Between 1760 and 1830, the silhouette, fashioned as a paper cut-out or a drawing, was extremely popular among both men and women of the middle class as well as the aristocracy. In parlours and private gatherings of friends, silhouettes were easy and inexpensive to produce and therefore popular collectibles and barter objects. Mechanical tools such …
In the second half of the 20th century, in addition to film, it is above all newspapers and journals that shape the visual representation of scientists by making use of recurring motifs and formal design elements. The tableau, as shown here, stems from the press photos from the “Göttinger Tageblatt” selected by the Slovenian artist …
In their portraits, scholars often surround themselves with objects such as books and written documents. However, collectibles and scientific instruments also serve to embellish the portraits, offering revelations about the individual portrayed. Here you can see three of Göttingen’s 18th Century scientists presenting themselves with artefacts that give clear indication of their chosen area of …
Three-dimensional portraits such as busts and death masks generate a spatial presence of the university scholars. Made from robust materials to endure time, these memorial objects strive to mark individual scientists as significant and to preserve their memory beyond their death. CREATING TRADITIONThe representative showpieces reveal the multifaceted series of images of the University. By …
The idea to print photographic portraits on business cards was patented in Paris in 1854. When even Napoleon III (1808-1873) started circulating such cartes de visite of himself and his family, a “business card epidemic” began. Photography studios across Europe specialised in these handy small formats. In 1857, when Göttingen had 10,000 inhabitants, there were …
Shortly after the University was founded in 1737, work began in an effort to establish a gallery that would exhibit portraits of various professors. In 1748 the painter F. Reibenstein, originally from Celle, was commissioned to create a series of portraits, a process that was later continued by other various painters. Fifteen of these paintings …
Unlike oil paintings, graphic portraits are far more mobile and often produced in high volume. They can be sent out, bound into books and collected. The exhibited series of mezzotints show portraits of scholars from Göttingen who, between 1741 and 1755, were featured in the book “Bilder-sal heutiges Tages lebender und durch Gelahrtheit berühmter Schriftsteller” …
Professors at the University of Göttingen today are the “big bangers”, role models, air rescuers, molecular chefs, trainers of the next generation and messengers of the gods. Life-sized, in casual clothing and with the objects of their research in action, these scientists – three women and three men – allow the public insights into their …
Out of caricature comes critique. Unlike commissioned portraits, the people portrayed have no control over their portraits but instead have to face graphic attacks on their person. By means of exaggeration and accessories, specific characteristics are highlighted and ridiculed. A CRITICAL VIEWSince the 19th Century, there is an increasing number of amateur caricaturists. In universities, …
With the rise of amateur photography, the occasions for taking photographs became less formal. This also applied to the academic field. Institute celebrations, trips and even carnival parties offer popular motifs for photo opportunities. This trend can also be witnessed in the people photographed. They appear to be a lot more relaxed, are shown having …
