Franz Goerke

from Wikipedia, the free encyclopedia

Franz Goerke (born November 14, 1856 in Königsberg , † May 14, 1931 in Berlin ) was among other things publisher , photographer , director of the Urania Society and founding member and chairman of the Free Photographical Association . The aim of his pronounced commitment to the use of photography in the (natural) scientific field was both to establish a visual educational concept and to increase the reputation of amateur photography .

Life

Goerke completed a commercial training in banking. Photography was one of his hobbies. In October 1889 he was a co-founder of the Free Photographical Association in Berlin, in which he took on the role of secretary. 1912-1919 Goerke was chairman of this association. In 1897 he published "The Art of Photography" and at the same time became director of the Urania Society in Berlin. In this institution, scientific knowledge should be made accessible to a lay public. In the summer of 1898 Goerke and the German botanist Hugo Conwentz toured several parts of West Prussia for eleven days and went to Thorn for four days in the winter of 1900 to take pictures. Then he transferred the pictures to the West Prussian Provincial Museum and gave lectures. Conwentz described Goerke's way of working: "All of these activities, such as travel, photographic recordings and lectures, were carried out by G. [oerke] in a disinterested manner."

Franz Goerke died in Berlin in 1931 at the age of 74 and was buried in the Old St. Matthew Cemetery in Berlin-Schöneberg . The grave has not been preserved.

philosophy

Home, education, (amateur) photography

At the 11th (4th ordinary) meeting of the 12th year of the Society for Local History on October 28, 1903, Goerke spoke about "Photography in the service of local history" and stated in his lecture that the increasing importance of photographs, the number of Clubs grew. Goerke noted that it was time to make photography available to the general public and to direct the photographic work into “fruitful, calm waters.” He urged Berlin associations to use their photographs to bring Berlin conditions and the province closer illuminate. For him, photography meant a historically incontestable document that "could speak more eloquently for the study of history and cultural history than some written sources." With this statement Goerke foresaw the value for historians and therefore demanded a systematic collection activity and the establishment of photographic ones Archives. As director of the Free Photographical Association , he summarized this with the following words: “Here, science, cultural history and archeology are also rendered valuable services, because how easily a fire or other adversity can destroy the witnesses of a prosperous past before they can are recorded in the picture. ”For Goerke, the focus was on the education of a history-conscious citizen. He tried to achieve this goal by establishing the medium of photography in science. As a teaching aid, he ran projection evenings and demonstration lectures on a large scale: "Through word, image and writing, he has a stimulating and instructive effect, primarily among young people, and always strives to make the pictures, sheaf pictures and movement pictures useful for teaching."

plant

Goerkes engagement in the Free Photographical Association

In 1889 Goerke founded the Free Photographical Association with 52 other members . The first chairman was privy councilor Gustav Fritsch , second chairman medical officer Pfeiffer and first secretary Franz Goerke. After Privy Councilor Fritsch and Privy Councilor Adolf Miethe , Goerke was elected chairman of the association in 1912. One of the tasks of the association was "to gather the easily fragmented workforce and to bring it into effect in certain directions". The focus here was on local studies and homeland security, in which the association saw many tasks to be solved through photography. Goerke organized scientific conferences, published articles on slide projectors (1891, 1892) and advocated the cultural legitimation of amateur photographers. In particular, he maintained contact with (natural) scientific institutes in order to promote science and an enlightened public as much as possible. In order to reach a large audience, Goerke introduced projection evenings, some of which were attended by around 300 viewers. Goerke organized many of these evenings himself with his own lectures. Through these events Goerke became the heart of the system of upper class Berlin society. His commitment was greatly appreciated, as he gave institutions and a large audience the opportunity to exchange ideas. From 1899 a collection of samples was created, in which the members should have the opportunity “to draw inspiration for their own work from outside achievements in peace and quiet.” However, since the progress was so great and the exhibitions at home and abroad so numerous that If they went beyond the scope, the photographic works were transferred to the library of the Free Photographical Association .

Memorandum for the 20th anniversary of the Free Photographical Association

To mark the 20th anniversary of the association, the director published a "memorandum" with photographic reproductions. In this review of the club's history, he describes the club as “fertile ground” for amateur photography at the time, as its distribution was emphatically promoted by the club. He describes how photography has proven to be an indispensable aid in the history of the association, just as it has become a means of artistic activity. His co-author Karl Wilhelm Wolf-Czapek writes that it was not the professional photographers who made photography great, "but those who only devoted themselves to it on the side." Wolf-Czapek, however, advocates a strict separation between lovers and bunglers among amateur photographers. Because those who could not keep pace due to lack of time or insufficient talent would hinder the education of a Berlin school. He again goes into a suggestion made by Goerke in 1891, in which he recommends photographers to orientate themselves in one direction and to set themselves a photographic task at a time. Goerke himself chose the native landscape ("Illustration of the Spree from the source to the mouth") as the theme, as can be seen in his numerous projection presentations. In this way, the use of photographs within the association was expanded from the rigid to the "living" image, which according to Wolf-Czapek lectures on cinematography confirm:

“The cinematograph can be one of the most important factors in an object lesson; this was only recently proven by a lecture in the Urania: 'The cinematograph in the service of science and teaching'. [...] The living image can acquire an important meaning for the spread of popular education, it can become one of the noblest popular entertainments, the knowledge of foreign countries, the understanding of the inventions and discoveries, to strengthen the feeling of home; it can often achieve stronger effects than the still image, and in future times it can bear witness to the genders once more of our life and goings-on, of our feelings and striving. "

Goerkes lectures at the projection evenings of the Free Photographical Association

  • 1890: The Bavarian royal castles
  • 1890: Upper Bavaria
  • 1894: Summer days on the Baltic Sea
  • 1894: The island of Sylt
  • 1895: The island of Sylt (For the best of the Kaiserin Friedrich Hospital)
  • 1895: Rheinsberg Castle and the surrounding area
  • 1895: Bornholm Island (2nd Lectures)
  • 1896: The International Exhibition for Amateur Photography in the Reichstag building
  • 1897: A sea trip around the islands of Usedom and Wollin - In the Bay of Kiel (memory of the opening of the Kiel Canal) - On the Elbe - A picturesque hike through the Mark Brandenburg
  • 1897: The Vienna Camera Club and its main exponents of art photography
  • 1897: The seaside resorts of the Pomeranian Coast - On the Elbe (charity event for the benefit of the flooded in Silesia)
  • 1898: From Memeln to Ostend
  • 1898: A picturesque hike through the Mark Brandenburg
  • 1898: Travel studies from the Orient (a reminder of the official festival trip for the dedication of the Church of the Redeemer in Jerusalem)
  • 1899: Forays through Mecklenburg
  • 1899: Bornholm Island (For charity)
  • 1900: The Vistula from the Russian border to the mouth
  • 1900: Photographs by Sobotta from the aquarium in Naples
  • 1900: A reminder of the world exhibition in Paris
  • 1901: News from the field of cinematography
  • 1901: Character Pictures from the Mark (New Series)
  • 1902: Forays through Mecklenburg (new series)
  • 1903: Spring days on the Riviera - news from the field of cinematography
  • 1904: On sunny shores
  • 1905: In memory of Adolf Bastian
  • 1906: The Moselle from source to mouth - cinematographic demonstrations
  • 1906: Photographic Studies from Mecklenburg (New Series)
  • 1907: Photography in the service of homeland security
  • 1907: Presentation of the new cinematographic apparatus of the "Fr. ph. V."
  • 1908: Cinematographic presentations from the life of the animal world
  • 1909: Character pictures from the German Baltic coast
  • 1909: News from the field of cinematography

Extract from Goerke's lectures as items on the agenda of the regular meetings of the Free Photographical Association

  • 1892: About projection art
  • 1893: ghost photography
  • 1898: The photo engraving collection based on paintings from the Berlin art exhibition in 1897 and 1898 by Meisenbach, Rissarth & Co.
  • 1901: The projection of the panorama photos
  • 1901: The Kine-Meßter (a new universal machine for series recordings)
  • 1905: The International Exhibition of Artistic Photographs at the Royal Academy of Arts
  • 1906: The club's studio. Review and Outlook
  • 1907: Photography in the service of homeland security

Director of the Urania company

Goerke's intensive involvement in the Free Photographical Association and in the field of science paid off, so that in 1897 he was appointed director of the Urania Society - even without a university title . Goerke, whose job included commercial management, had good managerial skills, so that the company's assets increased considerably. His experience and network of acquaintances seemed to have a positive effect on development. Here, too, he was particularly committed to promoting local history and homeland security, and gave lectures that were also intended for teachers and students. He also gave lectures on the conservation of natural monuments. At the request of government agencies, he set up an archive that contained photographs of landscapes, plants and animals. With the help of his relationships with numerous amateur photographers, he was able to enlarge this quickly. The 25th anniversary in 1913 was one of the high points for Urania: In the physical experiment room, new possibilities for optical and electrical experiments were created. Until 1930 he remained chairman of the Urania.

Others

Goerke took part in the museum commission of the Völkerkundemuseum - headed by Rudolf Virchow  - and eventually became a founding member of the Bund Heimatschutz . There the friend and patron of Heimatkunde and Heimatliebe was appointed treasurer. Franz Goerke was at times a member of the Association for the History of Berlin , first from 1892–1894, then again from 1898. A third entry is documented for 1911.

Exhibitions

Goerke was initially jointly responsible for the international exhibition of amateur photography in the Reichstag building in 1896. Looking back, he found that “there was little to be seen of an artistic direction in his own work, and there was also a lack of inspiration later on […].” It is largely thanks to Goerke that the association was established within nine years developed an excellent reputation, so that after further exhibitions an exhibition took place in the Royal Academy of the Arts in Berlin in 1905 . Important people from the fields of art and science - among them the landscape painters Walter Leistikow and Max Liebermann , the director of the Tschudi National Gallery and the professor of art history Wölfflin  - took over a position on the admissions jury. The foreword in the catalog of the long-awaited exhibition was taken over by Matthies-Masuren , who in turn emphasized that the purpose of the exhibition was to educate and stimulate. Since the previous exhibitions - with the exception of the exhibition in the Reichstag building - were limited to art photography , a comprehensive exhibition was to be held in the rooms of the new House of Representatives in 1906. Here Goerke wanted to show how photography has become an enrichment in all scientific and technical fields. Goerke sees the high point of the 20-year history of the association in the Dresden exhibition in 1909. For this purpose, the four Berlin associations Free Photographische Vereinigung , German Society of Friends of Photography , Märkische Society of Friends of Photography and Association for the Promotion of Photography came together to jointly develop artistic and to exhibit scientific photography. In addition to his work as an organizer, Goerke was also valued as a jury member at international exhibitions in Vienna, Rome, Paris, Brussels and London and was mostly head of the German department. After the Association of German Amateur Photography Associations was founded, Goerke was elected permanent director of the photographic exhibitions in Germany.

Working as an editor

"According to nature"

Goerke published together with Richard Stettiner in "After Nature" photo engravings based on original photographs by amateur photographers, in the proud pictorial style. He had published this "[...] on behalf of the German Society of Friends of Photography and the Free Photographical Association in memory of the international exhibition for amateur photography, Berlin 1896 [...]". It was bought by the Photographic Society at a high cost published in Berlin. In an attached text, Richard Stettiner wrote about the aesthetics of photography. For Stettiner - just like for Goerke - photography is not a tool for a lonely painter, but is about to establish itself as an art object. In this way, it is not only an exact copy of nature, but a personal means of expression that can cast a personal look at nature better than any other art.

"Germany in color photography"

From 1913, Goerke published a series of large-format (280 × 360 mm) themed volumes under the common title Germany in Color Photography with the "Verlagsanstalt für Farbenphotographie Weller und Hüttich" . The publications each consisted of 40 photo prints in the format approx. 200 × 160 mm, which were individually glued to black cardboard and protected by photo parchment. These unbound photo boards were supplemented by a nearly 100-page, bound text with the contributions of different authors, in which around 40 more, but smaller-format photographs were interspersed. The respective complete works - large photographs and text - were offered in an elaborate linen folder. The initially high quality of the material - Goerke started in 1913 with the volume Die Mark Brandenburg in Farbenphotographie  - declined significantly due to the war and post-war shortages . The photographs that show landscapes, buildings and people are of particular value as contemporary documents, as many of the buildings depicted have fallen victim to war and modernization since then. Already recorded in color on the plate, they deviate significantly from the process of re-coloring black and white photos that was customary up until the 1950s and thus show the actual color scheme of the architecture and costumes between 1910 and 1925.

"The Art in Photography"

Between 1897 and 1908 Goerke brought out 66 independent art sheets with the name “Art in Photography”, in which pictures by amateur photographers such as Hugo Henneberg or Alfred Stieglitz were published. Rolf H. Krauss writes in retrospect about these art prints: “This publication may well be the most important and valuable documentation of art photography in the German language but, because of its rarity, has remained virtually unknown.” (“This publication may be the most important and most valuable documentation of art photography in the German language, but due to its rarity it remained almost unknown.”) From 1897 to 1903, six editions were published a year. From 1904 to 1907 the art papers were published quarterly. The last year included eight separate issues. The publications were not bound, but were held together with thin cardboard. The front part of the art sheets contained a comparison of text and images. In the rear part there are only the large-format heliogravures, double-chromatic rubber prints and oil prints characteristic of the art-photographic movement. Goerke's foreword shows that the content of the first year was dedicated to the Camera Club in Vienna, the Berlin associations , the Photo Club in Paris, the Association de Belge de Photographie and the Linked Ring . A lively exchange between the clubs was important to Goerke.

"Shining Hours - A Series of Beautiful Books"

The purpose of “Shining Hours - Series of Beautiful Books” is to move away from worries and dissatisfaction and to get a stimulus from which enjoyment can be drawn. Goerke would like to penetrate all strata of the people. On the cover of his “Series of Beautiful Books”, he urged the maintenance of architectural and art monuments - witnesses of a highly developed culture. The beautiful and immortal that he wants to capture in this series should beautify the viewer's life and strengthen the love for nature and culture.

  • Johannes Trojan: Our German forests . In: Leuchtende Stunden , Vol. 1, 1911.
  • Georg Hermann : From the good old days . In: Leuchtende Stunden , Vol. 2, 1911.
  • Artur Fürst: The realm of power . In: Leuchtende Stunden , Vol. 3, 1912.
  • Walter Bloem: On local shores . In: Leuchtende Stunden , Vol. 4, 1912.
  • Georg Engel: On the high seas . In: Leuchtende Stunden , Vol. 5, 1913.
  • Ernst Haeckel : Nature as an artist . In: Leuchtende Stunden , Vol. 6, 1913.
  • Rudolf Presber: Consecrated Places . In: Leuchtende Stunden , Vol. 7, 1914.
  • Wilhelm Bölsche : The German landscape in the past and present . In: Leuchtende Stunden , Vol. 8, 1915.

Working as a photographer (selection)

  • 1899: The Castle by the Sea, photogravure, 16.2 × 21.5 cm, Spencer Photographic Archive.
  • 1902: Sandunes, out of sight, photogravure 23.0 × 17.0 cm, Antiq-Photo.
  • 1902: Under Storm Clouds, Warnemunde, photogravure 16.0 × 22.2 cm, Antiq-Photo.
  • 1902: Villa Piuma, Sestri Levante, photogravure, 16.0 × 21.5 cm, Antiq-Photo.

Invention: panorama projector

Goerke developed a panorama projector to present landscape images. The landscape is recorded on a film with the format 9 × 31 cm with a panorama device, which has an angle of view of approx. 180 degrees. The elongated negative is copied onto an equally large slide plate. During the projection, the slide is slowly - and above all evenly - moved mechanically in front of a condenser. "You can achieve very appealing effects with this type of projection, especially when the beauty of the landscape increases towards the end of the shot."

Quotes

"Even if there are boundaries in the essence of artistic photography that cannot be crossed, at least the successful striving to produce artistic achievements and thus to elevate photography to what it wants to be - to an art should be recognized."
"We wanted to create a place under the protection of the high authorities, where we could not only demand and cultivate the art of projection ourselves, but where we would also be able to be of use to other scientific societies and individual scholars through this cultivation."

literature

  • Christian Joschke: File: Les yeux de la nation. Photography amateur et société dans l'Allemagne de Guillaume II. Dissertation. Paris / Mannheim 2005.
  • Gudrun Wolfschmidt : The development and spread of Urania to popularize astronomy. (Proceedings of the conference “Astronomy in Vienna” - 250 years of the opening of the University Observatory, September 29 to October 1, 2006), In: Maria G. Firneis, Franz Kerschbaum (Ed.): 250 Years of the University Observatory Vienna. Link Austrian Acad. of Sciences Press, Vienna 2008, ISBN 978-3-7001-3915-7 , p. 100.
  • Hella Zettler: Photographs as a collection item - examples from the Märkisches Museum. In: Georg Barthels; Märkisches Museum (ed.) : Berlin at the turn of the century. Nishen, Berlin 1990, ISBN 3-88940-056-6 .
  • Rolf H. Krauss: The Art in Photography, the German Camera Work. Part 1: The Publication and its Images. In: History of Photography. Volume 10, Number 4, October – December 1986.
  • Letter from Hugo Conwentz to the Minister of Education on February 9, 1913: I HA. Rep 76 Vc Sect. I., Tit. XI, Part IV, 10, Vol. 2 (1905-1918). The publications of the Urania company (including the buildings).
  • Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association. In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin. Wilhelm Knapp, Halle an der Saale 1910.
  • Franz Goerke: Memorandum on the occasion of the twentieth anniversary of the Free Photographic Association in Berlin. Wilhelm Knapp, Halle on the Saale, 1910.
  • Brandenburgia. 12th year 1903/04, p. 378ff.
  • FI: About the pictures by Franz Goerke . In: P. Hanneke (Ed.): Photographische Mitteilungen , Vol. 40, Gustav Schmidt, Berlin, 1903, pp. 37–39
  • Small messages: panorama projection . In: Photographische Rundschau , Volume 16. (1902?)
  • Association news, Part 1, 1902 - Association news of the Free Photographical Association, ordinary meeting on Friday, December 13, 1901. In: Photographische Rundschau , Volume 16.
  • Franz Goerke: The art in photography. Vol. 1, 1897.

Web links

Individual evidence

  1. ↑ a b c d e f g h i j k Letter from Hugo Conwentz to the Minister of Education on February 9, 1913: I HA. Rep 76 Vc Sekt. I., Tit. XI, Part IV, 10, Vol. 2 (1905-1918). The publications of the Urania company (including the buildings).
  2. ^ Rolf H. Krauss: The art in photography, the German Camera Work . Part 1: The Publication and its Images . In: History of Photography , Volume 10, Number 4, October – December 1986, p. 267.
  3. ^ Rolf H. Krauss: The art in photography, the German Camera Work . Part 1: The Publication and its Images . In: History of Photography , Volume 10, Number 4, October – December 1986, p. 268.
  4. ^ Hans-Jürgen Mende: Lexicon of Berlin tombs . Haude & Spener, Berlin 2006. p. 301.
  5. ^ Hella Zettler: Photographs as a collection item - examples from the Märkisches Museum . In: Georg Barthels; Märkisches Museum (ed.): Berlin at the turn of the century . Berlin 1990, p. 26.
  6. ↑ a b c Hella Zettler: Photographs as a collection item - examples from the Märkisches Museum . In: Georg Barthels; Märkisches Museum (ed.): Berlin at the turn of the century . Berlin 1990, p. 27.
  7. ↑ Brandenburgia , 12th year 1903/04, p. 378ff.
  8. ^ A b c Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 16.
  9. ^ Franz Goerke: The Chronicle of the Free Photographic Association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 17.
  10. ^ Christian Joschke: Les yeux de la nation. Photography amateur et société dans l'Allemagne de Guillaume II . Dissertation, Paris / Mannheim 2005, p. 205.
  11. ^ Franz Goerke: The Chronicle of the Free Photographic Association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, pp. 17–46.
  12. ^ Franz Goerke: The projection evenings . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 25.
  13. ^ Christian Joschke: Les yeux de la nation. Photography amateur et société dans l'Allemagne de Guillaume II . Dissertation, Paris / Mannheim 2005, p. 201.
  14. ^ A b Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 14.
  15. ^ Membership list 1899/1900 . In Photographische Rundschau 13th year, Knapp, Halle / S., 1899, (Association news (back part) p. 119)
  16. ^ A b Franz Goerke: Foreword . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910.
  17. ^ Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 9.
  18. ^ Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 13.
  19. ^ Franz Goerke (Ed.): Memorandum on the occasion of the twentieth anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 16.
  20. ^ Franz Goerke (Hrsg.): In: Franz Goerke (Hrsg.): Memorandum on the occasion of the twentieth anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 1.
  21. ^ Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 11.
  22. ^ Christian Joschke: Les yeux de la nation. Photography amateur et société dans l'Allemagne de Guillaume II . Dissertation, Paris / Mannheim 2005, p. 198.
  23. ^ Franz Goerke: Association assets . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, pp. 44–45.
  24. ^ Gudrun Wolfschmidt: The development and dissemination of Urania to popularize astronomy (proceedings of the conference "Astronomy in Vienna" - 250 years of the opening of the university observatory, September 29 to October 1, 2006), In: Maria G. Firneis, Franz Kerschbaum ( Ed.): 250 years of the Vienna University Observatory . Vienna, p. 100.
  25. ^ Christian Joschke: Les yeux de la nation. Photography amateur et société dans l'Allemagne de Guillaume II . Dissertation, Paris / Mannheim 2005, p. 206.
  26. ^ Franz Goerke: Exhibitions, especially the art photography . In: Franz Goerke: Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 38.
  27. ^ A b Franz Goerke: Exhibitions, especially the art photography . In: Franz Goerke: Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 40.
  28. ^ Karl Wilhelm Wolf-Czapek: The goals and achievements of the free photographic association . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 14.
  29. ^ Franz Goerke: Exhibitions, especially the art photography . In: Franz Goerke: Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 41.
  30. ^ A b Association news , Part 1, 1902 - Association news of the Free Photographical Association, regular meeting on Friday, December 13, 1901. In: Photographische Rundschau , Volume 16.
  31. ↑ a b Christian Joschke: Les yeux de la nation. Photography amateur et société dans l'Allemagne de Guillaume II . Dissertation, Paris / Mannheim 2005, p. 213.
  32. ^ Rolf H. Krauss: The art in photography, the German Camera Work . Part 1: The Publication and its Images . In: History of Photography , Volume 10, Number 4, October – December 1986, p. 265.
  33. ↑ a b c David Spencer: Introduction . In: Art in Photography
  34. ^ A b Franz Goerke: Foreword . In: Franz Goerke (Hrsg.): The art in photography , Vol. 1, 1897.
  35. ↑ a b c d back cover of "Shining Hours - a series of beautiful books".
  36. ↑ a b c Small messages: Panorama projection . In: Photographische Rundschau , Volume 16, p. 22.
  37. ^ Franz Goerke: The projection evenings . In: Franz Goerke (Ed.): Memorandum on the occasion of the 20th anniversary of the Free Photographic Association in Berlin . Wilhelm Knapp, Halle an der Saale 1910, p. 24.
personal data
SURNAME Goerke, Franz
BRIEF DESCRIPTION German photographer and director of the Urania company
DATE OF BIRTH November 14, 1856
PLACE OF BIRTH Koenigsberg
DATE OF DEATH May 14, 1931
Place of death Berlin