Max Allihn

This article is about the writer Heinrich Max Allihn. For other people see Max Allihn (disambiguation) .

Heinrich Max allihn (* 31 August 1841 in Halle (Saale) , † 14 / 15. November 1910 in Halle (Saale); pseudonym: Fritz Anders ) was a German writer, a Protestant pastor and teacher and amateur photographer.

Fritz Anders (Max Allihn) as pastor and writer. Photography with his literary pseudonym

His diverse literary work includes aesthetic and technical writings on artistic photography (pictorialism) , on art, music and education, as well as humorous homeland novels and sometimes critical social studies of bourgeois life around 1900. With his aesthetic and theoretical reflections as well as the technical and practical handbooks on photography Allihn contributed many important considerations to the current of pictorialism .

Life

Allihn was born the son of Friedrich Heinrich Theodor Allihn (1811-1885) and Henriette Ida Allihn. He had a sister, Marie. The father taught as a private lecturer at the University of Halle and was together with Tuiskon Ziller , from 1872 with Otto Flügel , editor of the magazine for exact philosophy in the sense of the newer philosophical realism . Max Allihn spent his childhood and youth in. There he developed his friendship with the neighbor child and childhood friend Friedrich Schaper .

Allihn rejected his initial ideas about becoming a painter and instead studied Protestant theology in Halle (Saale) and Leipzig . During his studies in Halle in 1864 he founded the Shakespeare Society , which later became the Rhenania fraternity . During his studies he encountered the philosophical approaches of the academic philosopher Hermann Lotze and those of Johann Friedrich Herbart , which significantly shaped his literary texts and his work as a pastor and teacher. In 1872 Allihn became pastor in Dingelstädt. Four years later he returned to his hometown and in 1876 accepted a position as archdeacon in the Protestant community in Weißenfels. There he met his wife Auguste Martha Thiemann, who was twenty years his junior. The two married on May 12, 1884. A year later, in 1885, Allihn became pastor and district school inspector in Athenstedt near Halberstadt, where he lived with his wife and four children, Elisabeth, Joachim, Fritz and Thea. Until his death in 1910 he lived with his family in the rural rectory in Athenstedt.

Allihn refused all his life and instead preferred the quiet life in the country: "He did not want to be completely consumed by his office, he needed time for his other interests." Allihn's good professional position made it possible for him to pursue his diverse interests and distinct amateur activities. In addition to the writing activity, reports are made of a well-equipped workshop with its own darkroom and workbench, which Allihn used for developing his own photographs and for manual activities. He also tried his hand at pocket game and magician, about which he also wrote a book in 1890.

Allihn died in Halle (Saale) in 1910.

plant

Philosophical inspirations and first texts

Already during his studies in Halle and Leipzig, Allihn published texts on educational, philosophical and art history topics. The essay The Philosophy of the Arts according to Lotze appeared in 1869 in the journal for Exacte Philosophie published by Allihn's father . He deals with the approach in aesthetics to regard the externally beautiful as worthy of reverence only in its union with the internally valuable and relates this specifically to music. Allihn's text is based, like all articles in the relevant journal, on the philosophy of Hermann Lotze and Johann Friedrich Herbart . A year later Allihn wrote two articles on aesthetics in pedagogy (1870) and on the pedagogical treatment of art forms (1870). These appeared in the publications of the Association for Scientific Pedagogy , which is also based on the Herbartian philosophy . Editor of the yearbook of the association in which Allihn published was at the time Tuiskon Ziller . In 1871 Allihn dealt with an art history topic and wrote about Albrecht Dürer's copperplate engravings . He dedicated the book "[s] a friend Fritz Schaper ". Allihn chose a cultural-historical methodology that differs from research on art history at the time. With this he has embarked on a new path of interpretation, which he describes as follows: “A cultural-historical treatment has to seek out the relationships between art and life in the smallest details [sic!]; For them, the little is extremely valuable and the insignificant is extremely important. ”In the book, Allihn interprets Dürer's melancholy copperplate as a“ temperament image ”and examines the copperplate engravings on the basis of historical and cultural studies. Peter-Klaus Schuster therefore rates Allihn's Dürer studies as an essential contribution to Dürer research. In his estimation, Allihn's experiment "already expresses as a conjecture that thirty years later from Giehlow and then from Warburg and Panofsky / Saxl the main research interest". This is "the historical understanding of Dürer's melancholy copperplate engraving through its classification in the pictorial tradition and the history of ideas of the doctrine of temperament and its astrological implications."

"Children's picture". Photograph by Max Allihn, 1891. Printed in: Der Amateur-Photograph (1891)

Art photography

From 1889 to 1902 Allihn wrote a large number of texts on art photography and published his own photographs. He located the beginning of “so-called artistic photography” in 1898. Some of his essays were important impulses for the legitimation of photography as art. In addition, he determines theoretical and aesthetic categories of the artistic-photographic image. Allihn published many of his articles in the monthly magazine Der Amateur-Photograph and in the Photographische Rundschau . His photography Kinderbild was also printed in Der Amateur-Photographer in 1891 . In the commentary on this art supplement, Allihn is referred to as a "valued employee", which suggests his active and respected collaboration. In 1895 he wrote a handbook on the basics of amateur photography . In 1899 he published Die Photographie - a theoretical and technical handbook which attempts to “present photography without any preconditions” and thus “addresses everyone”. However, according to a review in the Photographische Rundschau , the book is “not free of errors and mistakes”. A year later he wrote the article New Paths , in which he sharply criticizes the institutionalization and aesthetics of art photography.

Beginnings

Max Allihn occupies a classic position within the amateur movement of pictorialism . Through his job as a pastor and teacher, he was financially secure and was able to devote himself intensively to his secondary activities and to writing about them in his free time. Although Allihn valued the quiet life in Athenstedt, he often traveled to Berlin, where he kept in touch with old friends. Above all, he met with Friedrich Schaper , who lived as a painter and graphic artist in Berlin and was in close contact with Alfred Lichtwark ( Hamburg ). In these circles Allihn made the acquaintance of other artists, writers and photographers, with whom a lively exchange developed. The new suggestions and ideas he got there aroused his interest in aesthetic issues, especially in pictorial photography.

Photography as Art and the Amateur Being

Allihn has proposed a clear separation between professional photographers and amateurs, whereby he describes the former as "technicians" and the latter as "artists". There is a technician at work when "no matter how great a skill one works according to traditional rules". Thus, all professional photographers, "including those who do outstanding things", are pure technicians, as they create their pictures according to well-considered criteria and composition rules. For an artistically valuable picture, on the other hand, the photographer must allow the subjective and lively sensation of the beautiful, which “shapes things in a creative way”. In his opinion, this can only be done by amateur photographers.

According to Allihn's argument, the amateur photographer fulfills two basic prerequisites for the creation of an artistic photograph: On the one hand, he needs enough time to devote himself to the subject and to train his eye. On the other hand, there shouldn't be a need to earn money taking photos . Allihn emphasizes several times that artistic photography is not about reputation and money, but exclusively about amateur art and idealism. For Allihn, a third criterion for the creation of artistic images is the combination of talent and study: a “natural gift” of artistic vision and artistic perception, as well as the “eye formed by seeing too much”.

Correspondence Association of Friends of Photography

In order to train photographic vision and to produce good images, Allihn wrote as early as 1889 of the need to study pictorialistic photographs extensively: “The main thing is: See! A lot and good sight! ” Alfred Lichtwark , the most important promoter of the pictorialist movement in Hamburg , always emphasized the importance of studying important works of art . But the amateur movement has included many widely dispersed people from different countries who, due to full-time ties or because they live in remote locations, rarely had the opportunity to visit photographic exhibitions. Allihn therefore looked for other means to enable the exchange of images and to improve communication among amateur photographers. In 1889 he presented his draft, and in 1890 the concept for the establishment of a correspondence association of friends of photography . Such an association is "[able] to provide a substitute for photographic exhibitions," as reported in the amateur photographer .

Photography and fine arts

Allihn's early writing about art and his interest in it also shaped his texts on artistic photography. In his opinion, this should always be based on the aesthetics of painting. He has always seen the compositional principles of painting and the painter's view of the world as a model for photography. In his texts, he often compares the photographic vision with the vision of a painter, whereby the latter is always presented in an exemplary manner: "If you have no eye, if you have no artistic conception, you should keep your hands off it [of photography]." There are often comparisons with painters in his photographic texts. When it comes to the use of light for the aesthetic and compositional design of the picture, Allihn refers to Rembrandt and Tizian . Even Alfred Lichtwark always stressed the orientation of artworks, especially where Rembrandt. These are the most suitable and related training of the eye , especially for landscape photography.

Aesthetics and Theory of Artistic Photography

Photographic-technical image vs. subjective eye image

Allihn differentiated between two different types of images: the objectively constructed, “untrue” image captured with the technical apparatus; and the subjective image seen by the human eye as a specific section , which arises in a mental combination line of the brain. To distinguish the terminology, Allihn suggested using the term image only for subjective images: “If [the photographer] has succeeded in creating an image that corresponds to the image of the eye , then one says: Yes, that is an image ; if he doesn't succeed, they say: This is a photograph . ”The camera fixes light stimuli on a sensitive plate using a technical, photochemical process . This creates an artificially “untrue”, light-sensitive image that the human eye would not be able to perceive without the interposition of this device. Allihn cites the exaggerated perspectives and snapshots that were often viewed positively with the invention of photography as examples of a non-human, unnatural way of seeing. For this reason, according to Allihn, such photographs often appear artificial and unnatural to people.

The task of art photography has consequently seen in allihn to translate the purely technical product of the photographic apparatus in the subjective-Naturnahe corresponding to the human vision. Photographs are therefore only images with art status if they emulate human vision as best as possible. These subjective images are the "object of artistic representation". In relation to this, Allihn also criticized Heinrich Kühn's photo-aesthetic principle in 1896 . Allihn classified his early rubber print Twilight (1896) as an image that cannot be perceived by the human eye: “On the right and left a few dark masses, in the middle a light strip that can represent a path or a stream […]. The picture is a mistake. [...]. The way Kühn reproduces the world, no one has seen it before, no matter how tightly he squints his eyes. Hopefully Mr. Kühn will come back from his wrong track soon [...]. "

The photographer as an artist

In the context of artistic photography, the photographer and his artistic achievement are of great importance and value. According to Allihn's aesthetic maxim of artistic photography, the photographer should process the technical and objective image in such a way that it corresponds as closely as possible to the subjective sensory impression of human vision. In order to achieve this, he must "use all kinds of aids and lighting skills". The subjective, targeted and artistic influence of the photographer on the image with all possible means is therefore decisive for the quality of an artistic photography. The photographic process is declared a creative act and photography is legitimized as art.

"Child with a basket of flowers". Photograph by Max Allihn, 1894.

The subject

For Allihn, the main subject of artistic photography is landscape photography . He sees the main photographic-artistic achievement in the selection of the correct compositional detail: "[...] to see the picture of painterly effect in the surrounding nature and to cut it out correctly." The achievement of the lover consists in the selection of the right point of view in the Nature and in the choice of suitable natural lighting. Here, too, the photographer has to orient himself towards the painting: "The position that one would look for while painting is also the right one for the photographic recording." In second place is the genre image . Snapshots of moving people or animals should also be designed strictly according to artistic criteria. In terms of composition, it is important to choose a main purpose in the picture and to forego a distracting variety of details. The three photographs, which Allihn himself is familiar with, show personal motifs: two pictures of children and a woman in an armchair, which is titled as Mercy.

Mood

Allihn understands the so-called mood image to be a photograph in which the landscape - mainly the interior of the forest - is taken against the sun. The “unity and structure at the same time” only comes into the picture if one takes photos with backlight, in violation of the photographic rules. Then rubble and the "feather-like branches of the beeches [...] stand in front of each other as a glowing relief."

To the blurring

In terms of the blurring, the artistic image should be based on human vision . However, this is not sharp on the inside and blurred on the outside, but a moving mixture of both. Allihn therefore criticized this type of representation: “Once upon a time, a number of painters, who had heard of these things [the blurring], wanted to depict nature as it is really perceived by making the main point of their picture sharp and the rest blurred , and were appropriately laughed at. ”Since the eye is always moving and alternating between sharpness and unsharpness, Allihn recommends a balanced mixture, the" mild blurring "in the picture.

"Woman in the Armchair" / "Mercy". Photograph ( heliogravure ) by Max Allihn, 1902.

Criticism of art photography

In 1901 Allihn wrote the article New Paths , in which he criticized the art photography movement. His contribution was published in Photographische Correspondenz and reprinted in Der Amateur-Photograph - with an approving comment. In the article, Allihn asks the fundamental question: “Is this whole art direction [of artistic photography] enjoyable?” And continues with a comprehensive criticism of artistic photography and its institutionalization. First of all, he criticizes the bias of the judges and publishers, who in his opinion are not neutral in their selection: "The gentlemen publishers who fear losing the favor of a busy minority, of course, join in and decorate their magazines with beautiful pictures of the latest direction." He also says to readers and art and photography lovers that they “secretly find these images abhorrent.” In concrete terms, Allihn disapproves of the aesthetics of the images. The environment does not appear as it is actually perceived: "These haystacks with stems that mean leaves and trunk", the lighting is "impossible", the silhouettes "dead" and the coarse grain of silver "rough and rough". At this point, Allihn goes back to the idea that photography should show an image that coincides with the subjective impression of perception of the human eye: “Is that something [...] about things here on earth as they are appear to the eye, has resemblance? "Allihn denies this rhetorical question in this article, since he even denies strictly pictorialistic images their artistic value:" One shouldn't be surprised how one looked for artistic values ​​in them that were not at all [... ]? ”A year later, in 1902, Allihn published in Die Kunst in der Photographie the photograph of a (presumably his own)“ woman in a chair ”. The photograph bears the second, allegorical title “Mercy”. After 1902 no more photographic publications can be found. Allihn continued to write prose texts as well as contributions to music and religion until his death.

literature

For his writing activity, Allihn chose the pseudonym Fritz Anders , under which he had published prose texts since 1878. Allihn appears in relevant literary encyclopedias of the time. In it, he is described as an excellent expert on rural and small-town conditions, which he addresses in his literary sketches and novels. From 1891 to 1903 his sketches from today's folk life appeared in series and later in one volume. Allihn's leisure is the "exaggeration" that makes his humorous-satirical sketches "enjoyable" to read. In his late novel Dr. Duttmüller and his friend. A story from the present (1902) treated Allihn with "one blow at the so-called humanistic education" the emerging social democratic movement in a humorous but also critical way. "The fact that the author dared to take a humorous view of the social democratic movement - and these games are among the best and psychologically truest - is an undertaking that was particularly difficult, but also grateful." According to Weitbrecht, the novel is reminiscent of Fritz in structure and structure Reuters Ut mine Stromtid , which Allihn's template could have been. Allihn's novel Gretula's Marriage , published posthumously in 1911, was reprinted in 2004. Krüger's literary lexicon concludes: "For larger works, A [llihn] lacked the gift of composition."

Max Allihn. photography

music

From 1887 until his death in 1910, Allihn wrote a large number of essays and books on organ building technology. He also wrote a book on the construction and maintenance of the house instruments, the piano and harmonium, and other books on the harmonium, which he also played himself. The textbook on organ building that was newly published by Allihn in 1888 and written by the organist Johann Gottlob Töpfer in 1856 for use by organ builders, organ auditors, organists and architects is particularly important . The textbook was a standard work in organ building and is still quoted today. Allihn's articles appeared regularly in the Zeitschrift für Instrumentenbau , which was published by Paul de Wit in Leipzig. These mainly deal with technical issues of organ building, in particular organ pipes, pneumatics and new developments in music technology such as modern organ arrangements and the new electric organ .

Quotes

“Cultural history in itself is enjoying lively support, as is art history itself; what is missing is a solid bridge between the two areas. But this can only be achieved with united forces and with division of labor. "

- Max Allihn : On the relationship between cultural and art history, 1871

“Since the artist reproduces the image of nature as it is subjectively designed for him, not as it is calculated or photographed, it follows that for him natural truth means the agreement with his subjective image, furthermore that the photographer, if he wants to be an artist, translate the product of his apparatus into subjectively natural truth, that he has to patronize his objective and make his copying process flexible. "

- Max Allihn : About artistic photography (the subjective image), 1898

“That is precisely why we value the artist and art, because they are teachers of our own eyes, interpreters of our own feelings, because they open up a world of impressions that the non-artist would not have without the help of the work of art, and we value him all the more the more he succeeds in gaining our inner approval. "

- Max Allihn : On the meaning of art for people (the subjective image), 1898

Works

Literary works

Writings on philosophy, education and religion

• Aesthetics in pedagogy . In: Allgemeine Schulzeitung 47, Association for Scientific Pedagogy. Darmstadt and Leipzig 1870.
• What gives and takes away our modern worldview . Hall a. Saale 1898.
• Apologetic lectures . Held by clergy from the Diocese of Halberstadt; Max Allihn, Albert Bärthold, Paul Brinckmann, Ernst Hermes, Reinhold Koch, Otto Richter. E. Strien: Halle ad Saale 1898.
• (FA): Article in: Neue Christoterpe 1910 . A yearbook. Richard Mühlmann Publishing House : Halle ad Saale 1910.

Writings on photography

• Photography as art . In: Der Amateur-Photograph, 3rd year, No. 25, 26, 27. Düsseldorf 1889, pp. 1–5, 23–25, 35–37.
• The Darkroom / Durable Solutions / Correspondence Association of Friends of Photography . In: Der Amateur-Photograph, 4th year 1890, pp. 33–40 / pp. 67–69 / pp. 169–171.
• Photography and Manner . In: Photographische Rundschau 8 (1894), pp. 345–348; 364-367.
• The basics of amateur photography. A small manual for beginners as well as for experienced users . Liesegang's Published by Düsseldorf 1895.
• Flash recordings . In: Photographische Rundschau 9 (1895), pp. 141–146, 187f.
• About natural truth . In: Photographischer Almanach for the year 1897. Düsseldorf 1897. pp. 46–52.
• The subjective picture . In: The art in photography 2 (1898), 2nd year, pp. 26–31.
• The photograph . Möschke: Leipzig 1899.
• New ways . In: Photographischer Almanach für die 1901, Volume 15, Düsseldorf 1901. Reviewed and reprinted in excerpts in: Der Amateur-Photograph, 1901, No. 171, pp. 40–42.

Writings on art and literature

• (MA): The theories of the arts according to Lotze . In: Journal for exact philosophy. Ed .: Friedrich Heinrich Th. Allihn / T. Ziller, Volume 8 (1869), pp. 281-299.
• (MA): On the pedagogical treatment of art forms with a special relation to poetry . In: Yearbook of the Association for Scientific Education. Ed .: Tuiskon Ziller. Gräbner: Leipzig 1870, p. 9.
• (MA): Dürer Studies. Attempt to explain difficult to interpret copper engravings by A. Dürer from a cultural-historical standpoint . Hermann Vogel / Rudolph Weigel's bookstore: Leipzig 1871.
• (MA): In the footsteps of Goethe . In: At home. A German family sheet with illustrations. Daheim-Expedition (Velhagen & Klasing): Leipzig and Bielefeld 1885.
• (FA): Small towns I. What do the German people know about Goethe? In: At home. A German family sheet with illustrations. 22nd year, no. 19. Verlag Daheim-Expedition (Velhagen & Klasing): Leipzig and Bielefeld 1886, pp. 297-300.

Quoted in: Goethe Yearbook. Ed .: Ludwig Geiger. Volume 8, Rütten & Loening: Frankfurt a. M. 1887.

Music theory writings

The writings and essays on music theory topics are all marked with "HM Allihn".

• The theory and practice of organ building . Second completely revised edition of the “Textbook of Organ Building Art” by Johann Gottlob Töpfer. For the use of organ builders, organ auditors, organists and architects. Ed .: HM Allihn. BF Voigt: Weimar 1888.
• The house instruments piano and harmonium, their construction, their mood, care and improvement . Ch. F. Vieweg: Quedlinburg 1891.
• The largest organ in Germany . In: At home. A German family sheet with illustrations. Daheim-Expedition (Velhagen & Klasing): Leipzig and Bielefeld 1893.
• Guide to harmonium music m. Explanations , C. Simon: Berlin 1894. 156 pages.
• Directory of harp harmonium ensemble music, melodramas and Christmas music with harmonium, essays, reviews and advertisements . C. Simon: Berlin 1894.
• Something about harmonium construction, harmonium playing and harmonium notes . C. Simon: Berlin 1894. 33 pages.
• The maintenance of the musical part of the service . Orphanage: Halle ad Saale 1906.
• (FA): The duet in A flat major and others. Novellas and sketches . Mühlmann: Halle ad Saale 1908/1910.

prose

Unless otherwise stated, Allihn uses the pseudonym Fritz Anders for his writings .

• The young general staff in the Harz Mountains. Told from the expedition's diaries . Velhagen u. Klasing: Bielefeld and Leipzig 1878.
• Sketches from our folk life today . FW Grunow: Leipzig 1891–1903, last collected in 1925 and printed in one volume.

This includes: the fire damage; King's birthday; A story in which absolutely nothing happens; What experiences the Herr Konsistorialrat made; What do the German people know about Goethe? A trade of honor; My first day as a tutor; The urge for something higher; Old Gottlieb; A comedy; School hardships; The enigmatic game; How someone sat down between two chairs; The Mönkeberg Chapel; Of taxes and burdens; The fiscal forest; Warmly the General has returned from his preference for hospitality; From gentlemen playing; The musical wreath .

• The young thousand-artist. Practical instructions for the presentation of light and entertaining sleight of hand, shadow plays, puppet comedies, etc. using self-made apparatus . With a foreword by Wilhelm Widenmann. Velhagen and Klasing: Bielefeld and Leipzig 1884/1890, reprint: Edition Olms: Zürich 1978.
• (MA) u. a .: games and sports . With partly colored illustrations on panels and in the text. Velhagen & Klasing: Bielefeld and Leipzig 1899.
• (MA): The Brocken Railway . Daheim-Expedition (Velhagen & Klasing): Leipzig and Bielefeld 1899.
• Doctor Duttmüller and his friend. A story from the present . Novel. FW Grunow: Leipzig 1902.
• Master people . Novel. FW Grunow: Leipzig 1905.
• Atoned for . Story. 1909.
• The Parnassus in Neusiedel. Novel. 1909.
• Tyrol and the Bavarian Alps. A hike through the Bavarian Alps and Tyrol in words and pictures . Koch: Halberstadt 1909.
• Glosses on well-known texts . FW Grunow: Leipzig 1910.
• From the laughing life . FW Grunow: Leipzig 1911.
• Gretula's marriage. Last sketches from our folk life today . Mühlmann: Halle ad Saale, 5th edition 1911.
  • New edition: Gretula's marriage. A lovely story from the year of disaster in 1627. Schachdorf-Verlag, Schachdorf Ströbeck 2004, ISBN 3-937722-00-9 .
• Free at last . Heiligenbeil Ostpr. : Ev. Community Brethren House, 1921. 2nd edition. Series of publications "Calls for Freedom"
• The fire damage . Berlin: Font Distribution Agency, 1920.
• (FA): High School Textbooks and Denominational Peace . 1924.
• (FA): Living new Latin . 2nd Edition. Aschendorff: Münster 1955.

Photographic works

• Child picture. Snapshot taken by M. Allihn in Athenstedt (1891). Photographic supplement in: Amateur-Photograph, No. 51, V. Jg., Liesegang's Publisher: Düsseldorf 1891.
• Photo of Pastor M. Allihn, Athenstedt (child with flower basket). Photographic supplement in: Photographische Rundschau, Heft 3, 1894.
• Mercy (1902). Genre portrait of a nurse, possibly his wife as a nurse. Photographic supplement in: The Art in Photography, 1902.

literature

• Obituary in the Zeitschrift für Instrumentenbau, Vol. 31, Leipzig, 1911, pp. 190-191.
• Thea Allihn: I often think of Huy ... childhood on a parish in the Halberstadt district at the beginning of the 20th century . Jahn & Ernst Verlag, Hamburg 1993, ISBN 3-89407-088-9 .
• Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 10-12.
• Hermann Anders Krüger (Ed.): Max Allihn, ps. Fritz Anders . In: German Literature Lexicon. Biographical and bibliographical handbook with overviews of motifs and references. Munich 1914, p. 6.
• Dr. W. von Langsdorff: In memoriam. Pastor Max Allihn (Fritz Anders) . In: Conservative Monthly. Year 68, Issue 1, October 1, 1910, pp. 313–314.
• Max Allihn . In: German Literature Lexicon, Biographical and Bibliographical Handbook by Wilhelm Kosch, Volume 1, p. 26.
• Fritz Anders . In: German Literature Lexicon, Biographical and Bibliographical Handbook by Wilhelm Kosch, Volume 1, pp. 102-103.
• Fritz Anders, Ps. F. Max Allihn . In: Kürschner's German Literature Calendar / Nekrolog. 1901/35, 1936.
• Richard Weitbrecht : Fritz Anders . In: The literary echo. Semi-monthly magazine for literature lovers. Ed .: Dr. Josef Ettlinger. Volume 6, Issue 18, June 15, 1904, pp. 1270–1271.

Web links

Commons : Max Allihn  - collection of images, videos and audio files

• Literature by and about Max Allihn in the catalog of the German National Library
• Walter Kunze:  Anders, Fritz (pseudonym for Heinrich Max Allihn). In: New German Biography (NDB). Volume 1, Duncker & Humblot, Berlin 1953, ISBN 3-428-00182-6 , p. 268 ( digitized version ).
• After work in Halle: book presentation. Schachdorf prints "Gretula's marriage" (PDF; 1.1 MB)

Individual evidence

1. ^ Walter Kunze:  Anders, Fritz (pseudonym for Heinrich Max Allihn). In: New German Biography (NDB). Volume 1, Duncker & Humblot, Berlin 1953, ISBN 3-428-00182-6 , p. 268 ( digitized version ).
2. ↑ Journal for Exacte Philosophy in the sense of the newer philosophical realism . Info here ( Memento of the original from July 10, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . 
3. ↑ Thea Allihn writes down her memories of family life in the rectory in Athenstedt, which in turn are summarized in a book by her daughter in 1993. See: Thea Allihn: I often think of Huy ... childhood on a parish in the Halberstadt district at the beginning of the 20th century . Hamburg: Jahn & Ernst Verlag, 1993.
4. ↑ Thea Allihn: I often think of Huy ... childhood on a parish in the Halberstadt district at the beginning of the 20th century . Hamburg: Jahn & Ernst Verlag, 1993, p. 16.
5. ↑ Cf. Thea Allihn: I often think of Huy ... childhood on a parish in the Halberstadt district at the beginning of the 20th century . Hamburg: Jahn & Ernst Verlag, 1993, p. 16.
6. ↑ The editors FH Th. Allihn, T. Ziller and Otto Flügel testify to this in the closing words of the magazine for exact philosophy in the sense of the more recent philosophical realism , volume 11, when the magazine was discontinued for a few years in 1875: “We have had the satisfaction here that the entire work of the magazine, with vanishing exception, is held in one spirit, in the spirit of Herbart's philosophy ”. See here ( Memento of the original from July 10, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . 
7. ^ Max Allihn: Dürer studies. Attempt to explain difficult to interpret copper engravings by A. Dürer from a cultural-historical standpoint . Hermann Vogel / Rudolph Weigel's bookstore: Leipzig 1871.
8. ^ Max Allihn: Dürer studies. Attempt to explain difficult to interpret copper engravings by A. Dürer from a cultural-historical standpoint . Hermann Vogel / Rudolph Weigel's bookstore: Leipzig 1871, pp. 3–4.
9. ↑ Peter-Klaus Schuster: Melencholia I. Dürer's thought picture . Volume 1, Berlin 1991, p. 24.
10. ↑ Peter-Klaus Schuster: Melencholia I. Dürer's thought picture . Volume 1, Berlin 1991, p. 24.
11. ↑ Peter-Klaus Schuster: Melencholia I. Dürer's thought picture . Volume 1, Berlin 1991, p. 24.
12. ^ Cf. Max Allihn: New Paths . In: Photographischer Almanach für die 1901 , Volume 15, Düsseldorf 1901. Reviewed and reprinted in excerpts in: Der Amateur-Photograph, 1901, No. 171, p. 40.
13. ↑ Max Allihn: The basic lines of amateur photography. A small manual for beginners as well as experienced hikers . Liesegang's Verlag: Düsseldorf 1895. The book has not yet been viewed. Two copies are documented in: Leiden University Library; Société francaise de Photographie, Paris.
14. ^ Max Allihn: Foreword . In: The Photography . Möschke: Leipzig 1899.
15. ↑ Book Show . In: Photographische Rundschau 13 (1899), pp. 231f.
16. ↑ Cf. Thea Allihn: I often think of Huy ... childhood on a parish in the Halberstadt district at the beginning of the 20th century. Hamburg: Jahn & Ernst Verlag, 1993, p. 16.
17. ↑ Cf. Thea Allihn: I often think of Huy ... childhood on a parish in the Halberstadt district at the beginning of the 20th century. Hamburg: Jahn & Ernst Verlag, 1993, p. 16.
18. ^ Max Allihn: Photography as art . In: Der Amateur-Photograph , 3rd year, No. 25. Düsseldorf 1889, p. 2.
19. ^ Max Allihn: Photography as art . In: Der Amateur-Photograph , 3rd year, No. 25. Düsseldorf 1889, p. 2.
20. ^ Max Allihn: Photography as art . In: Der Amateur-Photograph , 3rd year, No. 25. Düsseldorf 1889, p. 2.
21. ↑ cf. Max Allihn: Flash photos . In: Photographische Rundschau 9 (1895), pp. 141–146.
22. ↑ Max Allihn: Flash recordings . In: Photographische Rundschau 9 (1895), pp. 141–146.
23. ^ Max Allihn: Photography as art . In: Der Amateur-Photograph , Volume 3, No. 27. Düsseldorf 1889, p. 37.
24. ^ Comment by the editor of the amateur photographer (footnote). In: Max Allihn: Photography as Art . In: Der Amateur-Photograph , Volume 3, No. 27. Düsseldorf 1889, p. 37.
25. ↑ Ibid.
26. ↑ cf. Max Allihn: Flash photos . In: Photographische Rundschau 9 (1895), pp. 141–146, here 143.
27. ↑ cf. Alfred Lichtwark: The amateur photographer and nature . In: Alfred Lichtwark: "The importance of amateur photography". Hall a. P. 1894, pp. 13–28, here p. 16.
28. ↑ cf. Max Allihn: The subjective picture . In: Art in Photography 2 (1898), 2nd year, p. 28.
29. ^ Max Allihn: The subjective picture . In: Art in Photography 2 (1898), 2nd year, p. 29.
30. ^ Max Allihn: The subjective picture . In: Art in Photography 2 (1898), 2nd year, p. 32.
31. ↑ Allihn, Max. In: Photographisches Centralblatt , 2nd year (1896), p. 415f.
32. ↑ Ibid.
33. ^ Max Allihn: Photography as art . In: Der Amateur-Photographer , 3rd year, No. 27. Düsseldorf 1889, p. 2.
34. ^ Max Allihn: Photography as art . In: Der Amateur-Photographer , 3rd year, No. 27. Düsseldorf 1889, p. 2.
35. ↑ Ibid., P. 4.
36. ^ Max Allihn: The subjective picture . In: Art in Photography 2 (1898), 2nd year, p. 29.
37. ↑ , Max: The subjective picture . In: Art in Photography 2 (1898), 2nd year, p. 29.
38. ^ Max Allihn: New ways . In: Photographischer Almanach für die 1901 , Volume 15, Düsseldorf 1901. Reviewed and reprinted in excerpts in: Der Amateur-Photograph , 1901, No. 171, p. 40.
39. ^ Max Allihn: New ways . In: Der Amateur-Photograph , 1901, No. 171, p. 41.
40. ^ Max Allihn: New ways . In: Der Amateur-Photograph , 1901, No. 171, pp. 40–41.
41. ^ Max Allihn: New ways . In: Der Amateur-Photograph , 1901, No. 171, pp. 40–41.
42. ^ Max Allihn: New ways . In: Der Amateur-Photograph , 1901, No. 171, p. 41.
43. ^ Max Allihn: New ways . In: Der Amateur-Photograph , 1901, No. 171, p. 41.
44. ^ Richard Weitbrecht: Fritz Anders . In: The literary echo. Semi-monthly magazine for literature lovers . Ed .: Dr. Josef Ettlinger. Volume 6, Issue 18, June 15, 1904, p. 1270.
45. ^ Richard Weitbrecht: Fritz Anders . In: The literary echo. Semi-monthly magazine for literature lovers . Ed .: Dr. Josef Ettlinger. Volume 6, Issue 18, June 15, 1904, p. 1271.
46. ^ Richard Weitbrecht: Fritz Anders . In: The literary echo. Semi-monthly magazine for literature lovers . Ed .: Dr. Josef Ettlinger. Volume 6, Issue 18, June 15, 1904, p. 1271.
47. ↑ See Richard Weitbrecht: Fritz Anders . In: The literary echo. Semi-monthly magazine for literature lovers . Ed .: Dr. Josef Ettlinger. Volume 6, Issue 18, June 15, 1904, p. 1271.
48. ↑ Hermann Anders Krüger (Ed.): Max Allihn, ps. Fritz Anders . In: German Literature Lexicon. Biographical and bibliographical handbook with overviews of motifs and references. Munich 1914, p. 6.