History of the Collection

The Münchner Stadtmuseum had already started collecting photographs prior to the establishment of our Photography Collection. Even as long ago as the late 19^th century, photos relevant to the city’s history were included in what is now the Graphic Art/Painting Collection (formerly the Historisches Museum and Maillinger Collection of the City of Munich). Thus, we were one of the first museums in the German-speaking world to treat photographs as cultural assets. In the mid-1950s, we pooled efforts with the Verband der Deutschen Photographischen Industrie and the Deutsche Gesellschaft für Photographie to ensure that photography became a main strand of our work. This led to the official opening of the Münchner Stadtmuseum’s "Photography and Film Museum" in 1963. According to Max Heiß (Director of the Münchner Stadtmuseum from 1956 to 1969), its aim was to chart the developments in photography from its very beginnings right up to the present day, showcasing both photographic technology and its important achievements. This original concept was twofold, comprising a "German Photo Museum" devoted to photography as a visual medium, and a "German Optics Museum" that presented the technology behind the images. Munich doctor Rudolf Loher’s private collection of photographic equipment, and optical, mechanical, and photochemical technology laid the groundwork for the museum.

Our vision of the Photography Museum changed as the years went by. The Film Museum moved to new premises in 1977 and a separate organizational structure came into operation five years later. Martha Dreesbach (Director of the Müchner Stadtmuseum from 1969 to 1980) was keen for the Photography Museum to become a vibrant center of cultural creativity in photography. She sought to collect for photographic images attesting to the medium’s history and exploring contemporary developments. Our permanent exhibition charting the history of photographic technology has been complemented by pioneering special exhibitions, including a 1970 exhibition that held a mirror up to photography’s impact on painting, from the camera obscura to pop art. However, we had to wait until 1979 until we launched a full program of temporary exhibitions featuring regional and international photographers.

During the 1970s, the Collection became increasingly focused on photographic images themselves, especially after the acquisition, in 1977, of a collection created by photographer and Jewish emigrant Josef Breitenbach. In addition to a substantial body of Breitenbach’s own photography, the Collection acquired several hundred original works by internationally renowned photographers including Berenice Abbott, Robert Capa and André Kertesz. These now form the centerpiece of the Collection. Another key addition was the 1984 purchase of Uwe Scheid’s collection on the history of 19th century photography containing over 1,000 items. In 1985, the Franz Hanfstaengl Foundation was incorporated into the museum. Since then, the Photography Collection has grown to include more than 30 photographic archives, gifts and bequests, and special collections.