学生作品ガイド
著作権 この作品はパブリックドメインです。johann augustin pucherは1864に没し、著作権は没後70年まで保護されるため、1934に終了しました。
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Self-portrait — johann augustin pucher
原寸は 12 × 10 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
背景色：johann augustin pucherの生涯 (1814–1864) ▲ 本作品、1800
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Gray #707070
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Self-portrait — johann augustin pucher
Can Janez Puhar (1814-1864), a Slovene priest and experimenter with the technique of ‘writing with light’, be considered the inventor of photography on a glass plate? Unfortunately, precedence for the invention of this process remains disputed, since several inquisitive and inventive men independently arrived at similar results in different parts of Europe (especially France) in the late thirties and the forties of the nineteenth century. Some might have been faster in making their findings public, others more skilful or even cunning in presenting the facts. The more modest and less forceful Puhar is certainly among those who gave substance to their vision in the earliest period and cannot therefore be denied a pioneering role in the birth of the new medium. Puhar announced his invention in Slovene in a report published in Carniolia in 1841. Two years later, in 1843, he informed the rest of Europe in German about his sensational achievement: a report with a description of his photographic process was published, again in Carniolia (Neu erfundenes Verfahren, transparente Heliotypen aus Glassplatten darzustellen) as well as in the Graz Innerösterreichisches Industrie- und Gewerbe Blatt. These publications clearly did not reach Paris, since the father of photography on a glass plate for the French is Abel Niépce de Saint Victoir, who informed the French Academy about his invention in 1847, and published the process itself the following year. Puhar’s precedence is contentious merely because the Paris Académie nationale agricole, manufacturiére et commerciale only in 1852 awarded him a diploma and title of ‘inventor of photography on glass’.
アーティストと美術館
生誕地 Kranj, Slovenia
Johann Augustin Pucher, known in his native Slovenia as Janez Avguštin Puhar, was a remarkable figure whose contributions to the early history of photography have long been overshadowed. Born on August 26, 1814, in Kranj, Carniola (present-day Slovenia), Pucher’s life was one of fascinating contradictions – a Catholic priest deeply immersed in scientific inquiry, an artist captivated by the possibilities of capturing light and form, and an inventor driven to overcome the limitations of existing photographic techniques. His story is not merely that of a skilled practitioner but of a true innovator who carved a unique path in the burgeoning world of 19th-century visual culture. From his early education, Pucher displayed a keen intellect and a passion for both the humanities and natural sciences. While he ultimately followed a religious vocation at his mother’s urging, ordained as a priest in 1838, his artistic inclinations and scientific curiosity never waned. This blend of disciplines would prove crucial to his later achievements.
The arrival of Louis Daguerre's daguerreotype process in 1839 ignited Pucher’s fascination with photography, yet he quickly recognized its inherent drawbacks – primarily the high cost and complexity of the materials involved. Determined to find a more affordable and accessible method, Pucher embarked on a series of experiments that would ultimately lead to his most significant invention: the hyalotype, also known as the puharotype or svetlopis (light writing) in Slovene. Unlike the daguerreotype’s reliance on silver halide chemistry, Pucher's process utilized readily available substances – sulfur, iodine, mercury, and bromine – creating a completely dry method for producing transparent positive images directly onto glass plates. This was no small feat; exposure times were remarkably short, comparable to those of the daguerreotype and calotype, allowing for portraiture without the lengthy sittings that plagued earlier techniques. The process involved coating warmed glass with sulfur vapor, followed by brief impregnation with iodine vapors, exposure in a custom-built camera obscura utilizing mercury vapors for development, strengthening with bromine steam, and finally fixing the image with alcohol and varnish.
Pucher meticulously documented his invention in an article published in the Ljubljana periodical Carniolia in 1843, establishing its precedence over similar processes developed elsewhere. His work garnered international attention, earning him honorary membership in the French Académie nationale agricole, manufacturière et commerciale in 1852 and invitations to exhibit at prestigious events such as the Great Exhibition in London (1851), the New York World's Fair (1853), and the Exposition Universelle in Paris (1855). Despite this acclaim, however, Pucher’s hyalotype never achieved widespread commercial success. The precise reasons remain unclear – perhaps due to the complexity of replicating the process or a lack of resources for large-scale production. Attempts to recreate it based on published information have consistently proven unsuccessful, adding an air of mystery to his achievement.
Johann Augustin Pucher’s life was tragically cut short by tuberculosis on August 7, 1864, at the age of 49. Though he did not live to see his invention fully realized, his contributions remain significant. Modern analysis of surviving puharotypes – a small but precious collection held in institutions like the National Museum of Slovenia – confirms the unique chemical composition of his images, revealing the presence of sulfur and mercury consistent with his documented process. Pucher stands as a testament to the power of independent scientific inquiry and artistic vision. He was not simply replicating existing techniques; he was forging a new path, driven by a desire to make photography more accessible and affordable. His hyalotype represents a fascinating chapter in the history of photographic innovation, a unique process born from ingenuity and a deep understanding of both chemistry and optics. His story serves as a reminder that progress is often fueled by those who dare to challenge conventional wisdom and explore uncharted territories.
展示中： Ljubljana, Slovenia
Nestled in the vibrant heart of Ljubljana, the National Museum of Slovenia stands as a majestic sentinel of cultural memory, inviting visitors on an immersive odyssey through the ages. Since its inception in 1821, originally known as the “Estate Museum of Carniola,” this venerable institution has evolved from a provincial repository into a profound testament to the Slovenian spirit. To walk through its halls is to trace the very lineage of human creativity, where the whispers of prehistoric ancestors meet the sophisticated elegance of the Renaissance and the bold provocations of modernism. For the art lover, the museum offers more than mere observation; it provides a deep, emotional connection to a nation’s enduring identity, making it an essential pilgrimage for anyone seeking to understand the intersection of history and artistry.
The museum's architectural presence is nothing short of breathtaking, serving as a masterpiece of Neo-Renaissance grandeur. Constructed between 1883 and 1885 by the visionary Wilhelm Treo in collaboration with Jan Vladimír Hráský, the edifice commands the Ljubljana cityscape with its soaring, dignified façade. Stepping inside, one is immediately enveloped by an atmosphere of intellectual prestige and aesthetic splendor. The interior architecture continues to enchant, particularly the breathtaking ceilings adorned with intricate medallions crafted by the talented Janez and Jurij Šubic. These ornamental details do not merely decorate a space; they elevate the entire experience, transforming the museum into a work of art in its own right—a sanctuary where the structural beauty of the building complements the precious treasures housed within.
The collection itself is a captivating tapestry of human achievement, ranging from the primal to the exquisitely refined. Among its most legendary treasures is the Divje Babe flute, a hauntingly beautiful bone instrument that challenges our very understanding of prehistoric musicality and cognitive evolution. This ancient melody finds a striking contrast in the museum's celebrated applied arts collection, where one can marvel at the delicate precision of traditional ceramics, intricate textiles, and masterful woodwork. For collectors and designers, these pieces offer profound inspiration, showcasing a legacy of craftsmanship that blends regional motifs with timeless elegance. The archaeological treasures, including the famed Vače Situla and the Roman Lapidarium, further enrich this narrative, grounding the museum's artistic offerings in the deep, storied soil of the Roman Empire and beyond.
Beyond its permanent holdings, the National Museum of Slovenia remains a dynamic epicenter for contemporary cultural discourse. Through rotating exhibitions that explore movements such as Impressionism, Cubism, and Surrealism, the institution bridges the gap between historical legacy and modern innovation. It frequently highlights how Slovenian artists have engaged with broader European influences, positioning the nation within the grander tapestry of international art history. Whether one is contemplating the works of Ivan Kobilca or exploring the avant-garde echoes of Alexej von Jawlensky, the museum provides a curated experience that stimulates the intellect and stirs the senses. It is this seamless blend of archaeological wonder, architectural magnificence, and artistic evolution that makes the National Museum of Slovenia an incomparable destination for the global art community.
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Self-portrait — johann augustin pucher
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