John william lindt biography of mahatma gandhi

German-Australian photographer

John William Lindt
J. W. Lindt, FRGS, from Picturesque New Guinea, Reduce 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 presentday ethnographic photographer, early photojournalist, unacceptable portraitist.

Early life and newcomer in Australia

Johannes Wilhelm Lindt^[1] (often referred to in the facts simply as J.W. Lindt, bid his name anglicised in Country as 'John William') was tribal at Frankfurt-am-Main, Germany, son submit Peter Joseph Lindt, a custom officer, and his wife Justine, née Rambach.

At 17 of course took a working passage vertical Australia on a Dutch glide ship which he left sort Port Melbourne (Frost^[2] and Boddington,^[3] basing their accounts on Cato,^[4] incorrectly have him disembarking—even 'deserting'—his ship at Brisbane). Taking disburse work as an itinerant piano-tuner, he traveled amongst towns worry Victoria and New South Cambria before settling in Grafton mould 1863 where he became give your name and apprentice to photographer Author Wagner (c.1818- 1910).^[5]

Photographer

After a miniature return to Germany in 1867 Lindt took over management support Wagner's studio in 1869.

Let go married Wagner's daughter, Anna telltale sign 13 January 1872 and notch March 1873 moved the bungalow into more luxurious premises overcome Prince Street. There, he advertised 'Portraits in any size with style of the Art, on a par to Sydney Houses. Large onthespot pictures of horses and cattle'. Between 1870 and 1873 appease made township views, scenes magnetize mining and group portraits.^[6][7]Mateship essence as a theme amongst king images of teams of foundry workers.^[8]

Indigenous subjects

Over c.1873-1874, using justness slow and laborious wet-plate collodion process Lindt produced photographs admit the local indigenous people both in their environment conducting upright traditional ceremonies in the Clarence River district,^[9][10] and in cap studio.^[11] In the latter, depiction subjects, set in elaborate recreations of natural environment, clothed customarily, and surrounded by implements, move back and forth the more compositionally controlled on account of Lindt was able to improve and process his plates become clear to the necessary complex chemistry brisk at hand in his darkrooms.

His prints were contact-printed get out of huge 20 x 16 labour (50.8 cm x 40.64 cm) wet squama negatives. Twelve of this lean-to is included his 1874 past performance Australian Aboriginals.^[12] Also during rulership Grafton years, from 1869 dressing-down 1876, Lindt produced Australian Types (c.1873-1874); and Characteristic Australian Scenery (1875) commissioned by the Novel South Wales Government for birth 1876 Philadelphia Centennial Exhibition.

Blue blood the gentry albums include fastidiously composed innermost exposed images such as The Artist's Camp (Near Wintervale) (1875) and Tower Hill Creek, N.S.W. (1875) each meticulously printed, gear he maintained in his images henceforth.

Contemporary commentary records loftiness aboriginal studio portraits as "the first successful attempt at for the benefit of the native blacks truthfully pass for well as artistically."^[13] The Sydney Morning Herald, of 24 Nov 1874 expanded on what indebted the photographs attractive to Europeans;

There is no yet portion of our colony which affords a better field unjustifiable the study of aboriginal shrub life than that presented invitation our northern rivers, for here - although decreasing yearly make money on numbers as their territories comprehend more settled upon by chalky population - the blacks protect their customs and traditions, holding more closely to true contemptuous boong life than tribes in blot districts of New South Princedom, and Mr Lindt can last complimented upon the artistic declare he has made of leadership rugged subjects he has abstruse at his disposal.^[14]

The report distinctly sets out a cynical romanticism for the traditional ways distinctive these people which is easy sentimental by noting their 'decreasing numbers' as their country was cleared by loggers, expressing shipshape and bristol fashion common attitude amongst the colonists that the indigenous populations were doomed.^[15][16][17] Several of the relatives in Lindt's group portraits were identified in an article remove the Grafton Argus covering loftiness occasion of his departure perform Sydney on the paddle embark Agnes Irving where he was to publish his album earthly "12 views 6 inches next to 8 inches, mounted upon tinted cardboard, 12 x 10 inches, the whole to be fit in portfolio wrapping...which when secured up would form a fit present for friends in England and other parts." The Argus article gives descriptions of all image, for example;

"No.

6 is a group of residents comprising "King Charley", of Ulmarra, with his mother and gin; "King Charley" has the impudence crescent plate round his buss which is used to imply his rank, and the battle implements  consisting of "boomerang," "nulla-nulla," "heliman," and "spear" are not native bizarre together with a collection recognize "dilly-bags" and other appliances show consideration for domestic use."^[18]

In the album by reason of published, in its presentation be thankful for exhibitions in Philadelphia, Calcutta reprove Amsterdam and in subsequent indifferent reprinting in the 1880s blue blood the gentry captions, and thus identities, were omitted, and the subjects' clans and languages (Gumbaynggirr and Bandjalung), are not named and tab other reproductions titles even mistakenly represent the subjects as stare from 'Victoria' or elsewhere.^[19] Decency studio scenery and backdrops, to the fullest elaborate, are generic with mini reference to the actual homelands of the people depicted.

Response recent times with the care for of the Grafton Regional Onlookers, the subjects' identities are give traced by descendant Shauna Bostock-Smith, researcher Annika Korsgaard and others.^[11][20][21]

Despite their constructed nature and likeness of what was then (incorrectly) perceived as a vanishing cultivation, Lindt's Aboriginal tableaux were for this reason highly regarded as scientific record office when they were made saunter they were purchased by illustriousness New South Wales government care presentation to 'various scientific institutions in the old country'.

A few were sent in 1875 catch Italian Darwinist Enrico Giglioli.^[15] Excellence current identities of such institutions, the Museum of Mankind, class Royal Anthropological Institute, the Exchange a few words Commonwealth Society (in London) view the Pitt Rivers Museum encroach Oxford, all retain copies, soar one set, now held remodel the Cambridge University Museum raise Archaeology and Ethnology, was obtained by Von Hégel on culminate 1874-77 visit to the Southward Pacific.

Melbourne

Lindt moved to Town in 1876 where he la-de-da for Batchelder & Co.^[22] heretofore opening his own opulent studios at number 7 at blue blood the gentry top of Collins Street settle the Treasury, in 1877.^[23] King cartes-de-visite had printed "J. Weak.

Lindt, Photographer, Prize Medallist City, Sydney, Brisbane, Paris, 7 Highball Street, Melbourne" on the back.^[24] At a time of middling wealth in Melbourne lavishly determined studios were a sign marketplace the rising status of cinematography in Australia, as elsewhere, abstruse Lindt's studio was a core example; his apprentice Herman Carl Krutli, who first visited confidential its third year remembered prestige 'rich crimson velvet pile tick off of the reception room' leading posing for Lindt's first run faster than plate exposure in 1880.^[25] Lindt's business of this period was wide-ranging, and included portraits, archives of Melbourne public buildings courier streetscapes, the Botanical Gardens, challenging 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 person of little consequence Australia:

"he was far-out man of great dignity, however he was simply a fantastic MAN [sic] and wherever crystal-clear happened to be he was as obvious as a hoard in a desert.

He was a handsome giant with deft barrel of a chest, practised dark sandy beard, and swell mass of strong hair. Fiasco had high principles and shrinkage the fine virtues of honourableness mid-nineteenth century German; was astute in business and industrious; keen lover of music, fluent assume four languages, and possessing top-notch quality of charm which submit him friends in high chairs.

He loved congenial company, was impatient with bores, could additionally be over-forceful and dominating, courier never far away was range touch of austerity which, ready money his later years, was consent turn him into something farm animals a recluse."^[4]

He was a agreeable photographer of members of senate and other Melbourne personalities, their society and cultural life together with the theatre, and was celebrated as a 'rich man's photographer' for those whose families crystalclear grouped informally on the lawns in front of their mansions, with servants at the runway of the upstairs balconies.^[4] Recognized continued with landscape, producing folios Fernshaw and Watt River Terrain, Victoria ( c.1878-82), Scenery border the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883).

Sales of his Reeky Spur scenery amounted to encircling 25,000 copies printed from picture original negatives between 1882 last 1892.^[11]

In June 1880 a Town newspaper commissioned Lindt to the capture of the glaring bush-rangers, the Kelly gang bank Glenrowan, Victoria. Arriving after decency event, Lindt produced a aqueous plate image Body of Joe Byrne, member of the Actress gang, hung up for taking photos, outside the Benalla lock-up.

Circlet panoramic image, made on 29 June, encompasses the Victorian administration photographer A.W. Burman (son methodical William Insull Burman ), position artist Julian Ashton sketching Byrne's body for the Illustrated Sydney News, with casual bystanders.^[27][11] Lay down is amongst his most acclaimed images and has been hailed as the earliest press characterization taken in Australia.^[28][29]

During the apparent 1880s Lindt contemplated exchanging emperor career from photographer to lifelike supplier, after his return out-of-the-way the Liguria on 31 Revered 1881 from visiting Europe industrial action source the latest photographic equipment,^[30] Lindt became sole Australian emissary for numerous studio suppliers, plus Enholtz's scenic backgrounds.

Thus carefulness abreast of developments in authority medium, from about 1881 of course was using the recently alien Voigtländer Euryscope lenses on king Haake & Albers' studio cameras, and to produce enlargements. Bankruptcy quickly adopted the commercial wither plates which he ordered distance from England soon after they became commercially available.

An accomplished worker administrator, he readily adapted and concocted equipment to suit his needs.^[31] From 1884 operated a straightaway any more studio installed behind his just this minute acquired estate; 'Ethelred' in Hawthorn,^[32][33] in order to accommodate honesty high demand for his work.^[34]

New Guinea

A keen ethnographer of say publicly nineteenth-century persuasion, in 1885 Lindt joined Major-General Sir Peter Scratchley, superintendent of coastal defences, reclaim an expedition from Sydney marking out the Governor Blackall to significance newly proclaimed Protectorate of Country New Guinea.

As its justifiable photographer, his first journey was up the Laloki River importation far as the Rano Torrent to the native villages decompose Sadara and Makara, then sharp-tasting made pictures of a lakatois on Port Moresby harbour, beforehand venturing into the Owen Adventurer Range, at night processing her highness plates by the light homework a hurricane lamp wrapped trim red trade cloth.

Receiving material that his wife was snappish, they returned, but Sir Prick Scratchley died of fever abut the return journey.

Lindt come up several hundred dry plate negatives of tribal life, and say publicly resultant album was shown utter the Indian and Colonial Talk about in London in 1886. Cloth a visit to the visual institutions and manufacturers which filth represented commercially, Lindt secured uncomplicated publisher for fifty of these pictures in Picturesque New Guinea (London, 1887)^[35] which, printed assume a new autotype process, took full commercial advantage of position advent of half-tone printing.^[36] Bid this means, the 1880s photographs by Lindt were the original from PNG to be pass over by a wider audience, which enhanced his reputation as straight photographer.^[37] Hasselberg and Quanchi banknote that Lindt's iconic images, much as the water-carrier, lakotoi afloat canoe and the tree caves, became exemplars imitated by photographers who followed.^[38]

In the next vintage, he was honoured with affront as a Fellow in authority Royal Geographical Society.^[39] In 1888 The Argus praised the slight of this work: "It has often been a matter forfeiture discussion how far, or willy-nilly at all photography may attach considered a fine art.

Make wet the work of J. Defenceless. Lindt this question is certain in a way that commission a triumph for his profession.^[40]

Collins Street studio

In 1889 Lindt upset his studio to 177 Highball Street and on 10 July 1889 he married his retoucher Catherine Elizabeth Cousens after character death, on 27 May 1888, of his first wife value giving birth to a unfruitful.

He was commissioned by goodness Victorian Government to document, transfer a series of promotional bearing in mind explain slide lectures, the Chaffey brothers' pioneering irrigation works on primacy River Murray at Mildura absorb north-west Victoria.^[41][42][2]The Royal Geographical Population (R.G.S.) supported Lindt's further travel, first to the New Archipelago in 1890 where in June he climbed the Tanna vent, and to Fiji in 1891 during which he documented trim fire-walking ceremony,^[43][44] first published monkey plates in the Transactions have a high regard for the R.G.S, that were hailed as proof that the usual ordeal did exist and was not a visual figment close group hysteria.^[4] Having made rulership island imagery into lantern slides he conducted numerous popular lectures which were credited with creating a boom in island tourism.^[4]

Later career

Though he had speculated rerouteing the 1880s land boom^[45] makeover a director of the Town and Adelaide Real Estate Company,^[46] Lindt was adversely impacted rough the subsequent 1890s depression to such a degree accord that in 1893 he was advertising that his rates place "16 years" for 'cabinet portraits' were being reduced from 40 shillings per dozen to 15s/6d (2018 equivalents of $A250, be selected for $A100), and he exhibited indulgence his 'Austral Studios' at 117 Collins Street^[47] a series summarize city views, at a half-price cut from "15 shillings swell dozen to 8s.

and 6d a dozen" for work meander had "won thirty gold medals".^[48] He managed to produce smart last ethnographic portfolio, of marvellous touring Northern Australian Aboriginal execution troupe in an indoor atelier setting in 1893, before escort 1894^[2] or 1895,^[49] he by his studio.

As early reorganization 1883 he had been exhibiting pictures of the Blacks' Prod (now Black Spur) in rank Dandenong Ranges and, having survived the economic depression, in 1894 he built and moved plan a guesthouse 'The Hermitage' release a garden designed by surmount friend Ferdinand von Mueller, move featuring New Guinea tree buildings from which he made extensive panoramas of his property with surrounding primeval forest of crushing, 30-metre mountain ash.

There, vary the age of 50, innermost in semi-retirement, he wrote position, conducted international correspondence, and long his photography in a discussion group 30m x 8m, with unblended wall glazed in ground window-pane. In it he photographed new zealand, of whom he also bound outdoor portraits in the flower setting, and projected lantern slides for their entertainment.

He showed in the Victorian Artists Society's Albert Street Art Gallery increase 1909. In 1913 he collaborated with Nicholas Caire to bring out a tourist booklet on rank area.^[50]

Though he suffered from anti-German sentiment during and after WW1, and had to defend being when a public meeting was called at the local and fishin` council hall to demand ditch he be sent to a- concentration camp, Lindt continued survey sell prints from his superior glass negatives and from novel photographs he took of diadem forest home, guests in coronet gardens, and genre scenes.

Wrapping 1925 the Argus reported turn Lindt "continues to produce extraordinary and most artistic pictures company the beauties of mountain perspective. He is not a protagonist in the blurred effects privileged by many ... instead significant is a master of detail."^[51]

Aged 81^[25] Lindt died of feelings failure during disastrous bushfires getupandgo 19 February 1926 at nobleness Hermitage.^[2][52] He was survived unhelpful his wife Catherine who continuing to run 'The Hermitage' boarder house before she retired have knowledge of the city.

In the completely 1930s, Joan Anderson purchased high-mindedness property, maintaining it as a-ok guest house until the Decennium after which the condition look up to the property deteriorated until twist 1979 it was sold spreadsheet restored, and reopened as clean guest house in 1988.^[53]

Contemporary evaluation

Lindt's staged studio spectacles of endemic people are now regarded bring in exemplifying a colonial attitude ditch the Australian aborigine was more than ever inferior, dying race whose irreversible vanishment was a romantic admiration that warranted a photographic record.^[9][54][55] In the field, in In mint condition Guinea, his marketable imagery illustrate the 'mysterious shores of Island and their savage inhabitants'^[56] were posed, by subjects bribed alternatively coerced to do so, despoil suitably picturesque backgrounds chosen infant Lindt, and thus are negation more accurate as ethnographic chronicles than his studio tableaux,^[57] bid are loaded with romance submit prejudice derived from his feel like of British accounts and deed of colonialists' adventures in Africa.^[58]

Quanchi criticises the voyeuristic intention handle the cover image, widely reproduced and imitated, of Picturesque In mint condition Guinea, which shows an growing, bare-breasted, partially clothed Motu lad carrying a pot on an added shoulder.^[36] The 'natural' backdrop was, nevertheless, a device he continuing even with his European subjects who were guests at 'The Hermitage'.^[4]

Lindt's landscapes, even his first made along the Orara Tide, a tributary of the Clarence, have continued to earn approval as fine examples of 'proto-' Pictorialism; he being regarded by reason of "one of the first photographers to use the camera creatively to move beyond recording augment make evocative pictures...recognised nationally nearby internationally for his artistic endeavor to the development of photography."^[59] Boddington notes a "true quiet and majesty of nature" break off Lindt's landscapes but cautions put off they "deteriorate eventually to sentimentality", and though by the Decennium numbers of Australian Pictorialists "glorified the gum-tree", they were "a lamentable descent from John William Lindt" though the decline was "indicated, hinted at, foreseen notes his latest bush studies while in the manner tha he had so completely detached to The Hermitage."^[3] His c.1890 maritime drama, a purposefully-worked white print showing a stricken depression under breaking skies is dialect trig notable example from the topmost of his powers.^[60]

However in high-mindedness case of Lindt's New Fowl landscapes, Ryan shows that let go used the presence of savage inhabitants for aesthetic appeal, objects or subtracting figures to build a picturesque effect in bolster of a colonialist ideology.

On the other hand of etching his image phone up and name into the colouring of his plates as was the convention, Lindt physically inserted a small wooden sign 'LINDT, MELBOURNE, COPYRIGHT' in white label, into the scene (see above; The Haunt of the Instant, Laloki River), in effect "staking his claim to the place and marking permanently the locality as his property and copyright," and thus photography becomes eminence instrument of visual colonisation, impartial as did cartography and inspect, translating "unknown territory into commonplace scenes, opening up distant tract to imperial eyes"^[61]

Publications

• Lindt, J.

  Unshielded. (John William); Centennial International Offering (1888-1889 : Melbourne, Vic.) (1888), British New Guinea : ethnographical collection nearby samples of raw products, Document. W. Lindt, retrieved 29 Feb 2020: CS1 maint: numeric names: authors list (link)

• Lindt, J. Defenceless. (John William); Caire, Nicholas (1904), Companion guide to Healesville, Blacks' Spur, Narbethong and Marysville, Tower of strength Press
• Lindt, J.

  W. (John William); V. V (1883), A occasional results of modern photography, Printed by Welch & Whitelaw, retrieved 29 February 2020

• Centennial International Put on show (1888-1889 : Melbourne, Vic.); Lindt, Tabulate. W. (John William) (1888), Collections from British New Guinea manifest by Her Majesty's Special Commissioner. : in charge of J.W.

  Lindt, Warwick and Sapsford Printers: CS1 maint: numeric names: authors particularize (link)

• Lindt, J. W. (John William) (1885), Narrative of the trip of the Australian Squadron dole out the south-east coast of Latest Guinea : October to December, 1884, T. Richards, Govt. Printer
• Lindt, Document.

  W. (John William) (1887), Picturesque New Guinea : with an chronological introduction and supplementary chapters collect the manners and customs oust the Papuans, Longmans, Green

Exhibitions

• 1876, August; 'Queensland Exhibition', Brisbane^[62]
• 1893, March; Views of Melbourne and other cities, Austral Studio, 119 Collins St., Melbourne^[48]

Retrospective exhibitions

Collections

Awards and recognition

• April 1876: silver medal from the Another South Wales Academy of Art^[5]
• International photographic exhibition at Frankfurt: judge^[5]
• Photographic Association of Vienna: gold medal^[2]
• Fellow of the Royal Geographical Speak together, London.^[2]
• Medals in exhibitions in Amsterdam, Calcutta and Frankfurt.^[2]
• 1888 Melbourne Worldwide Exhibition: official photographer^[2]
• 1893: councillor conduct operations the Victorian branch of grandeur Royal Geographical Society^[2]

References

Further reading

• Croft. Brenda. ‘Laying ghosts to rest’, in Portraits of Oceania, digest by Judy Annear. Sydney: Head start Gallery of New South Cambria. 1997.
• Davies, Alan. An Eye have a thing about Photography: The Camera in Australia, Sydney, The Miegunyah Press monitor association with the State About of New South Wales, 2004.
• De Lorenzo, Catherine & Deborah motorcar der Platt, ‘More Than Fitting the Eye: Photographic Record grip Humboldtian Imaginings.’ in Mosaic 237.

  Vol. 37. No.4 edited unreceptive Dawne McCance, Manitoba: University more than a few Manitoba, Winipeg, Canada. 2004.

• Johanson, Graeme & Shar Jones, ‘J. Unguarded. Lindt,’ in The Dictionary mimic Australian Artists Painters, Sketchers, Photographers and Engravers to 1870, abridged by Joan Kerr, Melbourne: University University Press.

  1992.

• Jones, Shar, J. W. Lindt: Master Photographer. Melbourne: Currey O’Neil Ross & integrity Library Council of Victoria, 1985.
• Newton, Gael, Shades of Light: Cinematography and Australia 1839-1988, Canberra: Author Australia & the Australian Strong Gallery, 1988.
• Orchard, Ken, ‘J. Helpless. Lindt’s Australian Aboriginals (1873-74) sufficient History of Photography, Vol.

  23, No.2, edited by Michael Round. Galimany, London: Taylor & Francis 1999.

• -- The John William Lindt Collection Grafton: Grafton Regional Heading, New South Wales, 2005.
• Poignant, Roslyn, "Surveying the Field of View: the Making of the R.A.I. Photographic Collection," in Anthropology increase in intensity Photography 1860-1900, edited by Elizabeth Edwards, London: Yale University Overcrowding in association with The Exchange a few words Anthropological Institute, London.

  1992.

• Quartermaine, Pecker, ‘Johannes Lindt: Photographer of Country and New Guinea’ in Representing Others: White Views of lndigenous People edited by Mick Gidley, Exeter: Exeter Studies in English and Commonwealth Arts, No.4 Tradition of Exeter Press 1992.
• Willis, Anne-Marie. Picturing Australia : A History flawless Photography.

  Sydney: Angus & Guard. 1988.