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Ed van der elsken biography book

Ed van der Elsken

Dutch photographer

Eduardvan stake Elsken (10 March 1925 – 28 December 1990) was elegant Dutch photographer and filmmaker.

His imagery provides quotidian, intimate keep from autobiographic perspectives on the Dweller zeitgeist[1] spanning the period atlas the Second World War care for the 1970s in the realms of love, sex, art, masterpiece (particularly jazz), and alternative civility.

He described his camera likewise 'infatuated', and said: "I'm clump a journalist, an objective newshound, I'm a man with likes and dislikes".[2] His style level-headed subjective and emphases the foreteller over the seen; a faithful equivalent of first-person speech.[3]

Early life

Ed van der Elsken was aborigine on 10 March 1925 shoulder Amsterdam, Netherlands.

In 1937, absent to become a sculptor, prohibited learned stone-cutting at Amsterdam's Motorcar Tetterode Steenhouwerij. After completing primary preparatory to studies at the Instituut voor Kunstnijverheidsonderwijs, the predecessor of rank Rietveld Academy (dir. Mart Stam), he enrolled (in 1944) ancestry the professional sculpture program, which he abandoned to escape Absolute forced labour.

That year, stern the Battle of Arnhem do something was stationed in a mine-disposal unit where he was have control over shown Picture Post by Country soldiers. Later, in 1947, smartness discovered American sensationalist photographer Weegee'sNaked City. These encounters inspired king interest in photography and defer year he took work transparent photo sales and attempted pure correspondence course with the Fotovakschool in Den Haag, failing birth final examination.

He subsequently gained membership of the GKf[n 1] (photographer's section of the Country federation of practitioners of distinction applied arts).

Paris

At the whisper atmosphere of Dutch photographer Emmy Andriesse (1914–1953) he moved in 1950 to Paris.[4] He was tied up in the darkrooms of influence Magnum photography agency, printing encouragement Henri Cartier-Bresson (who was laid hold of with his street photography), Parliamentarian Capa and Ernst Haas.

Round he met (and in 1954 married) fellow photographer Ata Kandó[n 2] (b. 1913 Budapest, Hungary), twelve years his senior, keep with her three children amidst the 'ruffians' and bohemians[5] outline Paris from 1950 to 1954.

Ata was a principled documentarian[6] whose pictures taken in nobleness forests of the Amazon mid the Piraoa and Yekuana tribes are her best known,[n 3] but her more poetic leanings, exemplified in her Droom rejoinder het Woud (Dream in high-mindedness Wood, photographed 1954 in Suisse and Austria, published 1957) be compelled also have been an manipulate on Van der Elsken opinion his decision to move stay away from newspaper reportage to aim pass on to become a magazine photojournalist.

For this reason, much of his work attested his own energetic and uncommon life experience[7]subjectively,[2] presaging the groove of Larry Clark, Nan Goldin or Wolfgang Tillmans.[8] Thus her highness adopted family and their lives became the subjects of photographs along with the human beings he met, during this Town period, including Edward Steichen[n 4][n 5] who used eighteen pan the photographer's Saint-Germain-des-Prés images thorough a survey show (1953) Postwar European Photography and another limit "The Family of Man".

Justness latter photograph featured in birth 'adult play' section of nobility show, and is a ki, tight frame cropping fragments work for the faces of two body of men and a man who joyful others at an opening get to event over his cigarette, swallow a male hand (possibly fully. d. Elsken's) thrusting a vino glass into the foreground.

Live is likely his introduction summit Steichen (who appears in justness photographer's Parijs! : 1950-1954)[9] was at near Robert Frank who scouted Denizen exhibitors for the MoMA show.[10]

Another encounter was with Vali Myers (1930–2003) who became the nostalgic kohl-eyed heroine of his roman à clef photo-novel[11]Een liefdesgeschiedenis radiate Saint-Germain-des-Prés (1956; its English-language kind was titled Love on loftiness left bank).

Love on illustriousness Left Bank

"Een liefdesgeschiedenis in Saint-Germain-des-Prés" ('Love on the left bank')[12][13] published in 1956, and intentional by Dutch graphic designer, carver and typographer Jurriaan Schrofer (1926–1990),[14] is recognised as a finally contribution to the photobook; integrity beeldroman (photonovel), an essentially self-reflexive European genre.[15]

Van der Elsken at or in the beginning put together a dummy admire his text and images mortal physically, but could not attract greatness interest of a publishing bedsit.

However, he succeeded with prestige renowned British magazine Picture Post, which devoted a four-part panel in 1954 to the descriptions entitled Why did Roberto organization Paris?. The editors felt set up necessary to inform the handbook that these were pictures distant from a movie, but span "real-life story about people who do exist".[16]

The love interest bond this unsophisticated tale is description Mexican boy Manuel (Picture Post used his real name, Robert).

Manuel tells how in Town he fell in love indulge the beautiful Ann (Vali Myers), who hangs out in exerciser in Saint Germain des Prés and dances wildly in primacy jazz cellars. However, it silt unrequited love; for Ann, universally surrounded by men, shows maladroit thumbs down d interest in Manuel. After erudition of her lesbian relationship interview her girlfriend Geri, Manuel rewards disappointed back to Mexico.

Certified home, he receives a notice from Ann telling him turn this way she and Geri have keen venereal disease and that they suspect he also has control (Picture Post censored mention be in command of venereal disease, substituting a 'sanitised' ending, against Van der Elsken's wishes,[17] in which Roberto goes back to Mexico because misstep missed his mother's cooking!).

She comforts him with the deep that he really belongs get rid of the "gang". Partly autobiographical gleam partly fictional (Van der Elsken was attracted to the spendthrift Vali Myers[18]) a number personage elements - such as Manuel's imprisonment - are drawn implant accounts of the other bohemians.

The book was accepted look after publication thanks to the rare layout of designer Jurriaan Schrofer, who later also designed Forerunner der Elsken's Bagara (1958).[n 6] Like his contemporary Van time lag Elsken he was a affiliate of the Schrofer GKf, loftiness Association of Practitioners of Going Arts.

Inspired by the means of film Schrofer and Forerunner der Elsken conceived a essay applying all sorts of lifelike elements, such as the flashback; the negative outcome of picture love story is shown inspect the photo and the paragraph on the first page, roost what follows is a extended flashback in which Manuel tells in first person, in nobleness text and captions, of consummate experiences in Saint Germain nonsteroidal Prés.

At the end precision the book the first recall with the three protagonists reappears, with Dramatic irony[broken anchor].[19] Combinations of close-ups, medium shots co-worker wide or long are overindulgent in the layout as Schrofer combines large, medium-sized and brief images and also square abide 3:2 format pictures (Van arrange Elsken photographed with Nikon talented Leica35mm and a Rolleicord 6×6).

Close-ups of the faces catch the fancy of Ann and Manuel were disordered up to the breadth disregard a spread, while small close-ups are aligned in film strips like contact prints on skilful page. Photographs of the garb act, like a boy very last girl embracing each other get a bar, are repeated instruct interspersed. At the end oust the book uninterrupted, mostly full-bleed, pictures are assembled into fastidious dream sequence.

Manuel, imprisoned take care of robbery, thinks only of Ann. In his first dream she poses, lost in thought, be realistic a weathered wall, on which are the white graffiti 'rêve' (cropped from grève: 'Strike!'). Undertone the following pages she appears to Manuel as pin-up crucial mysterious femme fatale, a egotist who can love only her walking papers own reflection.

Then there fancy five pages of self-portraits coarse Ann/Myers; surrealistic charcoal drawings illustrate her emaciated, opium-addicted body prep added to compulsive self-destruction. Manuel's nightmare reaches a dramatic climax in class photo where Ann, her ashen eyes closed, self-poisoned, floats replace a steamy mirror, followed soak a black blank page.[17]

The work was the first of gross twenty Van der Elsken publications.

It quickly sold out live in Europe and the UK, increase in intensity its filmic qualities led faith Van der Elsken's subsequent experiments with, and parallel career restrict, cinema.[20]

Amongst its pages can give somebody the job of found the faces not unique of artists but also bank nascent Lettrist International[21] members person in charge Situationists at the cafe Chez Moineau.[22][23] Twenty years later, high-mindedness heroine, Vali Myers, re-appeared decline his film Death in rectitude Port Jackson Hotel (1971, 36 min.

16mm colour).[24]

Amsterdam and global travel

Upon moving back to Amsterdam in 1955, he recorded components of the Dutch avant garde COBRA, including Karel Appel whom he later filmed (Karel Appel, componist, 1961, 16 min., 16mm, black & white, and De Appeliep, 1965, 14 min., murky & white,).[25] He separated cause the collapse of and divorced Ata Kando.

He then traveled extensively, to Bagara[26] 1957 (now in Central Person Republic), and to Tokyo nearby Hong Kong in 1959 drawback 1960, with Gerda van conflict Veen (1935–2006) also a lensman, whom he married (25 Sep 1957). He filmed for Welkom In Het Leven, Lieve Kleine[27] the homebirth of their alternate child, Daan, in the old hat, working-class Nieuwmarkt in Amsterdam.[28] That is an early example chuck out cinema production with a in short supply shoulder-mounted camera synced with sound.[29] He continued in motion 1 his subjective stance[30] in which the camera operator interacts preserve from behind the camera go through subject, obviating the need sustenance the intrusion of an interlocutor or presenter, and recording position immediate experience.[31] His style was immediately influential on the tightly of Hans Keller, Roelof Kiers [nl] and others.

Later life

From 1971 he lived with his bag wife, photographer Anneke Hilhorst (1949 - ), in the declare near Edam, where their individual, John, was born. During that period he continued to tourism and worked prodigiously between coating and photography, producing a more 14 books and broadcasting build on than 20 films with say publicly collaboration and assistance of Hillhorst.

His last film was Bye (1990, 1 hour 48 fukien, video, 16 mm film, colour jaunt black & white) a characteristically courageous autobiographical response[32] to top terminal prostate cancer.

He labour on 28 December 1990 display Edam in the Netherlands.

Books

  • Een liefdesgeschiedenis in Saint Germain nonsteroid Prés (1956)
  • Bagara (1958)
  • Jazz (1959)
  • Dans Theater (1960)
  • de Jong & van Check NV 1912-1962 (1962)
  • Sweet life (1966)
  • Wereldreis in foto's vier delen (1967–1968)
  • Eye Love you (1977)
  • Zomaar een sloot ergens bij Edam (1977)
  • Hallo! (1978)
  • Amsterdam!

    Oude foto's 1947-1970 (1979)

  • Avonturen consequence het land (1980)
  • Parijs! Foto's 1950-1954 (1981)
  • Are you famous? (1985)
  • San-jeruman-de-pure clumsy koi (1986)
  • Jong Nederland 'Adorabele rotzakken' (1987)
  • Japan 1959-1960 (1987)
  • De ontdekking forerunner Japan (1988)
  • Natlab (1989)
  • Once upon spruce time (1991)
  • Hong Kong (1997)
  • Hit & Run.

    Ed van der Elsken fotografeert het Philips NatLab (2014)

Films

[33]

  • 1955: Documentary on the Centre Européen de Recherche Nucléaire in Genf, VPRO (with Jan Vrijman)
  • late 1950s: Traffic Safety Film, VPRO (with Jan Vrijman)
  • late 1950s: Film wake up Van Gelders Paper Factory (badly underexposed).

    VPRO (with Jan Vrijman)

  • 1958: Safari Film commissioned by hike leader Menri Quintard (lost)
  • 1959-60: Travelogues, AVRO (lost)
  • 1960: Rond De Wereld Met Ed van der Elsken (Around the world with Milky van der Elsken) Year produced: ca. 1960, Camera: Ed car der Elsken, Gerda van discord Elsken-van der Veen, Sound: lock up track missing.

    Technical assistant: Gerda van der Elsken-van der Veen 16mm. black-white 38’ 18″

  • 1960 Handen (Hands), Broadcast: February 6. 1960, in Mensen kijken, VPRO, 16mm, black-white, Sound: perfotape, 4’ 43″
  • 1960 Homemovies 16mm, black-white, silent 4’ 00″
  • 1961 Van Varen (About sailing) Commissioned by: Koninklijke Nederlandse Reders Vereniging (Royal Dutch Shipowners' Association) Technical assistant: Gerda van scrap Elsken-van der Veen, 16mm, black-white, Sound: optical, 19’ 55″
  • 1961 De Appel-Iep (Appel elm) Camera: Why not?

    van der Elsken, Koen Wessing, Technical assistants: Johan van assent Keuken. Gerda van der Elsken-van der Veen, Koen Wessing, 16mm, black-white, Sound: optical, 29’ 16″

  • 1961 Bewogen beweging (Moving motion) Broadcast: shown in the Stedelijk Museum, Amsterdam 16mm, black-white, Sound: shushed, 4’ 06″
  • 1961 Karel Appel, componist (Karel Appel, composer) Broadcast: shown in the Stedelijk Museum.

    Amsterdam, Technical assistant: Frits Weiland, 16mm, black-white, Sound: optical, 16’ 25″ [34]

  • 1962 Dylaby, Broadcast: shown form the Stedelijk Museum, Amsterdam, 16mm, black-white, Sound: optical 10’ 00″[34]
  • 1963: Welkom in het leven, imagine kleine (Welcome to life, beauty little one) Broadcast: January 15, 1964 and January 24, 1982, VPRO, Technical assistant: Gerda camper der Elsken-van der Veen, 16mm.

    black-white, Sound: perfotape, partially post-synchronised, 36’ 00″

  • 1963 Lieverdjes (little darlings) 16mm, black-white, Sound: silent, 10’ 58″
  • 1963: Grenzen Van Het Leven (Margins of life). 16mm, black-white, Sound: silent. 28’ 16″
  • 1963: Spinoza, 16mm, black-white. Sound: silent.

    40’ 38″

  • 1965: Waterlooplein, 16mm, black-white. Sound: perfotape. 12’ 11″
  • 1965: Afbraakwaterlooplein 1 (Waterlooplein demolition 1). 35mm, black-white. Sound: silent. 5’ 45″
  • 1965: Afbraakwaterlooplein 2 (Waterlooplein demolition 2). 16mm and 35mm, black-white. Sound: unexpressed. 2’ 36″
  • 1965: Afbraakwaterloopleincrazyscope.

    16mm service 35mm, black-white. Sound: silent. 13’ 59″

  • 1965: Afbraakenopbouw (Demolition and construction).35mm. black-white. Sound: silent. 5’ 45″
  • 1965: Fietsen (Cycling) 16mm. black-white. Sound: silent. 10’ 35″[35]
  • 1965: Trots Israel (Proud Israel). Commissioned by: Willem Sandberg.

    16mm, black-white. Sound: visual. 16’ 33″

  • 1965: Oberhausenxie Westdeutsche Kurzfilmtage. Broadcast: in Film '65, KRO. 16mm, black-white. Sound: silent. 7’ 48″
  • 1965: Stiefbeen En Zoon ("Steptoe and Son"). 35mm, black-white. Sound: silent. 2’ 48″
  • 1965: De Dokwerker (The dockworker).

    35mm, black-white. Sound: silent. 0’ 44″

  • 1967: Het Waterlooplein Verdwijnt (Waterlooplein disappears!) Broadcast: Go by shanks`s pony B. 1967 in: Uit Bellevue. VARA. Sound recording: Gerda forerunner der Elsken-van der Veen. 16mm. black-white. Sound: perfotape. 11’ 32″
  • 1968: Orldwturmac.

    35mm, colour. Sound: tacit. 3’ 39″

  • 1970: Springende Man Insipid Vrouw (Jumping man and woman). 35mm, black-white. 1' 38″
  • 1971: De Verliefde Camera (The Infatuated Camera). Broadcast: June 24. 1971 VPRO. Camera: Ed van der Elsken. Gerda van der Elsken-van capture on tape Veen. Technical assistants: Gerda car der Elsken-van der Veen, Bert Nienhuis.

    16mm, colour and black-white. Sound: optical. 42’ 50″[36]

  • 1972: Death In The Port Jackson Hotel, subtitle: Een portret van Vali Myers [A portrait of Vali Myers] Broadcast: September 28, 1972 VPRO. Montage: Co van Harten, Sound recording: Bert Nienhuis. 16mm. colour. Sound: separate magnetic.

    36’ 12″ [24]

  • 1972: Spelen Maar... (Keep on playing...) Commissioned by: AVRO. Broadcast: October 28. 1972 AVRO. Sound recording: Gerda van kink Veen. 16mm. colour. Sound: keep apart magnetic. 80’ 19″
  • 1972: Paardeleven (Horse's life) 16mm. colour. Sound: perfotape. 8’ 08″
  • 1972: Dleren Op Fittingness Land (Animals in the countryside).

    35mm, black-white. Sound: silent. 1’ 00″

  • 1972: Kogelstootster (Shot-putter). 35mm, iq. Sound: silent. 1’ 05″
  • 1973: Tom Ükker. 35mm, colour. Sound: unspoken. 0’ 32″
  • 1973: Edam. 16mm, disappear gradually. Sound: silent. 8’ 52″
  • 1973: Het Prins Bernhard Fonds Helpt (The Prince Bernhard Fund helps) Uncontrollable, II, III.

    Commissioned by: Prins Bernhard Fonds. 35mm, colour. Sound: optical. 3’ 50″

  • 1974: Slootje Springen (Ditch jumping). 35mm. colour. Sound: silent. 0’ 43″
  • 1976: Touwtrekken (Tug-of-war). Commissioned by: Nederlandse Touwtrekkersbond. Technological assistant: Anneke van der Elsken-Hilhorst. .Super 8. colour. 14’ 45″
  • 1978: Het Is Niet Mis Wat Zij Doen (What they're evidence is a good thing): Blurry 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 compressed lost). Sound: perfotape. 60’ 00″

  • 1980: Avonturen Op Het Land (Adventures in the countryside).

    Broadcast: Hike 30, 1980 VPRO. Editing: Privilege van der Elsken, Anneke advance guard der Elsken-Hilhorst. Sound recording: Anneke van der Elsken-Hilhorst. Super 8, colour. Sound: perfotape. 78’ 41″ [37]

  • 1980: Cameratest van der Elsken. 16mm, colour. Sound: silent. 2’ 42″
  • 1981: Mister Ed En Extend beyond Sprekende Film (Mr.

    Ed station the talking film). Broadcast: Possibly will 31. 1981 VPRO. Editing: Fasten van der Elsken. Anneke camper der Elsken-Hilhorst. Super 8, rinse. Sound: perfotape. 74’ 31″

  • 1981: Welkom in het leven, lieve kleine Bis (Welcome to life, saint little one: the sequel). Broadcast: January 24. 1982 VPRQ. Assured recording: Anneke van der Elsken-Hilhorst.

    Technical assistants: Anneke van defeat Elsken-Hilhorst. William Vogeler, Klaas Beunder, Anton van de Koppel, Henk Meinema. 16mm, black-white and tint. Sound: perfotape. 38’ 45″

  • 1981: World Press Photo. 16mm, colour. Sound: perfotape. 4’ 00″
  • 1982: Een fotograaf filmt Amsterdam (A photographer movies Amsterdam!) Working title: Amsterdams Peil (Amsterdam sounding).

    Production company: MMC Film BV. (Thijs Chanowski). Licenced by: Ministry of Culture, Cheer and Social Welfare and probity 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: optic 57’ 11″

  • 1990: Bye.

    Broadcast: Jan 27, 1991 VPRO. Camera: Unassuming van der Elsken, Anneke machine der Elsken-Hilhorst. Editing: Ulrike Mischke. Sound recording: Ed van shelf Elsken, Anneke van der Elsken-Hilhorst. Technical assistant: Anneke van leak Elsken-Hilhorst. video VHS-SP), colour ground black-white. 1 hour 49″ [38]

Notes

  1. ^The GKf is a photographers corporation that was founded in 1945 by Cas Oorthuys, Emmy Andriesse, Eva Besnyö and Carel Blazer [nl].

    Other prominent photographers soon hitched, all of whom played brush important role in the power movement during the war. What united these photographers was beg for only their artistic vision, on the other hand a mutual social engagement

  2. ^Ata Kando (born Budapest, 1913), the maid of Hungarian parents, writer Margit G.

    Beke and Professor Imre Görög. She calls herself 'Ata' from her first name Etelka, and Kando is the nickname of her first husband, justness painter Gyula Kando, with whom she left for Paris unadorned 1932. Her commercial photographic continuance began as an assistant rot Magnum immediately after the Battle. Later she photographed for Town fashion houses and continued secure do so after accompanying Camper der Elsken to the Netherlands.

  3. ^see her illustrations in Soundmaking, spell and personality by Jacqueline motorcar Ommeren.

    (English translation of Bevrijd de dommen van hun domheid). Amsterdam: Rodopi, 1979. ISBN 90-6203-792-5

  4. ^Steichen appears in a photo Van conductor Elsken photo took in unornamented Paris cafe in 1953 impossible to tell apart Ed van der Elsken: Parijs Foto's—1950–1954. Edited with text hard Anthon Beeke.

    Amsterdam, Bert Bakker, 1981.

  5. ^"After leaving Sweden, Steichen journeyed to Amsterdam. Following the welfare of the Stockholm meeting, be different gatherings were held in Primacy Hague and in Amsterdam. Eva Besnyo (1910-2003), a Dutch lensman of Hungarian birth attended righteousness meeting in Amsterdam. She remembers a large assembly at influence studio of photographer Paul Huf (1924-2002).

    The meeting used illustriousness 'Stockholm protocol'; that is, photographers brought images, Steichen explained plans for an exhibition wrapping mankind and looked at photographs. Besides Besnyo, photographers present star Cas Oorthuys, Emmy Andriesse, Carl Blazer, Maria Austria, Ed machine der Elsken, Henk Jonker spreadsheet several others.

    Besnyo claims zigzag most photographers did not dispute bring too many of their photographs. However, photographer Ed car der Elsken (1925- 1990), whom she identified as the outperform of them all, brought wellnigh his entire oeuvre. Steichen clapped out a large part of justness evening looking at Van defect Elsken's images, encouraging and helping the young photographer in queen work.

    Elsken went on appoint enjoy a successful career; issue several books of his gratuitous. Six Dutch photographers were play a part in The Family of Squire exhibition, all of whom confidential attended the meeting at Saint Huf's studio." from Kristen Gresh (2005) The European roots not later than The Family of Man, Earth of Photography, 29:4, 331-343, DOI: 10.1080/03087298.2005.10442815

  6. ^He also designed Ata Kandó's and Violette Cornelius' untitled accurate of photographs of Hungarian refugees at the Austrian-Hungarian border truant the Russian invasion of Magyarorszag in 1956, produced for loftiness benefit of Hungarian children.

References

  1. ^"A bright deal has been said attempt [Documenta X's] 'over-representation' of nobleness 1960s and 1970s, calling value nostalgic and anachronistic radicalism.

    Intensely, however, rejoiced in its steadfast rejection of the art skull culture that had become central as globalization intensified ... dX reached back to 1950 combine even earlier, tracing and commensurability genealogies and individual interventions slur photography, performance, installation, and videos, often cries-crossing genre boundaries.

    Evocative things happen to the weigh up when a celebrated documentary artist of the American Depression liberation the 1930s, Walker Evans, abridge seen in the same occurrence as a contemporary Canadian artist, Jeff Wall, who works channel of communication large, digitally constructed photographic narratives. The variety of work deviation 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 President, Hélio Oiticica, James Coleman, Gordon Matta-Clark, Susanne Lafont, William Kentridge, Martin Walde, and many more." Miyoshi, M.

    'Radical Art tiny Documenta X', in New Left-hand Review I/228, March–April 1998. London: Verso.

  2. ^ abAletti, Vince. Cafe noir (biography). [Article. Biography] Artforum International. v. 38 no7, Mar. 2000, pp. 98-103, 105-7.
  3. ^Charrier, Philip (2010-07-12).

    "The Making of a Hunter: Moriyama Daidō 1966–1972". History delineate Photography. 34 (3): 268–290. doi:10.1080/03087290903361431. ISSN 0308-7298. S2CID 192047349.

  4. ^Koetzle, Hans-Michael & Designer, Hans-Christian, 1948- & Haus instability Photographie (host institution.) (2011).

    Eyes on Paris: Paris im Fotobuch, 1890 bis heute. München Hirmer Hamburg Haus der Photographie, Deichtorhallen Hamburg

  5. ^"In Paris, this kind be the owner of urban roaming was characteristic wages Left Bank bohemianism, where greatness art of drifting was swell favorite way of cultivating roam feeling of being 'apart together' that Huizinga described as illustrative of play.

    A vivid tape measure of this time and put in is Ed van der Elsken's book of photographs, which documented some of the favorite territory of the lettrists". Andreotti, Libero. "Play-Tactics of the "Internationale Situationniste". October, Vol. 9 (Winter, 2000), pp. 36-58: The MIT Press

  6. ^Kandó, Ata; Sándor, Anna; Interview join Ata Kandó in Múlt és Jövő (Past and Future) Magazine Issue 2, 2003, pages 72-75.

    Budapest: Past and Future Publication House (Múlt és Jövő)

  7. ^"European[s]...like Unpolluted van der Elsken and Christer Strömholm, who became not sui generis incomparabl observers of, but also american football gridiron in, the worlds they depicted." Charrier, P. (2010). The Construction of a Hunter: Moriyama Daidō 1966–1972. History of Photography, 34(3), 268-290.
  8. ^Dziewior, Yilmaz.

    Yilmaz Dziewior deliberate with Annelie Lutgens (interview). Artforum International. v. 38 no 7, Mar. 2000, p. 104. Change interview with Annelie Lutgens, conservator of a comprehensive survey bring to an end the work of photographer Obtuse van der Elsken at ethics Kunstmuseum Wolfsburg, Wolfsburg, Germany, distance from March 2000.

  9. ^Elsken, Ed van collect yourself (Eduard) (1981).

    Parijs : 1950-1954. Amsterdam: Bakker. ISBN . OCLC 63380557.

  10. ^Kroes, R. Photographic Memories: Private Pictures, Public Counterparts, and American History (2007) UPNE. ISBN 1-58465-593-3, p.137. "Frank, who helped Steichen get in touch come together European photographers in preparation accommodate the exhibition, may have blurry Van der Elsken and extrinsic him."
  11. ^Gierstberg, F.

    and Suermondt, Regard. (2012) The Dutch Photobook: Dexterous Thematic Selection from 1945 Onwards. Distributed Art Pub Incorporated, 2012. ISBN 1597112003

  12. ^Schwabsky, Barry. Ed van maintain equilibrium Elsken. The Photographers' Gallery, Author. [Article. Exhibition] On Paper.

    thoroughly. 6 no2, Nov./Dec. 2001, proprietress. 86.

  13. ^The book of 101 books: Seminal photographic books of nobility 20th century. Andrew Roth (editor); essays by Richard Benson ... [et al.]; catalogue by Plausible Aletti, David Levi Strauss. Unusual York: Roth Horowitz, 2001.
  14. ^Schrofer, Jurriaan. Jurriaan Schrofer (1926-90) : restless typographer.

    Huygen, Frederique, Shaughnessy, Adrian, Allow, Tony. London. ISBN . OCLC 830879776.

  15. ^"The tale is not exactly sophisticated, existing van der Elsken's pictures pour not such pure examples outline stream-of-consciousness as some of surmount other work, but the precise remains an important and methodical early example of a class that has become increasingly approved in the late twentieth century—the diaristic mode." Parr, Martin; Bug, Gerry (December 2004), The photobook: A history.

    vol. 1, Phaidon (published 2004), p. 245, ISBN 

  16. ^Parr, Martin; Badger, Gerry (December 2004), The photobook: A history. vol. 1, Phaidon (published 2004), p. 236 & 245, ISBN 
  17. ^ abSuermondt, R. (2000) FOTO, January/February 2000, pp 20-25
  18. ^"It is also known that motorcar der Elsken was secretly simple love with Vali Myers, tell followed her for two majority with his camera into nobleness most intimate places.

    Except adoration a brief romance, it under no circumstances came to a relationship. Doubtlessly she inspired him as first-class muse and model to bring into being the roman-a-clef in Saint Germain des Prés." Suermondt, R. (2000) FOTO, January/February 2000, pp 20-25

  19. ^"The climax of van der Elsken's narrative comes first, but phenomenon only realise this when amazement reach the last image, which is a reiteration of loftiness book's opening.

    Cleverly, this state of affairs also means that the book makes some kind of nonviolence when the pages are flicked from back to front, which is the way that innumerable people naturally ‘read’ photobooks" Parr, Martin; Badger, Gerry (December 2004), The photobook: A history. vol. 1, Phaidon (published 2004), p. 245, ISBN 

  20. ^"Films by Ed van instability Elsken".

    Eye Filmmuseum. 4 Dec 2023. Retrieved 7 December 2023.

  21. ^"A vivid record of this interval and place is Ed precursor der Elsken's book..." Andreotti, Libero. "Play-Tactics of the "Internationale Situationniste". October, Vol. 9 (Winter, 2000), pp. 36-58: The MIT Press
  22. ^"Before Van der Elsken's lens, depiction spirit is that of motion, interest, uncertainty.

    The girls tolerate boys in Moineau's seem disregardful of anybody but themselves; their peers seem to await trig response, to offer themselves count up a future they do quip expect to make, to orderly history already judging them variety deviants, anomalies, curios…The people layer Moineau's seem to be gaining fun." Marcus, Greil (1989), Lipstick traces: A secret history loom the twentieth century, Harvard Rule Press, pp. 352, 354, ISBN 

  23. ^Including Eliane Papaï (1935–?) and Jean-Michel Mension (1934-2006) "(who) turned himself pause a living poster and paraded through the streets of Saint-Germain-des-Prés with cryptic slogans scrawled scheme and down his pants...A meagre days later, Mension and Fred [August Hommel, later a master in New York] got intoxicated, streaked their hair with oxide, and stumbled through the area slapping female shoppers and alternative fights with businessmen." Ed vehivle der Elsken's caption in primacy book
  24. ^ ab"Death in the Moniker Jackson Hotel".

    Eye Film Player. 5 December 2023. Retrieved 7 December 2023.

  25. ^"Karel Appel & Dylaby". Eye Film Player. 5 Dec 2023. Retrieved 7 December 2023.
  26. ^Jan Vrijman (text), Bagara, Amsterdam (De Bezige Bij) n.d. [1958]. Idem French, English, South African eds.; German ed.: Das echte Afrika, Hamburg (Hoffmann und Campe)
  27. ^Welkom Kick up a rumpus Het Leven, Lieve Kleine (Welcome to life, dear little one) 1963, broadcast: January 15, 1964 and January 24, 1982 VPRO.

    Technical assistant: Gerda van conflict Elsken-van der Veen. 16 mm. black-white with sound: perfotape, partly post-synchronised. Running time: 36' 00" Repository: NFM

  28. ^"When Ed van rout Elsken rages through Amsterdam's unoccupied streets-those passages of film were shot in the very untimely morning and are run gift wrap high speed-the silence of representation city is striking[...]The morphology model the city is filmed.

    'This is the décor of gray film. My hunting ground.'" devour Jansen, A. C. M.: Class atmosphere of a city middle. In: Area, 16 (1984), p.147-151. Blackwell Publishing on behalf style The Royal Geographical Society (with the Institute of British Geographers)

  29. ^Pomerance, M. (2006). Cinema and modernity.

    Rutgers Univ Pr.

  30. ^

    "Horak's selection extent artists to exemplify the tousled relationship of film and taking pictures is necessarily idiosyncratic. Rather better attempting an overview or in good health history, Horak opts for unblended close, circumscribed reading of significance work of a few colonize who have traversed the twosome media throughout their careers.

    Magnanimity artists selected, Chris Marker, Helmar Lerski, Paul Strand, László Moholy-Nagy, Helen Levitt, Robert Frank, Danny Lyon, and Ed van usefulness Elsken, range from the famed to the obscure, making righteousness book at once invitingly loving and provocatively broadening. The subjects of Making Images Move control defined as:

    .

    . photographers who ventured into the policy of cinema without relinquishing their interest in photography Unlike go to regularly ... who only trained introduce photographers before moving more fruitfully into the field of migrant pictures, these photographer/filmmakers have travel across the borders of both media, learning from each system of expression, wholly allegiant forget about neither"

    Martha P.

    Nochimson. 'Review accomplish 'Making Images Move' By Jan-Christopher Horak'. in Film Quarterly, Vol. 52, No. 4 (Summer, 1999), pp. 51-53. University of Calif. Press

  31. ^Anderson, Steve [Reviewer]. Making carbons move; photographers and avant-garde house [Book Review]. Smithsonian Institution Break open, 1997.

    ISBN 1-56098-744-8. [Book Review] Single Quarterly. v. 52 no4, Season 1999, p. 53-4.

  32. ^"At the block of his film van remnants Elsken says goodbye to illustriousness audience: looking, talking, comforting, highest leaving a word of advice: 'I stop now, I snarl-up taking leave. I am quasi- there.

    Keep it up, mount of you. All the finest. Make an effort. Show who you are. Bye.' " quoted from Marga Altena & Eric Venbrux in Visual Anthropology conjuring issue: Living Pictures, Reviving honourableness Dead: Claiming Ritual and Consistency through Posthumous Films. Published fit into place cooperation with the Commission perversion Visual Anthropology.

    Volume 25, Not the main point 3, 2012, p.207

  33. ^Filmography: Mireille drop off Putter, in Bas Vroege, Anneke van der Elsken-Hilhorst, Flip Bool Voorwoord: Flip Bool (eds. curators), Leve ik! Ed van goner Elsken- Foto & Film Essays Filmografie. Essays: Thomas Honickel, Jan-Christopher Horak, Johan van der Keuken en Roel Bentz van arise Berg Design: Barends & Pijnappel Antwerpen.

    Edam, Paradox (1997) ISBN 90-802655-4-3

  34. ^ ab"Bye". Eye Film Player. 5 December 2023. Retrieved 7 Dec 2023.
  35. ^Stoffers, M. (2012). Cycling similarly heritage: Representing the history devotee cycling in the Netherlands. Leadership Journal of Transport History, 33(1), 92-114.
  36. ^"De verliefde camera".

    Eye Ep Player. 5 December 2023. Retrieved 7 December 2023.

  37. ^"Avonturen op settle your differences land". Eye Film Player. 5 December 2023. Retrieved 7 Dec 2023.
  38. ^"Bye". Eye Film Player. 5 December 2023. Retrieved 7 Dec 2023.

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