Hans Rohn
Hans (Johann) Rohn (born February 25, 1868 in Vienna ; † December 23, 1955 , buried in Melk ) was an Austrian cartographer , lithographer and academic painter . He is considered to be the main representative of the classical period of Alpine cartography as well as genetic rock drawings and stone engraving. His artistic work, of which 320 paintings and drawings have been cataloged so far , has only recently been researched and made available to the public.
Life and career
Parental home and education
Hans Rohn was born on February 25, 1868 as the son of master tape maker Theodor Martin Rohn and Karoline Wagner in the Viennese suburb of Am Hundsturm . His family came from an old line of silk and cloth makers on his father's side, which can be traced back to Vienna in the early 18th century. Among his ancestors are the prior of the Schottenstift Franz Seraph Rohn (born 1789 in the Moravian Nikolsburg, today Mikulov ) as well as the dean and notary in the Order of the Cross in Prague, Johann Karl Rohn (* 1711 in Reichenberg, died 1779 ibid), who as a linguist and chronicler of the oldest historical representation of North Bohemia: Chronic formerly Bohemian Cron fiefs, now moved into the Allodium of two cities Friedland and Reichenberg. Prague 1763, with a view of the city around 1763, worked in Friedland (Frýdlant v Cechach) and Reichenberg ( Liberec ) in northern Bohemia , and was also active in cartography.
In 1878 the Viennese landscape painter and friend of the family, Ferdinand Mayer, discovered the 10-year-old's great talent for drawing and taught him the art of drawing with ink and quill, which Rohn practiced into old age. During this time the first romantic-historicizing drawings and landscape miniatures were made.
In 1882 Hans Rohn began his apprenticeship in the cartographic-lithographic institute Gustav Freytag , which was founded in 1879 , where he was trained as a lithographer and cartographer over the next four years. At the age of 16, he was already making art lithographs based on his own designs and illustrating a book of fairy tales. Gustav Freytag discovered his apprentice's particular aptitude for mapping terrain and rocks. It is used to grasp the characteristic shapes and peculiarities of the mountainous landscape with the naked eye and to bring them onto the map design in horizontal projection, from which the print template for the map is then created using lithographic processes.
As a fully trained cartographer, Rohn accompanied Gustav Freytag from 1886 on topographical explorations in the Alps and participated in the lithographic execution of the first “special tourist maps” published in the Austro-Hungarian monarchy. On the recommendation of Gustav Freytag, Rohn entered the painting school Eugen Hörwarters in the same year and attended his painting and drawing courses from 1887 to 1888 as well as the newly established kk teaching and research institute for photography and reproduction processes (renamed the graphic teaching and research institute in 1897 ).
From 1888 onwards Rohn hiked several times through the area of the Hohen and Niedere Tauern as well as the Dolomites , where he and Gustav Freytag prepared the two-part “Tourist Hiking Map of the Dolomites”. His rock depiction caused a sensation for the first time: following the example of the Swiss cartographers, who were world-renowned at the time, he tried to graphically depict the character of each individual rock as it is presented to the viewer in nature, and then using a steel needle and one Diamond pen with the finest engraving on the lithographic stone.
At the same time, a cycle of landscape drawings and watercolors was created on the mountain hikes between Hofgastein and Cortina d'Ampezzo , in which his characteristic view of nature is already expressed. Much earlier than contemporary Austrian artists, he became an open-air painter, who not only sketched his works in nature, but executed them outside the studio.
At the Academy of Fine Arts
In 1889 Rohn was accepted into the Academy of Fine Arts in Vienna and began a four-year study of academic painting in addition to his cartographic and lithographic activities. His painting professors include the most respected artists of the Ringstrasse era : August Eisenmenger and Christian Griepenkerl , both students of the classicist history painter Carl Rahl , the battle painter Siegmund L'Allemand , the Orient painter Leopold Carl Müller and the portrait and landscape painter Franz Rumpler , to whom Hans Rohn felt a special artistic closeness.
Several personalities appear among Rohn's fellow students who later emerged as part of the Vienna Secession : the two Viennese Koloman Moser and Max Kurzweil , as well as Ferdinand Andri from Waidhofen an der Ybbs and the St. Pölten secession co-founder Ernst Stöhr .
During his time at the academy, Rohn increasingly turned to figural painting, created representative portraits and character studies in oil, pastel and chalk and devoted himself to nude drawing, while he continued to go his own way in landscape painting and deeply felt, mostly deserted sections of nature designed. The perspective theory of the architect and archaeologist Georg Niemann , whose lectures Rohn attended at the Academy of Fine Arts, is also important for the further development of his rock drawings .
Encounter with Theresia Czokally
In 1895 Rohn met the young widow Theresia Czokally in Viennese artistic circles, who later became his wife and brought two children into the marriage. She came from the silversmith dynasty of the same name, who were known for their craftsmanship beyond the borders of the Danube monarchy. Her father Anton Czokally and his brothers Adolf and Vinzenz (later under the name Würbel & Czokally) also made numerous Art Nouveau pieces based on designs by Josef Hoffmann around 1900 , before he founded his own silver workshop as part of his Wiener Werkstätte .
Together with Theresia Czokally and their two children Rudolf and Wilhelmine, Hans Rohn spent their first summer holidays in the market town of St. Leonhard am Forst . This is where Rohn found his “ Paysage intime ”: In the following years, in the idyllic landscape of the Lower Austrian Alpine foothills around the legendary Hiesberg , once known for its marble, a significant part of his landscape painting and the large cycle of drawings “Auf dem Lande” were created.
At Freytag & Berndt , as the former cartographic institute was called since 1885, Rohn concentrated more and more on the most difficult discipline of Alpine cartography, the art of lithographic reproduction of rock regions. He studied the major maps of Switzerland, the Dufour maps and the Siegfried Atlas , and dealt in detail with the history of the formation of the Alps.
For the first time he also set about depicting the landscape in “real” three-dimensional form: For the great Budapest Millennium Exhibition of 1896, with which the Hungarian Crown Lands wanted to create a counterpart to the Vienna World Exhibition in 1873 , Rohn created a plaster relief of the entire coastal region of Dalmatia and became for it was awarded an honorary prize. A little later he designed a relief in a similar form that encompassed all of Bosnia and Herzegovina beyond Dalmatia . Rohn also reproduced the highest mountain in the Julian Alps, Triglav , in three-dimensional artisanal relief form.
A new generation of Alpine maps
Around 1900, the largest mountaineering association in Europe, the German and Austrian Alpine Association , recognized that the existing high-mountain maps of the Eastern Alps were not appropriate to the needs of the massive onset of Alpine tourism. The decision to issue a completely new generation of alpine maps with a more exact and detailed representation of the summit regions as well as the registration of all mountain paths and glacier routes on a large scale of 1: 25,000 was taken.
Large areas in the Eastern Alps had to be walked on and re-explored, countless peaks had to be climbed, and thousands upon thousands of measuring points in the heights had to be recorded trigonometrically. The Swiss surveying engineer Leo Aegerter was appointed as Alpine Club cartographer, the execution of the maps was entrusted to Hans Rohn, who at that time was already considered the best rock artist and who was the only one who exceeded the fineness and expressiveness of the previously used copperplate engraving in his lithographic engraving ("stone engraving").
Every year a new large high mountain map was published in this way: 1904 the Langkofel and Sella groups, 1905 the Marmolata group, 1906 and 1907 the two-part map of the Allgäu Alps and in 1908 the first map of the Brenta group , which is still the most outstanding today Excellence of this era is called.
Other large works such as the three-part map of the Lechtal Alps (1911–1913) and the map of the Dachstein Group and the Kaiser Mountains followed. They appeared during the First World War, which Rohn, now in his late 40s, spent in almost uninterrupted cartographic work.
Science later referred to this period, which extended into the 1920s, as the "first phase of the classic period of Alpine Club cartography".
The summer stays in St. Leonhard
From 1905 onwards, Rohn increasingly relocated his artistic activities to Lower Austria . The family had rented a nice house with a garden in St. Leonhard am Forst, where the summer months and sometimes the Christmas holidays were spent. Hans Rohn used every short stay between his expeditions in the mountains to draw and paint in nature.
The family had already grown twice: son Hans was born in 1900, daughter Margarete in 1903. His favorite model, however, remained his stepdaughter Wilhelmine (married Henderson), born in 1889, whom he portrayed over the years as a little girl as well as a young lady.
In the artistic field, Rohn turned more and more to the art nouveau forms of expression in the following years. Decorative, stylized landscapes were created in the Melk area as well as in Vienna, where he drew and painted in the park of Schönbrunn Palace . Many portraits of women, figurative representations and illustrations also fall into this extremely fruitful artistic period, which extended beyond the collapse of the monarchy.
He added another facet to his artistic life in St. Leonhard in 1920: when the economic situation in the wake of the First World War became increasingly worse and finally the metal change dried up due to the shortage of copper and nickel, Hans Rohn created for St. Leonhard and the neighboring municipality of Ruprechtshofen, the drafts for emergency money made of paper in denominations of 10, 20 and 50 Heller. Hans Rohn used a landscape “Winter Day in St. Leonhard”, which he painted in oil in 1917 and which was only rediscovered in June 2010 in the local fire brigade museum, as a template for the emergency money bills, which are richly decorated with Art Nouveau symbols.
Highlights of cartographic work
In the years after 1920, the second phase of classic Alpine cartography began, which the Austrian geographer and Alpine researcher Erik Arnberger later referred to as the “Rohn era”. During this time, Hans Rohn took over the entire topographical survey of the terrain in addition to the stone engraving. From now on, the more than 50-year-old spent the time from the snowmelt in spring to early autumn mapping and drawing in the mountains, while in the winter months he engraved the maps in stone. This is how the maps of the Schladminger Tauern (1924), the Loferer Steinberge (1925) and the Leoganger Steinberge (1926) were created.
However, the unmatched highlights of his cartographic and lithographic oeuvre are the map of the Glockner Group , published in 1928, and the three-part work of the Zillertal Alps , which required a processing period of no less than 8 years and was published between 1930 and 1934. During this time, the entire professional world praised him as an unrivaled master of genetic rock representation.
The time in Melk
Despite the restless cartographic work in the mountains, Hans Rohn was able to realize the long-cherished wish in 1928 to move the family seat to Melk. He himself designed the plans for the “Villa Rohn”, the interior and exterior design of which expressed his love for the decorative elements of Art Nouveau. His artistic form of expression now became much more expressive, but at the same time he returned more and more to his drawing roots in landscape depictions, using oil, tempera and watercolors, again quill pen and ink, pastel chalk and pencil and designed romantic illustrations.
With the further development of terrestrial stereophotogrammetry and aerial photo measurement, which enable extensive automated measurement of rock regions as well, the classic era of cartography in the Alps was drawing to a close. Finally, Rohn created the stone engraving of the rock carvings of the Karwendel Mountains map series, the last sheet of which appeared in 1936, in a traditional artistic manner, and shortly afterwards he worked on the map series of the Stubai Alps and Ötztal Alps .
After the Second World War, the now 77-year-old worked again for the cartographic company, which he joined in 1882 as a 14-year-old apprentice. What has been preserved from this period is a map of the Takht-e-Sulaiman group in the Persian Elburs Mountains , in which the highest mountain in Iran, the 5671 m high Damavand , is located. On this expedition map by the Austrian social geographer and founder of the central location theory, Hans Bobek , he again applied his classic form of rock drawings and tried to combine them with photogrammetrically recorded contour lines.
Hans Rohn died on December 23, 1955 at the age of 87 in Vienna and was buried next to his wife, who had died four years earlier, in the family grave in Melk on January 14, 1956. His last drawings date from 1952. They show the “Villa Rohn”, the artist's house, the old Melker watch tower and the Melk bank of the Danube with a view of Emmersdorf .
In June 2010, a plaque dedicated to Hans Rohn and his achievements was unveiled at his former summer house in St. Leonhard am Forst, Hiesbergstraße1. At the end of 2014 a memorial plaque was attached to the "Villa Rohn" in Melker Feldstrasse 5 by the Hans Rohn Society.
Hans Rohn's importance for alpine cartography
The art of rock drawing
The Rohn era from 1902 to 1936, in which 22 large-format high mountain maps, almost all of them on a scale of 1: 25,000, were published, is generally regarded as the high point of Austrian Alpine cartography. Characteristic for this are the new, independent methods that Rohn used both in the rock drawings and rock representations as well as the execution of the maps in stone engraving.
His artistic talent enabled him to work out the extremely difficult to represent manifestations of the rock region such as jagged peaks, notches, ridges, gullies, ribs and ledges in a far greater density and clarity than was done in earlier stages of development of mountain cartography. Drawn entirely in nature with non-freezable ink, every single mountain was reproduced in its individual form and brought into horizontal projection.
In contrast to the Swiss mountain cartographers, Rohn refrained from defining the drawing of the hatches as well as their line length and line width in a uniform manner, but instead followed his own artistic feeling. Rohn also went his own way with the choice of the incidence of light, deviating from the usual north-west lighting and choosing the lighting of the rocks so that they emerged from the map with optimal plasticity.
The name Rohn is inextricably linked with the term “genetic rock carving”. Behind this is the effort to include geological, morphological and tectonic features in the rock carvings. Rohn, who carried out extensive geological studies for this purpose, not only succeeded in using appropriate coloring to make the rock differences - for example between Raibler layers and Dachstein dolomite - recognizable, but also to reproduce the mostly very complicated storage of the rock layers.
One of the alpine scientists with whom he was in close contact was the Tyrolean alpinist and geologist Otto Ampferer , who supported Alfred Wegener's theory of continental drift with his theories of surface tectonics and undercurrent .
The true-to-life representation of the rock region was so important to Hans Rohn that for his entire life, and this against the fierce resistance of many geodesists, he persistently refused to draw the contour lines in the steep rocky terrain, as this, in his opinion, would cut up the map. The disputes escalated in 1924 when a group of scientists around the Munich co-founder of photogrammetry, Professor Sebastian Finsterwalder , and his son Richard Finsterwalder proposed to the Alpine Association that the large-format mountain maps should be made much faster and more cost-effective in the future, entirely without rock drawings, exclusively on the basis of contour lines create.
But this first attempt at a largely automated production of the Alpine maps failed: More than two thirds of the 100 or so most respected geologists, morphologists, cartographers and alpinists asked for the maps and rock drawings to be continued in the "Rohnian manner".
New ways in stone engraving
Rohn also went his own way with the implementation of the original drawing on the lithographic stone, i.e. with the production of the template for the print itself. He also categorically rejected the method of pen-and-ink drawing, in which lithographs were made directly on the stone with grease ink such as the transmission by photomechanical means, since both methods are time and cost-saving, but inevitably associated with considerable quality losses.
Instead, Rohn made use of the extremely elaborate stone engraving, sometimes also referred to as stone engraving, in the execution of all his maps of the Alps, by first laying the rock drawing, which had been broken up into small sections, on translucent gelatine paper, then marking the individual contours and transferring them to the Solnhofen slate . Only now was it ready to dig the individual structures into the stone with maximum precision, using a stone needle and an even more subtle tool, a fine stylus with cut diamond splinters.
With a line width between 0.2 and 0.3 mm, it was possible in this way to accommodate up to 400 hatches in an area of one square centimeter, so that the end product on the printed card, as the scientific studies by Erik Arnberger have already shown In most cases, rock drawings on paper were clearly surpassed in terms of sharpness and purity as well as expressiveness in terms of content. Many of these historical maps of the Alps with Rohnsch rock engraving have been reissued again and again to this day.
A quote from the Alpine journalist Josef Moriggl is therefore mentioned several times in the literature on Hans Rohn : "In later centuries Rohn's alpine leaves will be valued just as much as Albrecht Dürer's copperplate engravings ".
Hans Rohn's artistic work
Lady in the Garden, 1917
Lady in a Gold Medallion, 1911
The Girl in the Red Shawl, 1893
The rabbi, 1893
The flower meadow, 1919
The bridge, 1914
Girl in a Spring Landscape, 1913
The Sun Forest, 1919
River in the Granite, 1919
The boy with the lantern, 1919
Pentecost in St. Leonhard, 1919
With quill pen and ink: The early creative period
In his artistic work, which has been systematically researched, documented and cataloged since 2005, Hans Rohn makes use of a variety of graphic and painting techniques, not infrequently using his own material combinations and mixed techniques. In addition to pencil and colored pencil, he uses red chalk, fine artist's chalk and pastel chalk, coarse charcoal, watercolors and repeatedly the quill pen with sepia and brown ink in his drawings. While he enriches his palette with classic egg tempera and gouache in oil painting, he combines watercolor and pen, watercolor and pencil, watercolor, ink and chalk as well as brush and pen in ink at the same time.
As far as the artistic theme is concerned, landscape painting and drawing, portraits and figurative representations predominate. The 320 or so works that are currently cataloged include numerous genre pictures, many of which characterize rural and religious life, fairy tale characters and illustrations, as well as studies of plants and animals. The book of fairy tales, which he illustrated in his own words in his youth, has not yet been found.
The oldest surviving drawing by Hans Rohn - it shows the minstrel Walter von der Vogelweide standing at his desk - is made in pen and black ink and dates from 1882. The influence of the Viennese painter Ferdinand Mayer is already visible in this earliest work. who introduced the young Hans Rohn to the art of drawing with pen and ink at an early stage. Pen and ink were not only Rohn's preferred media in his youth. He returned to them again and again in later creative periods, making the necessary feathers himself into old age from the shed plumage of geese.
Pen and ink also accompany the young cartographer on his extensive hikes, where he created some almost miniature drawings with delicate watercolors in Cortina d'Ampezzo in 1888. In this and the following years he created several cycles of intimate landscape details with quill pen, brush and ink around Hofgastein and in Morzg near Salzburg , which reproduce spontaneously experienced nature and scenes of rural life.
Rohn creates spatial depth and shadow effect in a very similar way to his cartographic work by condensing or loosening up parallel and cross hatching, although he always avoids squiggles and playful curlicues, as his teacher Ferdinand Mayer lavishly uses. Characteristic of this early period is the enrichment of the linear drawing with soft monochrome or colored brush wash, with the application of which he succeeds in creating atmospheric painterly effects.
Rohn turned to portrait art just as early and with the same painting and drawing technique. In 1888 and 1890 he painted portraits of his parents, and in 1900 he still used pen and delicate brown ink to portray Theresia Czokally, his future wife, several times.
Academic painting around 1890
The visit to the prestigious painting school Eugen Hörwarters (sometimes also written as “Hörwarther”) in 1886 and 1887 does not seem to have had a lasting impact on Hans Rohn's artistic career. Eugen Hörwarter, whose picture “The Stock Exchange Catastrophe in Vienna on May 9th 1873” went down in history, owed his excellent reputation not least to the fact that he understood it, his pupils on the extremely strict admission to the entrance examination at the Vienna Academy to prepare for the visual arts. Even history and genre painters, he was also well aware of the preferences of the widely feared examination committee, including Professor Christian Griepenkerl.
In this way it becomes clear why Rohn dealt with topics and motifs during these years that were atypical for him. So he practiced with black artist's chalk drawing heroic figures of ancient Greece and the depiction of the folds of historical robes as well as in body studies - all skills that were later given great importance at the Academy of Fine Arts. The pictures that Rohn presented to the academy included the historicizing “Schützenauszug” and “Der Feldherr” (both 1886) as well as the portrait “The Artist” (1887) made in the finest chalk.
At the end of his four-year academy time, characterized by the encounter with Christian Griepenkerl, Franz Rumpler and the Sigmund L'Allemand he portrayed, where he also enjoyed the lessons of two of the most outstanding representatives of color chemistry, Leander Ditscheiner and Friedrich Linke , turns Rohn used oil painting as a creative medium for the first time. At first he was entirely interested in portrait painting. In 1891, for example, he created the two children's portraits “Mina” and “Rudi” in the classic Renaissance style, which he executed in the multi-layer painting style practiced at the Academy. "Mina", as he calls his stepdaughter Wilhelmine Henderson, is also his model for the oil panel painting "The Serious Girl", which he later created on a dark purple background, and, as a grown woman, on the small medallion painting "The daisy cup" to see.
The highlights of this early epoch undoubtedly include the four large-format, representative oil portraits that Rohn completed in 1893: the proud “lady with the gold bonnet”, the deeply thought-provoking “rabbi”, the powerful “master” and the shy “girl with the red cloth ”. Later, in 1911, when Rohn was increasingly approaching the new aesthetic sense of Art Nouveau, he painted, again tone-on-tone, the enchanting face of the "Lady with the Gold Medallion".
Nature realism and impressionism: landscape painting
Rohn treads completely different paths in his landscape painting. Although he developed some of his landscape paintings, such as the "Sunflower" (1893) painted in egg tempera and the "Lonely Path" around 1900, initially in several layers and with great depth, he soon got into Alla Prima painting in which he knows how to place the color tones next to one another in quick succession and in a relaxed, impressionistic style, has found his ideal form of representation of nature.
After a watercolor phase in the first years after 1900, in which he first exchanged his quill pen with a brush and then watercolors for oil paints, many of his brightly lit landscapes emerged between 1913 and 1917, such as “Die Brücke” and “Mädchen im springlandlandschaft ”, The“ Landscape in Early Spring ”or“ The Lady in the Garden ”, which already marks a gentle transition to Art Nouveau.
The idyllic Lower Austrian market town of St. Leonhard am Forst, whose varied landscapes around the dark forests of the mysterious Hiesberg, is a magical attraction to his paysage intimate, and where he completed his large cycle of drawings "Auf dem Lande" around 1917.
After 1900: the Art Nouveau period
The new aesthetic sense of Art Nouveau was expressed in various forms at Rohn shortly after 1900. In 1906 he created the two chalk drawings “The dancing women”, in which he used a motif that was particularly popular in French Art Nouveau in order to create a picture of graceful, elegant movement with simple, curved lines. The moving, swinging line of Art Nouveau can also be found in the “dancing girl in an apron dress” and also later in the chalk picture “The Swans”, which he paints in the pond in front of the Gloriette in Schönbrunn Palace.
His portraits of women such as the aforementioned "Lady in a Gold Medallion", the "Lady in Blue" (1911) or the "Portrait of Minnie Henderson with Marguerites" (1914) he likes to present in medallion form, the latter already in a cycle of belongs to poetic-romanticizing scenes, which also includes small-format fairy tale portraits such as “The Nymph in the Water” or “The Princess on the Meadow”.
In the artistically extraordinarily fertile post-war year 1919, however, a clear change occurred: Rohn's pictures were increasingly geometric, planar and stylized, with the human being now often the focus and nature becomes the decor. Characteristic of this is the "Snowball Fight", which consists of two counterparts and several studies, with its almost striking representation of the sequence of movements, but also the "Boy with the Lantern", which was also created in St. Leonhard and strides seriously and with bowed head through the icy winter landscape, and "The Cartographer", a large square self-portrait that shows him taking a picture of the terrain with a view of the sunlit Sella in the Dolomites.
The landscape painting created during this period appears strictly stylized, flat and almost solemn. In the pastel painting “River in Granite”, which is held in dark brown and blue tones, the contours of the rock protruding like a dark wall from the water emerge hard and striking, while the crownless trees protrude upwards, arranged like columns. Clear, simple lines and flatness also dominate two other river landscapes, “The river and the willows” and the “birches by the water”, which Hans Rohn created with a sense of a late modernism shaped by symbolism.
In this Art Nouveau period, Rohn began to turn more and more to a technique that he had already practiced occasionally during his studies at the Vienna Academy: painting with the finest colored pastel chalk, which allowed him to immediately capture the nature he experienced in its final form. If, however, he wants to achieve special effects, such as in the "Sun Forest", also created in 1919, where golden light contrasts with black erratic rock, he resorts to his quill or uses it, as with the "Sunflower" that dominates the landscape “, Strong, all-covering egg tempera.
After he painted his winter picture "Christmas in Assach " in the Styrian Salzkammergut on Christmas Eve 1923, again in pastel chalk and with symbolistically shining windows in golden color , Rohn's last major artistic period came to an end in the 1930s. On long hikes around Melk, however, he still draws and watercolors small, almost miniature-like sections of nature and landscape until shortly before his death.
Literature and Sources
- Ewald Guido Fischer: The art of the third dimension - the brilliant Alpine cartographer and painter Hans Rohn. Leykam Verlag, Graz 2009, ISBN 978-3-7011-7625-0 . (first comprehensive biography of Hans Rohn with a detailed description of his artistic and cartographic work as well as a large part of the picture)
- Akad. Painter Hans Rohn in memory. A famous cartographer died. In: Waldviertler-Melker Bote. January 7, 1956.
- Erik Arnberger: The cartography in the Alpine Club. Published by DAV and ÖAV. Munich / Innsbruck 1970.
- Hans Bobek: The Takht-e-Sulaiman group in the central Alburz Mountains, Northern Iran. In: Festschrift for the centenary of the Geographical Society in Vienna 1856 - 1956. Vienna 1957.
- Richard Finsterwalder: Accompanying words to the map of the Glockner group. In: Journal of the German and Austrian Alpine Club. Born in 1928, Volume 59, Munich 1928.
- Richard Finsterwalder: Accompanying words to the map of the Loferer Steinberge. In: Journal of the German and Austrian Alpine Club. Born in 1925, Volume 56, Munich 1925.
- Heinrich Fuchs: The Austrian painting of the 19th century. 4 volumes and 2 supplementary volumes, Vienna 1972.
- Hans Kinzl: cartographer and academic painter Hans Rohn died. In: Communication from the Austrian Alpine Club. Vol. 11 (81), 1956, issue 1/2.
- Karl Klammer: History of the Freytag & Berndt Company. Vienna-Grinzing 1943.
- Theodor Lott, Imperial and Royal Academy of Fine Arts in Vienna: Report on the academic years 1876/77 to 1891/92, provided on the occasion of the two hundred years of existence of the Academy. Vienna 1892.
- Master cartographer Hans Rohn dies. In: Wiener Zeitung. December 31, 1955.
- Josef Moriggl: Instructions for reading maps in the high mountains. Munich 1909.
- Josef Moriggl: Ten years of club history, 1919–1929. In: Journal of the German and Austrian Alpine Club. Born 1929, Volume 60, Innsbruck 1929.
Individual evidence
- ↑ Manfred Buchroithner : Cogito ubi sum - A plea for good, current mountain maps and their use . In: Kartographische Nachrichten , Vol. 62, No. 1/2012, (pp. 16–20), p. 18.
Web links
| personal data | |
|---|---|
| SURNAME | Rohn, Hans |
| ALTERNATIVE NAMES | Rohn, Johann (full name) |
| BRIEF DESCRIPTION | Austrian cartographer, lithographer and academic painter |
| DATE OF BIRTH | February 25, 1868 |
| PLACE OF BIRTH | Vienna |
| DATE OF DEATH | December 23, 1955 |
| Place of death | Vienna |