Abstract
The Kirchner Museum in Davos possesses some 900 glass negatives of photographs by Ernst Ludwig Kirchner. These include some 700 photographic reproductions of Kirchner's own paintings, drawings, prints and sculptures, by which he aimed to retain a certain influence on the quality of reproductions used in the publication of his æuvre. The remaining 200 or so photographs are portraits, landscapes and interiors, which are presented in this essay as an essentially independent aspect of Kirchner's artistic æuvre.1 In addition, the collection includes 700 albums containing original prints of reproductions made by Kirchner for his own private use, for his partner Erna, for archives or for exhibitions. All in all, this photographic collection represents a substantial source of information for connoisseurs and art lovers alike, shedding light on previously unknown areas of the artist's work. Until now, publications and exhibition catalogues have used the photographs merely to illustrate his biography or his working methods as a painter.
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