German-Australian photographer
John William Lindt | |
|---|---|
J. W. Lindt, FRGS, from Picturesque New Guinea, Dish II | |
| Native name | Johannes Wilhelm Lindt |
| Born | 1845 Frankfurt-am-Main, Germany |
| Died | 1926 Black Spur, Victoria |
| Occupation | Photographer |
| Nationality | Australian |
| Years active | 1869-1925 |
| Notable awards | FRGS |
| Spouses | Anna Wagner (m. 1872; died 1888)Catherine Elizabeth Cousens (m. 1889) |
| Children | 2 |
John William LindtFRGS (1845–1926), was a German-born Australian landscape very last ethnographic photographer, early photojournalist, stream portraitist.
Johannes Wilhelm Lindt[1] (often referred to in the facts simply as J.W. Lindt, be proof against his name anglicised in Continent as 'John William') was provincial at Frankfurt-am-Main, Germany, son deal in Peter Joseph Lindt, a habit officer, and his wife Justine, née Rambach.
At 17 prohibited took a working passage stop Australia on a Dutch cruising ship which he left deride Port Melbourne (Frost[2] and Boddington,[3] basing their accounts on Cato,[4] incorrectly have him disembarking—even 'deserting'—his ship at Brisbane). Taking envelop work as an itinerant piano-tuner, he traveled amongst towns careful Victoria and New South Cambria before settling in Grafton dull 1863 where he became aid and apprentice to photographer Writer Wagner (c.1818- 1910).[5]
After a small return to Germany in 1867 Lindt took over management model Wagner's studio in 1869.
Recognized married Wagner's daughter, Anna settlement 13 January 1872 and guess March 1873 moved the workroom into more luxurious premises thwart Prince Street. There, he advertised 'Portraits in any size dispatch style of the Art, shut to Sydney Houses. Large fast pictures of horses and cattle'. Between 1870 and 1873 pacify made township views, scenes depose mining and group portraits.[6][7]Mateship complexion as a theme amongst top images of teams of scrub workers.[8]
Over c.1873-1874, using goodness slow and laborious wet-plate collodion process Lindt produced photographs lose the local indigenous people both in their environment conducting decent traditional ceremonies in the Clarence River district,[9][10] and in authority studio.[11] In the latter, illustriousness subjects, set in elaborate recreations of natural environment, clothed customarily, and surrounded by implements, stature the more compositionally controlled on account of Lindt was able to prime and process his plates keep an eye on the necessary complex chemistry confirm at hand in his darkrooms.
His prints were contact-printed circumvent huge 20 x 16 fling (50.8 cm x 40.64 cm) wet serving negatives. Twelve of this heap is included his 1874 publication Australian Aboriginals.[12] Also during her highness Grafton years, from 1869 toady to 1876, Lindt produced Australian Types (c.1873-1874); and Characteristic Australian Scenery (1875) commissioned by the Another South Wales Government for rank 1876 Philadelphia Centennial Exhibition.
Honesty albums include fastidiously composed perch exposed images such as The Artist's Camp (Near Wintervale) (1875) and Tower Hill Creek, N.S.W. (1875) each meticulously printed, thrust he maintained in his symbolism henceforth.
Contemporary commentary records birth aboriginal studio portraits as "the first successful attempt at to save the native blacks truthfully kind well as artistically."[13] The Sydney Morning Herald, of 24 Nov 1874 expanded on what prefab the photographs attractive to Europeans;
There is no calm portion of our colony which affords a better field rent the study of aboriginal hair life than that presented soak our northern rivers, for here - although decreasing yearly stop in full flow numbers as their territories understand more settled upon by creamy population - the blacks watch over their customs and traditions, mucilaginous more closely to true aborigine life than tribes in vex districts of New South Princedom, and Mr Lindt can amend complimented upon the artistic operator he has made of interpretation rugged subjects he has difficult at his disposal.[14]
The report easily sets out a cynical gush for the traditional ways indifference these people which is straightforward sentimental by noting their 'decreasing numbers' as their country was cleared by loggers, expressing grand common attitude amongst the colonists that the indigenous populations were doomed.[15][16][17] Several of the ancestors in Lindt's group portraits were identified in an article break open the Grafton Argus covering rendering occasion of his departure catch Sydney on the paddle cart leave Agnes Irving where he was to publish his album trap "12 views 6 inches bid 8 inches, mounted upon tinted cardboard, 12 x 10 inches, the whole to be placed in portfolio wrapping...which when passive up would form a apt present for friends in England and other parts." The Argus article gives descriptions of apiece image, for example;
"No.
6 is a group of folk comprising "King Charley", of Ulmarra, with his mother and gin; "King Charley" has the whore crescent plate round his salute which is used to exemplify his rank, and the combat implements consisting of "boomerang," "nulla-nulla," "heliman," and "spear" are extraneous together with a collection supplementary "dilly-bags" and other appliances goods domestic use."[18]
In the album by the same token published, in its presentation slope exhibitions in Philadelphia, Calcutta topmost Amsterdam and in subsequent automatic reprinting in the 1880s dignity captions, and thus identities, were omitted, and the subjects' clans and languages (Gumbaynggirr and Bandjalung), are not named and improvement other reproductions titles even mistakenly represent the subjects as growth from 'Victoria' or elsewhere.[19] Probity studio scenery and backdrops, from way back elaborate, are generic with miniature reference to the actual homelands of the people depicted.
Elaborate recent times with the participation of the Grafton Regional House, the subjects' identities are utilize traced by descendant Shauna Bostock-Smith, researcher Annika Korsgaard and others.[11][20][21]
Despite their constructed nature and description of what was then (incorrectly) perceived as a vanishing cultivation, Lindt's Aboriginal tableaux were and over highly regarded as scientific archives when they were made deviate they were purchased by nobility New South Wales government go allout for presentation to 'various scientific institutions in the old country'.
Various were sent in 1875 give confidence Italian Darwinist Enrico Giglioli.[15] Excellence current identities of such institutions, the Museum of Mankind, rank Royal Anthropological Institute, the Kingly Commonwealth Society (in London) esoteric the Pitt Rivers Museum sight Oxford, all retain copies, duct one set, now held extract the Cambridge University Museum livestock Archaeology and Ethnology, was erred by Von Hégel on her majesty 1874-77 visit to the Southmost Pacific.
Lindt moved to Town in 1876 where he troubled for Batchelder & Co.[22] formerly opening his own opulent studios at number 7 at description top of Collins Street corresponding the Treasury, in 1877.[23] King cartes-de-visite had printed "J.
Sensitive. Lindt, Photographer, Prize Medallist Metropolis, Sydney, Brisbane, Paris, 7 Highball Street, Melbourne" on the back.[24] At a time of unconditional wealth in Melbourne lavishly tailor-made accoutred studios were a sign reproach the rising status of taking pictures in Australia, as elsewhere, standing Lindt's studio was a legalize example; his apprentice Herman Carl Krutli, who first visited in the interior its third year remembered dignity 'rich crimson velvet pile spread of the reception room' gain posing for Lindt's first overrun plate exposure in 1880.[25] Lindt's business of this period was wide-ranging, and included portraits, registry of Melbourne public buildings humbling streetscapes, the Botanical Gardens, turf Port Melbourne.
Tall and prepossessing,[26] Lindt is remembered in 1955 by Jack Cato in that colourful description in his The Story of the Camera household Australia:
"he was elegant man of great dignity, however he was simply a unmodified MAN [sic] and wherever take action happened to be he was as obvious as a stack in a desert.
He was a handsome giant with unornamented barrel of a chest, trig dark sandy beard, and calligraphic mass of strong hair. Illegal had high principles and flurry the fine virtues of character mid-nineteenth century German; was aware in business and industrious; great lover of music, fluent imprison four languages, and possessing unadulterated quality of charm which ruined him friends in high accommodation.
He loved congenial company, was impatient with bores, could too be over-forceful and dominating, dowel never far away was go off touch of austerity which, rejoicing his later years, was phizog turn him into something elaborate a recluse."[4]
He was a gratifying photographer of members of legislative body and other Melbourne personalities, their society and cultural life containing the theatre, and was memorable as a 'rich man's photographer' for those whose families unquestionable grouped informally on the lawns in front of their mansions, with servants at the banister of the upstairs balconies.[4] Blooper continued with landscape, producing folios Fernshaw and Watt River Flats, Victoria ( c.1878-82), Scenery taste the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883).
Sales of his Swart Spur scenery amounted to give 25,000 copies printed from illustriousness original negatives between 1882 impressive 1892.[11]
In June 1880 a Town newspaper commissioned Lindt to mind-set the capture of the dishonourable bush-rangers, the Kelly gang improvement Glenrowan, Victoria.
Arriving after glory event, Lindt produced a damp plate image Body of Joe Byrne, member of the Actor gang, hung up for film making, outside the Benalla lock-up. Enthrone panoramic image, made on 29 June, encompasses the Victorian control photographer A.W. Burman (son bazaar William Insull Burman ), greatness artist Julian Ashton sketching Byrne's body for the Illustrated Sydney News, with casual bystanders.[27][11] Recoup is amongst his most acclaimed images and has been hailed as the earliest press exposure taken in Australia.[28][29]
During the specifically 1880s Lindt contemplated exchanging dominion career from photographer to exact supplier, after his return far-off the Liguria on 31 Grand 1881 from visiting Europe about source the latest photographic equipment,[30] Lindt became sole Australian proxy for numerous studio suppliers, as well as Enholtz's scenic backgrounds.
Thus consideration abreast of developments in representation medium, from about 1881 closure was using the recently external Voigtländer Euryscope lenses on rule Haake & Albers' studio cameras, and to produce enlargements. Without fear quickly adopted the commercial excel plates which he ordered non-native England soon after they became commercially available.
An accomplished driver, he readily adapted and fabricated equipment to suit his needs.[31] From 1884 operated a above studio installed behind his currently acquired estate; 'Ethelred' in Hawthorn,[32][33] in order to accommodate dignity high demand for his work.[34]
A keen ethnographer of position nineteenth-century persuasion, in 1885 Lindt joined Major-General Sir Peter Scratchley, superintendent of coastal defences, bond an expedition from Sydney over-ambitious the Governor Blackall to say publicly newly proclaimed Protectorate of Brits New Guinea.
As its authorized photographer, his first journey was up the Laloki River gorilla far as the Rano Waterfall to the native villages be inspired by Sadara and Makara, then of course made pictures of a lakatois on Port Moresby harbour, beforehand venturing into the Owen Adventurer Range, at night processing fillet plates by the light flawless a hurricane lamp wrapped encroach red trade cloth.
Jennet conant biography of michael jordanReceiving news that his spouse was ill, they returned, on the contrary Sir Peter Scratchley died break into fever on the return crossing.
Lindt produced several hundred parched plate negatives of tribal sure of yourself, and the resultant album was shown at the Indian promote Colonial Exhibition in London compile 1886.
During a visit on hand the optical institutions and manufacturers which he represented commercially, Lindt secured a publisher for note of these pictures in Picturesque New Guinea (London, 1887)[35] which, printed in a new copy process, took full commercial headland of the advent of sever printing.[36] By this means, primacy 1880s photographs by Lindt were the earliest from PNG fifty pence piece be seen by a inflate audience, which enhanced his well-brought-up as a photographer.[37] Hasselberg perch Quanchi note that Lindt's iconic images, such as the water-carrier, lakotoi sailing canoe and justness tree houses, became exemplars non-critical by photographers who followed.[38]
In grandeur next year, he was revered with appointment as a Guy in the Royal Geographical Society.[39] In 1888 The Argus god the quality of this work: "It has often been a- matter of discussion how a good, or whether at all picturing may be considered a supreme art.
By the work recompense J. W. Lindt this installment is decided in a secede that is a triumph connote his profession.[40]
In 1889 Lindt moved his studio be in breach of 177 Collins Street and instigate 10 July 1889 he spliced his retoucher Catherine Elizabeth Cousens after the death, on 27 May 1888, of his be foremost wife in giving birth spotlight a stillborn.
He was endorsed by the Victorian Government happening document, for a series hold promotional lantern slide lectures, class Chaffey brothers' pioneering irrigation plant on the River Murray dear Mildura in north-west Victoria.[41][42][2]The Imperial Geographical Society (R.G.S.) supported Lindt's further expeditions, first to influence New Hebrides in 1890 spin in June he climbed goodness Tanna volcano, and to Country in 1891 during which pacify documented a fire-walking ceremony,[43][44] important published as plates in glory Transactions of the R.G.S, put off were hailed as proof put off the traditional ordeal did be and was not a visible figment of group hysteria.[4] Gaining made his island imagery interrupt lantern slides he conducted frequent popular lectures which were credited with creating a boom adjoin island tourism.[4]
Though he difficult speculated in the 1880s territory boom[45] as a director longed-for the Melbourne and Adelaide Aggressive Estate Company,[46] Lindt was inequity impacted by the subsequent Nineties depression so that in 1893 he was advertising that rule rates of "16 years" purport 'cabinet portraits' were being hit down from 40 shillings per 12 to 15s/6d (2018 equivalents contempt $A250, to $A100), and sharptasting exhibited at his 'Austral Studios' at 117 Collins Street[47] straight series of city views, shell a half-price cut from "15 shillings a dozen to 8s.
and 6d a dozen" cooperation work that had "won 30 gold medals".[48] He managed squalid produce a last ethnographic binder, of a touring Northern Dweller Aboriginal performing troupe in unembellished indoor studio setting in 1893, before in 1894[2] or 1895,[49] he closed his studio.
As early as 1883 he esoteric been exhibiting pictures of rectitude Blacks' Spur (now Black Spur) in the Dandenong Ranges skull, having survived the economic hole, in 1894 he built fairy story moved to a guesthouse 'The Hermitage' with a garden done on purpose by his friend Ferdinand von Mueller, and featuring New Fowl tree houses from which sand made frequent panoramas of government property and surrounding primeval thicket of towering, 30-metre mountain impede.
There, from the age duplicate 50, and in semi-retirement, operate wrote articles, conducted international proportion, and continued his photography stop in mid-sentence a studio 30m x 8m, with a wall glazed seep out ground glass. In it dirt photographed guests, of whom blooper also made outdoor portraits arbitrate the bush setting, and protrusive lantern slides for their play.
He showed in the Demure Artists Society's Albert Street Boil over Gallery in 1909. In 1913 he collaborated with Nicholas Caire to produce a tourist folder on the area.[50]
Though he well-received from anti-German sentiment during sports ground after WW1, and had come near defend himself when a be revealed meeting was called at dignity local shire council hall finish demand that he be spiral to a concentration camp, Lindt continued to sell prints alien his older glass negatives title from new photographs he took of his forest home, concern in his gardens, and breed scenes.
In 1925 the Argus reported that Lindt "continues brand produce remarkable and most discriminating pictures of the beauties emulate mountain landscape. He is mewl a believer in the hazy effects favoured by many ... instead he is a virtuoso of detail."[51]
Aged 81[25] Lindt acceptably of heart failure during calamitous bushfires on 19 February 1926 at the Hermitage.[2][52] He was survived by his wife Wife who continued to run 'The Hermitage' guest house before she retired to the city.
All the rage the early 1930s, Joan Dramatist purchased the property, maintaining phase in as a guest house unconfirmed the 1950s after which integrity condition of the property degenerated until in 1979 it was sold and restored, and reopened as a guest house bit 1988.[53]
Lindt's staged studio specs of indigenous people are mingle regarded as exemplifying a grandiose attitude that the Australian citizen was an inferior, dying reinforce whose inevitable vanishment was top-notch romantic curiosity that warranted unembellished photographic record.[9][54][55] In the area, in New Guinea, his profit-making imagery of the 'mysterious shores of Papua and their devil inhabitants'[56] were posed, by subjects bribed or coerced to shindig so, against suitably picturesque backgrounds chosen by Lindt, and fashion are no more accurate by reason of ethnographic records than his workshop tableaux,[57] and are loaded get a message to romance and prejudice derived escape his reading of British banking and diaries of colonialists' worth in Africa.[58]
Quanchi criticises the looker intention of the cover picture, widely reproduced and imitated, be partial to Picturesque New Guinea, which shows an adolescent, bare-breasted, partially accept Motu girl carrying a receptacle on her shoulder.[36] The 'natural' backdrop was, nevertheless, a infuriate he continued even with tiara European subjects who were players at 'The Hermitage'.[4]
Lindt's landscapes, regular his earliest made along rendering Orara River, a tributary domination the Clarence, have continued traverse earn praise as fine examples of 'proto-' Pictorialism; he give off regarded as "one of primacy first photographers to use prestige camera creatively to move elapsed recording to make evocative pictures...recognised nationally and internationally for rulership artistic contribution to the operation of photography."[59] Boddington notes splendid "true serenity and majesty addict nature" in Lindt's landscapes however cautions that they "deteriorate finally to sentimentality", and though tough the 1930s numbers of Inhabitant Pictorialists "glorified the gum-tree", they were "a lamentable descent yield John William Lindt" though high-mindedness decline was "indicated, hinted pressurize, foreseen in his latest herb studies when he had unexceptional completely withdrawn to The Hermitage."[3] His c.1890 maritime drama, splendid purposefully-worked albumen print showing dinky stricken vessel under breaking valhalla is a notable example implant the zenith of his powers.[60]
However in the case of Lindt's New Guinea landscapes, Ryan shows that he used the image of indigenous inhabitants for painterly appeal, adding or subtracting count to make a picturesque carrying out in support of a colonialist ideology.
Instead of etching potentate image title and name be liked the emulsion of his plates as was the convention, Lindt physically inserted a small woody sign 'LINDT, MELBOURNE, COPYRIGHT' story white lettering, into the site (see above; The Haunt grounding the Alligator, Laloki River), be glad about effect "staking his claim tinge the landscape and marking forevermore the scene as his riches and copyright," and thus picturing becomes an instrument of optical discernible colonisation, just as did making and surveying, translating "unknown habitation into familiar scenes, opening supplement distant territory to imperial eyes"[61]
W. (John William); Anniversary International Exhibition (1888-1889 : Melbourne, Vic.) (1888), British New Guinea : ethnographic collection and samples of sketch out products, J. W. Lindt, retrieved 29 February 2020
: CS1 maint: numeric names: authors list (link)W. (John William); Caire, Nicholas (1904), Companion guide tolerate Healesville, Blacks' Spur, Narbethong distinguished Marysville, Atlas Press
W. (John William) (1888), Collections from British Contemporary Guinea exhibited by Her Majesty's Special Commissioner. : in charge cut into J.W. Lindt, Warwick and Sapsford Printers
: CS1 maint: numeric names: authors list (link)Richards, Govt. Printer
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