Complete set of 15 Monographs on Dutch photographers, NEW, directly from the publisher.
Including rare copies of Eva Besnyö, Paul Citroen and Jacob Olie Jbz, not available as separate copies. Please look at our other books.
A few books are not in plastic and might have some slight storage damage to the dust jacket.
1 Sannes
Title:
Sanne Sannes [1937-1967]
Monografieën van Nederlandse fotografen, 1 van 15
Monographs on Dutch photographers, 1 of 15
Author:
Cécile van der Harten, Gerard van Westerloo,
Edited by:
Flip Bool, Willem Diepraam, Mariëtte Haveman, Adi Martis
Year of publication:
1993
ISBN:
978 9065790 54 5
Publisher:
Fragment Uitgeverij / Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 50 photographs
Dimensions:
24,5 x 32,5 cm
Pages:
144
Weight:
1260 g
Condition:
new
Monografie Sanne Sannes [1937-1967]
Toen Sanne Sannes in 1967 plotseling overleed, was hij in Nederland een toonaangevend fotograaf en stond op het punt internationaal door te breken— ook al was hij als fotograaf en filmer slechts acht jaar actief. Sannes’ centrale thema is ‘de vrouw’. Variërend van heks tot heilige verbeelden deze vrouwen emotionele momenten. Hij zocht naar een nieuwe beeldtaal en vond deze in de combinatie van foto en film. Hij monteerde zijn beelden en bepaalde daardoor de sfeer en de samenhang.
Monograph Sanne Sannes [1937-1967]
When Sanne Sannes suddenly died in 1967, he was a leading photographer in the Netherlands and was about to break through internationally, even though he was active as a photographer and filmmaker for only eight years. Sannes' central theme is 'the woman'. Ranging from witch to saint, these women depict emotional moments. He looked for a new visual language and found it in the combination of photo and film. He assembled his images and determined the atmosphere and the coherence.
2 Wessing
Title:
Koen Wessing
Monografieën van Nederlandse fotografen, 2 van 15
Monographs on Dutch photographers, 2 of 15
Author:
Pauline Terreehorst, Tineke de Ruiter
Edited by:
Flip Bool, Willem Diepraam, Mariëtte Haveman, Adi Martis
Year of publication:
1993
ISBN:
9789065790538
Publisher:
Fragment Uitgeverij / Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 100 duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
176
Weight:
1345 g
Condition:
new
Monografie Koen Wessing
Koen Wessing is een van Nederlands beste documentaire fotografen. In de jaren zestig en zeventig fotografeerde hij politieke en maatschappelijke gebeurtenissen in Europa en Latijns-Amerika. In de jaren tachtig reisde hij lange tijd door China en Tibet. Zijn speurtocht naar onderliggende machtsverhoudingen binnen een maatschappij leidt tot prachtige, verhelderende reportages.
De naam Koen Wessing roept verhalen op. Zijn foto’s doen dat ook. Leven en werk zijn een eenheid, maar leiden ook een eigen bestaan. Als de foto’s eenmaal afgedrukt zijn, uitgekozen, vergroot of verkleind, en begeleid door teksten hebben ze iets gezegd over Ierland, Chili, Guinee-Bissau, Amsterdam, Nicaragua, El Salvador, China, Berlijn. Ze blijven spreken. Ook in deze uitgave waar ze voor het eerst onderdeel worden van een groter verhaal: het oeuvre van Koen Wessing. Koen Wessing ging verder, steeds naar plaatsen waar conflicten waren die hij niet helemaal begreep, op zoek naar situaties waarin de spanningen zichtbaar gemaakt kunnen worden door iemand met een geoefend oog. Geen voyeur, niet iemand die even langskomt voor oppervlakkige nieuwsgaring, maar iemand met ogen in zin hoofd en een hart in zijn lijf. Koen Wessing vraagt zich altijd af hoe de mensen hier verzeild zijn en wat er van ze terecht zal komen. Hij legt ze zwijgend vast, is onverzettelijk en onverstoorbaar als dat nodig is.
Tegelijkertijd baant hij zich een weg door zijn wat morsige leven dat, getrouw aan kunstenaarstraditie, gekleurd wordt door alcohol, koffie en sigaretten. ‘Koen Wessing’: daar is geen eenduidig verhaal over te vertellen. Daarom doen we het samen. Monologen van een zwijger en overwegingen van een kijker.
Monograph Koen Wessing: the narrative photographer
The name Koen Wessing conjures up stories. His photographs do the same. His life and work form a unity, though each leads a separate existence. His images –once printed, selected, enlarged or reduced, and accompanied by text – tell a tale, about Ireland, Chile, Guinea-Bissau, Amsterdam, Nicaragua, El Salvador, China, Berlin. And they continue to engage their audience. As they do in this book where, for the first time, they form a part of a longer narrative: Koen Wessing’s oeuvre.
Koen Wessing is always moving on, ever seeking places of conflict which he does not fully understand, his experienced eye scouting for situations full of tension for him to visualise. He is not a voyeur, not someone who stops off a few fleeting news shots, but a person with eyes that notice and a heart that responds. Koen Wessing always wonders how people happen to be where they are and what will become of them.
He records them without speaking, and can be resolute and uncompromising if necessary. At the same time, he wends his way through a somewhat scruffy life which, true to artistic tradition, is coloured by alcohol, coffee and cigarettes. Koen Wessing evokes no single story. Which is why it is a joint venture: the monologues of a taciturn photographer and the considerations of a viewer.
3 Oosterhuis
Title:
Pieter Oosterhuis [1816-1885]
Monografieën van Nederlandse fotografen, 3 van 15
Monographs on Dutch photographers, 3 of 15
Author:
Anneke van Veen
Edited by:
Flip Bool, Willem Diepraam, Mariëtte Haveman, Adi Martis
Year of publication:
1993
ISBN:
978 9065790 55 2
Publisher:
Fragment Uitgeverij / Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 50 duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
180
Weight:
1340 g
Condition:
new
Monografie Pieter Oosterhuis [1816-1885]
Pieter Oosterhuis vestigde zich in 1851 als daguerreotypie-portretfotograaf in Amsterdam. Enige tijd later begon hij, als eerste Nederlander, met het maken van stereofoto’s en stadsgezichten. Zijn magnum opus is echter de fotografie die hij maakte in opdracht van de industrie. Zijn foto’s van de scheepvaartindustrie en de bruggenbouw zijn ongeëvenaard. In het boek is hiervan een uitgebreid overzicht opgenomen.
Monograph Pieter Oosterhuis [1816-1885]
Pieter Oosterhuis established himself in Amsterdam in 1851 as a daguerreotype portrait photographer. Some time later, being the first Dutchman, he started taking stereo photos and cityscapes. His magnum opus, however, is the photography he made on behalf of the industry. His photographs of the shipping industry and bridge construction are second to none. The book contains a comprehensive overview of this.
4 Emmy Andriesse
Title:
Emmy Andriesse [1914-1953]
Monografieën van Nederlandse fotografen, 4 van 15
Monographs on Dutch photographers, 4 of 15
Author:
Hripsimé Visser, Flip Bool
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Adi Martis, Anneke van Veen
Year of publication:
1995
Edition:
2000
ISBN:
978 9072216 90 8
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 70 duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
136
Weight:
1160 g
Condition:
new
Monografie Emmy Andriesse [1914-1953]
Emmy Andriesse werd in de jaren dertig aan de Haagse Academie van Beeldende Kunsten opgeleid door de pioniers van de ‘Nieuwe Fotografie’ Gerrit Kiljan en Paul Schuitema. Direct na haar eindexamen nam zij deel aan de tentoonstelling ‘foto ‘73’ in het Stedelijk Museum. Zij verhuisde naar Amsterdam waar zij met de ontwerper Dick Elffers, haar latere echtgenoot, bleef wonen en zij zich ontwikkelde tot een veelzijdig fotografe. Haar mode-, reportage-, portret- en landschapsfoto’s, werden in verschillende kranten en tijdschriften opgenomen.
In nauwe samenwerking met haar vrienden en collega’s, Cas Oorthuys, Eva Besnyö en Carel Blazer, heeft Emmy Andriesse mede het gezicht bepaald van twee decennia Nederlandse fotografie.
Monograph Emmy Andriesse [1914-1953]
Emmy Andriesse trained at the Royal Academy of Art in The Hague under the pioneers of the ‘New Photography’, Gerrit Kiljan and Paul Schuitema. Immediately after graduation, she participated in the exhibition ‘foto ‘37’ at the Stedelijk Museum, Amsterdam. She moved to Amsterdam, where she continued to live with designer Dick Elffers, whom she later married, and established herself as a versatile photographer. Her fashion, reportage, portrait and landscape photographs were published in numerous newspapers and magazines.
In close collaboration with her friends and colleagues Cas Oorthuys, Eva Besyö and Carel Blazer, Emmy Andriesse had helped define the face of two decades of Dutch photography.
5 Piet Zwart
Title:
Piet Zwart [1885-1977]
Monografieën van Nederlandse fotografen, 5 van 15
Monographs on Dutch photographers, 5 of 15
Author:
Kees Broos
Edited by:
Flip Bool, Willem Diepraam, Adi Martis, Anneke van Veen
Year of publication:
1996
Edition:
2000
ISBN:
978 9072216 92 2
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 100 duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
168
Weight:
1370 g
Condition:
new
Monografie Piet Zwart [1885-1977]
Piet Zwart ontdekte in de jaren twintig de informatieve en emotionele kracht van het fotografische beeld. Hij wist typografie en fotografie met elkaar te combineren en stond zo aan de wieg van een nieuwe visuele cultuur. Zijn fotografische activiteit duurde nauwelijks tien jaar, maar die tijd benutte hij om de Nederlandse fotografie uit zijn provinciale dommel wakker te schudden en te confronteren met de beginselen van de internationale Nieuwe Fotografie. Door zijn praktische aanpak had hij grote invloed op een jonge generatie professionele fotografen.
Monograph Piet Zwart [1885-1977]
Piet Zwart discovered in the 1920s the informative and emotional power of the photographic image. He managed to combine typography and photography and was thus at the cradle of a new visual culture. His photographic activity lasted barely ten years, but he took that time to wake up Dutch photography from his provincial dozing and confront the principles of international New Photography. Through his practical approach he had a great influence on a young generation of professional photographers.
6 Jan Versnel
Title:
jan versnel
Monografieën van Nederlandse fotografen, 6 van 15
Monographs on Dutch photographers, 6 of 15
Author:
Solange de Boer, Maarten Kloos
Edited by:
Flip Bool, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
1997
Edition:
1500
ISBN:
978 9072216 91 5
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 60 duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
168
Weight:
1350 g
Condition:
new
Monografie Jan Versnel
Jan Versnel is een van de bekendste Nederlandse architectuur- en interieurfotografen. Hij voelt zich sterk verwant aan de naoorlogse vertegenwoordigers van het Nieuwe Bouwen en hun credo ‘licht, lucht en ruimte’. Versnel probeert de architectuur te doorgronden en zoekt naar die ene foto waarin de kern van het Ontwerp geraakt wordt. Technisch perfect, in zwartwit en met grote zeggingskracht portretteert Versnel architectuur als iets heel natuurlijks, iets van de wereld - onder de wolken en tussen de mensen.
<Jan Versnel overleed in 2007>
Monograph Jan Versnel
Jan Versnel (1924) ranks among the leading Dutch architectural, interior and product photographers. His clients included the architects Marcel Breuer, Aldo van Eyck, Gerrit and Jan Rietveld and Hein Salomonson and the designers Kho Liang Ie, Friso Kramer and Benno Premsela.
After graduating from the School of Graphic Art, where he was taught by the photographer Bernard Eilers, he went on to study advertising at the Institute for the Teaching of Decorative and Applied Art, continuing his Photographic training under Jaap d’Oliveira. Following an assistantship with doctor/photographer Nico Jesse, Versnel established himself as a professional photographer in 1947. Around 1950, on the recommendation of Eva Besnyö, Versnel joined the GKf, a progressive professional photography association founded shortly after the war counting some fifteen members at the time. From 1971 to 1983 he lectured in photography at the Gerrit Rietveld Academy in Amsterdam.
Versnel’s body of work is of great significance, to the history of photography and architecture as well as to cultural history in general. Whereas Cas Oorthuys captured the spirit of the Reconstruction, Versnel documented the actual achievements of the Nieuwe Bouwen movement. His work was widely published in the Netherlands, in architectural and design magazines such as Goed Wonen, Forum, Bouwkundig Weekblad and Bouw.
The guiding force behind Jan Versnel’s photography is his affinity with the designer or the artist. He has always been a staunch supporter of progressive architects and of designers, manufacturers and clients with innovative ideas, and his images evolve in direct response to the object. He meticulously studies his subject, plumbing the essence of the building or product and probing the designer’s concept of space. Having established a relationship with his subject in this manner, Versnel then determines the light that will clarify the sculpture or building. Above all he seeks to make the object legible. Versnel portrays architecture not as something abstract but as something very real and just as much a natural part of our world as the people and clouds that invariably accompany them.
<Jan Versnel died in 2007>
7 Paul Citroen
Title:
Paul Citroen [1896-1983]
Monografieën van Nederlandse fotografen, 7 van 15
Monographs on Dutch photographers, 7 of 15
Author:
Herbert Molderings, Ingeborg Th. Leijerzapf, Flip Bool
Edited by:
Flip Bool, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
1998
Edition:
2000
ISBN:
978 9072216 93 9
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
Dutch/English/Deutsch
Subject:
Photography
Format:
Hard bound with dustjacket, ca. .. duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
152
Weight:
.. g
Condition:
new
Monografie Paul Citroen [1896-1983]
De artistieke nalatenschap van Paul Citroen (1896-1983) is omvangrijk en gevarieerd. Hij was kunstenaar in hart en nieren, een bevlogen docent en bovendien een hartstochtelijk verzamelaar. Zonder artistieke pretenties en niet gehinderd door enige technische kennis maakte Citroen in de korte periode waarin hij actief was als fotograaf, van 1929 tot 1935, al of niet in opdracht een unieke reeks fotografische portretten en stillevens.
Hoewel Paul Citroen uiteindelijk pen en penseel verkoos boven de camera en later het belang van het medium bagatelliseerde, vormen zijn foto’s uit de jaren 1929 tot 1935 achteraf gezien een van de hoogtepunten van zijn lange artistieke carrière.
NB: Uitverkocht tot nader order
Monograph Paul Citroen [1896-1983]
The artistic legacy of Paul Citroen (1896-1983) is prolific and diverse. He was an artist in heart and soul as well as being an inspired teacher and a passionate collector. Devoid of artistic pretence and untrammelled by technical know-how, in the brief period when he was active as a photographer (1929-1935), Citroen produced a unique body of commissioned and non-commissioned photographic portraits and still-lives.
From 1912 to 1914 Citroen enjoyed a classical art education in Berlin. In 1914 he came in contact with Berlin’s avant-garde movement, centred round Herwarth Walden’s Expressionist gallery and bookshop ‘Der Sturm’. As an artist, however, he felt no affinity with Expressionism. Living alternately in Berlin and Amsterdam, he worked as a bookseller in ‘Der Sturm’ and as an art dealer and furrier. From 1922 to 1924 he resumed his art studies at the Bauhaus in Weimar. There he produced the Dadaist photocollages which subsequently won him international recognition.
Through his friendship with photographers like Erwin Blumenfeld, Marianne Breslauer, Werner Rohde and Otto Umbehr (Umbo), Citroen was conversant with the ‘new’ expressive powers of the medium even though h was not as yet closely involved with photography himself. It was not until he settled in the Netherlands permanently in 1928 that he took up photography in a serious way. A series of portraits of artists for his book Palet: Een boek gewijd aan de hedendaagse Nederlandse schilderkunst (1931), showcasing contemporary Dutch painting, provided the initial thrust. But the stream of portraits of artist friends, acquaintances and family continued until the mid-1930s.
His Bauhaus background gave him the confidence to experiment with an unorthodox blend of traditional naturalism and contemporary New Photography.
Although Paul Citroen ultimately abandoned photography to devote himself to drawing and painting and later played down the importance of the medium, in retrospect the photographs he produced between 1929 and 1935 represent one of the highlights of his long artistic career.
Mind: Out of print until further notice.
8
Title:
Eduard Isaac Asser [1809-1894]
Monografieën van Nederlandse fotografen, 8 van 15
Monographs on Dutch photographers, 8 of 15
Author:
Mattie Boom
Edited by:
Flip Bool, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
1998
Edition:
1500
ISBN:
978 90 72216 96 0
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 100 photographs in duotone and colour
Dimensions:
24,5 x 32,5 cm
Pages:
162
Weight:
1285 g
Condition:
new
Monografie Eduard Isaac Asser [1809-1894]
Eduard Isaac Asser was een van de eersten in Nederland die zich aan het nieuwe medium fotografie waagde.
Omstreeks 1842, toen de fotografie nog maar net was uitgevonden, kocht hij in Parijs een camera met toebehoren en leerde hij zichzelf fotograferen, wat in de begintijd van de fotografiebepaald geen sinecure was. Met recepten uit Franstalige handboekjes, kwalijk riekende en giftige chemicaliën, verzilverde koperen platen, natte glasnegatieven en zelf geprepareerd afdrukpapier, wist hij met eindeloos geduld en veel doorzettingsvermogen fotografische afbeeldingen te maken.
Geïnspireerd door de Hollandse zeventiende-eeuwse schilderkunst maakte Asser sobere, krachtige portretten, fraaie stillevens, stadsgezichten – de vroegste foto’s van Amsterdam en Haarlem zijn van zijn hand – en, wat toen vrij uitzonderlijk was, een groot aantal zelfportretten.
Dit boek vertelt het verrassende en tot nu toe onbekende verhaal van Asser en de fotografie. Het is een eerste kennismaking met zijn fotografische nalatenschap. Deze bestaat uit een vijftiental daguerreotypieën en vier albums met circa tweehonderd foto’s op papier. Zijn oeuvre is in deze uitgave (met veertig afbeeldingen in kleur) integraal afgebeeld en beschreven.
Monograph Eduard Isaac Asser [1809-1894]
Eduard Isaac Asser (1809-1894), son of a long line of wealthy Amsterdam lawyers, was one of the few Dutchmen in the nineteenth century to make an internationally acclaimed contribution to the development of photography.
Asser was among the first to explore the new medium in the Netherlands. Around 1842, shortly after the discovery of photography, he purchased a camera and set of equipment in Paris and taught himself photography – a daunting undertaking in the early days. With recipes from French manuals, foul-smelling, toxic chemicals, silvered copper plates, wet glass negatives and his own hand sensitised paper, and above all infinite patience and unswerving perseverance he successfully produced photographic images.
During the period Asser was active there were few professional photographers at work. Like most early practitioners, Asser was an amateur, an affluent enthusiast who practised photography as a pastime.
Drawing on seventeenth-century Dutch painting, fine still lifes, townscapes (the earliest photographic views of Amsterdam and Haarlem were by Asser) and – uncommon in his day – a large number of self-portraits.
In 1857, after fifteen years of close involvement, Asser abandoned photography to concentrate on ‘indirect photolithography’, a printing process he had meanwhile invented which enabled photographs to be printed from a lithographic stone.
This book tells the fascinating, hitherto unknown tale of Asser and photography. Reproducing and describing Asser’s complete oeuvre, it presents his photographic legacy: fifteen daguerreotypes and four albums containing some two-hundred paper photographs, forty of which appear here in colour.
9
Title:
Eva Besnyö
Monografieën van Nederlandse fotografen, 9 van 15
Monographs on Dutch photographers, 9 of 15
Author:
Willem Diepraam
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
1999
Edition:
2700
ISBN:
978 9072216 94 6
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 100 duotone photographs
Dimensions:
24,5 x 32,5 cm
Pages:
200
Weight:
1495 g
Condition:
new
Monografie Eva Besnyö
Eva Besnyö (Budapest 1910) was begin jaren dertig een van de weinige professionele fotografen die in Nederland volgens de inzichten van de Nieuwe Fotografie werkte. Nadat zij door enkele goed ontvangen tentoonstellingen een zekere naamsbekendheid had gekregen, maakte zij portretten, fotografeerde voor de architecten van de 8 en Opbouw en werkte voor de filmer Joris Ivens. Ook publiceerde ze regelmatig foto’s in De Groene Amsterdammer, Wij, De Nieuwe Rotterdamsche Courant en Het Algemeen Handelsblad.
In 1933 werd zij lid van de Vereniging van Arbeidersfotografen. Haar fotografische praktijk floreerde.
In 1941 kan zij geen foto’s meer onder haar eigen naam publiceren.
Haar tweede fotografische bloeiperiode begint in 1969 als zij een diapresentatie over het Rijksmuseum Kröller-Müller maakt.
Vervolgens wordt zij actief in Dolle Mina en wordt zij de fotograaf bij uitstek van die beweging. Tevens maakt zij een serie kunstenaarsportretten en krijgt zij verscheidene documentaire opdrachten. Haar betrokkenheid bij de fotografie uit zich ook door haar bestuursfuncties bij vele fotografie-instellingen en –archieven.
Het werk van Eva Besnyö, esthetisch, sociaal bewogen en met grote zeggingskracht, heeft grote invloed gehad op generaties fotografen.
Haar oeuvre is vele malen in Nederland bekroond en in 1999 ontving zij de prestigieuze Dr. Salomon Prijs van de Deutsche Gesellschaft für Photographie.
<Eva Besnyö overleed in 2003>
NB: tot nader order uitverkocht!
Monograph Eva Besnyö
Eva Besnyö (1910) grew up in a prosperous Hungarian Jewish lawyer’s family. After leaving grammar school, she trained under leading of local photographer Jozef Pécsi. Eager to see more of the world, in 1930 she moved to Berlin, Europe’s cultural and political capital. There she assisted advertising photographer René Ahrlé and Dr Peter Weller, who specialised in industrial photography and produces pictures for newspapers and periodicals.
In 1932 she set up her own studio, but the political situation in Germany and her meeting with John Fernhout made her change her mind and move to Amsterdam later that year.
In the Netherlands, she was adopted into the progressive circle of artists around the Dutch painter Charley Toorop, John Fernhout’s mother.
In the early thirties, Eva Besnyö was one of the few professional photographers to adopt the principles of the new Photography in the Netherlands. After having established her name with a series of well-received exhibitions, she produces portraits, photographed for the progressive architectural groups de 8 and Opbouw, and worked for Dutch filmmaker Joris Ivens. Her photographs also regularly appeared in the Dutch press, in De Groene Amsterdammer, Wij, De Nieuwe Rotterdamsche Courant and Het Algemeen Dagblad.
In 1933 she joined the Worker Photographers movement. She moved to a house on Keizersgracht together with the architect Alexander Bodon and the photographer Carel Blazer, from where she ran a thriving photography practise.
In 1937 she played a key role in the organisation of the exhibition foto ’37 at Amsterdam’s Stedelijk Museum. It marked the start of a long-standing relationship with the Museum and Willem Sandberg, then curator and later, after the war, director at the Stedelijk.
After 1941 it became impossible for her to publish photographs under her own name. Portraiture became het main source of revenue. From 1942 she worked for the underground PCB, which furnished false identity papers, and he went into hiding until her ‘Aryanisation’ in 1944.
The marriage to graphic designer Wim Brusse led to the birth of Berthus and Yara shortly after the war. She was so taken up with motherhood that she photographed only sporadically until 1969. But she continued to take a keen interest in photography, and was a founding member of the Photography Section of the Dutch applied artists association GKf in 1945.
Her photographic revival began in 1969 with a slide presentation on the Kröller-Müller Museum in Otterlo, Netherlands. She subsequently joined the Dutch women’s liberation movement Dolle Mina, which she chronicled as its principal photographer. She also produced a series of artists’ portraits and received diverse documentary commissions. The countless positions she has held on the committees of photographic organisations and archives reflect her unflagging commitment to photography.
Today Eva Besnyö is the éminence grise of Dutch photography. Her images – aesthetic, socially engaged and powerfully expressive – have exerted an enormous influence on generations of photographers.
Het oeuvre has been crowned at many occasions and in 1999 she was awarded the prestigious Dr Erich Salomon Prize of the Deutsche Gesellschaft für Photographie.
<Eva Besnyö died in 2003>
Mind: Out of print until further notice.
10
Title:
Jacob Olie Jbz [1834-1905]
Monografieën van Nederlandse fotografen, 10 van 15
Monographs on Dutch photographers, 10 of 15
Author:
Anneke van Veen
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
2000
Edition:
8000
ISBN:
978 9072216 97 7
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 300 photographs in duotone and full colour
Dimensions:
24,5 x 32,5 cm
Pages:
268
Weight:
1950 g
Condition:
new
Monografie Jacob Olie Jbz [1834-1905]
Amsterdam in de tweede helft van de negentiende eeuw, zijn bewoners en hun belevenissen en eigenaardigheden zijn door geen ander zo treffend in beeld gebracht als door Jacob Olie Jbz (1834-1905). Hij laat telkens zien hoe hetgeen hij waarneemt onderdeel uitmaakt van de omgeving: een gebouw in de stedelijke context; de stadsbewoners als voetgangers in de drukke binnenstad; de bewoner voor zijn huis en de ambachtsman op zijn werk. Die kwaliteit maakt Jacob Olie tot de ideale stadsfotograaf.
Zijn foto’s behoren tot de meest gereproduceerde beelden van de hoofdstad; de voorstelling die wij ons maken van het Amsterdam in de vorige eeuw is in sterke mate bepaald door Olies fotografie.
Jacob Olie was een veelzijdig talent: timmerman, fotograaf, onderwijzer en bouwkundige. Hij nam actief deel aan het debat over de vraag hoe de architectuur vorm moest geven aan de groei van de stad. In zijn fotografie documenteert hij hoe Amsterdam in korte tijd veranderde.
Deze studie over Jacob Olie is gebaseerd op een nauwgezette analyse van het rijke archiefmateriaal over zijn leven en werk. Duidelijk wordt hoe zijn fotografie – voor Olie zelf niet meer dan een particuliere liefhebberij – is verweven met zijn werk als bouwkundige, tekenleraar en directeur van de eerste ambachtsschool in Nederland.
NB: tot nader order uitverkocht!
Monograph Jacob Olie Jbz [1834-1905]
Amsterdam in the second half of the nineteenth century – its inhabitants, their experiences and their idiosyncrasies – shown to perfection by Jacob Olie (1834-1905) as no one else could. Time and time again he shows that what is being observed plays an integral part in its surroundings: a building in an urban context; the city-dwellers as pedestrians in the busy historical city centre; the resident standing in front of his house and the artisan going about his work. This quality makes Jacob Olie the ideal urban photographer.
His photographs of the capital city belong to the group of pictures that have been reproduced most often; our image of Amsterdam in the last century has been greatly determined by Olie’s photographs.
Jacob Olie was a man of many talents: a Carpenter, photographer, teacher and architect. He played an active role in the debate about how architecture should shape the growth of the city. In his photographs he documents how Amsterdam could be seen to change over a short period of time.
This study of Jacob Olie is based on a meticulous analysis of the abundant archive material on his life and work. It become clear that his photography – which for Olie was little more than a private pursuit – is interwoven with his work as an architect, drawing teacher and headmaster of the first technical school in the Netherlands.
Mind: Out of print until further notice.
11 Jesse
Title:
Nico Jesse 1911-1976
Monografieën van Nederlandse fotografen, 11 van 15
Monographs on Dutch photographers, 11 of 15
Author:
Flip Bool, Sandra Felten, W.F. Hermans
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
2003
Edition:
1750
ISBN:
978 9072216 95 3
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, ca. 100 photographs in black and white and full colour
Dimensions:
24,5 x 32,5 cm
Pages:
200
Weight:
1535 g
Condition:
new
Monografie Nico Jesse 1911-1976
Hoewel Vrouwen van Parijs (1954) internationaal in de boekenkast van geen enkele fotoliefhebber ontbreekt, is het oeuvre van Nico Jesse ten onrechte in vergetelheid geraakt. Met zijn kleinbeeld camera en door het veelvuldig gebruik van flitslicht maakte hij in de jaren vijftig verrassend eigenzinnige en ongedwongen foto’s, met bewegingsonscherpte als belangrijk kenmerk. Door zijn achtergrond en joyeuze levensstijl werd de betekenis van Nico Jesse als fotograaf bij leven door velen onderschat. Dit boek moet daarin verandering brengen door, naast losse fotografische hoogtepunten uit zijn oeuvre, ruime aandacht te besteden aan zijn activiteiten als een van de meest succesvolle Nederlandse makers van fotoboeken. Zijn foto’s in deze boeken kenmerken zich door een bijzondere aandacht voor de mens, op straat, in huis, op het werk en bij ontspanning.
Monograph Nico Jesse 1911-1976
Although Vrouwen van Parijs (1954) grades the bookcase of every photography lover the world over, the work of Nico Jesse has unjustly fallen into oblivion. With his 35mm camera and frequent use of flash he produced surprisingly distinctive and unconstrained images in the 1950s, containing movement blur s an important feature.
But his background and joie de vivre led his contemporaries to underrate the significance of Nico Jesse as a photographer. This book aims to rectify that, not only by devoting ample attention to the individual photographic highlights of his oeuvre, but also to his activities as one of the most successful Dutch authors of books of photography. Eye-catching in these books of photography are the almost cinematic picture sequences.
At the end of his preliminary year at medical school in Utrecht, as early as 1932 Nico Jesse wrestled with the idea of becoming a photographer. While photography remained his passion, he completed his medical studies and worked as a general practitioner until 1955.
In 1942 he received his first photographic commission from Gemeentearchief Utrecht, the city records office, to document life in Utrecht during the German occupation. A number of these pictures were published in his first photography edition Utrecht as it is / Zó is Utrecht (1950).
This was followed in 1953 by the corporate publication Oranje Nassau Mijnen and a year later by his most popular book Vrouwen van Parijs (The Women of Paris), which appeared in a variety of editions including in Japan. He designed both of these books himself and they were elected by the Committee for the Collective Promotion of the Dutch Book as two of the best designed books of 1954.
Their success, his partition in Edward Steichen’s celebrated exhibition The Family of Man (1955) at the Museum of Modern Art in New York and plans for new photography publications persuaded Nico Jesse in 1955 to leave the medical profession and take up photography professionally. The result was a veritable stream of photography editions, published in rapid succession. His pictures in these books are characterised by a singular inters in people, in the street, at home, at work and in their leisure time. His book Sehnsucht nach Paris in 1960, presenting over 500 pictures of the city, concluded his relatively brief career as a professional photographer. A French edition of this book was followed in 1962 by a Dutch edition entitled Parijs, with a foreword by Jean Cocteau. After that Nico Jesse returned to his former profession as a company doctor and gradually abandoned photography altogether.
12 Eilers
Title:
Bernard F. Eilers 1878-1951
Monografieën van Nederlandse fotografen, 12 van 15
Monographs on Dutch photographers, 12 of 15
Author:
Anneke van Veen
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
2003
Edition:
3750
ISBN:
978 90 72216 98 4
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, hardcover with dust jacket, entirely full colour
Dimensions:
24,5 x 32,5 cm
Pages:
288
Weight:
2145 g
Condition:
new
Monografie Bernard F. Eilers 1878-1951
Bernard F. Eilers (1878-1951) heeft zich op vele terreinen van de fotografie gemanifesteerd. Hij beoefende niet alleen de traditionele genres als het stadsgezicht, portret en stilleven, maar ook de architectuurfotografie, kunstreproducties en reclamefotografie.
De veelzijdigheid van Eilers blijkt ook uit zijn pionierswerk op het gebied van de kleurenfotografie. Hij muntte uit in de toepassing van nieuwe technieken, zoals de autochroom en de meerkleuren broomoliedruk. Eilers ontwikkelde zelfs een geheel eigen kleurenprocedé: fotochroma eilers.
In deze studie komen alle aspecten van het veelzijdige en omvangrijke oeuvre van Eilers aan bod. Hij wordt geportretteerd als bevlogen kunstenaar en getalenteerd vakman met een wetenschappelijk, onderzoekende natuur. Deze uitgave boekstaaft het belang van Eilers als een van de meest toonaangevende Nederlandse fotografen uit de eerste helft van de twintigste eeuw.
Monograph Bernard F. Eilers 1878-1951
The career of Bernard F. Eilers (1878-1951) crossed many areas of photography. Besides the traditional genres of the cityscape, portrait and still life he practised architectural photography, art reproduction and advertising photography.
As an art photographer he was highly acclaimed at home and abroad. He had most success with his atmospheric views of Amsterdam in the vein of the painters Breitner and Witsen. His personal work is painterly and looks more nineteenth century than contemporary. It owes its special quality to Eilers’ virtually unrivalled command of the means if modern photography. His photographs paint a nostalgic picture of the Netherlands as it no longer existed. These images still appeal to the imagination of a wide audience.
As a professional photographer Eilers worked for many clients, for companies such as Philips, Spijker and Verkade, and for architects such as Van der Mey, Kramer and De Klerk. The zenith of his architectural photography coincided with that of the Amsterdam School and the publication of the magazine Wendingen. Eilers regarded a sense of tone tantamount to capturing the size and scale of a building in its correct proportions, along with what he described as his sixth sense: ‘his feeling in space’.
Eilers’ versatility is also reflected in his pioneering work in the field of colour photography. He excelled in the application of new techniques such as the autochrome and polychrome bromoil print. Eilers even developed his own colour process: fotochroma eilers.
This study covers all these aspects of Eilers’ versatile and extensive oeuvre. He is portrayed as an impassioned artist and gifted craftsman with a scientific, investigative nature. This edition testifies to Eilers’ importance as one of the leading Dutch photographers in the first half of the twentieth century.
13 Paul de Nooijer
Title:
Paul de Nooijer
Monografieën van Nederlandse fotografen, 13 van 15
Monographs on Dutch photographers, 13 of 15
Author:
Adi Martis, Rik Suermondt
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
2007
Edition:
2000
ISBN:
978 9072216 99 1
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, entirely full colour
Dimensions:
24,5 x 32,5 cm
Pages:
180
Weight:
1440 g
Condition:
new
Monografie Paul de Nooijer
Paul de Nooijer (Eindhoven 1943) is geen doorsnee fotograaf. De drang om de zichtbare wereld te manipuleren, om de alledaagse werkelijkheid even uit haar verband te halen en in een andere gedaante of ander perspectief te tonen, loopt als een rode draad door al zijn fotowerken en films.
In de jaren 70-80 maakte hij korte films, polaroids en ingekleurde foto’s, waarin hij de heersende opvattingen over erotiek, gezinsleven en burgermoraal parodieert. Het eigen huis was de studio, zijn vrouw, zoon, broer en enkele vrienden de modellen.
In de jaren tachtig verlegde De Nooijer zijn belangstelling naar videoclips en monumentaal werk.
Paul de Nooijer heeft de visuele mogelijkheden van het medium fotografie altijd onderzocht in relatie tot film, theater, architectuur en schilder- en beeldhouwkunst. Zijn eclectische benadering, absurdistische humor en spot met de conventionele waarneming maken hem tot voorloper en inspirator van de Nederlandse geënsceneerde fotografie van de jaren tachtig. Dit boek biedt voor het eerst een rijk overzicht van Paul de Nooijers bijzondere fotografische oeuvre.
Monograph Paul de Nooijer
Paul de Nooijer (Eindhoven 1943) is no run-of-the-mill photographer. The urge to manipulate the visible world, to wrest everyday reality from its context and present it in a different guise or from a different angle is a leitmotif that runs throughout his entire oeuvre. He first became interested in experimental photography at art school. In the ban of Pop Art, Fluxus and the British fashion photographer David Bailey, he produced nude and fashion photographs for the pop magazine Hitweek. With the award of the Grand Prix International de la Recherche Photographique in Royan (France) in 1974 came his breakthrough as a photographer. During this period he produced short films, Polaroids and hand-coloured photographs satirising prevailing views on eroticism, domestic life and bourgeois morality. His own home served as his studio; his wife, son, brother and friends as his models.
In the 1980s De Nooijer turned to videos and monumental works. The 86-part sequence When on a journey (1982-1983), in which spatial and architectonic images depict a journey through the history of art, is the largest from this period. In 1989 he embarked on an intense collaboration with his son Menno (1967), who furnished fresh creative impulses from the domain of film, digital photography and the new media. Since 1995 they have given performances together involving a combination of film, text and multimedia installations.
Paul de Nooijer has consistently explored the visual potential of the photographic medium in relation to film, theatre, architecture, painting and sculpture. His eclectic approach, absurdist humour and parody of conventional perception anticipated and inspired Dutch staged photography of the 1980s. This book offers for the first time a rich overview of Paul de Nooijer’s extraordinary photographic oeuvre.
14 Oscar van Alphen
Title:
Oscar van Alphen
Monografieën van Nederlandse fotografen, 14 van 15
Monographs on Dutch photographers, 14 of 15
Author:
Frits Gierstberg
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
2008
Edition:
1500
ISBN:
978 90 78811 07 7
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, photographs in black and white and full colour
Dimensions:
24,5 x 32,5 cm
Pages:
240
Weight:
1560 g
Condition:
new
Monograph Oscar van Alphen
Oscar van Alphen (pseudonym for Kees Nieuwenhuizen) started taking photographs in the second half of the 1950s in what is known as the “humanist” tradition: reportage photography with a focus on people and the vicissitudes of human existence. Following the success of his book Kinderen in de grote stad (Children in the Big City) (1958), in the 1960s Van Alphen, who was self-taught, produced several books of photographs and carried out assignments for newspapers and periodicals. He was admitted to the GKf, an applied artists association, and gradually became more openly politically engaged. In his book Het rijke onvermogen [Productive Inability] (1978), combining images and text, Van Alphen called into question Germany’s policy of professional disqualification of political dissidents. In 1982 he was the first Dutch photographer to produce a book on the Palestine problem.
Over the years, he became increasingly concerned about the way photography was developing in the Netherlands, his own work included. He saw the lack of debate and theoretical grounding within the profession as a shortcoming. This led him to incorporate other media - literature, art and film - in his work. His critical attitude to one-dimensional visions of photography found expression in his book Het moment voorbij [Beyond the Moment] (1982). Here he contested the guiding principle of photojournalism that the “decisive moment” was the only moment to take a “good” photograph. In this he was inspired by the work of photography theoreticians such as Roland Barthes, Victor Burgin and Susan Sontag.
In his installation De oorlogen (The Wars) (Museum Boijmans van Beuningen, 1985), Van Alphen montaged photographs and film images with spoken text to create a three-dimensional work. Based on the tale of Madame Edwarda by Georges Bataille, the work revolves round the visual experience of a continuous stream of rapidly projected images. Bataille’s philosophy provided him with a departure point for a theory and practice whereby the visual experience of looking at photographs offered an escape from the straitjacket of a repressive society. Van Alphen has written extensively about photography as well as compiling exhibitions and a collection of essays on the medium.
In retrospect, Oscar van Alphen’s development as a photographer and theorist of photography can be said to reflect the shift (social) documentary photography has undergone over the past fifty years: from a stance focused on recording social reality to one in which reflection on perception itself and the significance of the image are equally, if not more, important.
<Kees Nieuwenhuizen died in 2010>
15
Title:
Gerard Fieret (1924-2009)
Monografieën van Nederlandse fotografen, 15 van 15
Monographs on Dutch photographers, 15 of 15
Author:
Frans van Burkom
Edited by:
Flip Bool, Frans van Burkom, Willem Diepraam, Frits Gierstberg, Adi Martis, Anneke van Veen
Year of publication:
2010
Edition:
1500
ISBN:
978 90 78811 12 1
Publisher:
Focus publishing
Place, Country of publication:
Haarlem, The Netherlands
Language:
bilingual Dutch/English
Subject:
Photography
Format:
Hard bound with dustjacket, photographs in black and white and full colour
Dimensions:
24,5 x 32,5 cm
Pages:
200
Weight:
1260 g
Condition:
new
Monograph Gerard Fieret (1924-2009)
Photographer and poet Gerard Fieret (1924-2009) is the creator of one of the most wayward oeuvres put forth by 20th-century Dutch photography: erotic, egomaniacal, radical, taboo-breaking and, at times, unfathomable, but always of a staggering, albeit uneasy, beauty that can indisputably vie with the international top. The two best-known genres in Fieret’s photographic work – the female nude and self-portraiture - are presented in this book alongside his street photography and children’s portraits. Fieret’s nudes are more than just an ode to the female body, they are a frantic and semi-parrying attempt to make contact with the outside world, a world which had betrayed and deserted him, a world where he would remain an outsider all his life, and where in the end he was solely tolerated in a cabin far away in the Hague dunes with the animal kingdom as his homeland. Based on the photographs in mainly Dutch collections and on hitherto unpublished documents, author and art historian Frans van Burkom makes a probing and surprising analysis of Fieret’s life and work. For anyone seeking to comprehend the disturbing power of this oeuvre, an absolute must.