1154:"After leaving Sweden, Steichen journeyed to Amsterdam. Following the success of the Stockholm meeting, similar gatherings were held in The Hague and in Amsterdam. Eva Besnyo (1910-2003), a Dutch photographer of Hungarian birth attended the meeting in Amsterdam. She remembers a large assembly at the studio of photographer Paul Huf (1924-2002). The meeting used the 'Stockholm protocol'; that is, photographers brought images, Steichen explained his plans for an exhibition on mankind and looked at photographs. Besides Besnyo, photographers present included Cas Oorthuys, Emmy Andriesse, Carl Blazer, Maria Austria, Ed van der Elsken, Henk Jonker and several others. Besnyo claims that most photographers did not dare bring too many of their photographs. However, photographer Ed van der Elsken (1925- 1990), whom she identified as the best of them all, brought practically his entire oeuvre. Steichen spent a large part of the evening looking at Van der Elsken's images, encouraging and advising the young photographer in his work. Elsken went on to enjoy a successful career; publishing several books of his work. Six Dutch photographers were included in The Family of Man exhibition, all of whom had attended the meeting at Paul Huf's studio." from Kristen Gresh (2005) The European roots of The Family of Man, History of Photography, 29:4, 331-343, DOI: 10.1080/03087298.2005.10442815
1183:"A good deal has been said about 'over-representation' of the 1960s and 1970s, calling it nostalgic and anachronistic radicalism. Some, however, rejoiced in its unflinching rejection of the art and culture that had become dominant as globalization intensified ... dX reached back to 1950 or even earlier, tracing and juxtaposing genealogies and individual interventions in photography, performance, installation, and videos, often cries-crossing genre boundaries. Interesting things happen to the work when a celebrated documentary photographer of the American Depression of the 1930s, Walker Evans, is seen in the same show as a contemporary Canadian photographer, Jeff Wall, who works with large, digitally constructed photographic narratives. The variety of work on display was striking: Helen Levitt, Aldo van Eyck, Maria Lassnig, Lygia Clark, Richard Hamilton, Marcel Broodthaers, Ed van der Elsken, Nancy Spero, Öyvind Fahlström, Garry Winogrand, Michelangelo Pistoletto, Robert Adams, Hélio Oiticica, James Coleman, Gordon Matta-Clark, Susanne Lafont, William Kentridge, Martin Walde, and many more." Miyoshi, M. 'Radical Art at Documenta X', in
1750:"Horak's selection of artists to exemplify the entangled relationship of film and photography is necessarily idiosyncratic. Rather than attempting an overview or comprehensive history, Horak opts for a close, circumscribed reading of the work of a few individuals who have traversed the two media throughout their careers. The artists selected, Chris Marker, Helmar Lerski, Paul Strand, László Moholy-Nagy, Helen Levitt, Robert Frank, Danny Lyon, and Ed van der Elsken, range from the renowned to the obscure, making the book at once invitingly familiar and provocatively broadening. The subjects of Making Images Move are defined as:
1723:"When Ed van der Elsken rages through Amsterdam's empty streets-those passages of film were shot in the very early morning and are run at high speed-the silence of the city is strikingThe morphology of the city is filmed. 'This is the décor of my film. My hunting ground.'" from Jansen, A. C. M.: The atmosphere of a city centre. In: Area, 16 (1984), p.147-151. Blackwell Publishing on behalf of The Royal Geographical Society (with the Institute of British Geographers)
1273:"In Paris, this kind of urban roaming was characteristic of Left Bank bohemianism, where the art of drifting was a favorite way of cultivating that feeling of being 'apart together' that Huizinga described as characteristic of play. A vivid record of this time and place is Ed van der Elsken's book of photographs, which recorded some of the favorite haunts of the lettrists". Andreotti, Libero. "Play-Tactics of the "Internationale Situationniste".
373:), who hangs out in bars in Saint Germain des Prés and dances wildly in the jazz cellars. However, it is unrequited love; for Ann, always surrounded by men, shows no interest in Manuel. After learning of her lesbian relationship with her girlfriend Geri, Manuel returns disappointed back to Mexico. At home, he receives a letter from Ann telling him that she and Geri have a venereal disease and that they suspect he also has it (
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1064:(A photographer films Amsterdam!) Working title: Amsterdams Peil (Amsterdam sounding). Production company: MMC Film BV. (Thijs Chanowski). Commissioned by: Ministry of Culture, Recreation and Social Welfare and the City of Amsterdam. Broadcast: June 29, 19B3 VPRO. Technical assistants: Anneke van der Elsken-Hilhorst, Klaas Beunder, Peter Hekma. Henk Meinema. 16mm, ECN, colour. Sound: optical 57’ 11″
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1606:"Before Van der Elsken's lens, the spirit is that of movement, interest, uncertainty. The girls and boys in Moineau's seem oblivious of anybody but themselves; their peers seem to await a response, to offer themselves to a future they do mot expect to make, to a history already judging them as deviants, anomalies, curios…The people in Moineau's seem to be having fun."
1754:. . photographers who ventured into the field of cinema without relinquishing their interest in photography Unlike many ... who only trained as photographers before moving more profitably into the field of moving pictures, these photographer/filmmakers have traveled across the borders of both media, learning from each mode of expression, wholly allegiant to neither"
1540:"The climax of van der Elsken's narrative comes first, but we only realise this when we reach the last image, which is a reiteration of the book's opening. Cleverly, this symmetry also means that the volume makes some kind of sense when the pages are flicked from back to front, which is the way that many people naturally ‘read’ photobooks"
1527:"It is also known that van der Elsken was secretly in love with Vali Myers, and followed her for two years with his camera into the most intimate places. Except for a brief romance, it never came to a relationship. Indeed she inspired him as a muse and model to make the roman-a-clef in Saint Germain des Prés." Suermondt, R. (2000)
1022:(What they're doing is a good thing): Een film van Memisa. Commissioned by: Memisa (Medical Mission Action). Broadcast: January 16, 1978 AVRO. Editing: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Sound recording: Anneke van der Elsken-Hilhorst. 16mm, colour (Super 8 original now lost). Sound: perfotape. 60’ 00″
1462:"The story is not exactly sophisticated, and van der Elsken's pictures are not such pure examples of stream-of-consciousness as some of his other work, but the book remains an important and influential early example of a genre that has become increasingly popular in the late twentieth century—the diaristic mode."
1788:"At the end of his film van der Elsken says goodbye to the audience: looking, talking, comforting, and leaving a word of advice: 'I stop now, I am taking leave. I am almost there. Keep it up, all of you. All the best. Make an effort. Show who you are. Bye.' " quoted from Marga Altena & Eric Venbrux in
1050:(Welcome to life, dear little one: the sequel). Broadcast: January 24. 1982 VPRQ. Sound recording: Anneke van der Elsken-Hilhorst. Technical assistants: Anneke van der Elsken-Hilhorst. William Vogeler, Klaas Beunder, Anton van de Koppel, Henk Meinema. 16mm, black-white and colour. Sound: perfotape. 38’ 45″
262:, photographed 1954 in Switzerland and Austria, published 1957) must also have been an influence on Van der Elsken and his decision to move from newspaper reportage to aim to become a magazine photojournalist. Consequently, much of his work documented his own energetic and eccentric life experience
1639:
Including Eliane Papaï (1935–?) and Jean-Michel
Mension (1934-2006) "(who) turned himself into a living poster and paraded through the streets of Saint-Germain-des-Prés with cryptic slogans scrawled up and down his pants...A few days later, Mension and Fred got drunk, streaked their hair with
531:
in
Amsterdam. This is an early example of cinema production with a small shoulder-mounted camera synced with sound. He continued in motion imagery his subjective stance in which the camera operator interacts live from behind the camera with subject, obviating the need for the intrusion of an
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censored mention of venereal disease, substituting a 'sanitised' ending, against Van der Elsken's wishes, in which
Roberto goes back to Mexico because he missed his mother's cooking!). She comforts him with the thought that he really belongs to the "gang". Partly autobiographical and partly
298:, tight frame cropping fragments of the faces of two women and a man who eyes others at an opening or event over his cigarette, and a male hand (possibly v. d. Elsken's) thrusting a wine glass into the foreground. It is likely his introduction to Steichen (who appears in the photographer's
1713:
Welkom In Het Leven, Lieve Kleine (Welcome to life, dear little one) 1963, broadcast: January 15, 1964 and
January 24, 1982 VPRO. Technical assistant: Gerda van der Elsken-van der Veen. 16 mm. black-white with sound: perfotape, partially post-synchronised. Running time: 36' 00" Repository:
1071:. Broadcast: January 27, 1991 VPRO. Camera: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Editing: Ulrike Mischke. Sound recording: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Technical assistant: Anneke van der Elsken-Hilhorst. video VHS-SP), colour and black-white. 1 hour 49″
1107:
Ata Kando (born
Budapest, 1913), the daughter of Hungarian parents, writer Margit G. Beke and Professor Imre Görög. She calls herself 'Ata' from her first name Etelka, and Kando is the name of her first husband, the painter Gyula Kando, with whom she left for Paris in 1932. Her commercial
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who can love only her own reflection. Then there are five pages of self-portraits by Ann/Myers; surrealistic charcoal drawings of her emaciated, opium-addicted body and compulsive self-destruction. Manuel's nightmare reaches a dramatic climax in the photo where Ann, her pale eyes closed,
150:), and alternative culture. He described his camera as 'infatuated', and said: "I'm not a journalist, an objective reporter, I'm a man with likes and dislikes". His style is subjective and emphases the seer over the seen; a photographic equivalent of first-person speech.
563:, where their son, John, was born. During this period he continued to travel and worked prodigiously between film and photography, producing a further 14 books and broadcasting more than 20 films with the collaboration and assistance of Hillhorst.
945:(The Infatuated Camera). Broadcast: June 24. 1971 VPRO. Camera: Ed van der Elsken. Gerda van der Elsken-van der Veen. Technical assistants: Gerda van der Elsken-van der Veen, Bert Nienhuis. 16mm, colour and black-white. Sound: optical. 42’ 50″
770:(Around the world with Ed van der Elsken) Year produced: ca. 1960, Camera: Ed van der Elsken, Gerda van der Elsken-van der Veen, Sound: sound track missing. Technical assistant: Gerda van der Elsken-van der Veen 16mm. black-white 38’ 18″
1163:
He also designed Ata Kandó's and
Violette Cornelius' untitled book of photographs of Hungarian refugees at the Austrian-Hungarian border fleeing the Russian invasion of Hungary in 1956, produced for the benefit of Hungarian
1098:. Other prominent photographers soon joined, all of whom played an important role in the resistance movement during the war. What united these photographers was not only their artistic vision, but a mutual social engagement
826:(Welcome to life, dear little one) Broadcast: January 15, 1964 and January 24, 1982, VPRO, Technical assistant: Gerda van der Elsken-van der Veen, 16mm. black-white, Sound: perfotape, partially post-synchronised, 36’ 00″
472:
The book was the first of some twenty Van der Elsken publications. It quickly sold out in Europe and the UK, and its filmic qualities led to Van der Elsken's subsequent experiments with, and parallel career in, cinema.
1300:"European...like Ed van der Elsken and Christer Strömholm, who became not only observers of, but also participants in, the worlds they depicted." Charrier, P. (2010). The Making of a Hunter: Moriyama Daidō 1966–1972.
1029:(Adventures in the countryside). Broadcast: March 30, 1980 VPRO. Editing: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Sound recording: Anneke van der Elsken-Hilhorst. Super 8, colour. Sound: perfotape. 78’ 41″
791:(About sailing) Commissioned by: Koninklijke Nederlandse Reders Vereniging (Royal Dutch Shipowners' Association) Technical assistant: Gerda van der Elsken-van der Veen, 16mm, black-white, Sound: optical, 19’ 55″
1792:
special issue: Living
Pictures, Reviving the Dead: Claiming Ritual and Identity through Posthumous Films. Published in cooperation with the Commission on Visual Anthropology. Volume 25, Issue 3, 2012, p.207
1108:
photographic career began as an assistant at Magnum immediately after the War. Later she photographed for Paris fashion houses and continued to do so after accompanying Van der Elsken to the
Netherlands.
385:(1958). Like his contemporary Van der Elsken he was a member of the Schrofer GKf, the Association of Practitioners of Applied Arts. Inspired by the medium of film Schrofer and Van der Elsken conceived a
354:
Van der Elsken initially put together a dummy of his text and images himself, but could not attract the interest of a publishing house. However, he succeeded with the renowned
British magazine
798:(Appel elm) Camera: Ed van der Elsken, Koen Wessing, Technical assistants: Johan van der Keuken. Gerda van der Elsken-van der Veen, Koen Wessing, 16mm, black-white, Sound: optical, 29’ 16″
952:, subtitle: Een portret van Vali Myers Broadcast: September 28, 1972 VPRO. Montage: Co van Harten, Sound recording: Bert Nienhuis. 16mm. colour. Sound: separate magnetic. 36’ 12″
170:, he learned stone-cutting at Amsterdam's Van Tetterode Steenhouwerij. After completing preliminary studies at the Instituut voor Kunstnijverheidsonderwijs, the predecessor of the
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fictional (Van der Elsken was attracted to the extravagant Vali Myers) a number of elements - such as Manuel's imprisonment - are drawn from accounts of the other bohemians.
924:(Waterlooplein disappears!) Broadcast: March B. 1967 in: Uit Bellevue. VARA. Sound recording: Gerda van der Elsken-van der Veen. 16mm. black-white. Sound: perfotape. 11’ 32″
444:
on a page. Photographs of the same act, like a boy and girl embracing each other in a bar, are repeated and interspersed. At the end of the book uninterrupted, mostly
199:, failing the final examination. He subsequently gained membership of the GKf (photographer's section of the Dutch federation of practitioners of the applied arts).
1377:, p.137. "Frank, who helped Steichen get in touch with European photographers in preparation for the exhibition, may have known Van der Elsken and introduced him."
1043:(Mr. Ed and the talking film). Broadcast: May 31. 1981 VPRO. Editing: Ed van der Elsken. Anneke van der Elsken-Hilhorst. Super 8, colour. Sound: perfotape. 74’ 31″
1805:. Essays: Thomas Honickel, Jan-Christopher Horak, Johan van der Keuken en Roel Bentz van den Berg Design: Barends & Pijnappel Antwerpen. Edam, Paradox (1997)
959:(Keep on playing...) Commissioned by: AVRO. Broadcast: October 28. 1972 AVRO. Sound recording: Gerda van der Veen. 16mm. colour. Sound: separate magnetic. 80’ 19″
195:. These encounters inspired his interest in photography and that year he took work in photo sales and attempted a correspondence course with the Fotovakschool in
1704:
Jan
Vrijman (text), Bagara, Amsterdam (De Bezige Bij) n.d. . Idem French, English, South African eds.; German ed.: Das echte Afrika, Hamburg (Hoffmann und Campe)
397:; the negative outcome of the love story is shown in the photo and the text on the first page, and what follows is a long flashback in which Manuel tells in
812:(Karel Appel, composer) Broadcast: shown in the Stedelijk Museum. Amsterdam, Technical assistant: Frits Weiland, 16mm, black-white, Sound: optical, 16’ 25″
1317:. v. 38 no 7, Mar. 2000, p. 104. An interview with Annelie Lutgens, curator of a comprehensive survey of the work of photographer Ed van der Elsken at the
519:), and to Tokyo and Hong Kong in 1959 to 1960, with Gerda van der Veen (1935–2006) also a photographer, whom he married (25 September 1957). He filmed for
421:
are used in the layout as Schrofer combines large, medium-sized and small images and also square and 3:2 format pictures (Van der Elsken photographed with
1991:
570:(1990, 1 hour 48 min, video, 16 mm film, colour and black & white) a characteristically courageous autobiographical response to his terminal
452:. Manuel, imprisoned for robbery, thinks only of Ann. In his first dream she poses, lost in thought, against a weathered wall, on which are the white
362:. The editors felt it necessary to inform the reader that these were pictures not from a movie, but a "real-life story about people who do exist".
278:. Thus his adopted family and their lives became the subjects of his photographs along with the people he met, during this Paris period, including
1850:
Stoffers, M. (2012). Cycling as heritage: Representing the history of cycling in the Netherlands. The Journal of Transport History, 33(1), 92-114.
1640:
peroxide, and stumbled through the quarter slapping female shoppers and picking fights with businessmen." Ed van der Elsken's caption in the book
1592:"A vivid record of this time and place is Ed van der Elsken's book..." Andreotti, Libero. "Play-Tactics of the "Internationale Situationniste".
381:
The book was accepted for publication thanks to the innovative layout of designer Jurriaan Schrofer, who later also designed Van der Elsken's
1625:
1551:
1497:
1473:
1439:
1015:(Tug-of-war). Commissioned by: Nederlandse Touwtrekkersbond. Technical assistant: Anneke van der Elsken-Hilhorst. .Super 8. colour. 14’ 45″
178:), he enrolled (in 1944) in the professional sculpture program, which he abandoned to escape Nazi forced labour. That year, after the
1956:
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1776:
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1342:
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1418:
Andrew Roth (editor); essays by Richard Benson ... ; catalogue by Vince Aletti, David Levi Strauss. New York: Roth Horowitz, 2001.
1801:
Filmography: Mireille de Putter, in Bas Vroege, Anneke van der Elsken-Hilhorst, Flip Bool Voorwoord: Flip Bool (eds. curators),
1986:
1981:
1886:
1395:
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interviewer or presenter, and recording the immediate experience. His style was immediately influential on the television of
146:
spanning the period of the Second World War into the nineteen-seventies in the realms of love, sex, art, music (particularly
239:(b. 1913 Budapest, Hungary), twelve years his senior, living with her three children among the 'ruffians' and bohemians of
1001:(The Prince Bernhard Fund helps) I, II, III. Commissioned by: Prins Bernhard Fonds. 35mm, colour. Sound: optical. 3’ 50″
497:
1406:
Schwabsky, Barry. Ed van der Elsken. The Photographers' Gallery, London. On Paper. v. 6 no2, Nov./Dec. 2001, p. 86.
598:
481:
1771:
Anderson, Steve . Making images move; photographers and avant-garde cinema . Smithsonian Institution Press, 1997.
283:
1259:
Koetzle, Hans-Michael & Adam, Hans-Christian, 1948- & Haus der Photographie (host institution.) (2011).
1087:
The GKf is a photographers association that was founded in 1945 by Cas Oorthuys, Emmy Andriesse, Eva Besnyö and
339:" ('Love on the left bank') published in 1956, and designed by Dutch graphic designer, sculptor and typographer
1291:(Past and Future) Journal Issue 2, 2003, pages 72-75. Budapest: Past and Future Publishing House (Múlt és Jövő)
516:
1566:
805:(Moving motion) Broadcast: shown in the Stedelijk Museum, Amsterdam 16mm, black-white, Sound: silent, 4’ 06″
777:(Hands), Broadcast: February 6. 1960, in Mensen kijken, VPRO, 16mm, black-white, Sound: perfotape, 4’ 43″
477:
398:
1318:
405:, of his experiences in Saint Germain des Prés. At the end of the book the first picture with the three
394:
220:
1976:
1971:
1653:
556:
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1941:
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76:
1088:
751:
1955: Documentary on the Centre Européen de Recherche Nucléaire in Geneva, VPRO (with Jan Vrijman)
537:
1242:
224:
1617:
1610:
819:, Broadcast: shown in the Stedelijk Museum, Amsterdam, 16mm, black-white, Sound: optical 10’ 00″
1214:
484:
at the cafe Chez Moineau. Twenty years later, the heroine, Vali Myers, re-appeared in his film
369:
used his real name, Robert). Manuel tells how in Paris he fell in love with the beautiful Ann (
246:
Ata was a principled documentarian whose pictures taken in the forests of the Amazon among the
1951:
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1547:
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late 1950s: Film about Van Gelders Paper Factory (badly underexposed). VPRO (with Jan Vrijman)
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340:
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275:
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896:(Proud Israel). Commissioned by: Willem Sandberg. 16mm, black-white. Sound: optical. 16’ 33″
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by British soldiers. Later, in 1947, he discovered American sensationalist photographer
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Van der Elsken's wife Gerda van der Veen before an exhibition by Van der Elsken in the
449:
208:
1965:
1246:
441:
402:
216:
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460:: 'Strike!'). On the following pages she appears to Manuel as pin-up and mysterious
294:". The latter photograph featured in the 'adult play' section of the show, and is a
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Martha P. Nochimson. 'Review of 'Making Images Move' By Jan-Christopher Horak'. in
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Steichen appears in a photo Van der Elsken photo took in a Paris cafe in 1953 in
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Amongst its pages can be found the faces not only of artists but also of nascent
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6×6). Close-ups of the faces of Ann and Manuel were blown up to the breadth of a
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512:, 1965, 14 min., black & white,). He separated from and divorced Ata Kando.
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868:(Waterlooplein demolition 2). 16mm and 35mm, black-white. Sound: silent. 2’ 36″
533:
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Photographic Memories: Private Pictures, Public Images, and American History
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tribes are her best known, but her more poetic leanings, exemplified in her
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1762:, Vol. 52, No. 4 (Summer, 1999), pp. 51-53. University of California Press
1429:
1313:
Dziewior, Yilmaz. Yilmaz Dziewior talks with Annelie Lutgens (interview).
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self-poisoned, floats in a steamy mirror, followed by a black blank page.
365:
The love interest in this unsophisticated tale is the Mexican boy Manuel (
1912:
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429:
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1 (Waterlooplein demolition 1). 35mm, black-white. Sound: silent. 5’ 45″
1947:
251:
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1416:
The book of 101 books: Seminal photographic books of the 20th century.
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973:(Animals in the countryside). 35mm, black-white. Sound: silent. 1’ 00″
882:(Demolition and construction).35mm. black-white. Sound: silent. 5’ 45″
903:
Broadcast: in Film '65, KRO. 16mm, black-white. Sound: silent. 7’ 48″
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1958: Safari Film commissioned by safari leader Menri Quintard (lost)
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613:
189:
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München Hirmer Hamburg Haus der Photographie, Deichtorhallen Hamburg
358:, which devoted a four-part series in 1954 to the imagery entitled
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Upon moving back to Amsterdam in 1955, he recorded members of the
422:
410:
240:
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he was stationed in a mine-disposal unit where he was first shown
1145:. Edited with text by Anthon Beeke. Amsterdam, Bert Bakker, 1981.
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of their second child, Daan, in the old-fashioned, working-class
1434:. Huygen, Frederique, Shaughnessy, Adrian, Brook, Tony. London.
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Hit & Run. Ed van der Elsken fotografeert het Philips NatLab
147:
102:
343:(1926–1990), is recognised as a particular contribution to the
1803:
Leve ik! Ed van der Elsken- Foto & Film Essays Filmografie
910:("Steptoe and Son"). 35mm, black-white. Sound: silent. 2’ 48″
313:(1930–2003) who became the haunting kohl-eyed heroine of his
1388:
The Dutch Photobook: A Thematic Selection from 1945 Onwards.
840:(Margins of life). 16mm, black-white, Sound: silent. 28’ 16″
351:(photonovel), an essentially self-reflexive European genre.
833:(little darlings) 16mm, black-white, Sound: silent, 10’ 58″
142:, intimate and autobiographic perspectives on the European
1612:
Lipstick traces: A secret history of the twentieth century
917:(The dockworker). 35mm, black-white. Sound: silent. 0’ 44″
235:. There he met (and in 1954 married) fellow photographer
754:
late 1950s: Traffic Safety Film, VPRO (with Jan Vrijman)
1431:
Jurriaan Schrofer (1926-90) : restless typographer
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Kandó, Ata; Sándor, Anna; Interview with Ata Kandó in
966:(Horse's life) 16mm. colour. Sound: perfotape. 8’ 08″
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From 1971 he lived with his third wife, photographer
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He then traveled extensively, to Bagara 1957 (now in
440:, while small photos are aligned in film strips like
1008:(Ditch jumping). 35mm. colour. Sound: silent. 0’ 43″
875:. 16mm and 35mm, black-white. Sound: silent. 13’ 59″
1779:. Film Quarterly. v. 52 no4, Summer 1999, p. 53-4.
1492:, Phaidon (published 2004), p. 236 & 245,
1121:by Jacqueline van Ommeren. (English translation of
889:(Cycling) 16mm. black-white. Sound: silent. 10’ 35″
306:who scouted European exhibitors for the MoMA show.
108:
94:
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1215:"The Making of a Hunter: Moriyama Daidō 1966–1972"
980:(Shot-putter). 35mm, colour. Sound: silent. 1’ 05″
938:(Jumping man and woman). 35mm, black-white. 1' 38″
1596:, Vol. 9 (Winter, 2000), pp. 36-58: The MIT Press
1277:, Vol. 9 (Winter, 2000), pp. 36-58: The MIT Press
1261:Eyes on Paris: Paris im Fotobuch, 1890 bis heute.
607:Een liefdesgeschiedenis in Saint Germain des Prés
337:Een liefdesgeschiedenis in Saint-Germain-des-Prés
321:Een liefdesgeschiedenis in Saint-Germain-des-Prés
323:(1956; its English-language version was titled
158:Ed van der Elsken was born on 10 March 1925 in
127:(10 March 1925 – 28 December 1990) was a Dutch
854:, 16mm, black-white. Sound: perfotape. 12’ 11″
508:, 1961, 16 min., 16mm, black & white, and
1542:Parr, Martin; Badger, Gerry (December 2004),
1488:Parr, Martin; Badger, Gerry (December 2004),
1464:Parr, Martin; Badger, Gerry (December 2004),
8:
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847:, 16mm, black-white. Sound: silent. 40’ 38″
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1203:. v. 38 no7, Mar. 2000, pp. 98-103, 105-7.
1143:Ed van der Elsken: Parijs Foto's—1950–1954
215:. He was employed in the darkrooms of the
29:
18:
1546:, Phaidon (published 2004), p. 245,
1468:, Phaidon (published 2004), p. 245,
1390:Distributed Art Pub Incorporated, 2012.
1386:Gierstberg, F. and Suermondt, R. (2012)
1057:. 16mm, colour. Sound: perfotape. 4’ 00″
901:Oberhausenxie Westdeutsche Kurzfilmtage.
282:who used eighteen of the photographer's
207:At the suggestion of Dutch photographer
1199:Aletti, Vince. Cafe noir (biography).
1187:I/228, March–April 1998. London: Verso.
1176:
1080:
1321:, Wolfsburg, Germany, from March 2000.
115:, Gerda van der Veen, Anneke Hillhorst
1616:, Harvard University Press, pp.
1048:Welkom in het leven, lieve kleine Bis
1036:. 16mm, colour. Sound: silent. 2’ 42″
994:. 16mm, colour. Sound: silent. 8’ 52″
987:. 35mm, colour. Sound: silent. 0’ 32″
931:. 35mm, colour. Sound: silent. 3’ 39″
7:
1331:Elsken, Ed van der (Eduard) (1981).
768:Rond De Wereld Met Ed van der Elsken
699:Jong Nederland 'Adorabele rotzakken'
1119:Soundmaking, magic and personality
633:de Jong & van Dam NV 1912-1962
492:Amsterdam and international travel
14:
1957:Ed van der Elsken - Galerie f 5,6
1654:"Death in the Port Jackson Hotel"
1531:, January/February 2000, pp 20-25
1518:, January/February 2000, pp 20-25
1123:Bevrijd de dommen van hun domheid
824:Welkom in het leven, lieve kleine
763:1959-60: Travelogues, AVRO (lost)
521:Welkom In Het Leven, Lieve Kleine
219:photography agency, printing for
1992:20th-century Dutch photographers
1544:The photobook: A history. vol. 1
1490:The photobook: A history. vol. 1
1466:The photobook: A history. vol. 1
784:16mm, black-white, silent 4’ 00″
669:Amsterdam! Oude foto's 1947-1970
657:Zomaar een sloot ergens bij Edam
448:, pictures are assembled into a
211:(1914–1953) he moved in 1950 to
1213:Charrier, Philip (2010-07-12).
950:Death In The Port Jackson Hotel
645:Wereldreis in foto's vier delen
577:He died on 28 December 1990 in
559:(1949 - ), in the country near
486:Death in the Port Jackson Hotel
286:images in a survey show (1953)
166:. In 1937, wanting to become a
1041:Mister Ed En De Sprekende Film
999:Het Prins Bernhard Fonds Helpt
873:Afbraakwaterloopleincrazyscope
1:
1062:Een fotograaf filmt Amsterdam
488:(1971, 36 min. 16mm colour).
1567:"Films by Ed van der Elsken"
1125:). Amsterdam: Rodopi, 1979.
1020:Het Is Niet Mis Wat Zij Doen
417:, medium shots with wide or
360:Why did Roberto leave Paris?
288:Postwar European Photography
223:(who was impressed with his
922:Het Waterlooplein Verdwijnt
309:Another encounter was with
2008:
1680:"Karel Appel & Dylaby"
693:San-jeruman-de-pure no koi
599:Stedelijk Museum Amsterdam
1231:10.1080/03087290903361431
1117:see her illustrations in
1034:Cameratest van der Elsken
28:
681:Parijs! Foto's 1950-1954
517:Central African Republic
300:Parijs! : 1950-1954
266:, presaging the work of
35:Ed van der Elsken (1988)
1887:"Avonturen op het land"
1334:Parijs : 1950-1954
936:Springende Man En Vrouw
711:De ontdekking van Japan
498:Dutch avant garde COBRA
1987:Dutch cinematographers
1982:Artists from Amsterdam
1757:
1756:
1608:Marcus, Greil (1989),
1315:Artforum International
1302:History of Photography
1219:History of Photography
1201:Artforum International
866:Afbraakwaterlooplein 2
810:Karel Appel, componist
602:
506:Karel Appel, componist
504:whom he later filmed (
478:Lettrist International
393:elements, such as the
389:applying all sorts of
284:Saint-Germain-des-Prés
1861:"De verliefde camera"
1752:
1748:
1514:Suermondt, R. (2000)
1337:. Amsterdam: Bakker.
1319:Kunstmuseum Wolfsburg
1027:Avonturen Op Het Land
838:Grenzen Van Het Leven
675:Avonturen op het land
596:
456:'rêve' (cropped from
331:Love on the Left Bank
325:Love on the left bank
221:Henri Cartier-Bresson
138:His imagery provides
1737:Cinema and modernity
1428:Schrofer, Jurriaan.
859:Afbraakwaterlooplein
1790:Visual Anthropology
943:De Verliefde Camera
243:from 1950 to 1954.
1944:(official website)
1739:. Rutgers Univ Pr.
971:Dleren Op Het Land
603:
566:His last film was
413:. Combinations of
401:, in the text and
225:street photography
16:Dutch photographer
1948:Ed van der Elsken
1942:Ed van der Elsken
1919:. 5 December 2023
1893:. 5 December 2023
1867:. 5 December 2023
1832:. 5 December 2023
1686:. 5 December 2023
1660:. 5 December 2023
1627:978-0-674-53581-7
1573:. 4 December 2023
1553:978-0-7148-4285-1
1499:978-0-7148-4285-1
1475:978-0-7148-4285-1
1441:978-0-9562071-8-0
1304:, 34(3), 268-290.
1055:World Press Photo
908:Stiefbeen En Zoon
341:Jurriaan Schrofer
292:The Family of Man
276:Wolfgang Tillmans
260:Dream in the Wood
256:Droom in het Woud
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547:and others.
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480:members and
475:
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462:femme fatale
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407:protagonists
399:first person
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316:roman à clef
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264:subjectively
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185:Picture Post
183:
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129:photographer
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71:(1990-12-28)
1977:1990 deaths
1972:1925 births
1092: [
1013:Touwtrekken
964:Paardeleven
929:Orldwturmac
647:(1967–1968)
583:Netherlands
541: [
534:Hans Keller
510:De Appeliep
502:Karel Appel
296:chiaroscuro
268:Larry Clark
229:Robert Capa
164:Netherlands
99:Photography
85:Nationality
59:Netherlands
1966:Categories
1923:7 December
1897:7 December
1871:7 December
1836:7 December
1690:7 December
1664:7 December
1577:7 December
1396:1597112003
1365:Kroes, R.
1171:References
831:Lieverdjes
782:Homemovies
639:Sweet life
551:Later life
529:Nieuwmarkt
466:narcissist
446:full-bleed
434:Rolleicord
371:Vali Myers
349:beeldroman
311:Vali Myers
302:) was via
272:Nan Goldin
233:Ernst Haas
193:Naked City
154:Early life
47:1925-03-10
1450:830879776
1247:192047349
1239:0308-7298
1164:children.
985:Tom Ükker
789:Van Varen
731:Hong Kong
525:homebirth
415:close-ups
395:flashback
391:cinematic
345:photobook
237:Ata Kandó
176:Mart Stam
160:Amsterdam
144:zeitgeist
140:quotidian
133:filmmaker
113:Ata Kandó
109:Spouse(s)
55:Amsterdam
1735:(2006).
1618:352, 354
1353:63380557
574:cancer.
572:prostate
454:graffiti
403:captions
197:Den Haag
190:Weegee's
168:sculptor
1594:October
1275:October
887:Fietsen
845:Spinoza
581:in the
252:Yekuana
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347:; the
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217:Magnum
174:(dir.
122:Eduard
1913:"Bye"
1826:"Bye"
1243:S2CID
1096:]
1076:Notes
815:1962
808:1961
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744:Films
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458:grève
427:Leica
423:Nikon
241:Paris
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89:Dutch
1952:IMDb
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523:the
464:, a
430:35mm
425:and
419:long
250:and
231:and
148:jazz
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103:film
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