Hofmeister brothers

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The brothers Theodor Eduard Ferdinand Hofmeister (born April 21, 1868 in Hamburg ; † March 1, 1943 ) and Oskar Ludwig Robert Hofmeister (also Oscar , born July 22, 1871 in Hamburg; †  August 24, 1937 in Ichenhausen, Bavaria) were amateur photographers who are considered the founders of the pictorialist "Hamburg School of Art Photography" . They mainly worked with the rubber printing process and large enlargements of the photo negative in order to artistically implement landscape, figure and portrait images.

Life

Biographical

The older brother Hofmeister, Theodor, was born on April 21, 1868 in Hamburg, three years later his younger brother Oskar was born. From childhood on, the two brothers lived with a wealthy and respected merchant family in Hamburg. The father Theodor August Anton Hofmeister (1831–1888), a successful co-founder and from 1885 sole managing director of the company Hofmeister, Scheffler & Sieg, commission and forwarding business, headed the family. With his wife Augusta Wilhelmine Henriette, née Meyer, he had three other sons: Gustav Otto Richard, Albert Henry William and Theodor Ferdinand Eduard.

Theodor also learned the trade of a businessman and was initially involved in his father's business until he founded his first commercial company in 1891 at the age of 23.

Oskar Hofmeister decided against a classic commercial and a legal education. He worked full-time as a legal clerk in Hamburg.

Photography as a hobby

Hamburg was not only the birthplace of Theodor and Oskar Hofmeister, it was in this city that their photographic ambitions also developed. Amateur photography became a hobby of wealthy court masters in the 1890s. Hamburg's first amateur photography association was founded in Hamburg in 1891. The amateur photography was an interesting hobby for many wealthy citizens with an aesthetic appreciation of art, for it was not only a very expensive, but also an artistically rich in content and elitist hobby: Only rich upper class had the money for the expensive photographic equipment and the necessary time to deal comprehensively with recording and development technology for the production of artistically valuable photography. In their free time, and thus alongside their respective profession, the Hofmeisters practiced art photography and thus became more and more "professional" amateur photographers. You are regarded as the founder and center of the local “Hamburg School” of amateur photography that emerged.

advancement

Both Alfred Lichtwark (1852–1914) and the Hamburg merchant Ernst Juhl (1850–1915) had a great influence on the work and success of Theodor and Oskar Hofmeister . Both Lichtwark, director of the collection of the Hamburger Kunstverein and the Hamburger Kunsthalle , as well as Juhl, a founding member of the Hamburg Amateur Photographers Association and founding board member of the Society for the Promotion of Amateur Photography (GzFdA for short; later: Art Photography) secured their support for the court masters. The establishment of the GzFdA made it possible for the first time in Hamburg to guide laboratories, conference rooms, assemblies and a moderated exchange between the artists in an institutionalized setting. Theodor and Oskar distinguished themselves with their special rubber printing technique based on the Viennese clover leaf (or trifolium ) and also embodied the ideals and principles of Alfred Lichtwark. Since Hamburg was always in direct competition with Vienna and Vienna's Trifolium, the Hofmeisters became the figureheads of the "Hamburg School" with the backing of Juhl and Lichtwark.

As the main representatives of the “Hamburg School” and thus as offspring of their homeland, the Hofmeister brothers were able to rely on the full support of Lichtwark and Juhl, who had excellent relationships with both photographic specialist journals such as the Photographische Rundschau in Germany or Camera Work in the USA, as well as personal relationships Maintained exchanges with curators and artists nationally and internationally.

plant

Theoretical approach

The photographic works of the Hofmeister brothers between 1895 and 1909 can be fully assigned to the "Hamburg School" of amateur photography. This is part of the pictorialist current in photography.

Pictorialist photography

The pictorialism (or the Pictorialist photography) is a style that, tried with new technical knowledge of photography as an art form to establish next to the painting. It can be roughly classified between 1890 and 1910/1915. During this period of time, amateur photo clubs and associations emerged in the western hemisphere, which laid the foundations for major centers of pictorial photography: London with The linked Ring , Vienna with the Trifolium and New York with the Photo Secession , all of which are mentioned concentrated on pictorial work and thus formed a counterpoint to professional photography.

The pictorialistic approaches are characterized by the attempt to free photography from its status as a detailed documenting medium . In particular, the stereotypical , unnaturally staged portraits of the studio photographers were thus set an opposite pole. Amateur photographers worked to elevate photography into the art discourse through painterly means. Potential means were new, natural perspectives of landscape and figure shots, enlargements of the photographs, playing with tonal values, the use of blurring and subsequent processing of the photo negative.

Alfred Lichtwark's understanding of art photography

Alfred Lichtwark's theoretical approaches were decisive for pictorialistic photography in Hamburg and thus for the work of Theodor and Oskar Hofmeister.

Amateurism

Dilettantism was an essential factor for the new art in photography . After Lichtwark, the photographic amateurs, in contrast to the professional photographers, had the opportunity to artistically renew photography. Lichtwark therefore strongly promoted amateur photographers. At the same time, he called for an upgrading of the - until now negatively burdened - concept of amateurism in Germany.

education

For Lichtwark, amateur photography possessed the innovative power to train the people's sense of art. For him, amateur photography offered the opportunity to show the people a new approach to art and thus to educate them artistically . Lichtwark appeared as an art teacher who wanted to stimulate pedagogy.

nature

Lichtwark called for art photography to be more natural and for artists to orientate themselves towards nature . So he entered into the fight against the inartistic demands on photography by professional photographers and the population. In order to develop his taste, the amateur must study important works of art in detail and be guided by them. This would train the sensations. However, the actual field of research for photographic art must be nature. According to Lichtwark: "His [the amateur's] immediate field of study remains nature, and when looking at it, any memory of what he saw in art must disappear." That is, the art photographer who focuses on the Lets nature in, can let his subjective sensations and feelings flow into the artistic work and thus bring a new liveliness to the lifeless images and create special moods. Lichtwark advised young art photographers to go out into nature for study purposes and often went on such study trips himself .

Self-image in production

In their publication Das Figurbild in der Kunstphotographie , Theodor and Oskar Hofmeister provide information about their working methods and their self-image in image production . In this way they compare their own way of working with that of a painter who “... initially [begins] to make studies. He [the painter] creates sketches. ”Hofmeisters themselves made countless preliminary studies before each work. In addition, the brothers always strived for a high level of perfection: According to their publication, they demand the highest level of discipline, self-criticism and perseverance from themselves.

Working method

There were clear areas of responsibility between the Hofmeister brothers for their photographic work. Oskar Hofmeister was responsible for the recording that they had prepared together. Theodor Hofmeister took over the further processing of the photo negative in the photo laboratory .

Recording techniques

Preliminary studies

In order to take a photograph, the brothers worked through a systematic plan step by step. First, sketches were made and the composition worked out in a drawing. During the preliminary studies for the “Presidential Portrait” from 1899, which depicted the then board of the Society for the Promotion of Amateur Photography, they first took a few photos with extras before showing the real actors. The actual recording was not a snapshot , but staged down to the smallest detail. The photographed person was usually allowed to choose the position and location of the picture himself. This should ensure that the pose is as natural as possible. Oskar Hofmeister always took a lot of pictures. The unused recordings were collected as studies and served for personal artistic training. Proof of this working method are two surviving sketchbooks with one 52 and one 125 albumen and celloid prints by the Hofmeister brothers.

to travel

On Alfred Lichtwark's advice, the Hofmeister brothers undertook numerous study trips to the surrounding area of ​​Hamburg. Traditional places of residence are Finkenwerder , Altona , Vierlanden , Harburg , Ochsenwerder , Altenwerder , Alstertal , the Worpswede artists' colony , Duhnen , Altenbruch , Walsrode and also Dinan in Brittany . These photo tours were used to closely observe the landscape and people's everyday life in order to be able to work out preliminary studies for later photographs. The Hofmeister often undertook these trips together with other art photographers or accompanied by Alfred Lichtwark.

Recordings

The original photos were mostly 13 × 18 cm. For this they use a focal length of 21 to 27 cm, outdoors of 42 cm. The Hofmeisters worked with the assumption that they could only achieve an artistic perspective when the focal length was twice the plate length. In addition, they always worked with a tripod , only the recordings of lake images were taken freehand.

Landscape, figure, portrait picture

At the beginning of their photographic work in 1895, Hofmeisters produced landscape photographs. In the years that followed, they mainly took pictures of landscapes and figures, for which they used preliminary studies from trips to the Hamburg area. Often people working or in the countryside were depicted. Around 1900 Hofmeisters made more and more portraits. In all work on the living model, the attempt was made to capture people in their natural environment.

Man in nature

The portrait of the painter Fritz Mackensen from 1897 shows the painter in half profile at the easel and cites a composition-identical picture by Arthur Illies from 1895. When taking his photograph, Illies had intended to depict his model bare in nature. Since the public felt morally harassed by the picture, a cloak was hung around the model to avoid a scandal. By referring to Illies' photography, Hofmeisters expressed their approval of the natural representation of humans in harmony with nature and the artist's closeness to nature. Hofmeister's photography can be read like a parable that indicates the transition from artistic nature to portrait photography.

Technical production processes

Printing technology

After the recording, the technical processing of the photographic negative was an elementary part of the artistic work. The technical innovations in photography and the multitude of fine printing processes with which the amateur photographers worked were important for this . At the beginning, Theodor Hofmeister increasingly worked with carbon printing and pigment printing .

From 1897 onwards, Theodor Hofmeister used the chromate process " rubber printing " almost exclusively . He used both simple and combined and multi-layer rubber printing. Hofmeister's rubber prints are particularly characterized by their color: blue, green, blue, green-black or brown rubber prints were often created. Theodor Hofmeister further processed the paper negative with charcoal and a wiper by hand and shaped it like a painter.

In 1901 Ernst Juhl describes the technical working methods of the Hofmeister with rubber printing as follows: “Hofmeisters mostly work with very strong enlargements, while their original photos are never more than 13 × 18 cm. They enlarge their original negatives (after they have made a direct positive impression) on bromide silver paper, and from this paper negative they make their rubber prints. Lately they have also been printing the same image with a positive and a negative at the same time; they only use this process with their two-tone pictures in order to get the color from the positive and the other from the negative. "

From 1909, Theodor and Oskar Hofmeister turned away from the painterly style of photography and rubber printing. From then on they photographed landscapes with documentary accuracy. For this they primarily used the fine printing process of pigment printing.

Enlargements

The Hofmeister rubber prints were up to 70 cm × 100 cm in size and even 90 cm × 140 cm with the original frame. The drastic enlargements from 13 cm × 18 cm to up to 70 cm × 100 cm ensured that the photographs received a decorative element. As wall decorations, they differed only marginally from a painting for the viewer and thus promoted the art discourse in photography.

Effects and mood

With rubber printing, Theodor Hofmeister was given many options for designing the paper negative. These are picturesque, hand-manipulated photographs. Hofmeister was able to suppress or weaken, strengthen or emphasize details in the picture. The tonal values ​​in the image were changed by multiple overprinting, thus achieving greater plasticity or abstraction . Different colors were sometimes used, and the photographs were shaped by the game with blurring .

Due to the possibility of manipulating the rubber printing process on the original negative, a special mood arose in the photography that could not be found in the negative. This mood in Hofmeister's photographs appears melancholic, elegiac or even melancholy.

Hofmeister's pupil

Theodor and Oskar Hofmeister kept in close contact with other amateur photographers and especially with the members of the “Hamburg School”. Namely known are u. a. Eduard Christian Arning, Georg Einbeck , Heinrich Wilhelm Müller , Gustav EB Trinks and Bernhard Troch . Those are also considered to be students of the Hofmeister brothers, who learned their production techniques during their studies with Theodor and Oskar. The work was made easier as they all had access to the facilities of the Society for the Promotion of Amateur Photography.

Lectures / essays

  • Theodor H .: The figure image in art photography, In: Photographische Rundschau. Journal of the Friends of Photography , 12th year, 1898, p. 260ff., ( Online ) and p. 356ff, ( online )
  • Theodor H .: Rubber printing and its usability as an artistic means of expression in photography , In: Photographische Rundschau . Journal of the Friends of Photography , 12th year, 1898, p. 97ff., ( Online ), cont. P. 113ff. ( online ) and closing p. 130ff., ( online ), [Lecture of February 3, 1898 to the Society for the Promotion of Amateur Photography in Hamburg].

Exhibitions

In 1895 the Hofmeister brothers took part in an exhibition for the first time . It was the first "International Exhibition for Amateur Photography" in Hamburg. The organizer was the Society for the Promotion of Amateur Photography, the exhibition venue was the Kunsthalle Hamburg. "International exhibitions for amateur photography" have been held since 1893 under the direction of Ernst Juhl and in Alfred Lichtwark's rooms. In 1895, Hofmeisters took part in the exhibition with “small, quite insignificant pictures”. From then on, they were represented at each of the “International Exhibitions for Amateur Photography” in Hamburg that followed annually until 1903.

Hofmeister's exhibited works gained greater attention from year to year, and in 1902 they were given a room for their sole use.

Further exhibitions:

1898 “Photo Club de Paris”, Paris.
1899 “Photographic Salon”, New York.
1899 "Exhibition for Artistic Photography", Berlin.
1903 "Exhibition for Portrait Photography", Wiesbaden.
etc.

reception

National

Around 1900 the Hofmeister brothers became increasingly famous and well known. Ernst Juhl wrote in 1902: “In the last few years, strangers and ambitious art photographers have come to Hamburg to study the Hofmeister method here.” The extensive Ernst Juhl collection includes Hofmeisters with 65 prints and two sketchbooks. This means that there are more photographs of the brothers in the Hamburg collection than anywhere else. After Juhl's death, however, his private collection was split between these two institutes in 1915/16: Museum for Art and Industry Hamburg and Art Library Berlin, State Museums in Berlin .

Over time, the name Hofmeister established itself as a synonym for the "Hamburg School". To this day he is one of the few names of the pictorialistic phase in Hamburg who is still known and familiar.

Although the Hofmeister had many followers, critics also accused them of exaggerating the game with blurring and thus only imitating and aping paintings. The mood in the photographs was increasingly referred to as the "Germans own mind".

International

The Hofmeister brothers also had a well-known international name at the turn of the century. Alfred Stieglitz was the "only German photographer to introduce her in 1904 in No. 7 of the legendary New York art magazine 'Camera Work'". In addition, there is exactly one German photograph in Alfred Stieglitz's renowned pictorialist collection ; this comes from the Hofmeister brothers. It is the rubber print "Lonely Rider". The essayist and art critic Sadakichi Hartmann wrote in Camera Work in 1904: “We have all seen a lonely rider like the one from the Hofmeister picture, who slowly rides along the country road through a classic landscape, lean tree silhouettes that mysteriously stand out against the cloudy sky, a mystical scenery. [...] He [the rider] is the man who seeks, and he could well stand as a symbol for the whole photographic movement, especially for the secessionists, this zealous class of photographers who restlessly searches for new pictorial possibilities. "

Quotes

“Through it [the rubber print] everyone is given a means to express themselves according to their will: Not petty, meticulously precise, as photography otherwise dictates, but large, wide, brisk, sharp or blurred, as one likes. Technical skills can be used to create a very specific, desired mood in a picture, without the use of coincidences, and to show the viewer the impression that one had when seeing the picture in nature. " Theodor Hofmeister, 1907.

“If a painter wants to create a picture, be it of a landscape or people, he first begins by making studies. He drafts sketches which, in broad outline, reveal the pictorial, painterly effect of objects, people and light. [...] This is how the figure photographer should go to work. (sic!) “Hofmeister, 1898.

“Do not be afraid to use a lot of material in recordings, especially for figurative representations.” Theodor Hofmeister, 1907.

“Sometimes you have to make unbelievable demands on the models, and you first need proper training so that they are used in the pose posed during the exposure time. A small gift or pecuniary compensation can help over this sometimes. The willingness of the models definitely plays an important role, as already noted above, they have to be influenced, as it were, by the artist's feeling, they have to play along. You will never get a perfect picture with a reluctant model. (sic!) “Hofmeister, 1898.

“The cinematograph analyzes the movement of the object in its individual shots; he breaks them down into thousands of points that our eyes can see, but our brain fixes individually. ”Hofmeister, 1898.

The amateur photographer needs the gift of “feeling with the figures in his pictures, as it were. May they now represent: scenes from the craftsman's life, street pictures, from the salon, sport, daily life in the big city, etc., he always has to familiarize himself with the occupations of the people, live with them, share their customs. [...] There must be no coincidence, no snapshot, but everything will have to be a calm, deliberate pose. Pose in a good sense. (sic!) “Hofmeister, 1898.

Works - a selection

Carbon print

  • Portrait of a girl, 1896. Blue-black charcoal print, 16.2 cm × 11.5 cm.
  • Portrait of a young girl, 1896. Blue-black charcoal print, 16.3 cm × 11.6 cm.

Rubber pressure

  • Female study head, 1897. Blue-black rubber print, 14.6 cm × 9.8 cm.
  • On the Elbe, 1897. Green rubber print, 41 cm × 57.5 cm.
  • Moor flowers, 1897. Brown-black rubber print, 56 cm × 33 cm.
  • Apple harvest, 1897. Green rubber print, 34.7 cm × 56.8 cm.
  • Ernst Juhl, 1897. Rubber print, 49 cm × 37.1 cm.
  • Fritz Mackensen, 1898. Red-brown rubber print, 54 cm × 45.4 cm.
  • Dr. Wolters, 1899. Brown rubber print, 82.8 cm × 66.6 cm.
  • Birch trees, 1900. Rubber print, 93.5 cm × 37 cm.
  • Gustav Falke, 1900. Brown-black rubber print, 81 cm × 61 cm.
  • The Siblings, 1901. Brown rubber print, 62.5 cm × 80 cm.
  • Lonely rider, 1903. Blue rubber print, 68.5 cm × 98 cm.

Pigment printing

  • Elbstrand im Schnee, 1897. Black-violet pigment print, 10.5 cm × 16.6 cm.
  • Moor flowers, 1898. Brown pigment print, 15.9 cm × 11.8 cm.
  • Presidential portrait of the Society for the Promotion of Amateur Photography, 1899. Brown pigment print, 20.4 cm × 27.1 cm.
  • Devotion, 1909. Brown pigment print, 26.4 cm × 37.2 cm.

Matte albumin

  • Urahne, 1897. Matt albumen, 11.4 cm × 16.4 cm.
  • The Witch, 1899. Matt album, 11.8 cm × 16.2 cm.
  • Ilse Juhl, 1900. Matt albumen, 16.7 cm × 11.6 cm.

Sketchbooks

  • Sketchbook L (L probably stands for landscape), 1895–1900, 15 cm × 23.2 cm. With 52 albumin and celloidin prints.
  • Sketchbook B 1 (B probably stands for portrait) 1896–1898, 15 cm × 23.2 cm. With 125 albumin and celloidin prints.
u. a. m.

Individual evidence

  1. ↑ a b c Gabriele Betancourt Nuñez: Hofmeister, Theodor Ferdinand Eduard. Hofmeister, Oscar (Oskar) Ludwig Robert . In: Frank Kopitzsch and Dirk Brietzke (Hrsg.): Hamburgische Biographie . Personal Lexicon , Vol. 3, Göttingen 2006, p. 171
  2. ↑ Yearbook of the Museum of Art and Industry Hamburg, Vol. 11-13, Hamburg 1992, p. 85
  3. ↑ See www.answers.com/topic/theodor-ferdinand-eduard-hofmeister. Accessed December 20, 2010.
  4. ^ Ernst Juhl: Theodor and Oskar Hofmeister , Hamburg. In: Photographische Rundschau , No. 16, 1902, pp. 65–70, here: p. 65
  5. ^ A b Enno Kaufhold: Photography and painting in transition. Image culture in Hamburg before the turn of the century . In: Art photography around 1900. The Ernst Juhl Collection. Museum für Kunst und Gewerbe Hamburg, 1989, pp. 9–18, here: p. 13
  6. ↑ a b Jens Jäger: Amateur photography associations and art photography movement in Hamburg 1890-1910 . In: Art photography around 1900 , pp. 33–38, here: pp. 33f
  7. ↑ a b Almut Klingbeil: The pictures change. Seascapes in German photo books from the 20s to 40s. 2000, p. 33
  8. ^ Rüdiger Joppien: "A beautiful collection and probably the only one on the continent" - The Ernst Juhl Collection . In: Art photography around 1900. pp. 19–32, here: p. 19
  9. ↑ Ibid., P. 26.
  10. ^ A b c Margret Kruse: Theodor and Oscar Hofmeister. From the sketch of ideas to rubber printing . In: Art photography around 1900. pp. 39–46, here: p. 40
  11. ↑ a b Joppien: The Ernst Juhl Collection. P. 22
  12. ↑ For more details z. B. Bernd Stiegler: Theory history of photography. Wilhelm Fink Verlag, Munich 2006.
  13. ↑ See Jäger: Amateur Photography Associations. P. 33, p. 37.
  14. ^ A b Kruse: Theodor and Oscar Hofmeister . P. 39
  15. ↑ See Jäger: Amateur Photography Associations. P. 35.
  16. ↑ a b Erika and Fritz Kempe, Heinz Spielmann: The art of the camera in Art Nouveau. Frankfurt a. M. 1986, p. 21
  17. ↑ Ibid., P. 20.
  18. ^ A b Fritz Kempe: Photography. Between daguerreotype and art photography. Museum for Art and Industry Hamburg, 1987, p. 23
  19. ^ Alfred Lichtwark quoted from Fritz Kempe: Photography. P. 23.
  20. ↑ a b Kaufhold: Photography and painting in transition. P. 15
  21. ↑ Theodor u. Oskar Hofmeister: The figure image in art photography. Hall adS 1898.
  22. ↑ Ibid., P. 8.
  23. ↑ See Kruse: Theodor and Oscar Hofmeister. P. 39f.
  24. ↑ a b Theodor Hofmeister: The rubber printing, and its usability as an artistic means of expression in photography. Halle adS 1907, p. 36
  25. ↑ a b c Juhl: Theodor and Oskar Hofmeister . P. 68
  26. ^ Kaufhold: Photography and painting in transition. P. 16.
  27. ^ Juhl: Theodor and Oskar Hofmeister . P. 69
  28. ↑ Cf. Gerhard Ihrke: Timeline for the history of photography. Leipzig 1982, p. 120.
  29. ↑ a b Juhl: Theodor and Oskar Hofmeister . P. 67
  30. ↑ Ibid., P. 65.
  31. ^ Joppien: The Ernst Juhl Collection . P. 27
  32. ^ Juhl: Theodor and Oskar Hofmeister . P. 66
  33. ↑ a b Kempe: Photography. P. 27
  34. ↑ Ihrke: Timeline. P. 111.
  35. ↑ Ernst Juhl quoted from Kempe: Photography. P. 26.
  36. ↑ See art photography around 1900. 1989, pp. 237–243.
  37. ↑ Ibid., P. 65.
  38. ↑ Sadakichi Hartmann quoted from Kempe et al. Spielmann: The art of the camera. P. 28.
  39. ↑ Hofmeister: The rubber print. P. 33.
  40. ↑ Hofmeister: The figure picture. P. 8.
  41. ↑ Hofmeister: The rubber print. P. 36.
  42. ↑ Hofmeister: The figure picture. P. 19.
  43. ↑ Ibid., P. 9.
  44. ↑ Ibid., P. 10.
  45. ↑ All work information comes from: Art photography around 1900. pp. 237–243.

Literature (chronological)

  • Thomas Wiegand: People's home books. Photo books from the Hermann A. Wiechmann publishing house . In: Manfred Heiting, Roland Jaeger (Hrsg.): Autopsy. German-language photo books 1918 to 1945. Volume 1. Steidl, Göttingen 2012, ISBN 978-3-86930-412-0 , pp. 72–81
  • Gabriele Betancourt Nuñez: Hofmeister, Theodor Ferdinand Eduard. Hofmeister, Oscar (Oskar) Ludwig Robert. In: Frank Kopitsch and Dirk Brietzke (eds.): Hamburgische Biographie . Personal Lexicon, Vol. 3, Göttingen 2006, pp. 171–173.
  • Karlheinz W. Kopanski and Claudia Gabriele Philipp (eds.): Masterpieces of Russian and German art photography around 1900. Sergej Lobovikov and the Hofmeister brothers. Munich and New York 1999.
  • Claudia Gabriele Philipp [= Gabriele Betancourt Nuñez]: Theodor and Oscar Hofmeister “The Siblings” and Heinrich Wilhelm Müller “Elegy” - a romantic friendship picture in art photography around 1900. In: Yearbook of the Museum of Art and Industry Hamburg , NF, vol. 11 / 12, 1992-1993, Hamburg 1994, pp. 83-96.
  • Karl Steinorth (editor): Walks through Germany: the Hofmeister brothers Catalog for the exhibition in the Historical Museum in Frankfurt as part of the 1993 Photo Days , Frankfurt am Main 1993 contains approx. 60 pictorialist photographs of German landscapes from the years 1912–22
  • Museum of Arts and Crafts Hamburg: Art photography around 1900. The Ernst Juhl Collection. Hamburg 1989.
  • Fritz Kempe : Photography. Between daguerreotype and art photography. Museum of Arts and Crafts Hamburg, 1987.
  • Erika and Fritz Kempe, Heinz Spielmann : The Art of the Camera in Art Nouveau. Frankfurt a. M. 1986.
  • Fritz Loescher: Theodor and Oskar Hofmeister , in Photographische Mitteilungen , 41st Jg., 1904, pp. 161-165, ( online ).
  • Ernst Juhl: Theodor and Oskar Hofmeister , Hamburg. In: Photographische Rundschau , No. 16, 1902, pp. 65–70.

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