LA VALLE CAMONICA NEGLI ARCHIVI STORICI DELL’ISTITUTO FROBENIUS

DOCUMENTI E IMMAGINI (1935-37) a Patrizia Frontini

LA VALLE CAMONICA NEGLI ARCHIVI STORICI DELL’ISTITUTO FROBENIUS

DOCUMENTI E IMMAGINI (1935-37)

a cura di Alberto Marretta e Maria Giuseppina Ruggiero O M ONI ON IM D R IA T L A E P

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R D L D N da O H M E R E IT N 40 anni I A O G M E • PATRI Patrimonio Organizzazione Arte rupestre dell’Umanità delle Nazioni Unite della B.I.M. Comunità Montana per l’Educazione, Valle Camonica Bacino Imbrifero Montano di Valle Camonica la Scienza e la Cultura Primo Sito Italiano - 1979

Progetto finanziato a valere sui fondi: Legge 20 febbraio 2006, n. 77 ​“Misure speciali di tutela e fruizione dei siti e degli elementi italiani di interesse culturale, paesaggistico e ambientale, inseriti nella «lista del patrimonio mondiale», posti sotto la tutela dell’UNESCO”

La Valle Camonica negli archivi storici dell’Istituto Frobenius. Documenti e immagini (1935-37)

A cura di Alberto Marretta, Maria Giuseppina Ruggiero

Con contributi di Filippo Maria Gambari, Richard Kuba, Peter Steigerwald, Massimo Tarantini

Traduzione dal tedesco Patrizia Frontini

Fotografie Ove non diversamente specificato le fotografie provengono dagli archivi del Frobenius Institut (Francoforte)

Grafica Lorenzo Caffi

Parco Nazionale delle Incisioni Rupestri, Capo di Ponte QUADERNI. 6

ISBN 9788894871166

Copyright © 2019 Litos Edizioni

Finito di stampare da Litos s.r.l. nel mese di Giugno 2019

È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata, compresa la fotocopia, anche ad uso interno o didattico. Eventuali violazioni saranno perseguite a norma di legge. After eighty years of sleeping deeply Peter Steigerwald La Valle Camonica negli archivi storici dell’Istituto Frobenius. Documenti e immagini (1935-37)

After eighty years of sleeping deeply

Peter Steigerwald Frobenius Institut für kulturanthropologische Forschung an der Goethe-Universität (Frankfurt)

etween 1935 and 1937, Frobenius Institute staff made three trips to the Italian Val Camonica and one to the adjacent Maritime Alps region to explore rock engravings that can be found there Bin large numbers. As the founder of the Institute, Leo Frobenius had already initiated rock art research at the beginning of the century and later established it on a staff basis via journeys to distant countries. Thus, scientific material was also collected in the relevant region of Italy, which, however, received only limited attention after Frobenius’ death in 1938 and after Europe sank into chaos. A not insignificant part of this material is now available in the archives of Fig. 1 The lower two rows of the box show 35 mm films of the Frobenius Institute in the form of photographic the 15th journey (1935) in May 2017, including film no. 6 documents. Apparently, the interest in these which is shown as a copy in Fig. 2. At that time, films 1, 2 and photographs was not too great in the course of the 3 were already cut into strips and stored in archival paper reorientation after the war, since only the photographs sheets (right). Most of the Leica photographs concerned were taken by the draughtswoman and photographer Erika from the journey “alpha XVIII” (1936) were edited as Trautmann. small-format prints and combined into an album or “photo catalogue”. Besides, there are only a number of older photo enlargements where the production date is not known, and which are archived between the graphic documents and drawings also made the negatives of various sizes, which were to be during the travels. The photographs of journeys 15, regarded as particularly fragile as a result of aging 19 and 20 (in the Institute’s census) remained in the over 80 years and a simple “flipping through” seemed archives in the form of the original negatives in folders irresponsible. Basically, the photo department of the and in a box receiving no further attention. In total, Frobenius Institute is well equipped for this situation the negatives of the four expeditions are slightly more due to many years of experience in processing the than 1500 shots in 24x36 mm format, distributed over numerous old glass plate and film negatives. For 45 35 mm films, around 300 cut negatives in 6x6 more than 25 years, the old negatives have no longer cm format and 137 negatives in 9x12 cm size. When been used directly for working purposes, but copied Maria Giuseppina Ruggiero, Filippo Maria Gambari in its own laboratory to 1:1 interpositives based on and Alberto Marretta visited the Frobenius Institute silver film, which are then used for the production in June 2016 to search its archives for information of subsequent products such as working negatives and documents on the research of the 1930s, their and prints for exhibitions. This is preferably done interest quickly aroused when they learned about in connection with external image requests and in the existing photographic material. Very suddenly, the case of recognizable decay of negatives worth however, a problem was also raised with this interest, preserving. Right from the beginning, digitisation which concerned access to the image information. was also linked to the simultaneous production of Apart from the 18th journey, for which exists the a physical copy. Any purchaser of a photo file will mentioned catalogue, the subject matter of the other share in the costs of the analogue backup of the photographs was largely unknown. With regard to the original negative. In the present case it was therefore re-archiving of all expedition negatives, this material not only a problem to get an idea of the picture’s had been neglected until then and, unchanged for subject, but also to continue to adhere to the basic decades, had been stored in bags made of glassine procedure and to be confronted with a considerable paper or was available in the form of rolled films. amount of work and high expected costs in view However, the particular problem was that cellulose of the total number of negatives in question of nitrate had to be assumed as the base material for around 1950. At the beginning of 2017, despite 67

Fig. 2 Interpositive of film no. 6 of the 15th journey, produced on technical silver film of the manufacturer AGFA Graphics. The base material is polyester. To achieve a high durability, all copies were toned with selenium. The gelatine was hardened in a final bath. The image shown in Fig. 3 is marked.

all the uncertainties, the problem was specifically then determine the required exposure intensity and addressed by carrying out a low-resolution pre- the strength of development of the copying film. In the digitisation of all negatives concerned, in the hope case of the 35 mm negatives, the predigitisation was of subsequent comprehensive processing. This technically carried out by scanning the film strips laid measure also corresponded to the previous practice next to each other using a flatbed scanner. The 6x6 of determining the density values of a negative by cm shots cut into single negatives as well as the 9x12 simultaneously recording a step tablet in order to cm negatives, on the other hand, were photographed La Valle Camonica negli archivi storici dell’Istituto Frobenius. Documenti e immagini (1935-37) 69

Fig. 3 Photograph with the perforation number 26 of the film shown in Fig. 2. The enlarged sections allow a comparison of the detail accuracy of the interpositive (right) with that of the original negative (left). The original segment corresponds to a circle with a diameter of one millimeter. The overall view is derived from the copy.

Fig. 4 Four of the 9x12 cm negatives of journey 19 (1937) arranged on the copy frame in the darkroom. For exposure, the emulsion side of the copying film is placed on the silver gelatine layer of the negatives in complete darkness. After the rubber blanket is lowered, the negatives and the film are pressed closely together by suctioning off the air (85% vacuum).

loosely on a light tablet, as were the uncut films exposure values and development. As far as the 35 unrolled cautiously image by image. The image files mm films were concerned, it was intended to copy the resulting from the preview were sufficient for the complete film, arranged in the sequence of its strips, research team from Italy to check the information as is known from the production of contact sheets on content and usability of the respective photos within photographic paper. At the beginning of the second the scope of the research project. As a result, more quarter of 2017, the planning was completed and the than 1200 negatives of different sizes were selected financial framework secured to such an extent that from the four trips for processing, enabling a the Frobenius Institute could be commissioned to concrete estimate of the expected costs. It was clear carry out the project. that, given the need to maintain a realistic financial Processing of the negatives began in April and was framework, but also in view of the limited manpower realised in stages on the basis of the stocks for the available, implementation would not be possible individual trips. It all started with the material from without appropriate rationalisation measures. the 18th trip, which was also included because the Therefore, from the beginning, it was planned to put small prints in the existing catalogue did not have together a set of negatives with similar properties for the desired quality. The negatives of journey 15 each copy run, both for the 6x6 and 9x12 formats, (1935) and journey 19 (1937) followed. The work and to make a reasonable compromise in terms of was completed with the delivery of the photo files for La Valle Camonica negli archivi storici dell’Istituto Frobenius. Documenti e immagini (1935-37)

Fig. 5 The copies of two different resolution targets illustrate the resolving power of the copy film available in June 2017. This is better than 4 microns (1/250 mm) if the detection lines in the original are light on a dark background. In the reverse case (dark lines on blank ground) the lines are still visible in the copy at the same resolution but show some blurring. In practice, this little blemish has always remained within the tolerance range. The test copy was exposed and processed as was the interpositive in Fig. 2. 71 journey 20 (1937) in December 2017. The procedure was the same in all cases and, with regard to the initial laboratory work to be carried out, corresponded to the process that has been used in principle since the beginning of silver photography: the “tracing” of the image information (the distribution of metallic silver in the negative) by means of exposure and in direct contact with the new photographic medium – refined to the effect that with careful work an almost loss- free copy can be achieved with the equipment and materials available in the final phase of the analog reproduction technique. The exposure took place by using a copy frame with glass plate and rubber blanket, while the respective original negatives and the copying film were pressed closely together by generating an 85% vacuum. Technical silver film based on polyester with a resolution which in the best case exceeds 200 lines per millimeter was used. The film was developed in a modified solution, designed to achieve finely differentiated gradations Fig. 6 The curve diagram shows the transformation of of the various halftones. After careful fixing and the tonal values resulting from the interpositive in Fig. 2 rinsing of the obtained positive, it was subjected (the relevant section is in the white field). The gradation to selenium toning to increase its shelf life before is slightly higher in the areas of quarter and three-quarter final rinsing. At last, the gelatine was hardened in an tones than in the middle range. This favours a finely graduated reproduction of the lights and of the shadows. accordingly modified wetting bath before drying. The The specific silver tone becomes clear by means of entire process was carried out under sensitometric density measuring via three colour channels (red for the control, for which the different density steps of a cyan component, green for magenta and blue for yellow). simultaneously copied grey wedge were regularly Very different transformation characteristics / curves can measured and the curve diagrams obtained were be achieved by using different types of copying film, by varying the exposure method and by changing parameters examined. of the development. A special issue arose with regard to the negatives of the 15th journey (1935), which were in the form of uncut, rolled up 35 mm films. These films were cut with great care into strips of 6 shots each, the resulting from light blurring, entering of light into the strips were fixed at the edges of the film perforation camera, unevenness of film development, under- and with adhesive tape on the glass plate of the copy overexposure, film transport errors, etc., which were frame and archived after copying in special sheets mitigated as far as possible during processing. Both with high paper strength, so that their tendency to the unchanged RAW files and the enhanced files, roll up again is counteracted satisfactorily. the latter in TIFF format, were saved in duplicate. At The film positives received subsequently served as the the beginning of 2018, the photos were included in basis for digitisation. For this purpose, the individual the existing image database in lower resolution with copies were reproduced using a reproduction stand individual content information (if known). and a light tablet equipped with flash exposure. From the Frobenius Institute’s point of view, the The available format of the camera sensor was completed project led to an absolutely desirable 7360 x 4912 pixels, which means that in the case result. No other partial stock of photographs from of the 24x36 mm negatives a resolution of approx. the research trips has been this comprehensively 4800 dpi is achieved, for the 6x6 cm negatives it is worked on so far regarding reprographic and approx. 2200 dpi and for the 9x12 cm negatives it archival measures (into the treatment were also is still approx. 1400 dpi. In all cases, the resulting included the more than 700 negatives outside of the quality is sufficient for the satisfactory exploitation order). The processing and long-term preservation of the image information; if required, the new film of the photographs took place at a time when the positives can be used for inspection at any time. The image information could still be transferred in almost gradation of tones was recorded with 48 bits over the initial quality. The original negatives themselves three colour channels, later reduced to a grayscale are now archived in the climate room intended for image of 16 bits. The RAW files (Nikon NEF) resulting this purpose, inserted in film sheets made of high- from the digitisation were subsequently adjusted in quality paper and collected in cassettes made of brightness values and contrast. Quite a few of the archival cardboard. With regard to the film copies old original negatives show technical shortcomings produced, a shelf life of several hundred years can La Valle Camonica negli archivi storici dell’Istituto Frobenius. Documenti e immagini (1935-37) be assumed if they are properly stored. The digital Finally, the knowledge about the research at copies, on the other hand, are of sufficient quality that time, about the persons involved and the for most purposes. They can be viewed in a lower accompanying circumstances has significantly resolution in the online image database of the increased. Surprising finds came to light, several of Institute (http://archiv. frobenius-katalog.de/ > Menu the previously unknown photographs have already “Lists” > Expeditions > “015”, “018”, “019” or “020”). been selected for upcoming exhibitions. Indice

5 Prefazione

9 Monitoraggio storico del patrimonio del sito UNESCO (L. 77/2006 E.F. 2013): la storia del progetto Maria Giuseppina Ruggiero

17 Il valore degli archivi: il caso Valle Camonica Massimo Tarantini

27 Documenting rock art in the early 20th century: Leo Frobenius and his Institute between science, art and politics Richard Kuba

43 Le tre Forschungsreisen in Valle Camonica (1935, 1936, 1937): contesto, metodi e dati raccolti Alberto Marretta

65 After eighty years of sleeping deeply Peter Steigerwald

73 Cenni sullo sfondo storico, politico e culturale dell’attività di Leo Frobenius e del Forschungsinstitut für Kulturmorphologie in Valle Camonica tra il 1935 ed il 1937 Filippo Maria Gambari

85 Catalogo fotografico Alberto Marretta

161 Appendici

162 Appendice 1 Accordo sottoscritto fra SAL e Frobenius Institut nel 2016

163 Appendice 2 Originale tedesco e traduzione italiana della relazione di Maria Weyersberg (1936) Traduzione Patrizia Frontini

206 Appendice 3 I costi di realizzazione del progetto Maria Giuseppina Ruggiero

207 Ringraziamenti Fra il 1935 e il 1937 l’antropologo tedesco Leo Frobenius (1873-1938), fondatore e direttore del Forschungsinstitut für Kulturmorphologie (oggi Frobenius Institut) con sede a Francoforte sul Meno, organizza tre spedizioni di ricerca (Forschungsreisen) per raccogliere documentazione sulla allora neo-scoperta arte rupestre della Valle Camonica. Le missioni (rispettivamente la XV, XVIII e XIX dell’istituto) si avvalsero di un gruppo di disegnatrici esperte e mostrano un impegno sul campo che per tecnologia, organizzazione e logistica rappresenta una assoluta novità nel quadro delle ricerche in Valle Camonica nel periodo immediatamente precedente la Seconda Guerra Mondiale. La tipologia di materiale prodotto comprende fotografie, frottage, acquerelli e dipinti a tempera su tela. A parte qualche immagine pubblicata in successivi articoli da Franz Altheim e Erika Trautmann, rispettivamente studioso partecipante alla XVIII missione (1936) e disegnatrice/fotografa della XV e XVIII missione (1935, 1936), il complesso della documentazione e l’esito delle missioni è rimasto inedito. Nel 2015 la Soprintendenza Archeologia della Lombardia ha avviato il Progetto “Monitoraggio storico del patrimonio del sito UNESCO n. 94 Arte rupestre della Valle Camonica”, Legge 77/2006 E.F. 2013, che ha previsto l’acquisizione in copia digitale e la catalogazione di tutta la documentazione relativa alla Valle Camonica conservata presso il Frobenius Institut di Francoforte. Il presente volume illustra i risultati dell’intero progetto attraverso una serie di contributi che approfondiscono diversi temi: lo stato di conservazione delle superfici, le modalità di intervento dei protagonisti sul campo e il loro rapporto con i ricercatori e le autorità nazionali, la presenza o meno di superfici istoriate oggi non più ritrovate e, infine, lo specifico ruolo svolto dalle missioni tedesche nel più ampio quadro della storia delle ricerche sull’arte rupestre della Valle Camonica.

ISBN 978-88-94871-16-6

9 788894 871166