Eve Arnold – photojournalist". Art Fine. Archived from the original on July 1, 2013 . Retrieved September 2, 2010. Born in Philadelphia, Pennsylvania in 1912, Arnold began taking photographs in New York in 1946, when she was working in a photo-finishing plant. The start of her career coincided with the advent of humanitarian photography, a genre she would later become a figurehead of through her reportage of the civil rights movement, poverty in South Africa and the political prisoners of Soviet Russia. These words evoke Marilyn’s mood when Eve Arnold arrived in Nevada. It was midway through the shoot, and Monroe had just returned from a week’s rest in a Los Angeles hospital, during which time filming had been halted. Our ‘quid pro quo’ relationship, based on mutual advantage, developed into a friendship,” Eve wrote. “The bond between us was photography. She liked my pictures and was canny enough to realise that they were a fresh approach for presenting her – a looser, more intimate look than the posed studio portraits she was used to in Hollywood.”

She looked fresh and rested, and she and Kenneth played up for the camera, she teasing him about his showing the more photogenic side of his face,” Eve observed. “We did just one roll of film. It was a simple photo and I did not want to tire her.” a b c Jason, Hill (February 11, 2013). "Arnold, Eve". Grove Art Online. doi: 10.1093/gao/9781884446054.article.t2229172. ISBN 978-1-884446-05-4 . Retrieved 2020-04-17.Sarah Archer (June 2012). "Who was Eve Arnold? The woman behind some iconic photographs". The Washington Post. Gerhard Bissell, Arnold, Eve, Allgemeines Künstlerlexikon ( Artists of the World), Suppl. I, Saur, Munich 2005, from pg. 458 (in German). She had planned to study medicine. But while Eve was working as a bookkeeper for a New York estate agent during World War II, a boyfriend gave her a Rolleicord camera. In 1943, she answered a newspaper ad asking for an ‘amateur photographer’, and became manager of America’s first automated film processing plant, in Hoboken, New Jersey. Arnold was one of the first women to be associated with Magnum, and became a full member in 1957. In 1974 she published her monograph The Unretouched Woman – a book documenting the experience of being a woman, through a woman’s perspective.

As the Sixties began, Eve photographed the new First Lady, Jacqueline Kennedy, reading to her young daughter. She travelled to Virginia to document the emerging Civil Rights movement. More than any other pinup girl or star of the silver screen, Marilyn Monroe (1926-1962) has captivated the minds of an entire generation. With her come-hither stare and womanly figure, she continues to be one of Hollywood's sexiest women. While many photographers captured Monroe's obvious sexuality, Eve Arnold, the only woman to have photographed her extensively, captured some of the most tender images ever seen of the Hollywood starlet. Arnold increasingly alternated between colour features on people's daily lives and glamorous silver screen portraits. She became more and more interested in cinema. Brought on to the set of White Nights (1985) to shoot stills, she compiled a book, The Making of White Nights, with a fellow Magnum member, Josef Koudelka, the following year. Happily, Marilyn was rescued. They met again soon after, as MM was visiting the Rostens over Labor Day weekend (traditionally the first in September.) To avoid another circus, Eve took Monroe to an abandoned children’s playground near Mount Sinai, Long Island.

Selected Works

Little did Arnold know that The Misfits – shot in the Nevada desert – would be Monroe’s last motion picture. The following summer, the 36-year-old actress would be found dead in her Los Angeles home, in what many assumed to be a suicide by drug overdose. A pivotal event in Hollywood’s history, her turbulent life is captured in Andrew Dominik’s film Blonde, starring Ana de Armas. The resulting pictures have graced endless book and magazine covers (especially if the topic is summer reading.) What’s more, the issues she photographed - racial equality, religion, sexuality, human rights, abuse of power, fame and personality couldn’t me more relevant to today’s world. By understanding our past, current events can be seen clearly in context. In 1959, Arnold worked on a film set for the first time, photographing Joan Crawford, who had criticised Monroe’s scanty attire at an awards ceremony just a few years before. Nobody was more surprised than Eve when Crawford stripped off for the camera. Here, we look at Eve Arnold’s coverage of the making of The Misfits, a film that failed at the box office, in spite of its deeply troubled all-star cast – two of whom would never make another film.