VIENNA.- The Albertina Modern has opened its doors to a captivating new exhibition, "True Colors: Color in Photography from 1849 to 1955," offering a rare glimpse into the complex and often surprising journey of how color entered the world of photography. The exhibition draws from the Albertina’s rich photography collection, including the historical holdings of the Higher Federal Teaching and Research Institute for Graphics, showcasing a unique array of historical images and techniques.

Long before the ubiquitous digital color of today, photographers and scientists grappled with capturing the world in its vibrant hues. "True Colors" meticulously charts this evolution, beginning with hand-colored daguerreotypes and salt prints from the mid-19th century. These early, often painstakingly applied tints demonstrate the initial yearning for color in the photographic medium. The exhibition highlights the chromatic diversity achieved through these early methods, including the use of pigment papers and toning baths.

A particular highlight of the exhibition is the display of rare examples of Gabriel Lippmann’s 1891 interference color process. These stunning, luminous images, based on the principle of standing light waves, are a testament to early scientific ingenuity and represent a pivotal moment in direct color photography. The exhibition text explains the intricate physics behind this process, comparing it to the colorful reflections seen in soap bubbles.

"True Colors" doesn't shy away from the technical complexities of early color photography. It delves into the development of orthochromatic and panchromatic plates, explaining how these advancements in light sensitivity were crucial for accurate color representation. The exhibition also explores the world of photomechanical color printing, showcasing the intricate processes used to create color reproductions in books and publications. Examples include stunning plates from "Le Trésor artistique de la France" and "Orientalische Teppiche," demonstrating the artistry and craftsmanship involved.

The exhibition then moves on to the groundbreaking invention of the Autochrome process by the Lumière brothers in 1907. This commercially successful method, using a mosaic of dyed starch grains, made color photography accessible to a wider audience, revolutionizing amateur photography and image culture. The exhibition also acknowledges other contemporary raster processes, while emphasizing the Autochrome's dominance.

The journey towards modern color photography continues with an examination of three-color processes, which utilized separate black and white images taken through colored filters. The exhibition elucidates the complex process of creating color prints from these negatives, including the use of matrices and dyes. The meticulous nature of these techniques, along with examples like a still life showcasing the various stages of the process, underscores the dedication of early color photographers.

Finally, "True Colors" culminates with the advent of modern multi-layered color film in the mid-1930s, developed by companies like Kodak and Agfa. The exhibition acknowledges the impact of World War II on the widespread adoption of these new technologies, but ultimately emphasizes the revolutionary impact of these advancements on photography. The exhibition concludes with examples of high-quality, albeit expensive, processes like Duxochrom and Dye-Transfer, often used in commercial photography, highlighting the work of Viennese photographers like Arthur Benda and Hans Madensky.

Curated by Dr. Anna Hanreich and Dr. Astrid Mahler, "True Colors" is not just a historical overview; it’s an exploration of artistic vision, scientific innovation, and the enduring human desire to capture the world in all its colorful splendor. This exhibition offers a unique opportunity to understand the evolution of color photography and its lasting impact on how we see the world. Visitors to the Albertina Modern are encouraged to explore this fascinating chapter in the history of photography.