1986 Alfred Eisenstaedt; International Center of Photogra-
phy, New York, New York
Museum of Modern Art, New York, New York
The Whitney Museum of American Art, New York, New
York
The Philadelphia College of Art, Philadelphia, Penn-
sylvania
1994 95 for 95; Alfred Eisenstaedt’s 95th Birthday Exhibi-
tion, U.S. and traveling
Group Exhibitions
1951 Memorable Life Photographs; Museum of Modern
Art, New York, New York
1959 Undert Jahre Photographie 1939–1939; Museum Folk-
wang, Essen, Germany, and traveling
1967 Photography in the Twentieth Century; National Gal-
lery of Canada, Ottawa, Canada, and traveling
1980 The Imaginary Photo Museum; Kunsthalle, Cologne,
Germany
Selected Works
Ice Skating Waiter, St. Moritz, 1932
Graf Zeppelin, 1933
Joseph Goebbels, 1933
Future Ballerinas of the American Ballet Theatre, 1936
V-J Day, Times Square, 1945
Drum Major at the University of Michigan, 1951
Marilyn Monroe, Hollywood, 1953Further Reading
Eisenstaedt, Alfred.The Eye of Eisenstaedt, New York:
Studio Books, 1971. 1969.
———.Eisenstaedt: People, 1973.
———.Eisenstaedt’s Album, New York: Studio Books,
- Holme, Bryan, Doris C. O’Neil, Alfred Eisenstaedt, and
Barbara Baker Burrows.Eisenstaedt: Remembrances,
Boston: Bulfinch Press. 1990.
Loengard, John.Life Photographers: What They Saw. Bos-
ton: Bulfinch Press, 1998.
Eisenstaedt, Alfred.Witness to Our Time, New York: Vik-
ing Penguin, 1966.
———.Eisenstaedt: Guide to Photography. New York: Vik-
ing Penguin, 1978.
———.Eisenstaedt: Germany, New York: Harry N. Ab-
rams, 1981.
———.Eisenstaedt: Aberdeen: Portrait of a City. Louisiana
State University Press, 1984.
———.Eisenstaedt on Eisenstaedt: A Self-Portrait. New
York: Abbeville Press, 1985.
- Holme, Bryan, Doris C. O’Neil, Alfred Eisenstaedt, and
ED VAN DER ELSKEN
Dutch
Ed van der Elsken was not only an influential Dutch
photographer, but also a first-rank filmmaker. At
the age of 30 in 1955, he had already gained some
international recognition, mainly in the United
States. Hot-tempered, van der Elsken stubbornly
lived for photography and developed his creative
path: on the one hand self-centered, on the other
highly diversified geographically and thematically
speaking. Although his interests drove him to record
the lives of outcasts worldwide, he was never res-
tricted to the subject. Other themes, approached
with much empathy and irony, were documented
by his joyful, but truly inquisitive personality:
I look at you. How lovely you are. How lovely you were.
All your fun. All your misery. I picture. There are things I
got to tell you. I prod you in the ribs. I grab you by the
arm. I yank your coat-tails. I say, d’you see that? Dam-
mit! Fabulous! Unbelievable! Super! Or. Filthy bastards!Dirty dogs! What a lousy squirt! They should pass a
law...D’you see that! Look at them! Jesus, I’m alive.
(van der Elsken 1966)
Born in Amsterdam in 1925, van der Elsken lived
and grew up there until 1944. As he wanted to
become a sculptor, he attended the Institute for
Applied Arts Education (1943). For fear he would
be sent to Germany to work, he fled to the south of
the Netherlands, where he hid. After the City of
Arnhem had been freed, he joined the allied forces
until the war ended.
His formative years (1945–1950) were character-
ized by an early recognition by his peers. Whilst
attending a film operator’s preparatory course, he
thought he might support himself as a photographer.
For this, he took a correspondence course provided
by the School of Professional Photography in The
Hague. The fact that he failed the exams did not
prevent him from absorbing his lessons, as he wasEISENSTAEDT, ALFRED