Benutzer:MYR67/Artikelwerkstatt Franz Duschek

Franz Duschek, Sr.

(geb. 1830[?] in Prag; gest. 1884 in Alexandria) war ein aus Tschechien stammender, österreich-ungarischer Fotograf mit Studio in Bukarest. Er fotografierte unter anderem auch im russisch-osmanischen Krieg von 1877/78 und gehört damit zu den frühen Kriegsfotografen.

Zettelkasten

• Lebensdaten: geb. 1830[?] in Prag; gest. 1884 in Alexandria (Ägypten)

• ließ sich 1862 in Bukarest nieder, eröffnete ein elegantes Fotoatelier in der Strada Noua (New Street)

• Am 8. April 1867 verlieh Fürst Carol I. Duschek den Titel eines Hofphotographen.

• Bei Ausbruch des russisch-osmanischen Krieges von 1877 folgte Duschek den Armeen auf dem Schlachtfeld. Warum er sich den russischen und nicht den rumänischen Truppen anschloss, ist noch immer Gegenstand von Vermutungen. Von Anfang an dokumentierte er das Vorrücken der russischen Armeen, sowohl in ihren Lagern in und um Ploiesti - wo der Zar und die Großfürsten in den elegantesten Häusern der Stadt untergebracht waren - als auch, nach der Überquerung der Donau, in Bulgarien.

• während des russisch-osmanischen Krieges bewohnte er gemeinsam mit seinem Schwager[?], dem Fotografen Andreas D. Reiser, ein sehr bescheidenes bulgarisches Häuschen. | he shared a poor Bulgarian house with Andreas D. Reiser during the war

• Franz Duschek (1830–1884), a Czech photographer who settled in Bucharest in 1852, produced an album with images taken at the elegant summer residence of the Otetelesanu family at Magurele, nearby Bucharest. It was one of the most beautiful manor houses built in the early 1850s. The album, produced in 1860, was entitled Vues de Magoureli, and showed both the house and its glowing garden

• Seine Fotos zirkulierten entweder als eigenständige Abzüge oder in Alben gebunden, wobei jede Tafel in deutscher Sprache beschriftet und auf der Rückseite mit dem Namen und der Adresse des Autors versehen war. Einige seiner Bilder wurden, meist anonym, als Holzschnitte in den europäischen und amerikanischen illustrierten Zeitschriften reproduziert.

• Das Buch: James Samuelson, Roumania Past And Present. Illustrated With Maps (By E. Weller), Portraits, Autotype and Other Full-Page Plates, and Numerous Plans and Woodcuts (By G. Pearson), Chiefly From Photographs By F. Duschek, Bucarest, London; Longmans, Green, and Co. 1882, https://www.gutenberg.org/files/18240/18240-h/18240-h.htm , enthält mehrere Abbildungen nach Fotografien von Franz Duschek

• Duschek wurde mit der preußischen Goldenen Kunstmedaille, dem österreichischen Goldenen Verdienskreuz und der rumänischen Bene Merenti-Medaille ausgezeichnet, während der russische Zar ihm einen kostbaren Ring mit einem großen Diamanten schenkte.

• Franz Duschek-father, his [= Szathmaris] nephew by marriage and his competitor, began his activity. An album presenting Otetelisanu’s estate in Magurele still amazes today through grace and poetry. The photographer – the first who was not also a painter – captured those parts of the park that seemed to resonate with his sensitivity.

• Franz Duschek senior war offenbar mit Szathmari im Krimkrieg: »The War of 1877 meant a new challenge for Szathmari, 65 years of age by then. However, he never left alone for the battlefield. Just as in 1854, he was accompanied by Franz Duschek, Andreas Reiser, Sava Hentia, G. D. Mirea, and Nicolae Grigorescu – some photographers, others painters.« »Unlike Szathmári, Franz Duschek and A.D. Reiser, his fellow war photographers in 1877, had a narrower diffusion of purely photographic images. Carol Szathmári together with Franz Duschek and A. D. Reiser made known their photos taken during the 1877 campaign, especially through the photo album Souvenir de resbel published shortly after the end of the war.«

• Im Jahr 1883 beschloss er, Rumänien zu verlassen. Er verkaufte seine Geschäftsanteile in Bukarest und ging nach Ägypten, wo er ein Jahr später starb.

• Franz Duschek jr., Sohn und Erbe von Franz Duschek, wurde in Bukarest geboren. Dort war er zwischen 1885 und 1919 tätig. Er hatte große Erfolge, etwa mit seinen großen Fotografien der Brücke CAROL I über die Donau in Cernavoda (1895), dem Album »Vederi dupe decoratiunile orasului Bucuresci cu ocasia visitei Majestatii Sale Francisc Josif I Imperatul Austriei si Rege al Ungariei«, 1896 (Ansichten der Dekorationen der Stadt Bukarest anlässlich des Besuchs Seiner Majestät Franz Joseph I., Kaiser von Österreich und König von Ungarn, 1896) und vor allem mit dem »Album pittoresque de la Roumanie« (Malerisches Album Rumäniens), für das er auf der Weltausstellung 1900 in Paris den großen Preis erhielt.

• Andreas D. Reiser war mit einer Schwester Franz Duscheks verheiratet. Er richtete ein Atelier im Haus von Oteteleseanu ein. Er begleitete Duschek, der in die Nähe des Hohen Stabes der zaristischen Armee gesandt worden war, im Krieg von 1877 und nahm vom Dealul Spirii aus ein Panorama von Bukarest auf, das aus dokumentarischer Sicht interessant ist 4 .

Schögl (Hg.), Die Fotosammlung der Österreichischen Nationalbibliothek

S. 44:

Textabb. 2 Franz Duschek »Verlassenes türkisches Haus, durch Fotografen occupiert« Aus dem Album »Fotografische Skizzen aus dem Hauptquartier in Bulgarien 1877« Albuminpapier, 12 x 18,6 cm ÖNB, Slg POR, Pk 461, 132

S. 46:

Textabb. 3 Franz Duschek »Kapitulation der Armee Osman Paschas im Thale von Plewna« Aus dem Album »Fotografische Skizzen aus dem Hauptquartier in Bulgarien 1877« Albuminpapier, 12,5 x 38 cm ÖNB, Slg POR, Pk 461, 185

Monika Faber, Für das Auge des Kaisers bestimmt. Veduten, Technik-, Reise- und Katastrophenbilder aus gewidmeten Alben und Mappenwerken, S. 43–63, In: Uwe Schögl (Hg.), Im Blickpunkt. Die Fotosammlung der Österreichischen Nationalbibliothek, Haymon-Verlag, Innsbruck 2002

Ionescu, Photographers in Romania 1840-1940. A Dictionary

[S. 47:]

Albert Duschek was photographer in Focsani in the 1880s-1890s. He was one of the sons of celebrated Franz Duschek Sr.

Franz Duschek (Prague 1830?-1884 Alexandria, Egypt) was a distinguished photographer in Bucharest where he settled in 1862. (Fig. 20) He opened an elegant studio on Strada Noua (New Street) which soon became the most fashionable one and attracted the high society. Each one wanted to have his or her likeness taken at Duschek. During the carnival, after every costumed ball, those who took part came for a portrait in the appropriate costume (Fig. 21, 22). He was also a master of children portraits which were the most difficult to be taken. Giving them puppets or candies he tried to distract their attention while posing for the frightening camers. But sometimes he had to ask their mothers or nurses to pose beside in order to quiet and encourage them (Fig. 23, 24) He was attracted also by the folk types and took pictures with costumes now and then even though he hadn’t produced large series as those of Szathmari’s. (Fig. 25, 26) He was more interested in architecture and cityscapes and produced some unforgettable pictures (Fig. 27, 28). After Prince Alexandru Ioan’s abdication on 11 th February 1866 he took portraits to all the conspirators and edited a carte-de-visit series which was later lithographed on larger format by his colleague M. B. Baer. He also portrayed the new ruler, Prince Carol I, after his arrival. The young prince posed both in civilian

[S. 48:]

clothes (Fig. 29) and in military uniform for those portraits. As a reward, the prince bestowed on Duschek the title of Court Photographer on 8 April 1867. Ten years later, at the outbreak of the Oriental War of 1877, Duschek followed the armies on the battlefield. It is still a matter of conjecture why was he affiliated to the Russian and not to the Romanian troops. From the beginning he documented the progress of the Russian armies both in its camps in and around Ploiesti - where the Tsar and the Grand Dukes were accommodated in the most elegant houses of the town – and after the crossing of the Danube, in Bulgaria (Fig. 30). His camp scenes and military portraits are full of vividness.(Fig. 31) He also immortalised the meeting between Prince Carol I of Romania and Tsar Alexander II, surrounded by the Grand Dukes and his staff at Gorni Studen (Fig. 32). In one picture he showed Prince Carol I in his coach heading for the battlefield (Fig. 33). As a keepsake he took a self portrait on the porch of a poor Bulgarian house which he shared with Andreas D. Reiser during the war (Fig. 34). His pictures circulated either as independent copies or bound in albums, each plate labelled in German and with the author’s name and address on its back. Some of his pictures were reproduced, mostly anonimous, as woodcuts, in the European and American illustrated magazines. For this accomplishment he was awarded the Prussian Golden Medal for the Arts, the Austrian Golden Cross for Merit (Goldenes Verdienskreuz) and the Romanian Bene Merenti medal, while the tsar offered him a precious ring adorned with a large diamond. In 1878 he printed this distinctions on the back of his pictures. The campaign hardships ruined Duschek’s health, who was already a freil man. His consumption progressed and, in 1883, he decided to leave Romania for a milder climate. Selling his interests in Bucharest he went to Egypt where he died a year later. His legacy is one of the most important in the Romanian history of photography.

Franz Duschek Jr., son and heir of Franz Duschek. Born in Bucharest he was active in the same capital city between 1885 and 1919. He had great accomplishments such as the large pictures of the CAROL I bridge over the Danube at Cernavoda (1895), the album Vederi dupe decoratiunile orasului Bucuresci cu ocasia visitei Majestatii Sale Francisc Josif I Imperatul Austriei si Rege al Ungariei, 1896 (Views of the City of Bucharest’s Decorations for the Visit of His Majesty Franz Joseph I, Emperor of Austria and King of Hungary, 1896) and, especially, Album pittoresque de la Roumanie (Picturesque Album of Romania) for which he received the great prize at the 1900 Exposition Universelle in Paris.

https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://biblioteca-digitala.ro/reviste/muzeulnationaljournal/dl.asp%3Ffilename%3D20-Muzeul-national-XX-2008.pdf&ved=2ahUKEwj2_fyE1MKGAxVT_rsIHYUbIeQQFnoECBgQAQ&usg=AOvVaw0MUKtGcselzjkMRAxTgWsh 20-Muzeul-national-XX-2008.pdf

Adrian-Silvan Ionescu, Photographers in Romania 1840-1940. A Dictionary, in: Muzeul National Vol. XX 2008, S. 45–70, S. 47/48, https://biblioteca-digitala.ro/reviste/muzeulnationaljournal/dl.asp%3Ffilename%3D20-Muzeul-national-XX-2008.pdf https://biblioteca-digitala.ro/reviste/muzeulnationaljournal/dl.asp%3Ffilename%3D20-Muzeul-national-XX-2008.pdf

Samuelson, Roumania Past And Present

James Samuelson Roumania Past And Present James Samuelson Of the Middle Temple, Barrister-at-Law Illustrated With Maps (By E. Weller), Portraits, Autotype and Other Full-Page Plates, and Numerous Plans and Woodcuts (By G. Pearson), Chiefly From Photographs By F. Duschek, Bucarest

Post Tenebras Lux London Longmans, Green, and Co. 1882 All rights reserved https://www.gutenberg.org/files/18240/18240-h/18240-h.htm

Baleva, Revolution in the Darkroom

S. 366:

Hadzhi Dimitar died in the ighting and Karadzha later died of his wounds as a prisoner of war. Like many other Bulgarian emigrants, both had photographs taken of themselves while in Romania by, for instance, Romanian court photographer Carol Popp de Szathmari (in Hungarian, Károly Szathmáry Papp), Franz Duschek, and Babet Engels.

S. 371:

16 The studio portrait of Hadzhi Dimitar is incorrectly attributed to Carol Popp de Szathmari. My own inquiry has showed, that the portrait was taken by Franz Duschek, Full-body portrait of Hadzhi Dimitar, Bucharest, around 1866, carte-de-visite (10.5 × 6 cm), Photo Archives of the National Library “Kiril i Metodij,” Soia, signed [...] 1151; Pante Ristich: Full-body portrait of Stefan Karadzha, Belgrad, around 1868, Carte-de-visite (10.5 × 6 cm), Photo Archives of the National Library “Kiril i Metodij,” Soia, signed [...] 41.

S. 382:

Karadzha also had himself photographed in the same pose and wearing the same uniform (Fig. 4). Unlike Voyvodov, however, Karadzha dispensed with the gaudy drapery, the telescope, the rings, and the additional ornamental clothing and spats. The other details of the portrayal, however, are identical, including the console, the landscape-coulisse, and the wooden loor, not to mention the uniform and the pose. Karadzha faces the camera, his right hand is placed on the console, and his ist is clenched. In his left hand he is holding the sameceremonial saber as that of his compatriot, and his left leg (like Voyvodov’s left leg) is placed a little bit in front and to the side of his right leg in order to hide the apparatus that is helping him maintain his pose for the duration of the exposure. Only the differing states of the two photographs prompt one to discern the differences, instead of the similarities, between them. They were made in the atelier of photographer Franz Duschek in Bucharest. On the basis of the clothing and the fact that both men died in 1868, they must have been taken either in 1867 or1868. Both men must have gone to the atelier in preparation for the armed acts of resistance in order to have themselves immortalized in their future role as commanders.

S. 383:

Figure 3: Franz Duschek: Full-body portrait of Nikola Voyvodov, Bucharest, before 1867, Carte-de-visite (10.5 × 6.5 cm)

S. 384:

Figure 4: Franz Duschek: Full-body portrait of Stefan Karadzha, Bucharest, before 1868, Carte-de-visite (10.5 × 6.5 cm)

Martina Baleva, Revolution in the Darkroom. Nineteenth-Century Portrait Photography as a Visual Discourse of Authenticity in Historiography Hungarian Historical Review 3, 2014, no. 2, pp. 310-337 https://www.academia.edu/7740903/Revolution_in_the_Darkroom_Nineteenth_Century_Portrait_Photography_as_a_Visual_Discourse_of_Authenticity_in_Historiography

Boangiu, Contribution of photography to the recognition of Great Union of Romania

Franz Duschek is another successuful photographer of the period. Friend and competitor with Szathmari he had an impressive studio in the center of the capital surrounded by the houses of the most influential inhabitants of the city. At the recommendation of Constantin Kretzulescu he obtained from Carol I the title of photographer of the Court, in 1867. There is even a “Duschek style” was of photography. His work was continued by Duschek-son 3 . Andreas D. Reiser completes the circle of photographers-personalities of the end of the century. Married to Duschek's sister, he sets up a studio in Oteteleseanu's house. He accompanies Duschek, detached near the High Staff on the Tsarist army, in the war or 1877 and realizes a panorama of Bucharest seen from the Dealul Spirii, interesting from a documentary point of view 4 .

Gabriela Boangiu, Contribution of photography to the recognition of Great Union of Romania 71, https://npissh.ro/wp-content/uploads/2019/12/AICSU-Plopsor-2019-site-19-12-2019-sitedf.pdf

Academia Româna, Cresterile colectiunilor in anul 1905

UNERGIEBIG

Cresterile colectiunilor in anul 1905 by Academia Româna. Biblioteca Publication date 1907 https://archive.org/details/creterilecoleci00biblgoog/page/n102/mode/2up?q=Duschek

Holzer (Hrsg.): Mit der Kamera bewaffnet

S. 7, Fußnote 6:

Das Kriegsalbum „Fotografische Skizzen aus dem Hauptquartier in Bulgarien 1877“, in dem sich Aufnahmen des österreichischen Fotografen Franz Duschek vom russisch-türkischen Krieg 1877 finden, enthält u. a. ein breitformatiges Panoramabild, das „die Kapitulation der Armee Osman Paschas im Thale von Plewna“ zeigt. Das Bild wurde offenbar um den 9. oder 10. Dezember 1877 aufgenommen. Der Fotograf hält sichtlich Abstand zu beiden Kriegsparteien, die Kriegsaufnahmen waren als Geschenk an das österreichische Kaiserhaus gedacht. Sie befinden sich heute im Bildarchiv der Österreichischen Nationalbibliothek in Wien. Vgl. dazu Uwe Schögl (Hrsg.), Im Blickpunkt. Die Fotosammlung der Österreichischen Nationalbibliothek, Innsbruck 2002, S. 46.

Autor: Holzer, Anton. Titel: Das fotografische Gesicht des Krieges. Eine Einleitung. Quelle: Anton Holzer (Hrsg.): Mit der Kamera bewaffnet. Krieg und Fotografie. Marburg 2003. S. 7-20. Verlag: Jonas Verlag für Kunst und Literatur GmbH file:///C:/Users/Jens/Downloads/Holzer,%20Anton%20-%20Mediaculture%20online.pdf https://www.yumpu.com/de/document/view/21694744/holzer-anton-mediaculture-online#

Gutmeyr (ed.), The Russo-Ottoman War 1877–1878

S. 48: On 3 November 2009 the photo-exhibition “Forgotten photos of the Russo-Ottoman War” opened in the State Central Museum of Contemporary History of Russia. Copies of unique archive photos from a private collection (the works of Franz Duschek) were displayed and so were genuine medals and arms from the funds of the State Central Museum of Contemporary History of Russia.

Editor: Dominik Gutmeyr, Balcanistic Forum Vol. 1-2-3/2014, Heroes ans Places of Memory. The Russo-Ottoman War 1877–1878, darin: Olga O. Chernyshova, Alla S. Kondrasheva, The Places of Memory in Russia regarding the Russo-Ottoman War of 1877 – 1878: Stages of Transformation, S. 38–50, S. 48, http://memoryrow.weebly.com/uploads/1/3/8/5/13852932/gutmeyr_ed._heroes_and_places_of_memory._the_row_1877-1878.compressed.pdf

Pranzl, Der Balkanismus in Österreich

S. 28:

Franz Duschek war im russisch-osmanischen Krieg

S. 29:

1877/78 in Bukarest für Russland als Kriegsfotograf tätig und überlieferte dabei eine Reihe von Fotographien.157

Fußnote 157: 157 Fischer-Westhauser, Ulla, 2017: „…dass man die Photographien noch nicht neben dem Wege pflücken kann.“. Frühe Fotografie am Balkan, in: Johannes Seidl u.a. (Hg.), Deutsche und österreichische Forschungsreisen auf den Balkan und nach Nahost, Bd. 13: Europäische Wissenschaftsbeziehungen, Aachen, 159–182.

Joachim Pranzl, Der Balkanismus in Österreich: Eine Analyse journalistischer Monographien aus der Zeit des Jugoslawienkrieges von 1991 bis 1995, Masterarbeit, 2019, https://www.academia.edu/43210856/Der_Balkanismus_in_%C3%96sterreich_Eine_Analyse_journalistischer_Monographien_aus_der_Zeit_des_Jugoslawienkrieges_von_1991_bis_1995

Rumanian Review, Band 42, Ausgaben 7-12, 1988

About the time of the War of Independence (1878), another noted photographer, Franz Duschek, set up a studio in Noua Street, near Slatineanu Hall, i.e., in a street recently opened after the demolition of some old houses (the present Edgar Quinet Street). Duschek's pictures were very good and Szathmary had a serious competitor in him; later on, Prince ...

Rumanian Review, Band 42, Ausgaben 7-12, Europolis Pub., 1988, https://books.google.de/books?id=3dYVAQAAMAAJ&newbks=1&newbks_redir=0&printsec=frontcover&dq=Franz+Duschek+Fotograf&q=Franz+Duschek+Fotograf&hl=de&redir_esc=y

Badescu, A Phenomenology of Photography in Nineteenth-Century Romania

S. 137:

The years after the Crimean War abounded in pictures: portraits, group images, and vedutae, most of them of Bucharest. The first photos on ethnographic themes appeared, made in the beginning by Szathmari, then by other photographers, more or less talented artists. An album compiled by Szathmari in 1862 and offered with dedication to Elena Cuza is a perfect example of the moment. There are photographs of outstanding quality, some of them betraying his artistic searches in this apparently hostile area.

S. 138:

Since then, the famous photographer Franz Duschek-father, his nephew by marriage and his competitor, began his activity. An album presenting Otetelisanu’s estate in Magurele still amazes today through grace and poetry. The photographer – the first who was not also a painter – captured those parts of the park that seemed to resonate with his sensitivity.

S. 139:

The War of 1877 meant a new challenge for Szathmari, 65 years of age by then. However, he never left alone for the battlefield. Just as in 1854, he was accompanied by Franz Duschek, Andreas Reiser, Sava Hentia, G. D. Mirea, and Nicolae Grigorescu – some photographers, others painters. We inherited from them essential, very well known images.

S. 140:

Let me remind you that, from the beginning of the last decade of the 19th century, [Franz ] Mandy had two formidable competitors, Franz Duschek-son and John Spirescu. The former flirted with modernist photography – sometimes of a Cubist strain, such as the photos of the Cernavodã Bridge obtained between 1890 and 1895. The latter focused on the poetic image, his vedutae impressing by their freshness, shadows and reflections, appreciated by jury of the Universal Exhibition in Paris in 1900. These artists (as they were not only photographers) were clearly his “fellows”, who increased their number every decade in geometric progression and remained “eternal”, only by their quality – absolutely by chance – as witnesses of the time.

Emanuel Badescu, A Phenomenology of Photography in Nineteenth-Century Romania Uncommon Culture, https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://journals.uic.edu/ojs/index.php/UC/article/download/6051/4604/43644&ved=2ahUKEwjwzozksOCGAxUaBNsEHa8LDR8QFnoECCsQAQ&usg=AOvVaw3Gmcc-r75psLADgv-QruOZ https://journals.uic.edu/ojs/index.php/UC/article/download/6051/4604/43644&ved=2ahUKEwjwzozksOCGAxUaBNsEHa8LDR8QFnoECCsQAQ&usg=AOvVaw3Gmcc-r75psLADgv-QruOZ file:///C:/Users/Jens/Downloads/ojsAdmin,+136-141-Romania.pdf

In Focus: Photography in Romania

At the outbreak of the next Oriental War (1877–1878) between the Russian and the Ottoman Empires, photographers returned to the battlefield. It should be mentioned that Romania’s involvement led to the country’s independence from the Turks and this war is therefore known as the War of Independence in Romanian history books. Szathmari, by now the official painter and photographer at the court of Prince Carol I, accompanied the Prince during the military campaign and took a set of photos. Franz Duschek (1830–1884), another Bucharest photographer, was assigned to accompany the Russian armies (_fig. 3). 7 Both assembled their sets of photographs in lavishly bound albums.

S. 6:

Romania has always been an ethnographer’s paradise and photography provides an ideal way of recording it. One of the first photographers to explore the richness of the country’s typologies was Ludwig Angerer (1827–1879). He arrived in Bucharest as a military pharmacist with the Austrian troops that occupied the Romanian Principalities during the Crimean War.8 Throughout the 19th and the first part of the 20th century, it became trendy to capture scenes of picturesque villagers in their traditional attire, street traders, peddlers, all kinds of craftsmen, wagons and carts full of wares, fair days and gipsies.9 C. P. de Szathmari (_fig. 4), Franz Duschek, Andreas D. Reiser, K. F. Zipser ( _fig. 5), and Herman Leon outdid each other in taking iconic images of the southern part of Romania.10

In Focus: Photography in Romania http://www.eshph.org/journal/wp-content/uploads/sites/2/2020/10/PHR34_AutorInnen.pdf

The Evolution of the Press Photography in Romania (1860-1919)

S. 10:

We studied how photography was used to reflect the War of Independence in the two publications, and as far as we could, we tried to track the circulation of these images in the European press. Unlike Szathmári, Franz Duschek and A.D. Reiser, his fellow war photographers in 1877, had a narrower diffusion of purely photographic images. Carol Szathmári together with Franz Duschek and A. D. Resiser made known their photos taken during the 1877 campaign, especially through the photo album Souvenir de resbel published shortly after the end of the war.

The Evolution of the Press Photography in Romania (1860-1919). http://www.iini.ro/SCOSAAR/Sustineri%20teze/Adriana%20Dumitran/Adriana%20Dumitran_rezumat_engleza.pdf

Ivanov, Photographic icons from the Russo-Turkish War of 1877-1878

Ziemlich unergiebig

Photographic icons from the Russo-Turkish War of 1877-1878, published on 3/3/22 10:30 AM Author: Ivo Ivanov, https://bnr.bg/en/post/101607311/photographic-icons-from-the-russo-turkish-war-of-1877-78-g

Ionescu, Bucharest Through The 19th Century Travellers’ Eyes And Pioneer Photographers’ Lenses

Mit zahlreichen Fotos von Duschek!

S. 52:

Szathmari was not the only photographer to document the capital city and the old monuments of the country. Franz Duschek (1830–1884), a Czech photographer who settled in Bucharest in 1852, produced an album with images taken at the elegant summer residence of the Otetelesanu family at Magurele, nearby Bucharest. It was one of the most beautiful manor houses built in the early 1850s. The album, produced in 1860, was entitled Vues de Magoureli, and showed both the house and its glowing garden (Figs. 29, 30). Almost twenty years apart from Talbot’s landscapes taken on his estate at Lacock Abbey, and probably without knowing the calotype experiments done by the father of modern photography 49 , Duschek made some masterly compositions with the exotic plants in the garden and the pond with its China bridge arching over the waters (Figs. 31, 32). Unable to take snapshots the photographer managed to simulate them by adding some birds flying over the park which he drew in black ink. He took also some very interesting cityscapes of the Capital probably with the intention to bind the proofs in an album which he never completed. As did his friend and colleague some years before, Duschek climbed the Coltea Tower Turnul Colței and took a picture with the University where is seen also the roof of the Soutzo Palace (Fig. 33).

S. 57:

In 1878, a few months after his return from the Bulgarian battlefields where he documented the Russian troops fighting in the Oriental War along with the Romanian army 55 Duschek took new pictures on the central area of the city.

“The City Of Pleasure”: Romantic Bucharest Through The 19th Century Travellers’ Eyes And Pioneer Photographers’ Lenses, By Adrian-Silvan Ionescu. https://www.scia.ap.istoria-artei.ro/resources/2014/SCIA.AP-2014-Art%2002.pdf

Veröffentlichungen

• Vues de Magoureli, 1860

• album Souvenir de resbel, published shortly after the end of the [Crimean] war

• Duschek, Franz, Albumul Pittoresc al României. Culegere de tablouri representând cele mai interesante regiuni, orașe, operede artă din timpurile vechi și noi, scene din viața poporului, tipuri și costume românești, publicată după fotografii de Franz Duschek, fotograf din București. Text prelucrat după profesorul Gr. G. Tocilescu. Editura Franz Duschek în București. Pentru Germania și Austr-Ungaria August Dieckmann în Lipsca, 1896.