Benutzer:MYR67/Artikelwerkstatt Jacob Olie

Jacob Olie (geb. 17. Oktober 1834 in Amsterdam; gest. 25. April 1905 ebenda) war ein niederländischer Zimmermann, Architekt, Lehrer für technisches Zeichnen und Amateur-Fotograf. Bekannt geworden ist er für seine Fotografien von Amsterdam aus der zweiten Hälfte des 19. Jahrhunderts.

Lebensweg

Jacob Olie wurde am 17. Oktober 1834 in Amsterdam geboren. Unter seinen Vorfahren waren Flößer und Walfänger. Ausgebildet zum Zimmermann und Bauzeichner, unterrichtete er ab 1861 Zeichnen an der ersten technischen Gewerbeschule in Amsterdam und wurde 1868 deren Direktor. Seine zeichnerischen und gestalterischen Fähigkeiten stellte er in zahlreichen Wettbewerben unter Beweis. Er war Mitglied in mehreren Architekturvereinen der Niederlande und befasste sich intensiv mit Architektur- und Kunstgeschichte. Schon im Alter von 16 Jahren trat er der Maatschappij tot Bevordering der Bouwkunst (Gesellschaft zur Förderung der Baukunst) bei und gründete 1855 mit einer kleinen Gruppe Gleichgesinnter die Gesellschaft Architectura et Amicitia, einen Gesprächskreis, in dem über neue Entwicklungen in Kunst, Naturwissenschaften und Technik diskutiert wurde. Bei einem Treffen dieser Gesellschaft im Jahr 1857 sprach Olie erstmals über Fotografie, und zwar zitierte er einen Bericht aus einer niederländischen Zeitschrift über die Architectural Photographic Society, die in London mit dem Ziel gegründet worden war, ihren Mitgliedern preiswerte fotografische Abbildungen bemerkenswerter Bauwerke aus aller Welt zur Verfügung zu stellen. 1859 brachte Olie eine Serie stereoskopischer Ansichten von Amsterdam mit, die Pieter Oosterhuis (1816–1885) aufgenommen hatte. Kurz darauf begann Olie, selbst mit Fotografie zu experimentieren. Wahrscheinlich machte Olie seine ersten Aufnahmen im Sommer 1861, nur wenige Monate, nachdem er als Lehrer für technisches Zeichnen an der technischen Gewerbeschule zur arbeiten begonnen hatte. Olie fotografierte mit einer von ihm selbst gebauten Kamera, mit der er Nasskollodiumplatten belichtete, die er selbst aus Fensterglas zuschnitt und mit Kollodium beschichtete. In den folgenden vier Jahren fotografierte er in dem Hafen- und Industriegebiet Amsterdams, in dem er geboren worden war und weiterhin wohnte. Dabei wählt er oft ungewöhnliche Motive. Er porträtierte auch zahlreiche Familienangehörige, Freunde und Bekannte und nutzte deren Wohnungen im Stadtzentrum, um dort seine Dunkelkammerausrüstung aufzustellen und die Ausblicke aus ihren Fenstern zu fotografieren, die in einigen Fällen zu großen Panoramen von Amsterdam zusammengefügt werden können. 1864 und 1865 präsentierte er seine Albumin- und Salzpapierabzüge seinen Kollegen bei Architectura et Amicitia.

Bald darauf gab er seine fotografischen Experimente für viele Jahre auf.

Erst im Jahr 1890, nach seiner Pensionierung als Direktor der technischen Schule, nahm Olie die Fotografie wieder auf. Zu diesem Zeitpunkt war er 56 Jahre alt. Er war bereits verwittwet und Vater von vier kleinen Kinder im Alter von vier bis elf Jahren. Nun verwendete er keine Nasskollodiumplatten mehr für seine Fotografien, sondern industriell hergestellte Trockengelatineplatten. Bis zu seinem 70. Lebensjahr im Jahr 1904 fertigte Olie etwa 3.600 Fotografien von Amsterdam, seinen Außenbezirken und seiner Umgebung an. Sein besonderes Interesse galt der Entwicklung Amsterdams zu einer modernen Stadt. Dabei konzentrierte er sich auf neue Architektur im städtischen Kontext. Er stellte seine Fotografien nie aus, projizierte sie aber als Diapositive mit einer Laterna magica gelegentlich für ein breites Publikum.

Jacob Olie starb am 25. April 1905 in Amsterdam. Sein umfangreicher Nachlass wird im Amsterdamer Stadtarchiv aufbewahrt. Jacob Olie wurde auf dem Amsterdamer Friedhof De Nieuwe Ooster beigesetzt. Aus dem Grabstein geht hervor, dass seine Schwester Christina, genannt Stijntje (1829-1910), in derselben Grabstätte begraben wurde.

Der älteste Sohn von Jacob Olie, Jacob Olie junior (1879-1955), interessierte sich ebenfalls für Fotografie. Als Chemiker experimentierte er mit dem Autochromverfahren. Er machte Farbaufnahmen von seiner Familie zu einer Zeit, als Farbfotografie noch nicht weit verbreitet war.

Zettelkasten

• To Jacob Olie photography was no more than a pasttime which he practised intensively in his youth and in later life after an interlude of twenty-five years. He earned his living with other activities, first as a carpenter and an architect, and subsequently as a drawing master and headmaster of the first technical school in the Netherlands. (S. 5)

Rohstoffe und Quellen

Encyclopedia of 19th Century Photography

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OLIE, JACOB (1834–1905) An animated nineteenth-century amateur photographer in Amsterdam

To Jacob Olie photography was a pursuit which he practised intensively in his youth and again in later life after an interlude of 25 years. Olie was originally trained as a carpenter and took lessons in drawing and in theoretical

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subjects at a private technical school. At the age of 16 he joined the Maatschappij tot Bevordering der Bouwkunst (Society for the Advancement of Architecture) and in 1855, he and a small group of kindred spirits founded the society Architectura et Amicitia, a debating club where the international magazine portfolio brought news of developments in the arts, the natural sciences and technology. It was in these circles that Olie received further theoretical training and his wider cultural interests were shaped. He translated sections of E.E. Viollet-le-Duc’s Entretiens sur l’architecture and lectured on Grammaire des arts du dessin by Charles Blanc, former director of the Paris École des Beaux Arts. During the years he also participated succesfully in many competitions for artistic architectural designs. The first time the word ‘photography’ was mentioned at one of the society’s meetings was by Olie in 1857. He cited a report from a Dutch periodical about the Architectural Photographic Society that had been set up in London with the aim to provide its members with reasonably priced photographic illustrations of ‘noteworthy’ buildings from all countries. The matter came up once again, but Olie received little response among his fellow members for his proposal to collaborate with the English and exchange photographs for measured drawings. For architects the photograph and the drawing were not comparable media. For someone like Viollet-le-Duc, drawing was a higher form of seeing, despite the importance he attached to photography as an aid in restoration. However, at the weekly art reviews more and more photographs were shown. In 1859 Olie brought along a series of stereoscopic views of Amsterdam by Pieter Oosterhuis. Shortly thereafter, he began himself experimenting with the art of photography. Olie probably took his first photographs in the summer of 1861, only a few months after he had started his career as a teacher of architectural drawing at the technical school. At that time there were enough publications available with technical instructions for would-be photographers. In his notebooks Olie copied recipes for collodion, which he had taken from E. Robiquet (Manuel théorique et pratique de photographie sur collodion et sur albumine, 1859) and A.A.E. Disdéri (L’Art et la Photographie, 1862), among others. Olie built his own camera, a simple model, similar to the earliest daguerreotype cameras, which could take glass plates of 10.5 × 12.8 cm which he cut himself from window glass. That first summer Olie explored the utterly familiar world of the busy dockland and industrial area where he was born and where he still lived among his extended family of craftsmen, ship-builders and timber merchants. Here he took scenes not normally recorded by commercial photographers: a ship under construction, a mast-makers yard, or views taken from the deck of a ship. In 1862 Olie equipped his camera with a new lens of sharper definition and took up portraiture, a genre which he had never attempted as a draughtsmen. He made more than 150 portraits of his family, friends and acquaintances, sometimes capturing them in their own environment, and on other occasions against an artificial backdrop of cloths, rugs and props, like those used in the professional portrait studio. Sometimes Olie moved his darkroom equipment to friends and relatives who lived in the city centre and photographed from their attic windows. In some cases the views he made from these high vantage points can be fitted together to breath-taking panoramas. They provide a unique and highly personal portrait of Amsterdam’s city centre. Unlike his drawings, Olie never submitted his photographs to exhibitions, but in 1864 and 1865 he presented his albumen and salted-paper prints to his colleagues at an Architectura et Amicitia meeting. Soon after, he abandoned his photographic experiments for many years. Olie would only return to photography after his retirement as headmaster of the technical school in 1890. By then, he was a 56-year-old widower with four young children ranging from four to eleven years of age. He still used the same camera but fitted with a new lens. Olie built a number of ingenious cassettes which he could load at home with ready-made dry-gelatin plates of 9x12 and 13 × 18 cm. In the intervening years, his interest in photography had not waned. Olie gave slide shows for his pupils and others audiences with the magic lantern. The teacher in him recognized the educational potential of the picture machine and it may well have inspired him to produce his photographs specially for it. Between 1890 and 1904 Olie took over 3600 photographs, most of them portraying the city of Amsterdam, including street scenes and residents and workers in their own surroundings. Amsterdam was in the process of rapid transformation and Olie recorded construction works at different stages of completion, moving about the building sites freely as he knew the architect, the client or the building contractor. Often his views are not topographical in the strictest sense, but the city serves as a backdrop for public events—military parades and balloon lift-offs, visits by dignitaries and ship launchings. He continued to display a predilection for high viewpoints in this period, even when it was no longer strictly necessary. What fascinated Olie was the new architecture within its urban context. Unlike some artists of his day, he was not charmed by decay. Although the painter-photographer G.H. Breitner and Olie were both admirers of Amsterdam’s beauty, they produced quite distinct bodies of work. While Breitner reinforced the shabbiness of the old districts and evoked the dank atmosphere of decay, Encyclopedia of 19th Century Photography, Olie, Jacob (1834–1905)

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Olie composed views in which old and new fused into an organic whole. Olie’s photography is also very different from that of the younger generation of pictorial photographers who sought to render the ‘soul’ of the city in atmospheric photographs. Employing refined photographic processes, they would often blur the city’s contours in their hand-crafted prints. In contrast, Olie’s photographs are lucid images of a tangible world. After the turn of the century, Olie began to use a modern, hand-held camera which could take several 9 × 12 cm glass plates. It gave him a new mobility and allowed him to work in a more casual manner. Olie and his family were zealous hoarders. Besides the thousands of photographs, negatives and drawings he left behind, a veritable mountain of personal material has been preserved. The Amsterdam city archives purchased this rich legacy from his heirs in two portions, in 1959 and 1990.

Anneke van Veen

Biography

Jacob Olie was born on 17 October 1834 in Amsterdam, from a long line of raftsmen and whalers. Trained as a carpenter and an architectural draughtsman, he taught drawing at the first technical school in Amsterdam from 1861 on, and in 1868 became its headmaster. As a member of the leading architectural societies in the Netherlands, he studied zealously architectural and art history and played an active role in the debates on architectural theory and the concepts of form. He practised and demonstrated his skills in drawing and design in many competitions. In 1861 Olie started to photograph with a daguerreotype-model camera which he had built himself, using wet-collodion plates. The next four years he portrayed the dockland and industrial area where he was born and still lived, choosing unusual subject matter. He also made many portraits of his family, friends and acquaintances, and used their homes in the city center to set up his darkroom equipment and photograph the views from their windows which in some cases can be fitted together to large panoramas. Pressure of work forced him to abandon his pursuit. After his retirement in 1890 Olie took up photograpy again, this time on industrial dry-gelatine plates. Until the age of 70, Olie worked at fever pitch, producing some 3600 photographs of Amsterdam, outlying areas, and the wide surroundings. He was particularly interested in the transformation of the capital into a modern city, focussing on new architecture as an organic part of the urban context. He never exhibited his photographs, but projected them as lantern slides to a wide audience. Jacob Olie died in Amsterdam on 25 April 1905. His rich legacy is kept at the Amsterdam city archives.

See also: Architecture; Domestic and FamilyPhotography; History: 5. 1860s; History: 8. 1890s; Lantern Slides; Netherlands; and Topographical Photography.

Further Reading

• Aarsman, Hans (introduction), Jacob Olie. Amsterdam gefotografeerd aan het eind van de 19de eeuw door Jacob Olie [Amsterdam Photographed at the End of the 19th Century by Jacob Olie], Amsterdam: De Verbeelding, 1999
• Baar, Peter-Paul de, Jacob Olie, fotograaf van Amsterdam. Drie wandelingen door de stad rond 1900 [Jacob Olie, Photographer of Amsterdam. Three Walks through the City around 1900], Bussum/ Amsterdam: Thoth, 1999
• Boorsma, Anne Marie and Ingeborg Leijerzapf, “Jacob Olie” in Geschiedenis van de Nederlandse fotografie in monografieën en thema-artikelen [History of Dutch Photography in Monographs and Subject-Essays], edited by Ingeborg Leijerzapf,

Alphen aan den Rijn/Amsterdam: Samsom, Vol. 5, 1986

• Coppens, Jan, Guido Hoogewoud and Deborah Meijers, “Jacob Olie (1834-1905)” in Jaarboek Amstelodamum [Yearbook Amstelodamum], 68, 1976, 122-142
• Eeghen, I.H. van, Amsterdam in de tweede helft der XIXe eeuw, gezien door Jacob Olie Jacobsz [Amsterdam in the 2nd Half of the 19th Century seen by Jacob Olie Jacobsz], Amsterdam: Amstelodamum 1960
• Nieuwenhuijzen, Kees (composer), Jacob Olie, Amsterdam gefotografeerd 1860-1905 [Jacob Olie, Amsterdam Photographed 1860-1905], Amsterdam: Van Gennep, 1973 1, 1974 2, 1974 3, 1981 4
• Schmidt, Fred (composer), Jacob Olie. Amsterdam en omstreken. Foto’s 1890-1903 [Jacob Olie. Amsterdam and Surroundings. Photographs 1890-1903], Amsterdam: De Verbeelding 2002
• Veen, Anneke van, “Jacob Olie sees the Museumplein” in Jong Holland [Young Holland], 15, 1999, 2, 52-57
• Veen, Anneke van, Jacob Olie Jbz (1834-1905). Monografi eën van Nederlandse fotografen 10 [Jacob Olie Jbz (1834-1905), Monographs on Dutch Photographers 10], Amsterdam: Focus 2000

Quelle: Anneke van Veen, „OLIE, JACOB (1834–1905). An animated nineteenth-century amateur photographer in Amsterdam“, in: John Hannavy (Hrsg.), „Encyclopedia of Nineteenth-Century Photography“, Routledge-Verlag, New York/ London, 2008, 1630 Seiten, S. 1022-1024, ISBN 978-0-415-97235-2

Stammbaum/ Verwandtschaft

ÜBERSETZUNG:

Jacob Olie ist als leidenschaftlicher Fotopionier und Porträtfotograf bekannt, vor allem aber als der Mann, der das Bild des Amsterdams des 19. Jahrhunderts auf Film gebannt hat. Und das, obwohl Fotografie für ihn nur ein Hobby war. Sein tägliches Brot verdiente sich der Amateurfotograf mit anderen Jobs: zunächst als Zimmermann und Baumeister, später als Zeichenlehrer und Direktor der ersten Gewerbeschule in den Niederlanden. Im Amsterdamer Stadtarchiv befinden sich viele seiner Fotos.

Jacob Olie wurde 1905 auf dem Amsterdamer Friedhof De Nieuwe Ooster beigesetzt. Sein Grab wurde vor Jahren abgeräumt, aber der Grabstein wurde 2008 wiedergefunden. Aus dem Grabstein geht hervor, dass auch seine Schwester Stijntje (Christina) (1829-1910) in demselben Grab begraben wurde. Jan August Reeders (1856-1916) wurde ebenfalls in demselben Grab beigesetzt. Er war der Vater von Tiene (Christina Sophia) Reeders, die seinen Sohn Jacob geheiratet hatte. Der Grabstein wurde restauriert und erhielt einen neuen Platz auf dem Friedhof.

Hans de Goede, „Olie“, in: de Goode naam, http://www.degoedenaam.nl/olie.html

Literatur und Quellen

• Anneke van Veen, „Jacob Olie Jbz (1834–1905)“, Monografieën van Nederlandse fotografen [Monographien über niederländische Fotografen], Band 10. Text: Anneke van Veen. Redaktion: Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen. Diese Schriftenreihe wird auf Initiative des Prins Bernhard Cultuurfonds, Amsterdam, publiziert, der sie auch finanziell unterstützt. Focus Publishing, Amsterdam, 2000. ISBN 9072216970

• Anneke van Veen, „OLIE, JACOB (1834–1905). An animated nineteenth-century amateur photographer in Amsterdam“, in: John Hannavy (Hrsg.), „Encyclopedia of Nineteenth-Century Photography“, Routledge-Verlag, New York/ London, 2008, 1630 Seiten, S. 1022-1024, ISBN 978-0-415-97235-2

Links

• Wikidata, Jacob Olie (Q2383619), https://www.wikidata.org/wiki/Q2383619
• VIAF: http://viaf.org/viaf/9973775
• GND: https://d-nb.info/gnd/121888517
• LoC: http://id.loc.gov/authorities/names/n00028630
• Wikimedia Commons, https://commons.wikimedia.org/wiki/Jacob_Olie?uselang=de
• en.wikipedia.org, https://en.wikipedia.org/wiki/Jacob_Olie [dürftig]
• nl.wikipedia.org, https://nl.wikipedia.org/wiki/Jacob_Olie [ausführlich]
• Archiv Amsterdam Bilddatenbank, „Jacob Olie“, https://archief.amsterdam/beeldbank/?q=Jacob%20Olie&mode=gallery&view=horizontal
• Archiv Amsterdam, 1538 Archief van Jacob Olie Jbz, https://archief.amsterdam/inventarissen/details/1538/keywords/Jacob%20Olie
• Gemeente Amsterdam Stadsarchief, 10019 Collectie Jacob Olie Jbz, https://archief.amsterdam/inventarissen/details/10019/keywords/Jacob%20Olie