Ignacy Krieger
Ewa Gaczoł,
Anna Kwiatek
Інформація
місце видання
Kraków
рік видання:
2017
кількість сторінок
119
формат:
19cm x 21,5cm
ілюстрації:
czarno-białe
Album released on the 200th anniversary of Ignacy Krieger's birthday presenting photographs of Cracow his performance.
Ignacy Krieger was born in Mikołaj in 1817 and later lived in Lipnik, a former Bialskie district.
In Cracow he lived with his wife Anna, three daughters and his son, and in 1861 another daughter lived.
The first atelier at Grodzka Street was relatively short lived, at which time Krieger started to build a photographic studio in the yard of a house on St. Jan 1 and probably already in early 1861 moved to a new studio.
Initially, a new factory in the Bonerowska tenement house, located on the corner of the Main Market Square and St. John, was devoid of heating a wooden shed in the courtyard, built to the brick outbuilding.
At the end of the 70s of the nineteenth century, during the renovation of the tenement house, which was raised one storey, the atelier was transferred to the fourth floor.
Throughout the period of its existence, it was advertised by display cabinets and display windows, located on the ground floor of the building.
Ignacy Krieger used the wet colony technique throughout his entire career.
The process involved applying a glass of a substance called a colodion - an alcohol-ether solution of cellulose nitrate with photosensitive silver salts onto a glass plate.
The new technique allowed to get any number of prints on a paper substrate.
The albumin paper, which was thin and delicate, was used, so it was necessary to glue onto cardboard, often decorated with lithographic decoration.
Collodion technique, which is high quality image, was much simpler and cheaper than daguerreotype.
Thanks to these features, the photography quickly provided the real universality and mass.
The oldest photographs by Ignacy Krieger show yet another poor Krakow with traces of a great past as the capital of Poland.
We see them Market - the heart of the city since the site in 1257 - with the Clothespins weaving it.
In the subsequent years, the cliches formed were transformed into cities, such as the renovation and reconstruction of the Cloth Hall or the construction of new public buildings.
A large part of Ignatius Krieg's film is so-called folk types.
The largest part is pictures of the inhabitants of the villages.
They were mainly photographed in their festive attire, and the characteristic garb of Cracovians awakened the delight of both artists and folk artists, and created a series of photographs of folk types in various shots or posed scenes.
Ignacy Krieger died on June 17, 1889 and was buried at the New Jewish Cemetery on Miodowa Street.
A well-established plant with the filmmaking so far left his children to whom he had a profession.
In 1926, Amalia Krieger handed over a multi-million dollar collection of glass negatives and equipment to the municipality of Cracow.
These cliches, now stored in the Historical Museum of Krakow, are invaluable testimony to the changes taking place in the city and are of immense value as historical sources.
In Cracow he lived with his wife Anna, three daughters and his son, and in 1861 another daughter lived.
The first atelier at Grodzka Street was relatively short lived, at which time Krieger started to build a photographic studio in the yard of a house on St. Jan 1 and probably already in early 1861 moved to a new studio.
Initially, a new factory in the Bonerowska tenement house, located on the corner of the Main Market Square and St. John, was devoid of heating a wooden shed in the courtyard, built to the brick outbuilding.
At the end of the 70s of the nineteenth century, during the renovation of the tenement house, which was raised one storey, the atelier was transferred to the fourth floor.
Throughout the period of its existence, it was advertised by display cabinets and display windows, located on the ground floor of the building.
Ignacy Krieger used the wet colony technique throughout his entire career.
The process involved applying a glass of a substance called a colodion - an alcohol-ether solution of cellulose nitrate with photosensitive silver salts onto a glass plate.
The new technique allowed to get any number of prints on a paper substrate.
The albumin paper, which was thin and delicate, was used, so it was necessary to glue onto cardboard, often decorated with lithographic decoration.
Collodion technique, which is high quality image, was much simpler and cheaper than daguerreotype.
Thanks to these features, the photography quickly provided the real universality and mass.
The oldest photographs by Ignacy Krieger show yet another poor Krakow with traces of a great past as the capital of Poland.
We see them Market - the heart of the city since the site in 1257 - with the Clothespins weaving it.
In the subsequent years, the cliches formed were transformed into cities, such as the renovation and reconstruction of the Cloth Hall or the construction of new public buildings.
A large part of Ignatius Krieg's film is so-called folk types.
The largest part is pictures of the inhabitants of the villages.
They were mainly photographed in their festive attire, and the characteristic garb of Cracovians awakened the delight of both artists and folk artists, and created a series of photographs of folk types in various shots or posed scenes.
Ignacy Krieger died on June 17, 1889 and was buried at the New Jewish Cemetery on Miodowa Street.
A well-established plant with the filmmaking so far left his children to whom he had a profession.
In 1926, Amalia Krieger handed over a multi-million dollar collection of glass negatives and equipment to the municipality of Cracow.
These cliches, now stored in the Historical Museum of Krakow, are invaluable testimony to the changes taking place in the city and are of immense value as historical sources.
Інформація
місце видання
Kraków
рік видання:
2017
кількість сторінок
119
формат:
19cm x 21,5cm
ілюстрації:
czarno-białe