Heinrich Heidersberger (1906-2006) was a photographer. Just like his medium of choice, which gradually changed from a medium of documentation into an independent medium of art during the course of the 20th century and was marked by introspection well into the 1970s, he, as an artist, continually called his work into question, transcended the technical restrictions with inventiveness and skill and openly examined the conflict of free and artistic work in his body of work.
He devoted himself to the claim of embracing a new, contemporary way of looking at things early on in his work. Some very early impulses undoubtedly date back to the time he spent in Paris. From 1928 to 1931, he studied painting there and experienced what he termed as a "sign of fate" when he purchased a used wooden camera at the Marché aux Puces, which later led him to discover the world of photography.
Heidersberger's efforts to convey contemporary expression are also testimony to the vision of the modern arts to unite function and aesthetics, economic, technical and social aspects. Heidersberger never withdrew to an elitist, artistic position that is ultimately without consequences. He decided in favor of a picture language and practice that utilized the new technical opportunities available and actively shaped them as well. Consequently, he has earned the title of master of the modern age par excellence.