ionescu-penel-si-sabie-2002/page/305/mode/2up?q=%22Franz+Duschek%22 ]

https://archive.org/details/adrian-silvan-ionescu-penel-si-sabie-2002/mode/2up?q=%22Franz+Duschek%22 https://archive.org/stream/adrian-silvan-ionescu-penel-si-sabie-2002/Adrian-Silvan%20Ionescu%20-%20Penel%20si%20sabie%20-%202002_djvu.txt

G. Benger, Rumänien im Jahre 1900

Mehrere Fotos von Franz Duschek sind abgedruckt in:

G. Benger, Rumänien im Jahre 1900 von G. Benger Kgl. Rumän. Generalkonsul, Verlag von J. Engelhorn, Stuttgart, 1900, https://archive.org/details/g.-benger-rumanien-in-jahre-1900/mode/2up?q=%22Franz+Duschek%22

Leonard, tehnica şi arta fotografica

tehnica-si-arta-fotografica by Radu Leonard, https://archive.org/details/tehnica-si-arta-fotografica/page/n51/mode/2up?q=%22Franz+Duschek%22

S. 52:

CAROL POP DE SZATHMARI ( 1812 - 1887)

Carol Pop de Szathmari s-a nascut la 11 ianuarie 1812, la Cluj. Carol a fost primul din cei cinci copii ai baronului Daniel si al Susannei Pop de Szathmari. Cobora dintr-o familie de boieri romani din Satu Mare.

Educatia umanista primita la Colegiul Reformat va innobila pasiunea sa pentru calatorie, conducand la definirea unei modalitati de hrana spirituals §i anume calatoria de studii. Frecventarea in paralel a clasei de desen a gravorului Gottfried Neuhauser din cadrul Liceului Catolic i-a dezvoltat lui Carol capacitatea de a surprinde esentialul. Studiul desenului il va aprofunda la Viena §i, ulterior, la Roma, dar temperamentul sau vijelios §i aptitudinea de a acumula rapid 1-au transformat intr-un student calator, in cautare de necunoscut.

La 19 ani, Carol viziteaza pentru prima oara Bucure§tiul. Va reveni aici in 1834, 1837, 1840, pentru cain 1843 sa se stabileasca definitivin Bucure§ti. Era anul debutului sau editorial, la Cluj aparandu-i albumul intitulat "Ardealul in imagini", care poate fi considerat ca fiind opera unui reporter, in acest caz, desenator.

In 1848-1849, deseneaza scene din revolutia ungara.

In paralel se initiaza in fotografie, pentru ca in septembrie 1848 sa realizeze cu mijloace proprii prima sa calotipie, respectiv un amoras. cu bratele frante. Din acest moment, desenul §i fotografia vor fi cele doua coordonate ale personalitatii sale artistice.

In 1851, organizeaza, la Teatrul eel Mare din Bucuresti, o expozitie de imagini luate la Expozitia Universala care se desfasurase in acelasi an la Londra. Aceasta constituia o alta opera de reporter. Acum, doar trei ani il desparteau de momentul in care urma sa intre in istoria fotojurnalismului. Aceasta performanta a fost obtinuta de Carol Pop de Szathmari in timpul Razboiului Crimeei, cand, alaturi de englezul Roger Fenton, a facut fotografii idilice de razboi. Astfel, cei doi au marcat intrarea fotografiei in lumea presei. Carol Pop de Szathmari a multiplicat ulterior fotografiile facute si le-a daruit suveranilor tarilor implicate in acest razboi.

Ideea fotoreportajului, aplicata in timpul Razboiului Crimeei, 1-a condus pe Carol Pop de Szathmari la realizarea albumelor "Elena Cuza" , cu fotografii realizate la Bucure§ti intre anii 1860-1863, si "Albumul Romaniei", cu fotografii din tara, facute intre anii 1866-1868, in timpul calatoriilor lui Carol I, caruia i-a

S. 53:

fost ghid, dar si din Bucuresti si imprejurimi, realizate in 1870. In categoria fotoreportajelor pot fi incluse si cunoscutele panoramice luate din Turnul Coltei, Dealul Filaret si Dealul Spirii care au o valoare documentary extraordinara.

Razboiul de Independenta(1877-1878) a redesteptat fotoreporterul de razboi care fusese Carol Pop de Szathmari. Aflat in pragul senectutii si suferind de o boala de ficat, acesta a trebuit sa se rezume la imagini din spatele frontului, pe care le-a trimis gazetelor din tara si din Occident sub forma de gravuri sau litografii, sau din sectorul Serviciului Sanitar, in cadrul caruia figura.

Ultima contribute a lui Carol Pop de Szathmari in domeniul fotoreportajului nu a fost si opera sa capitala. Invitat de Carol I sa imortalizeze Serbarile Incoronarii din zilele de 11-13 mai 1881, desi a apelat la ajutorul cumnatilor sai, Franz Duschek si Andreas Reiser, care il asistasera si in Razboiului de Independents, fotografiile obtinute nu sunt dintre cele mai bune. Varsta si ochii 1-au tradat. Era aproape orb in acea perioada. Calitatea slaba a fotografiilor il vor determina pe Carol Pop de Szathmari sa renunte la aparatul de fotografiat. Cele mai bune fotografii vor fi incluse in albumul de cromolitografii intitulat "Carele Simbolice", aparutin 1884.

Carol Pop de Szathmari a murit fiind rapus de ciroza. A fost inmormantat pe 24 mai 1887/stil vechi/ la fostul cimitir evanghelic de la Filantropia

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CAROL POP VON SZATHMARI ( 1812 - 1887)

Carol Pop de Szathmari wurde am 11. Januar 1812 in Cluj geboren. Carol war das erste der fünf Kinder von Baron Daniel und Susanna Pop de Szathmari. Er stammte aus einer rumänischen Bojarenfamilie aus Satu Mare.

Die humanistische Ausbildung, die er am Reformierten Kolleg erhielt, veredelte seine Leidenschaft für das Reisen und führte zur Definition eines Weges der geistigen Nahrung, nämlich der Studienreise. Der gleichzeitige Besuch der Zeichenklasse des Kupferstechers Gottfried Neuhauser am Katholischen Lyzeum entwickelte Carol die Fähigkeit, das Wesentliche zu erfassen. Er wird in Wien und später in Rom Zeichnen studieren, aber sein schnelles Temperament und seine Fähigkeit zur Akkumulation machen ihn schnell zu einem reisenden Studenten auf der Suche nach dem Unbekannten.

Mit 19 Jahren besuchte Carol zum ersten Mal Bukarest. Er kehrte 1834, 1837 und 1840 dorthin zurück, bevor er sich 1843 in Bukarest niederließ. Es war das Jahr seines Publikationsdebüts, und in Cluj veröffentlichte er ein Album mit dem Titel "Ardealul in imagini" (Siebenbürgen in Bildern), das als das Werk eines Reporters, in diesem Fall eines Zeichners, betrachtet werden kann.

In den Jahren 1848-1849 zeichnete er Szenen aus der ungarischen Revolution.

Zur gleichen Zeit erlernt er die Fotografie und fertigt im September 1848 mit eigenen Mitteln seine erste Kalotypie an, das Porträt einer Primel. mit verschränkten Armen. Von diesem Zeitpunkt an sollten Zeichnung und Fotografie die beiden Koordinaten seiner künstlerischen Persönlichkeit sein.

1851 organisierte er im Großen Theater von Bukarest eine Ausstellung von Bildern, die auf der im selben Jahr in London stattfindenden Weltausstellung aufgenommen worden waren. Dies war eine weitere Arbeit eines Reporters. Nun trennten ihn nur noch drei Jahre von dem Moment, in dem er in die Geschichte des Fotojournalismus eingehen sollte. Dieses Kunststück gelang Carol Pop de Szathmari während des Krimkriegs, als er zusammen mit dem Engländer Roger Fenton idyllische Kriegsfotos schoss. Damit markierten die beiden den Eintritt der Fotografie in die Welt der Presse. Carol Pop de Szathmari vervielfältigte später die Fotografien und schenkte sie den Herrschern der am Krieg beteiligten Länder.

Die Idee der Fotoreportage, die während des Krimkriegs angewandt wurde, veranlasste Carol Pop de Szathmari, die Alben "Elena Cuza" mit Fotografien, die zwischen 1860 und 1863 in Bukarest aufgenommen wurden, und "Albumul Romaniei" mit Fotografien des Landes, die zwischen 1866 und 1868 während der Reisen von Carol I., dem er

S. 53:

sein Reiseführer war, aber auch von Bukarest und Umgebung, aufgenommen im Jahr 1870. In die Kategorie der Fotoreportagen gehören auch die bekannten Panoramabilder vom Coltei-Turm, dem Filaret-Hügel und dem Spirii-Hügel, die einen außerordentlichen dokumentarischen Wert haben.

Der Unabhängigkeitskrieg (1877-1878) lässt den Kriegsfotografen Carol Pop de Szathmari wieder aufleben. Am Rande des Alters und an einer Lebererkrankung leidend, musste er sich auf Bilder von hinter der Front beschränken, die er in Form von Stichen oder Lithografien an nationale und westliche Zeitungen schickte, oder aus dem Sanitätsdienst, dem er angehörte.

Der letzte Beitrag von Carol Pop de Szathmari im Bereich der Fotoreportage war nicht sein Hauptwerk. Er wurde von Karl I. eingeladen, die Krönungsfeierlichkeiten vom 11. bis 13. Mai 1881 zu verewigen, und obwohl er die Hilfe seiner Schwager Franz Duschek und Andreas Reiser in Anspruch nahm, die ihm auch während des Unabhängigkeitskrieges geholfen hatten, waren die Fotos, die er erhielt, nicht die besten. Das Alter und seine Augen verrieten ihn. Er war zu dieser Zeit fast blind. Die schlechte Qualität der Fotos veranlasste Carol Pop de Szathmari, seine Kamera aufzugeben. Die besten Fotografien wurden in das 1884 veröffentlichte Album der Chromolithografien mit dem Titel "Symbolische Wagen" aufgenommen.

Carol Pop de Szathmari stirbt an einer Leberzirrhose. Er wurde am 24. Mai 1887/ alter Stil/ auf dem ehemaligen evangelischen Friedhof von Filantropia beigesetzt.

Radu Leonard, »tehnica-si-arta-fotografica« https://archive.org/details/tehnica-si-arta-fotografica/page/n51/mode/2up?q=%22Franz+Duschek%22

Veröffentlichungen von Franz Duschek (Katalog)

Veröffentlichungen von Franz Duschek (Katalog) https://archive.org/details/bibliografia-istorica-a-romaniei.-secolul-xix/BIR%20Sec.%20XIX%2C%20II%20%281%29/page/122/mode/2up?q=%22Franz+Duschek%22

Duschek ein polnischer Fotograf?

Hier wird Franz Duschek als POLNISCHER Fotograf und MALER bezeichnet: https://archive.org/details/buica-elena-luminisuri-luminisuri...-retail/page/194/mode/2up?q=%22Franz+Duschek%22 ; ebenso: https://archive.org/details/buica-elena-luminisuri-luminisuri...-retail_202211/page/124/mode/2up?q=%22Franz+Duschek%22

In den Fußstapfen der Alben

Pe urmele albumelor...

Din păcate, deşi Szathmari a primit pentru albumul său un premiu la expoziţie şi a oferit câteva exemplare mai multor suverani, precum Napoleon al III-lea, împăratul Franz Josef I şi regina Victoria a Marii Britanii, până acum, aceste albume par pierdute definitiv.

Fotografiile realizate de el cu prilejul Războiului Crimeii nu au reprezentat o iniţiativă singulară a unui amator, căci el a însoţit armata română în campaniile din Războiul de Independenţă din 1877, ocazie cu care a făcut şi alte fotografii şi schiţe în cerneală pentru tablouri şi gravuri. După primirea sa în audienţă la ţarul Alexandru al IIlea, i s-a permis să picteze şi să facă fotografii cu trupele ruseşti, aşa cum relatează presa contemporană. Fotografiile sale, făcute în 1877, au fost publicate în câteva ziare românești, precum Resboiul şi Dorobantul, ca şi în unele străine — L Illustration, Illustrierte Zeitung, The Illustrated London News. La sfârşitul războiului, a adunat majoritatea fotografiilor într-un album intitulat Suvenir din Resbelul 1877-78. Se pare că albumul include şi fotografii ale lui Franz Duschek, cumnatul său, ca şi ale lui Andreas D. Reiser”. (Marian Tutui, Ba/canii şi Europa, martie 2006, p. 15-17)

https://archive.org/details/teorii-ale-limbajului/scribd.vpdfs.com_curs-fotojurnalism/page/n5/mode/2up?q=%22Franz+Duschek%22

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In den Fußstapfen der Alben...

Obwohl Szathmari für sein Album einen Ausstellungspreis erhielt und mehrere Exemplare an Herrscher wie Napoleon III., Kaiser Franz Josef I. und Königin Victoria von Großbritannien übergab, scheinen diese Alben leider für immer verloren zu sein.

Die Fotografien, die er während des Krimkriegs aufnahm, waren nicht das Werk eines einzelnen Amateurs, denn er hatte die rumänische Armee bei den Feldzügen des Unabhängigkeitskriegs von 1877 begleitet und bei dieser Gelegenheit auch andere Fotografien und Tuscheskizzen für Gemälde und Stiche aufgenommen. Nachdem ihm eine Audienz bei Zar Alexander II. gewährt worden war, durfte er die russischen Truppen malen und fotografieren, wie die zeitgenössische Presse berichtete. Seine 1877 aufgenommenen Fotos wurden in mehreren rumänischen Zeitungen wie Resboiul und Dorobantul sowie in ausländischen Zeitungen wie L'Illustration, Illustrierte Zeitung und The Illustrated London News veröffentlicht. Am Ende des Krieges sammelte er die meisten dieser Fotos in einem Album mit dem Titel Suvenir aus dem Resbelul 1877-78. Das Album enthält offenbar auch Fotos von Franz Duschek, seinem Schwager, sowie von Andreas D. Reiser." (Marian Tutui, Balkan und Europa, März 2006, S. 15-17)

https://archive.org/details/teorii-ale-limbajului/scribd.vpdfs.com_curs-fotojurnalism/page/n5/mode/2up?q=%22Franz+Duschek%22

Dimian-Hergheligiu / Petrovici, Premises of Visuality: Max Blecher and Marcel Proust

A few decades after the first photographic studios opened in Bucharest and Iasi, most owners of photography businesses were of German and Austrian origin: Wilhelm Priz, Friedrich Binder, I. Pohlmann, Karl Popp von Szathmary, and Franz Duschek in Bucharest, and Nestor Heck, Bernhard Brand, and Adolf Schivert in Iasi, followed by many others in other parts of the country.Footnote16 In the first half of the twentieth century a growing number of Romanians began to use photography for commercial purposes. In Transylvania the first illustrated postcards replaced lithography, which change was followed only a few decades later in Bucovina and Romania. Thus, by the 1950s, the use of photography for tourism (the illustrated postcard) had become a mass phenomenon. Karl Popp von Szathmary and Franz Duschek and other followers of Austrian and German photographers soon extended the use of photography to history and documentation. From the publication of the first catalogues of Szathmary’s historical photographs in 1902, the genre rapidly flourished.Footnote17

Raluca Dimian-Hergheligiu & Oana Petrovici Premises of Visuality: Max Blecher and Marcel Proust Published online: 18 Mar 2015 The European Legacy (Journal), Volume 20, Issue 4, Pages 360-372, Premises of Visuality: Max Blecher and Marcel Proust Cite this article https://doi-org.wikipedialibrary.idm.oclc.org/10.1080/10848770.2015.1025503 https://www-tandfonline-com.wikipedialibrary.idm.oclc.org/doi/full/10.1080/10848770.2015.1025503

Ionescu, Early portrait and genre photography in Romania

Adrian-Silvan Ionescu Early portrait and genre photography in Romania Published online: 01 Oct 2013 Cite this article https://doi-org.wikipedialibrary.idm.oclc.org/10.1080/03087298.1989.10440999 History of Photography (Journal), Volume 13, Issue 4, Taylor & Francis, Pages 271-285 History of Photography, Vol. 13, n°4 (October 1989), pp. 271-285 History of Photography, 1989, Volume 13, issue 4, p. 271-285 (NFM) https://www-tandfonline-com.wikipedialibrary.idm.oclc.org/doi/epdf/10.1080/03087298.1989.10440999?needAccess=true [Hinter der Bezahlschranke]

Ionescu, Photography in Romania in the First Half of the 20th Century

Adrian-Silvan Ionescu, Photography in Romania in the First Half of the 20th Century, In: PhotoResearcher, No. 14, 2010, S. 15-24, http://www.eshph.org/wp-content/uploads/2022/07/PHR_14.pdf Unter anderem über Franz Mandy (1848-1910); auch kurz über rumänische Kriegsfotografie im Ersten Weltkrieg. Nichts über Franz Duschek oder Szathmari (aber die waren ja auch im 19. und nicht im 20. Jhdt. aktiv)

Personen-Normdaten etc.

RKD zu Franz Duschek: https://rkd.nl/artists/378406 ; BnF zu Franz Duschek: https://catalogue.bnf.fr/ark:/12148/cb15360186f

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Veröffentlichungen

• Vues de Magoureli, Fotoalbum, 1860

• mit Carol Popp de Szathmári und Andreas D. Reiser, Souvenir de resbel, Fotoalbum, um 1878

• Abbildungen nach Fotografien von Franz Duschek, in: James Samuelson, Roumania Past And Present. Illustrated With Maps (By E. Weller), Portraits, Autotype and Other Full-Page Plates, and Numerous Plans and Woodcuts (By G. Pearson), Chiefly From Photographs By F. Duschek, Bucarest, London; Longmans, Green, and Co. 1882, ([Volltext bei https://www.gutenberg.org/files/18240/18240-h/18240-h.htm Project Gutenberg] und bei archive.org)

• Albumul Pittoresc al României. Culegere de tablouri representând cele mai interesante regiuni, orașe, operede artă din timpurile vechi și noi, scene din viața poporului, tipuri și costume românești, publicată după fotografii de Franz Duschek, fotograf din București. Text prelucrat după profesorul Gr. G. Tocilescu. Editura Franz Duschek în București. Verlag für Deutschland und Österreich-Ungarn: August Dieckmann in Leipzig, 1896.