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'''Maria Eisner''' (Maria Eisner Lehfeldt; February 8, 1909, in Milan, Italy – March 8, 1991, in New York, New York) was an Italian-American [[photographer]], photo editor and photo agent.
'''Maria Eisner''' (Maria Eisner Lehfeldt; February 8, 1909, in Milan, Italy – March 8, 1991, in New York, New York) was an Italian-American [[photographer]], photo editor and photo agent.

== Background ==
⚫
From the 1920s, photographers from Germany, but also Hungary, took refuge in Paris, at the same time as the appearance of photographic magazines with a large circulation. The German group [[Ullstein Verlag|Ullstein]], in particular, employed photojournalists who, fleeing from Nazism, brought their experience in this field to France.


== Early career ==
== Early career ==
Maria Eisner was the daughter of Alfred Eisner and Emma Eisner.
⚫
Maria Eisner studied in Germany and worked for the illustrated press from the age of twenty, was trained by Simon Guttmann,<ref name=":1">{{Cite journal |last=Vowinckel |first=Annette |date=2013 |title=German (Jewish) Photojournalists in Exile: A Story of Networks and Success |journal=German History |volume=31 |issue=4 |pages=473-496}}</ref> head of the very successful Berlin-based agency Dephot, and her imagery attracted clients including Berlin publisher [[Martin Hürlimann]]. [[Rapho (agency)|Charles Rado]], founder of [[Rapho (agency)|Rapho]] (1932), and Eisner of Alliance Photo agency,<ref>Thomas Michael Gunther, Marie de Thézy, ''Alliance Photo, agence photographique 1934-1940''. Cat. exp, [[Bibliothèque historique de la ville de Paris|Bibliothèque historique de la Ville de Paris]], 1988-1989. Paris : BHVP, 1988.</ref> both came from Ullstein, as did [[Stefan Lorant]], based in England, among others.

⚫
Wife of Hans Max Julius Lehfeldt, M.D studied in Germany and worked for the illustrated press from the age of twenty, was trained by Simon Guttmann,<ref name=":1">{{Cite journal |last=Vowinckel |first=Annette |date=2013 |title=German (Jewish) Photojournalists in Exile: A Story of Networks and Success |journal=German History |volume=31 |issue=4 |pages=473-496}}</ref> head of the very successful Berlin-based agency Dephot, and her imagery attracted clients including Berlin publisher [[Martin Hürlimann]].


== France and Alliance Photo agency ==
== France and Alliance Photo agency ==
⚫
From the 1920s, photographers from Germany, but also Hungary, took refuge in Paris, at the same time as the appearance of photographic magazines with a large circulation. The German group [[Ullstein Verlag|Ullstein]], in particular, employed photojournalists who, fleeing from Nazism, brought their experience in this field to France. [[Rapho (agency)|Charles Rado]], founder of [[Rapho (agency)|Rapho]] (1932), and Eisner of Alliance Photo agency,<ref>Thomas Michael Gunther, Marie de Thézy, ''Alliance Photo, agence photographique 1934-1940''. Cat. exp, [[Bibliothèque historique de la ville de Paris|Bibliothèque historique de la Ville de Paris]], 1988-1989. Paris : BHVP, 1988.</ref> both came from Ullstein, as did [[Stefan Lorant]], based in England, among others.

She fled [[Nazi Germany]] in 1932 to France where before the War she contributed to such journals as ''[[Paris Sex-Appeal]]''<ref>{{Cite journal |last=Eisner |date=1 September 1934 |title=Le premier frisson d'automne |url=https://gallica.bnf.fr/ark:/12148/bd6t5370925n |journal=Paris sex-appeal : le magazine le plus parisien : revue mensuelle 0}}</ref> In Paris, Eisner founded the Anglo-Continental agency with [[Fritz Goro]], then decided to put her experience in the illustrated press at the service of photographers. Alliance Photo started initially at Eisner's apartment in 26 rue de la Pépinière and brought together Eisner's friends from Studio Zuber operated by René Zuber who worked for Étienne Damour's advertising agency from 1929 to 1932,<ref>{{Cite book |last=Breuille |first=Jean-Philippe |url=https://www.worldcat.org/oclc/409749822 |title=Dictionnaire de la photo. |last2=Chiesa |first2=Pierre |date=1996 |publisher=Larousse |isbn=2-03-750014-9 |editor-last=Guillemot |editor-first=Michel |edition=paperback |location=Paris |pages=28 |oclc=409749822}}</ref> contributing to the magazine ''Vendre'', then had opened his own photographic studio, rue Vernier with [[Robert Capa]],<ref>{{Cite book |last=Carneroli |first=Sandrine |url=https://www.worldcat.org/oclc/1359402495 |title=Robert Capa, a look ahead |date=2011 |publisher=Snoeck |others=Patricia D'. Oreye, Robert Capa, Magnum Photos |isbn=9789053493625 |location=Gent-Kortrijk |pages=154 |oclc=1359402495}}</ref> Pierre Boucher, [[David Seymour (photographer)|David Seymour]], [[Emeric Feher]], René Zuber and [[Denise Bellon]] who were all recruited for Eisner's new agency. Suzanne Laroche and [[Juliette Lasserre]] soon joined them.
She fled [[Nazi Germany]] in 1932 to France where before the War she contributed to such journals as ''[[Paris Sex-Appeal]]''<ref>{{Cite journal |last=Eisner |date=1 September 1934 |title=Le premier frisson d'automne |url=https://gallica.bnf.fr/ark:/12148/bd6t5370925n |journal=Paris sex-appeal : le magazine le plus parisien : revue mensuelle 0}}</ref> In Paris, Eisner founded the Anglo-Continental agency with [[Fritz Goro]], then decided to put her experience in the illustrated press at the service of photographers. Alliance Photo started initially at Eisner's apartment in 26 rue de la Pépinière and brought together Eisner's friends from Studio Zuber operated by René Zuber who worked for Étienne Damour's advertising agency from 1929 to 1932,<ref>{{Cite book |last=Breuille |first=Jean-Philippe |url=https://www.worldcat.org/oclc/409749822 |title=Dictionnaire de la photo. |last2=Chiesa |first2=Pierre |date=1996 |publisher=Larousse |isbn=2-03-750014-9 |editor-last=Guillemot |editor-first=Michel |edition=paperback |location=Paris |pages=28 |oclc=409749822}}</ref> contributing to the magazine ''Vendre'', then had opened his own photographic studio, rue Vernier with [[Robert Capa]],<ref>{{Cite book |last=Carneroli |first=Sandrine |url=https://www.worldcat.org/oclc/1359402495 |title=Robert Capa, a look ahead |date=2011 |publisher=Snoeck |others=Patricia D'. Oreye, Robert Capa, Magnum Photos |isbn=9789053493625 |location=Gent-Kortrijk |pages=154 |oclc=1359402495}}</ref> Pierre Boucher, [[David Seymour (photographer)|David Seymour]], [[Emeric Feher]], René Zuber and [[Denise Bellon]] who were all recruited for Eisner's new agency. Suzanne Laroche and [[Juliette Lasserre]] soon joined them.


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In May 1947, [[Robert Capa]] organised a meeting over lunch at the [[Museum of Modern Art]] in New York with Eisner and [[Life (magazine)|''LIFE'' magazine]]'s [[William Vandivert|Bill Vandivert]] and his wife, Rita, to establish Magnum Photos, Inc. Though Henri Cartier-Bresson, David ‘‘Chim’’ Seymour, and George Rodger were not told of the meeting, they were nevertheless made Magnum's vice-presidents. On a detour to Paris, Seymour received Eisner's telegram: "You are Vice President of Magnum Photos. Detailed letter sent to Paris on May 22nd. I will soon have interesting assignments for you."<ref>{{Cite book |last=Naggar |first=Carole |url=https://www.worldcat.org/oclc/1334344766 |title=David 'Chim' Seymour : Searching for the Light. 1911-1956 |date=2022 |publisher=De Gruyter |isbn=978-3-11-070634-5 |location=München |pages=116 |language=en |oclc=1334344766}}</ref>
In May 1947, [[Robert Capa]] organised a meeting over lunch at the [[Museum of Modern Art]] in New York with Eisner and [[Life (magazine)|''LIFE'' magazine]]'s [[William Vandivert|Bill Vandivert]] and his wife, Rita, to establish Magnum Photos, Inc. Though Henri Cartier-Bresson, David ‘‘Chim’’ Seymour, and George Rodger were not told of the meeting, they were nevertheless made Magnum's vice-presidents. On a detour to Paris, Seymour received Eisner's telegram: "You are Vice President of Magnum Photos. Detailed letter sent to Paris on May 22nd. I will soon have interesting assignments for you."<ref>{{Cite book |last=Naggar |first=Carole |url=https://www.worldcat.org/oclc/1334344766 |title=David 'Chim' Seymour : Searching for the Light. 1911-1956 |date=2022 |publisher=De Gruyter |isbn=978-3-11-070634-5 |location=München |pages=116 |language=en |oclc=1334344766}}</ref>


The seven members became the original shareholders of Magnum which was to have offices in New York and Paris, to be run respectively by their new president, Rita Vandivert for which she was paid $8,000 a year, and Eisner was appointed secretary and treasurer and head of the Paris ‘office’, on $4,000 a year, at 125 rue du Faubourg St Honore, from where she had run Alliance before the war. In New York it operated from the Vandiverts’ small office and darkroom in a brownstone on Eighth Street in [[Greenwich Village]].<ref name=":5" /> Bill and Rita Vandivert left Magnum in 1948. After their departure Eisner, having had great success of the Paris office, was asked to take over as president, and being engaged to Hans Lehfeldt a doctor living in the United States, she immediately accepted. Magnum Photos Inc. moved into an office building on West 4th Street, between Fifth and Sixth Avenues, in quarters incommodious but close to the [[Algonquin Hotel|Algonquin]], where Capa liked to lunch.<ref name=":5" /> When in 1950 a merger was proposed with the New York agency Scope, Eisner balked at the idea and the idea was shelved.<ref name=":3" /> [[Erich Hartmann (photographer)|Erich Hartmann]] recalled his first encounter with Eisner at the Magnum office;<blockquote>Smiling at me was this nice lady who turned out to be Maria Eisner and who spoke to me in this lovely Berlin accent, so I knew I was speaking to a fellow German and fellow refugee and we began chatting. I told her I was a photographer and was interested in Magnum and then I met Capa who said to Maria 'Well he doesn't know much, but I think we can do something with him.' I was allowed to hang around the office to see the way photographers worked and what they thought of the world and I realised that what they were doing was not just descriptive pictures of wherever they were. They were making a comment on what it was they were looking at. They were saying: I've been here and I've looked at that and that's what I think about it.<ref name=":5" /></blockquote>After Eisner became the second wife of Dr. Hans Lehfeldt in 1949 and became pregnant with their son Richard in 1951.<ref>{{Cite book |url=https://www.worldcat.org/oclc/60402034 |title=Encyclopedia of twentieth-century photography |date=2006 |publisher=Routledge |others= |isbn=978-1-57958-393-4 |editor-last=Warren |editor-first=Lynne |location=New York |pages=994-5 |oclc=60402034}}</ref> Capa regarded this as a distraction from her work and delegated [[George Rodger]], briefly returned from Africa, to tell her she was to be dismissed and to arrange her severance pay. Capa took over as president in July that year,<ref name=":2" /> but soon found office work tedious and handed the management to Rodger.<ref name=":5" />
The seven members became the original shareholders of Magnum which was to have offices in New York and Paris, to be run respectively by their new president, Rita Vandivert for which she was paid $8,000 a year, and Eisner was appointed secretary and treasurer and head of the Paris ‘office’, on $4,000 a year, at 125 rue du Faubourg St Honore, from where she had run Alliance before the war. In New York it operated from the Vandiverts’ small office and darkroom in a brownstone on Eighth Street in [[Greenwich Village]].<ref name=":5" /> Bill and Rita Vandivert left Magnum in 1948. After their departure Eisner, having had great success of the Paris office, was asked to take over as president, and being engaged to Hans Lehfeldt a doctor living in the United States, she immediately accepted. Magnum Photos Inc. moved into an office building on West 4th Street, between Fifth and Sixth Avenues, in quarters incommodious but close to the [[Algonquin Hotel|Algonquin]], where Capa liked to lunch.<ref name=":5" /> When in 1950 a merger was proposed with the New York agency Scope, Eisner balked at the idea and the idea was shelved.<ref name=":3" /> [[Erich Hartmann (photographer)|Erich Hartmann]] recalled his first encounter with Eisner at the Magnum office;<blockquote>Smiling at me was this nice lady who turned out to be Maria Eisner and who spoke to me in this lovely Berlin accent, so I knew I was speaking to a fellow German and fellow refugee and we began chatting. I told her I was a photographer and was interested in Magnum and then I met Capa who said to Maria 'Well he doesn't know much, but I think we can do something with him.' I was allowed to hang around the office to see the way photographers worked and what they thought of the world and I realised that what they were doing was not just descriptive pictures of wherever they were. They were making a comment on what it was they were looking at. They were saying: I've been here and I've looked at that and that's what I think about it.<ref name=":5" /></blockquote>Eisner became the second wife of gynaecologist Hans Max Julius Lehfeldt, M.D.<ref>{{Cite journal |last=Wheeler |first=Connie Christine |date=1993 |title=Hans Lehfeldt, M.D. October 28, 1899-June 18, 1993 |url=http://www.jstor.org/stable/3812733 |journal=The Journal of Sex Research |volume=30 |issue=3 |pages=297–99}}</ref> in 1949 and became pregnant with their son Richard in 1951.<ref>{{Cite book |url=https://www.worldcat.org/oclc/60402034 |title=Encyclopedia of twentieth-century photography |date=2006 |publisher=Routledge |others= |isbn=978-1-57958-393-4 |editor-last=Warren |editor-first=Lynne |location=New York |pages=994-5 |oclc=60402034}}</ref> Capa regarded her impending motherhood as a distraction from her work and delegated [[George Rodger]], briefly returned from Africa, to tell her she was to be dismissed and to arrange her severance pay. Capa took over as president in July that year,<ref name=":2" /> but soon found office work tedious and handed the management to Rodger.<ref name=":5" />


Of Eisner's subsequent life, little is recorded. She died on 8 March 1991 at her home in [[Manhattan]] aged 82 years.<ref>{{Cite news |date=1991-03-10 |title=Maria Eisner Lehfeldt, Photo Editor, 82 |language=en-US |work=The New York Times |url=https://www.nytimes.com/1991/03/10/obituaries/maria-eisner-lehfeldt-photo-editor-82.html |access-date=2023-04-25 |issn=0362-4331}}</ref>
Of Eisner's subsequent life, little is recorded. She died on 8 March 1991 at her home in [[Manhattan]] aged 82 years,<ref>{{Cite news |date=1991-03-10 |title=Maria Eisner Lehfeldt, Photo Editor, 82 |language=en-US |work=The New York Times |url=https://www.nytimes.com/1991/03/10/obituaries/maria-eisner-lehfeldt-photo-editor-82.html |access-date=2023-04-25 |issn=0362-4331}}</ref> survived by her husband and son.


==See also==
==See also==

Revision as of 04:44, 26 April 2023

Maria Eisner
File:Henri-Cartier-Bresson-Portrait-de-Maria-Eisner-1952-catalogue-Alliance-Photo-Bibliothèque-Historique-de-la-Ville-de-Paris-1988-1989.jpg.webp
Maria Eisner photographed in NYC by Henri Cartier-Bresson,1952
Born
Maria Eisner Lehfeldt

(1909-02-08)February 8, 1909
Milan, Italy
DiedMarch 8, 1991(1991-03-08) (aged 82)
United States
OccupationPhotographer

Maria Eisner (Maria Eisner Lehfeldt; February 8, 1909, in Milan, Italy – March 8, 1991, in New York, New York) was an Italian-American photographer, photo editor and photo agent.

Early career

Maria Eisner was the daughter of Alfred Eisner and Emma Eisner.

Wife of Hans Max Julius Lehfeldt, M.D studied in Germany and worked for the illustrated press from the age of twenty, was trained by Simon Guttmann,[1] head of the very successful Berlin-based agency Dephot, and her imagery attracted clients including Berlin publisher Martin Hürlimann.

France and Alliance Photo agency

From the 1920s, photographers from Germany, but also Hungary, took refuge in Paris, at the same time as the appearance of photographic magazines with a large circulation. The German group Ullstein, in particular, employed photojournalists who, fleeing from Nazism, brought their experience in this field to France. Charles Rado, founder of Rapho (1932), and Eisner of Alliance Photo agency,[2] both came from Ullstein, as did Stefan Lorant, based in England, among others.

She fled Nazi Germany in 1932 to France where before the War she contributed to such journals as Paris Sex-Appeal[3] In Paris, Eisner founded the Anglo-Continental agency with Fritz Goro, then decided to put her experience in the illustrated press at the service of photographers. Alliance Photo started initially at Eisner's apartment in 26 rue de la Pépinière and brought together Eisner's friends from Studio Zuber operated by René Zuber who worked for Étienne Damour's advertising agency from 1929 to 1932,[4] contributing to the magazine Vendre, then had opened his own photographic studio, rue Vernier with Robert Capa,[5] Pierre Boucher, David Seymour, Emeric Feher, René Zuber and Denise Bellon who were all recruited for Eisner's new agency. Suzanne Laroche and Juliette Lasserre soon joined them.

'Chim' Seymour mentions Eisner 'the German girl' in one of his letters home; 'Socially, I am moving in new circles, away from the Polish gang. I am more among photographers, thinking people, interested in the same problems as myself. However, I feel a stranger and I am missing the "togetherness" ' of our Polish bunch. I met a German girl, who became quite prominent in the French press and she feels as I do. We are trying to organise some kind of association of revolutionary-minded photographers ..."[6]

From October 1935,[7] Gerda Taro sold pictures for Alliance Photo[8] then started working for the agency as a photographer, and introduced the fictitious American Capa (Endre Friedmann's pseudonym) to Alliance in the hope of higher royalties, but Eisner recognised his imagery and offered him a lower monthly advance of 1,100 francs in return for covering three assignments a week.

The collective was officially registered in 13 December 1935,[9] and eventually settled at 125 rue du Faubourg St Honoré.[6]

Eisner's particularity was to propose subjects to the editors without waiting for their request and she also promoted her photographers as authors, demanding that their shots be credited in a by-line. To meet the quotidian interests of the press, it used photographers who recorded current events; Capa, Seymour, Cartier-Bresson and a few others including the Japanese Yōnosuke Natori. It was Alliance Photo which in 1936 contributed to Vu Capa's famous seres of a fighter in the Spanish war apparently felled by a bullet.[10]

As well as the magazine Vu, Alliance Photo clients included Art et Médecine, Arts et Métiers graphiques, Fiat Revue, Le Monde illustré, Paris-Magazine, Pour lire à deux, Visages du monde, and Voilà.[11] Images from Alliance Photo were also distributed internationally and published in the United States, Great Britain, Switzerland, Belgium and the Netherlands due to Eisner sales prowess,[12] her fluency in four languages,[13] and her contacts abroad with agencies such as Black Star in New York or ABC-Press in Amsterdam.[1]

In earlier agencies, photographers would lose the rights to pictures sold to magazines or newspapers, and often had to hand over the negatives as well. At Alliance Photo, Eisner established an indexing system for the long-term conservation of, and credit for, its photographers' pictures.[14] Consequently the agency's photographers enjoyed a growing reputation both inside and outside France with Verger, Boucher, Feher and Zuber participating in an exposition Affiche Photo Typo, organised by the Maison de la Culture,[15] and Bellon, Boucher, Feher and Verger being invited by Beaumont Newhall to participate in Photography 1837-1938 at the Museum of Modern Art (MoMA).[11] Through Eisner's diligence, collaboration with the Musée de l’Homme (1937–1938) and photographers from Alliance Photo, particularly Verger and Zuber, took on a formal dimension through the design of the new rooms at the museum in which modern photographs showed the objects of anthropological interest in context and in use.[16]

Flight to USA

Alliance Photo ceased its activities at the end of the autumn of 1939, as Eisner, a Jew, had to flee Paris at the time of the occupation. Considered a German ally, she was interned in June 1940 in the Gurs camp in the Pyrenees.[11] Liberated in August, she transited via Portugal to emigrate to the United States.[17] where she spent the end of the Second World War. The agency she founded was re-established after the war as A.D.E.P. (Agence de documentation et d’édition photographiques) run by Suzanne and Pierre Boucher, closing in 1959.[10]

Magnum

Eisner was one of the founders of Magnum Photos; the only one with any previous experience in such a venture. She was crucial to its success, bringing essential skills in organising and marketing the work of multiple photographers, and responsible for establishing the archives and working methods in the offices, including the use of contact sheets.[18]

In May 1947, Robert Capa organised a meeting over lunch at the Museum of Modern Art in New York with Eisner and LIFE magazine's Bill Vandivert and his wife, Rita, to establish Magnum Photos, Inc. Though Henri Cartier-Bresson, David ‘‘Chim’’ Seymour, and George Rodger were not told of the meeting, they were nevertheless made Magnum's vice-presidents. On a detour to Paris, Seymour received Eisner's telegram: "You are Vice President of Magnum Photos. Detailed letter sent to Paris on May 22nd. I will soon have interesting assignments for you."[19]

The seven members became the original shareholders of Magnum which was to have offices in New York and Paris, to be run respectively by their new president, Rita Vandivert for which she was paid $8,000 a year, and Eisner was appointed secretary and treasurer and head of the Paris ‘office’, on $4,000 a year, at 125 rue du Faubourg St Honore, from where she had run Alliance before the war. In New York it operated from the Vandiverts’ small office and darkroom in a brownstone on Eighth Street in Greenwich Village.[6] Bill and Rita Vandivert left Magnum in 1948. After their departure Eisner, having had great success of the Paris office, was asked to take over as president, and being engaged to Hans Lehfeldt a doctor living in the United States, she immediately accepted. Magnum Photos Inc. moved into an office building on West 4th Street, between Fifth and Sixth Avenues, in quarters incommodious but close to the Algonquin, where Capa liked to lunch.[6] When in 1950 a merger was proposed with the New York agency Scope, Eisner balked at the idea and the idea was shelved.[14] Erich Hartmann recalled his first encounter with Eisner at the Magnum office;

Smiling at me was this nice lady who turned out to be Maria Eisner and who spoke to me in this lovely Berlin accent, so I knew I was speaking to a fellow German and fellow refugee and we began chatting. I told her I was a photographer and was interested in Magnum and then I met Capa who said to Maria 'Well he doesn't know much, but I think we can do something with him.' I was allowed to hang around the office to see the way photographers worked and what they thought of the world and I realised that what they were doing was not just descriptive pictures of wherever they were. They were making a comment on what it was they were looking at. They were saying: I've been here and I've looked at that and that's what I think about it.[6]

Eisner became the second wife of gynaecologist Hans Max Julius Lehfeldt, M.D.[20] in 1949 and became pregnant with their son Richard in 1951.[21] Capa regarded her impending motherhood as a distraction from her work and delegated George Rodger, briefly returned from Africa, to tell her she was to be dismissed and to arrange her severance pay. Capa took over as president in July that year,[12] but soon found office work tedious and handed the management to Rodger.[6]

Of Eisner's subsequent life, little is recorded. She died on 8 March 1991 at her home in Manhattan aged 82 years,[22] survived by her husband and son.

See also

References

  1. ^ a b Vowinckel, Annette (2013). "German (Jewish) Photojournalists in Exile: A Story of Networks and Success". German History. 31 (4): 473–496.
  2. ^ Thomas Michael Gunther, Marie de Thézy, Alliance Photo, agence photographique 1934-1940. Cat. exp, Bibliothèque historique de la Ville de Paris, 1988-1989. Paris : BHVP, 1988.
  3. ^ Eisner (1 September 1934). "Le premier frisson d'automne". Paris sex-appeal : le magazine le plus parisien : revue mensuelle 0.
  4. ^ Breuille, Jean-Philippe; Chiesa, Pierre (1996). Guillemot, Michel (ed.). Dictionnaire de la photo (paperback ed.). Paris: Larousse. p. 28. ISBN 2-03-750014-9. OCLC 409749822.
  5. ^ Carneroli, Sandrine (2011). Robert Capa, a look ahead. Patricia D'. Oreye, Robert Capa, Magnum Photos. Gent-Kortrijk: Snoeck. p. 154. ISBN 9789053493625. OCLC 1359402495.
  6. ^ a b c d e f Miller, Russell (1998). Magnum : fifty years at the front line of history (1st American ed.). New York: Grove Press. p. 25. ISBN 0-8021-1631-0. OCLC 38096934.
  7. ^ Allan, Ted (2015). This time a better earth : a novel. Bart Vautour. Ottawa [Ontario]. pp. n.p. ISBN 978-0-7766-2165-4. OCLC 913977408.{{cite book}}: CS1 maint: location missing publisher (link)
  8. ^ Aronson, Marc (2017). Eyes of the world : Robert Capa, Gerda Taro, and the invention of modern photojournalism. Marina Tamar Budhos (First ed.). New York: Henry Holt & Company. pp. 20–1. ISBN 978-0-8050-9835-8. OCLC 940282137.
  9. ^ Mémoires du XXe siècle. [Paris]: Encyclopédies Bordas. 1989–2001. p. 211. ISBN 2-907092-55-3. OCLC 489679363.{{cite book}}: CS1 maint: date format (link)
  10. ^ a b Thézy, Marie de; Nori, Claude (1992). La photographie humaniste : 1930-1960, histoire d'un mouvement en France (in French). Paris: Contrejour. ISBN 9782859491451. OCLC 28189714.
  11. ^ a b c Gunther, Thomas Michael (1996). "Alliance Photo: agence photographique (Paris 1934-1940 et 1944-1946)". Dictionnaire de la photo (in French). Paris: Larousse. p. 27. ISBN 2-03-750014-9. OCLC 409749822.
  12. ^ a b Bair, Nadya (2020). The decisive network Magnum Photos and the postwar image market. Oakland, California. ISBN 978-0-520-97179-0. OCLC 1119742866.{{cite book}}: CS1 maint: location missing publisher (link)
  13. ^ Morris, John G. (2002). Get the picture : a personal history of photojournalism. Chicago: University of Chicago Press. ISBN 0-226-53914-8. OCLC 48851264.
  14. ^ a b Bouveresse, Clara (2017). Histoire de l'agence Magnum : l'art d'être photographe. Paris. ISBN 978-2-08-139967-9. OCLC 989108493.{{cite book}}: CS1 maint: location missing publisher (link)
  15. ^ Maillard, Fabienne (2007). "L'Autre Pierre Verger. La modernité du regard photographique dans les années 1930". Histoire de l'art (in French) (60): 113–125.
  16. ^ Mauuarin, Anais (2022). "Photographers in the Museum: French Anthropology and the Aesthetics of Images (1930-1950". Uméní Art. LXX (3): 290–302 – via Články Articles.
  17. ^ Obituary (The New York Times)
  18. ^ Lubben, Kristen (2017). Magnum contact sheets (First paperback compact ed.). London: W. W. Norten. p. 11. ISBN 0-500-29291-4. OCLC 961003525.
  19. ^ Naggar, Carole (2022). David 'Chim' Seymour : Searching for the Light. 1911-1956. München: De Gruyter. p. 116. ISBN 978-3-11-070634-5. OCLC 1334344766.
  20. ^ Wheeler, Connie Christine (1993). "Hans Lehfeldt, M.D. October 28, 1899-June 18, 1993". The Journal of Sex Research. 30 (3): 297–99.
  21. ^ Warren, Lynne, ed. (2006). Encyclopedia of twentieth-century photography. New York: Routledge. pp. 994–5. ISBN 978-1-57958-393-4. OCLC 60402034.
  22. ^ "Maria Eisner Lehfeldt, Photo Editor, 82". The New York Times. 1991-03-10. ISSN 0362-4331. Retrieved 2023-04-25.

External links

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