Wilhelm Weimar
Johann Wilhelm Weimar (born December 3, 1857 in Wertheim , † June 25, 1917 in Hamburg ) was a German museum scholar , draftsman , typographer and photographer .
Life and work in the museum
Wilhelm Weimar was born in Wertheim, where he attended high school until Easter 1872. In addition to a professional training as an engraver in Pforzheim , he received a four-year training in drawing and modeling at the local arts and crafts school. Weimar attended the Karlsruhe School of Applied Arts for three years until August 1879 and then worked as a draftsman for the Princely Fürstenberg Building Inspection in Donaueschingen . From the beginning of 1881 until the summer of 1882 he went to Karlsruhe, where he got a job in Karl Hammer's studio. From June 1882, Weimar drew for the Bichweiler'sche Kunstgewerbliche Anstalt in Hamburg.
Justus Brinckmann , founding director of the Museum of Art and Crafts in Hamburg , hired Weimar as a drawing assistant in the museum in 1883. In 1888 he was given a permanent position, newly created for him, as "Scientific Assistant Second Class" and Brinckmann's first and until 1894 only employee. Weimar cataloged the existing handicrafts in the museum. He also created handicrafts, calligraphic diplomas, certificates and writings himself. The type foundry Genzsch & Heyse posthumously printed Weimar's alphabets Alte Schwabacher , Leibniz - Fraktur and the Hamburger Druckschrift . These appeared in the magazine Die Heimat in 1917 .
Wilhelm Weimar died in June 1917. In the same year Justus Brinckmann wrote to the high school authorities that it was Weimar's merit that “the museum had achieved a certain reputation among its peers”.
photography
Weimar has been painting hundreds of exhibits in the museum since 1883. These were used in 1894 in the first guide through the museum by the Hamburg Museum of Art and Industry . From the 1890s onwards, he also used typographical methods, which enabled him to illustrate magazines and books with photographs using the halftone method . A little later he created collections of slides in a different reproduction process . He trained to be an excellent photographer. At the turn of the century he created a photographic herbarium for the museum , which appeared in 1901. Between 1897 and 1917, a wealth of botanical knowledge and a sense of beauty and composition resulted in a high-quality work of art made of flowers, twigs and leaves. In the spring of 1915, the Museum für Kunst und Gewerbe dedicated a separate exhibition to this work.
Weimar later applied the autochrome process , invented in 1904 , with which he held museum objects. He dealt intensively theoretically and practically with technical and manual innovations. He wrote orders about this and often gave lectures in the Hamburg Museum. Weimar was one of the first to document the beginnings of photography through the history of photographic studios and their operators - primarily in Hamburg. He put together a collection of incunabula that had already been forgotten or threatened to be lost. In 1915 he recorded his extensive detailed research in the book The Daguerreotype in Hamburg 1839-1860 . The work is still considered a pioneering work and standard work.
Together with Brinckmann, Weimar developed a special form of inventorying Hamburg monuments. What was new was that the focus was no longer on the description of the objects, but on their photographic representation. In addition, according to Brinckmann's specifications, the focus of the monument concept was no longer on recording the city center, but on the much more endangered area around Hamburg in terms of its building fabric. At that time, ancient, thatched-roof buildings with valuable inventory often fell victim to the fire there. Weimar created numerous photo series of Vier- und Marschländer houses and churches, which he cataloged precisely. He documented the construction of the Bismarck monument, inaugurated in 1906, and the main church of St. Michaelis in 1900 , which burned down in 1906. Weimar's recordings were used as the basis for drafts for a new construction of the structure.
By 1912, Weimar had labeled more than 1200 photo plates with the place and date of their creation, the time, aperture and exposure time. He also systematically collected daguerreotypes . This means that the Museum of Art and Crafts probably housed one of the most valuable photo collections in the world at the time. Most of the original prints of his photos are now kept in the Museum of Hamburg History. Wilhelm Weimar was a member of the Hamburg Artists' Association from 1832 .
Works
- The daguerreotype in Hamburg 1839–1860 (1st supplement to the yearbook of the Hamburg Scientific Institutions, XXXII, 1914,) Otto Meissner Verlag, Hamburg, 1915.
- The daguerreotype and its practice in Hamburg , (8th meeting on February 22nd [1911]), in negotiations of the Natural Science Association in Hamburg , 3rd part XIX, L. Friedrichsen & Co., Hamburg, 1912, pp. LXVII – LXVIII , Digitized .
- About photographic recordings of plants and leaves with daylight falling through; Silhouettes of leaves, flowering plants and portraits , (32nd meeting on November 27th [1907]), in: Negotiations of the Natural Science Association in Hamburg , 3rd part XV, L. Friedrichsen & Co., Hamburg, 1908, p. LXXXIX -XCI.
literature
- Gabriele Betancourt Nuñez: Weimar, Wilhelm . In: Franklin Kopitzsch, Dirk Brietzke (Hrsg.): Hamburgische Biographie . tape 4 . Wallstein, Göttingen 2008, ISBN 978-3-8353-0229-7 , pp. 375-376 .
- Matthias Gretzschel : The photographer as a monument conservator. Hamburger Abendblatt , December 1, 2003 (views in the Hamburger Abendblatt are subject to a charge).
- W. Heyden: Wilhelm Weimar, died on June 25, 1917 . From a lecture by Dr. W. Heyden on November 19, 1917. In: Communications from the Association for Hamburg History . tape 38 , 1918, ZDB -ID 2777330-9 , p. 103-113 .
- Olaf Matthes, Wilhelm Weimar. Hamburg's first monument photographer, in: Ders. (Ed.), Stadt Bild Wandel. Hamburg in photographs 1870–1914 / 2014. Georg Koppmann, Wilhelm Weimar / Rafal Milach, Michal Luczak, Hamburg 2014, pp. 162–215.
Remarks
- ^ Justus Brinckmann: Report on the Hamburg Museum for Art and Industry . In: Yearbook of the Hamburg Scientific Institutions . No. 1 . Th. G. Meissner, Hamburg 1884, p. XII ( biodiversitylibrary.org [accessed March 16, 2017]).
- ↑ Review: H [Heinrich] K [Keßler]: The Daguerreotype in Hamburg 1839–1860 in: Photographische Korrespondenz , 52nd year, Vienna, Leipzig 1915, pp. 325–326
- ↑ Discussion of the lecture in The Beginnings of Photography in Hamburg , in: JM Eder (Ed.), Photographische Korrespondenz , 48th vol., Verlag der kk Photographische Gesellschaft in Wien, Vienna, 1911, pp. 304–305, (reproduction of a Article in the Hamburg correspondent of February 28, 1911).
Web links
- Anja Hoenen: Herbarium. Wilhelm Weimar. Network Photography / Image Academy, 2004/2016, February 2, 2015, accessed on November 16, 2016 .
| personal data | |
|---|---|
| SURNAME | Weimar, Wilhelm |
| ALTERNATIVE NAMES | Weimar, Johann Wilhelm |
| BRIEF DESCRIPTION | German museum scholar, draftsman, typographer and photographer |
| DATE OF BIRTH | December 3, 1857 |
| PLACE OF BIRTH | Wertheim |
| DATE OF DEATH | June 25, 1917 |
| Place of death | Hamburg |