Developed countries of the world focused more and more on industry and growth, and art reflected this change by featuring hard-edged images of new buildings, airplanes and industrial landscapes. Adolf Fassbender, a 20th-century photographer who continued to make pictorial photographs well into the 1960s, believed that pictorialism is eternal because it is based upon beauty first. He wrote "There is no solution in trying to eradicate pictorialism for one would then have to destroy idealism, sentiment and all sense of art and beauty. There will always be pictorialism." One of the primary catalysts of pictorialism in Australia was John Kauffmann (1864–1942), who studied photographic chemistry and printing in London, Zurich and Vienna between 1889 and 1897. When he returned to his home country in 1897, he greatly influenced his colleagues by exhibiting what one newspaper called photographs that could be "mistaken for works of art." Over the next decade a core of photographer artists, including Harold Cazneaux, Frank Hurley, Cecil Bostock, Henri Mallard, Rose Simmonds and Olive Cotton, exhibited pictorial works at salons and exhibitions across the country and published their photos in the "Australian Photographic Journal" and the "Australasian Photo-Review". In 1891 the Club der Amateur Photographen in Wien (Vienna Amateur Photographers' Club) held the first International Exhibition of Photography in Vienna. The Club, founded by Carl Sma, Federico Mallmann and Charles Scolik, was founded to foster relationships with photographic groups in other countries. After Alfred Buschbeck became head of the club in 1893, it simplified its name to Wiener Camera-Klub (Vienna Camera Club) and began publishing a lavish magazine called "Wiener Photographische Blätter" that continued until 1898. It regularly featured articles from influential foreign photographers such as Alfred Stieglitz and Robert Demachy. As in other countries, opposing viewpoints engaged a wider range of photographers in defining what pictorialism meant. , and Heinrich Kühn formed an organization called Das Kleeblatt (The Trilfolium) expressly to increase the exchange of information with other organizations in other countries, especially, France, Germany and the United States. Initially a small, informal group, Das Kleeblatt increased it influence in the Wiener Camera-Klub through its international connections, and several other organizations promoting pictorialism were created in other cities throughout the region. As in other countries, interest in pictorialism faded after World War I, and eventually most of the Austrian organization slipped into obscurity during the 1920s.