In today's article, we want to talk about Samuel von Fischer and its impact on our lives. Samuel von Fischer is a topic that has generated interest and debate in different sectors of society, from its influence on the economy and politics to its relationship with technology and culture. In recent years, Samuel von Fischer has taken center stage in the media and on the public agenda, generating a series of reflections and analyzes on its short- and long-term repercussions. Therefore, in this article we will explore different aspects related to Samuel von Fischer, from its history and evolution to its possible future implications.
![]() | You can help expand this article with text translated from the corresponding article in German. (February 2009) Click for important translation instructions.
|
Samuel Fischer, later Samuel von Fischer (24 December 1859 – 15 October 1934), was a Hungarian-born German publisher, the founder of S. Fischer Verlag.
Fischer was born in Liptau-Sankt-Nikolaus/Liptószentmiklós (now Liptovský Mikuláš), northern Hungary. After training as a bookseller in Vienna; Fisher moved to Berlin where he joined the bookseller and publisher Hugo Steinitz. Fischer took on increasing responsibility for new publishing endeavours and launched his own firm in 1886, the S. Fischer Verlag.
The Fischer publishing house first became known by introducing the works of Ibsen to German stages and by supporting the naturalist circle in Berlin. Samuel Fischer founded the theatre society Freie Bühne with Otto Brahm to avoid censorship.
Fischer collected artworks, including Pissarro's La Quai Malaquai, Printemps,[1] Cézanne's Still Life with Commode,[2] Max Liebermann's Two Riders on the Beach to the left [3] and El Greco's "Veil of Veronica".
When the Nazis came to power in Germany in 1933, Fischer and his family were persecuted because of their Jewish heritage. The S. Fischer Verlag was "Aryanized", that is, transferred to non-Jews.[4]
Fischer died in Berlin, Germany in 1934. He was survived by his wife Hedwig, and his children. His granddaughter was the actress Gisela Fischer. Restitution claims for property seized by the Nazis or lost through forced or duress sales were filed by his heirs.[5]
The tale of the recovered Pissarro begins with Samuel Fischer, a prolific art collector and founder of the renowned German publishing house S. Fischer Verlag – which counted Thomas Mann and Herman Hesse among its most famous authors – who purchased the painting in 1907.