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449:'Well he doesn't know much, but I think we can do something with him.' I was allowed to hang around the office to see the way photographers worked and what they thought of the world and I realised that what they were doing was not just descriptive pictures of wherever they were. They were making a comment on what it was they were looking at. They were saying: I've been here and I've looked at that and that's what I think about it.
236:'Socially, I am moving in new circles, away from the Polish gang. I am more among photographers, thinking people, interested in the same problems as myself. However, I feel a stranger and I am missing the "togetherness" ' of our Polish bunch. I met a German girl, who became quite prominent in the French press and she feels as I do. We are trying to organise some kind of association of revolutionary-minded photographers ..."
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return for covering three assignments a week, of which 500 francs were used for expenses. With the 1,200 francs a month Eisner was paying Gerda, the couple had at last a modest income though they had to work hard; early in April André wrote to his mother that, "In the past four weeks I haven't slept more than five hours a night. We get up early and run around all day, and at night we manufacture an article."
396:; the only one with any previous experience in such a venture. She was crucial to its success, bringing essential skills in organising and marketing the work of multiple photographers, and responsible for establishing the archives and working methods in the offices, including the use of contact sheets.
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Of Eisner's subsequent life, little is recorded though it is clear that she and her husband shared an interest in art and photography; Wheeler notes that "the modest
Lehfeldt home...was filled with art and culture and rare books and original paintings and photographs. The collection included original
448:
Smiling at me was this nice lady who turned out to be Maria Eisner and who spoke to me in this lovely Berlin accent, so I knew I was speaking to a fellow German and fellow refugee and we began chatting. I told her I was a photographer and was interested in Magnum and then I met Capa who said to Maria
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After their departure Eisner, having had great success of the Paris office, was asked to take over as president, and being engaged to Hans
Lehfeldt a doctor living in the United States, she immediately accepted and Magnum Photos' Paris office retained her large, fourth-floor apartment at 125 Rue du
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In earlier agencies, photographers would lose the rights to pictures sold to magazines or newspapers, and often had to hand over the negatives as well. At
Alliance Photo, Eisner established an indexing system for the long-term conservation of, and credit for, its photographers' pictures. Consequently
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and his wife, Rita, to establish Magnum Photos, Inc. Though Henri
Cartier-Bresson, David ââChimââ Seymour, and George Rodger were not told of the meeting, they were nevertheless made Magnum's vice-presidents. On a detour to Paris, Seymour received Eisner's telegram: "You are Vice President of Magnum
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sold pictures for
Alliance Photo then started working for the agency as a photographer, and introduced the fictitious American Capa (Endre Friedmann's pseudonym) to Alliance in the hope of higher royalties, but Eisner recognised his imagery and offered him a lower monthly advance of 1,100 francs in
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Eisner's particularity was to propose subjects to the editors without waiting for their request and she also promoted her photographers as authors, demanding that their shots be credited in a by-line. To meet the quotidian interests of the press, it used photographers who recorded current events;
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The seven members became the original shareholders of Magnum which was to have offices in New York and Paris, to be run respectively by their new president, Rita
Vandivert for which she was paid $ 8,000 a year, and Eisner was appointed secretary and treasurer and head of the Paris âofficeâ, on $
453:
Eisner became the second wife of gynaecologist Hans Max Julius
Lehfeldt, M.D. in 1949 and moved to New York in 1949 as the agency's president. Whelan records her unease with Capa's anarchic management style, at odds with her own organisation, and his ready borrowing of money from the agency,
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Faubourg St.-Honoré, convenient to Capa's rooms at the Hotel
Lancaster, so that he could use the office to make phone calls and dictate copy for his photo-stories. In New York, the office building was moved to West 4th Street, between Fifth and Sixth Avenues, smaller, but close to the
318:. Images from Alliance Photo were also distributed internationally and published in the United States, Great Britain, Switzerland, Belgium and the Netherlands due to Eisner sales prowess, her fluency in four languages, and her contacts abroad with agencies such as
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Alliance Photo started initially at Eisner's apartment in 26 rue de la PĂ©piniĂšre and brought together Eisner's friends from Studio Zuber operated by RenĂ© Zuber who worked for Ătienne Damour's advertising agency from 1929 to 1932, contributing to the magazine
355:(1937â1938) and photographers from Alliance Photo, particularly Verger and Zuber, took on a formal dimension through the design of the new rooms at the museum in which modern photographs showed the objects of anthropological interest in context and in use.
30:
379:. where she spent the end of the Second World War. The agency she founded was re-established after the war as A.D.E.P. (Agence de documentation et dâĂ©dition photographiques) run by Suzanne and Pierre Boucher, closing in 1959.
474:, briefly returned from Africa, to tell her she was to be dismissed and to arrange her severance pay. Capa took over as president in July that year, but soon found office work tedious and handed the management to Rodger.
423:
4,000 a year, at 125 rue du
Faubourg St Honore, from where she had run Alliance before the war. In New York it operated from the Vandivertsâ small office and darkroom in a brownstone on Eighth Street in
363:
Alliance Photo ceased its activities at the end of the autumn of 1939, as Eisner, a Jew, had to flee Paris at the time of the occupation. Considered a German ally, she was interned in June 1940 in the
127:
Maria Eisner (born Marie-Jeanne Eisner) was the daughter of Emma (née
Lederer) and Alfred Eisner, a merchant. Her Jewish parents had emigrated to the USA in 1886, were naturalised 1891, lived in
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From the 1920s, photographers from Germany, but also Hungary, took refuge in Paris, at the same time as the appearance of photographic magazines with a large circulation. The German group
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the agency's photographers enjoyed a growing reputation both inside and outside France with Verger, Boucher, Feher and Zuber participating in an exposition
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for Magnum. She became pregnant with her son Richard in 1951. Capa regarded her impending motherhood as a distraction from her work and delegated
440:, where later, Capa liked to lunch. When in 1950 a merger was proposed with the New York agency Scope, Eisner balked and the idea was shelved.
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in mid 1934, which lasted only a few months, then decided to put her experience in the illustrated press at the service of photographers.
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111:(Maria Eisner Lehfeldt; February 8, 1909, in Milan, Italy – March 8, 1991, in New York, New York) was an Italian-American
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The collective was officially registered in 13 December 1935, and eventually settled at 125 rue du Faubourg St Honoré.
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Mauuarin, Anais (2022). "Photographers in the Museum: French Anthropology and the Aesthetics of Images (1930-1950".
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In 1933 Eisner was Simon Guttmann's representative in Paris, which she continued after the inception, with
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Vowinckel, Annette (2013). "German (Jewish) Photojournalists in Exile: A Story of Networks and Success".
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Gunther, Thomas Michael (1996). "Alliance Photo: agence photographique (Paris 1934-1940 et 1944-1946)".
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Bertelli, Linda; Ghezzi, A. (2022). "Decostruire Gerda Taro: Le Immagini, Le Tracce Storiche, Il Mito".
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Photos. Detailed letter sent to Paris on May 22nd. I will soon have interesting assignments for you."
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Eisner studied in Germany and worked for the illustrated press from the age of twenty, was trained by
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502:. An extraordinary group of photographs, several by Cartier-Bresson, included one of... Maria."
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811:. Marina Tamar Budhos (First ed.). New York: Henry Holt & Company. pp. 20â1.
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Eyes of the world: Robert Capa, Gerda Taro, and the invention of modern photojournalism
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in 1932 to France where before the War she contributed photography to such journals as
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679:. Patricia D'. Oreye, Robert Capa, Magnum Photos. Gent-Kortrijk: Snoeck. p. 154.
147:(Deutsche Photo Dienst), and her imagery attracted clients including Berlin publisher
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232:'Chim' Seymour mentions 'a German girl,' who is Eisner, in one of his letters home;
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particularly that of Cartier-Bresson then operating independently in the East.
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La photographie humaniste : 1930-1960, histoire d'un mouvement en France
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Breuille, Jean-Philippe; Chiesa, Pierre (1996). Guillemot, Michel (ed.).
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Italian-American photographer, photo editor and photo agent (1909â1991)
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1208:(First paperback compact ed.). London: W. W. Norten. p. 11.
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who were all recruited for Eisner's new agency. Suzanne Laroche and
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209:, then had opened his own photographic studio, rue Vernier with
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The decisive network Magnum Photos and the postwar image market
131:, then briefly in Milan in 1896 where Maria was born in 1909.
115:, photo editor and photo agent. She was one of the founders of
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David 'Chim' Seymour : Searching for the Light. 1911-1956
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recalled his first encounter with Eisner at the Magnum office;
727:(1st American ed.). New York: Grove Press. p. 25.
339:, and Bellon, Boucher, Feher and Verger being invited by
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Get the picture: a personal history of photojournalism
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Histoire de l'agence Magnum: l'art d'ĂȘtre photographe
351:. Through Eisner's diligence, collaboration with the
260:. It was Alliance Photo which in 1936 contributed to
1277:"Hans Lehfeldt, M.D. October 28, 1899-June 18, 1993"
644:(paperback ed.). Paris: Larousse. p. 28.
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895:. : EncyclopĂ©dies Bordas. 1989â2001. p. 211.
143:, head of the very successful Berlin-based agency
724:Magnum: fifty years at the front line of history
509:aged 82 years, survived by her husband and son.
427:. Bill and Rita Vandivert left Magnum in 1948.
603:Alliance Photo, agence photographique 1934-1940
1317:Encyclopedia of twentieth-century photography
8:
607:BibliothĂšque historique de la Ville de Paris
1126:: CS1 maint: location missing publisher (
1039:: CS1 maint: location missing publisher (
973:(in French). Paris: Larousse. p. 27.
790:: CS1 maint: location missing publisher (
119:, and the first head of its Paris office.
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1350:"Maria Eisner Lehfeldt, Photo Editor, 82"
1180:(3): 290â302 – via ÄlĂĄnky Articles.
861:. Lincoln: University of Nebraska Press.
371:. Liberated in August, she transited via
35:Maria Eisner photographed in New York by
1060:. Chicago: University of Chicago Press.
601:Thomas Michael Gunther, Marie de Thézy,
505:She died on 8 March 1991 at her home in
256:and a few others including the Japanese
1320:. New York: Routledge. pp. 994â5.
762:. Bart Vautour. Ottawa . pp. n.p.
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322:in New York or ABC-Press in Amsterdam.
1420:Italian emigrants to the United States
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927:Thézy, Marie de; Nori, Claude (1992).
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1425:20th-century American women artists
1275:Wheeler, Connie Christine (1993).
392:Eisner was one of the founders of
284:, Alliance Photo clients included
175:, based in England, among others.
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1435:20th-century French photographers
759:This time a better earth: a novel
933:(in French). Paris: Contrejour.
842:Predella. Journal of Visual Arts
155:France and Alliance Photo agency
609:, 1988-1989. Paris: BHVP, 1988.
272:apparently felled by a bullet.
621:"Le premier frisson d'automne"
266:famous photograph of a fighter
1:
1385:Obituary (The New York Times)
1191:Obituary (The New York Times)
673:Carneroli, Sandrine (2011).
407:in New York with Eisner and
1415:Italian women photographers
1314:Warren, Lynne, ed. (2006).
1281:The Journal of Sex Research
1141:Maillard, Fabienne (2007).
619:Eisner (1 September 1934).
462:Eisner recruited the Swiss
349:Museum of Modern Art (MoMA)
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1465:German women photographers
1092:Bouveresse, Clara (2017).
290:Arts et MĂ©tiers graphiques
1293:10.1080/00224499309551713
676:Robert Capa, a look ahead
326:Innovation and reputation
200:Foundation and membership
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1410:Photographers from Milan
1202:Lubben, Kristen (2017).
1054:Morris, John G. (2002).
970:Dictionnaire de la photo
858:Robert Capa: a biography
855:Whelan, Richard (1994).
721:Miller, Russell (1998).
641:Dictionnaire de la photo
280:As well as the magazine
1430:French photojournalists
1237:Naggar, Carole (2022).
1159:10.3406/hista.2007.3183
1011:. Oakland, California.
1450:American women editors
892:MĂ©moires du XXe siĂšcle
805:Aronson, Marc (2017).
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1205:Magnum contact sheets
586:10.1093/gerhis/ght061
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345:Photography 1837-1938
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37:Henri Cartier-Bresson
1460:French women editors
1005:Bair, Nadya (2020).
405:Museum of Modern Art
337:Maison de la Culture
844:(52): 23â65, XIIâL.
756:Allan, Ted (2015).
545:"Maria E. Lehfeldt"
375:to emigrate to the
335:, organised by the
240:From October 1935,
49:Marie-Jeanne Eisner
1354:The New York Times
343:to participate in
333:Affiche Photo Typo
229:soon joined them.
213:, Pierre Boucher,
1327:978-1-57958-393-4
1250:978-3-11-070634-5
1215:978-0-500-29291-4
1147:Histoire de l'art
1105:978-2-08-139967-9
1018:978-0-520-97179-0
818:978-0-8050-9835-8
769:978-0-7766-2165-4
551:. 8 February 1909
466:and the American
425:Greenwich Village
299:Le Monde illustré
270:Spanish Civil War
227:Juliette Lasserre
221:, René Zuber and
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1394:Categories
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320:Black Star
294:Fiat Revue
242:Gerda Taro
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