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2722 MF KF Hilladamson 140321.Indd David Octavius Hill & Robert Adamson Eine Bildbetrachtung mit Hella Nocke-Schrepper David Octavius Hill (1802 Perth – 1870 Edinburgh) und Robert Adamson (1821 Burnsite – 1848 St. Andrews) James Ballantine, Dr. George Bell, David O. Hill, known as “Edinburgh Ale”, 1843–1847 Kalotypie, Salzpapier, Vintage Print, 14,6 × 20,4 cm Erworben 1961 für die Studiensammlung der Folkwangschule, seit 1979 Museum Folkwang © Rechte frei, Foto: Museum Folkwang, Essen Wir werden hier Zeuge einer lockeren Männerrunde: Zwei Herren im Vermutlich hat Robert Adamson, Hills Kompagnon in Edinburgh, Frack sitzen zusammen in entspannter Atmosphäre an einem runden dieses Gruppenbild um 1844 aufgenommen. Am Rock House, dem Tisch (Abb. 1). Links ist James Ballantine (1806–1877), Dichter und gemeinsamen Atelier von Hill und Adamson am Fuße des Calton Glasmaler, abgebildet. Entsprechend hält er ein Buch in seiner Hand, Hill, entstanden im Freien zahlreiche Porträtaufnahmen bei Sonnen- verfasste er doch 1845 Eine Abhandlung über Glasmalerei, das zum licht. Vor dem Mauerwerk des ummauerten Gartens suggerieren Standardwerk avancierte. Ihm gegenüber sehen wir den Mediziner aufgestellte Möbel und Draperien eine interieurähnliche Szenerie. Dr. George William Bell (1813–1889), der am Poor Law Act, der schot- Bemerkenswert ist in unserer frühen Fotografi e die fröhliche und tischen Sozialreform, 1845 mitwirkte. Auf dem Tisch stehen drei natürlich wirkende Unterhaltung. Die fast schon als Momentauf- typische Trinkgläser des 19. Jahrhunderts, sogenannte „Flöten“. Die nahme zu bezeichnende Herrenrunde erinnert an die sogenannten im Hintergrund stehende Flasche Bier spielt möglicherweise auf den Tableaux vivants, die lebenden Bilder, denen Hill sich gerne wid- Glasmaler an, der aus einer Brauereifamilie stammte. Schottland ist mete. Dabei arrangierte er Personengruppen in Kostümen und für sein kraft volles malziges Bier bekannt, das auf den Einsatz der studierte gern deren Beziehungen untereinander, um sie in Foto- obergärigen White Labs-Flüssighefe, der sogenannten Edinburgh Ale, grafi en darzustellen. Die Gradwanderung bestand darin, eine gute basiert – und uns den Titel der Fotografi e erklärt. Edinburgh Ale wird Komposition zu arrangieren und die Protagonisten während der als „starke Flüssigkeit, die fast die Lippen des Trinkers zusammen- mehr als 1 bis 3 Minuten dauernden Belichtungszeit stillhalten zu klebte“ beschrieben, was auf den hohen Malzgehalt anspielen könnte. lassen, ohne dass die Posen erstarrt und eingefroren erschienen In Edinburgh waren annähernd 40 Brauereien mit ihrem hopfen- – dafür ist Edinburgh Ale ein treff endes Beispiel. reichen „Edinburgh Pale Ale“ Mitte des 19. Jahrhunderts mit Expor- ten ins Ausland sehr erfolgreich und entwickelten sich zu einer ernst- zunehmenden Konkurrenz für das irische Bier. Am Anfang war das Licht – und Salz Doch kommen wir, liebe Kunstring-Mitglieder, nach diesem kur- zen Exkurs zur Geschichte des Bierbrauens auf unsere Fotografi e Vergegenwärtigen wir uns kurz die Anfänge der Fotografi e: 1839 zurück. Rechts im Bild stützt sich ein dritter Herr freundschaft - stellte Franςois Arago das fotografi sche Verfahren der Daguerreo- lich und locker scherzend auf Bells Schultern. Hier handelt es sich typie an der Pariser Akademie offi ziell vor. Die Franzosen Louis um einen der Fotografen: David Octavius Hill macht seine beiden Jacques Daguerre (1797–1851) und Nicéphore Niepce (1765–1833) Freunde auf eine Szenerie außerhalb unseres Bildes aufmerksam, hatten ein Positiv-Verfahren entwickelt, bei dem ein Bild auf einer die uns als Betrachter verborgen bleibt, aber Anlass zur Heiterkeit versilberten Kupferplatte als Unikat fi xiert wurde. Parallell dazu zu geben scheint. hatte William Henry Fox Talbot (1800–1877) das Verfahren der David Octavius Hill und Robert Adamson – James Ballantine, Dr. George Bell, David O. Hill, known as “Edinburgh Ale” 1 Kalotypie in England erfunden, das auf einem Negativ-Verfahren Die Gründungsversammlung der basierte. 1833/34 experimentierte er mit Salzlösung und Silberni- trat, die durch eine chemische Reaktion Papier lichtempfi ndlich Free Church als Mega-Projekt werden ließen. Von diesem durch Wachs transparent gemachten Papiernegativ wurden mit Sonnenlicht mehrere Papierpositive als Abzüge belichtet. Außerhalb Englands konnte in Schottland das Hill plante die Gründungsversammlung der unabhängingen Free Verfahren ohne Patentansprüche angewendet werden. Diese Rege- Church of Scotland in einem Gemälde festzuhalten. Im Streit um lung ermöglichte Hill und Adamson den Einsatz der Kalytopie für Personalfragen und Abschaff ung kirchlicher Privilegien traten ihre umfangreiche Porträtfotografi e. am 18. Mai 1832 unter dem Wortführer Dr. David Welsh zahlreiche Anhänger aus der Staatskirche aus. Unter dem Vorsitz von Th omas Hill und Adamson waren als eines der ersten Fotografenduos der Chalmers, mittig im Bild zu fi nden, unterzeichneten 451 Geistliche Fotogeschichte erfolgreich tätig. Ihre berufl ichen Wege entwickelten und ihre Mitstreiter die sogenannte „Disruption“ in der Tanfi eld bis dahin unterschiedlich: Hill war ausgebildeter Landschaft smaler Hall in Canonmills, die eine Spaltung der schottischen Kirche und Buchillustrator, der sich mit der Veröff entlichung von Litho- bedeutete. Hill hatte über seinen Schwager und Freunde Kontakte grafi en bereits einen Namen gemacht hatte. 1825 war er Mitbe- zur Freikirche und nahm an der Gründungsversammlung teil, die gründer der Schottischen Akademie in Edinburgh und ab 1830 als ihn stark beeindruckte – die Idee eines großformatigen Gemäldes Sekretär fast 40 Jahre dort tätig. war geboren. Der knapp 20 Jahre jüngere Adamson war zunächst als Ingenieur Mit der Bekanntschaft Adamsons eröff nete sich die Möglichkeit tätig, was er aus gesundheitlichen Gründen beenden musste. 1843 fotografi scher Porträts als Vorlagen für ein Monumentalbild mit eröff nete er ein Fotostudio in Edinburgh und noch im selben Jahr gut 470 Personen – eine wahre Herausforderung! Mit Adamsons nahm Hill vermutlich über den Physiker David Brewster den Kontakt Kastenkamera entstanden über 1500 Porträts im Freilichtatelier: zu dem jungen Fotografen auf. Nur einen Monat später schlug Hill Bis zum Sommer 1846 arbeitete das Duo sehr produktiv zusammen, Adamson die Zusammenarbeit für ein großes Porträtprojekt vor bis Adamsons Gesundheitszustand sich 1847 verschlechterte und und so begann im August ihre Kooperation im Rock House. er Anfang 1848 verstarb. Reproduktion D.O. Hill, Th e First General Assembly of the Free Church of Scotland, Edinburgh May 1843, 1866 David Octavius Hill und Robert Adamson – James Ballantine, Dr. George Bell, David O. Hill, known as “Edinburgh Ale” 2 1866 vollendete Hill sein Gemälde mit dem Format 147 × 353 cm, das bis heute in der Assembly-Hall in Edinburgh hängt. Viele Tipps zum Weiterlesen: Köpfe der Freikirchler plazierte er additiv nebeneinander, so dass die Versammlung an manchen Stellen wie eine gemalte Collage David Octavius Hill, Robert Adamson. Inkunabeln der Photographie. anmutet. Hill hat sich selbst mit einem Skizzenblock mittig in der Text von Marlis und Otto Steinert. Museum Folkwang Essen 1963 rechten Bildhälft e dargestellt, Adamson ist mit seiner Kastenkamera etwas tiefer weiter rechts im Publikum zu fi nden. David Octavius Hill and Robert Adamson. Catalogue Scottish National Portrait Gallery. Text by Sara Stevenson. Edinburgh 1981 (mit zahlreichen Abbildungen) David Octavius Hill & Robert Adamson. Von den Anfängen der künstlerischne Photographie im 19. Jahrhunderts. Museum Ludwig/Agfa Photo-Historama, Köln. Steidl. Göttingen 2000 D.O. Hill & R. Adamson, Mrs. Marian Murray, Wife of the publisher John Murray, 1843–1847 Die Fotografi sche Sammlung des Museum Folkwang besitzt gut 150 Porträts von Hill und Adamson, die 1961 bei einer Versteigerung in Genf durch Otto Steinert für die Lehrsammlung der Folkwang- schule erworben wurden und nach seinem Tod in den Besitz der Fotografi schen Sammlung unseres Museums übergingen. Sie erin- nern sich vielleicht an manche Objekte in den Sonderausstellungen der letzten Jahre. Die Vielfalt der Porträts zeigt das beginnende Bewusstsein für eine medienspezifi sche Lichtgestaltung. Die Auf- nahme der Mrs. Marian Murray, Frau des Verlegers John Murray, erinnert mit Frisur und Pose einerseits an die weibliche Rückenfi gur der Musikstunde des fl ämischen Malers Jan Vermeer um 1662, andererseits setzt die Fotografi e mit angeschnittenem Möbiliar den Akzent auf das lebendige Lichtspiel des Schultertuchs und des Rocks der Dame. So wurden die Fotografi en von Hill und Adamson für einen Kunstfotografen wie Heinrich Kühn um 1900 zu einem wichtigen Vorbild fotografi scher Gestaltung. David Octavius Hill und Robert Adamson – James Ballantine, Dr. George Bell, David O. Hill, known as “Edinburgh Ale” 3.
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