Marius Meijboom has been described as the uncrowned king of commercial photography. He was however best known for his photographs of the Dutch royal family. He also took fashion photographs. First and foremost he was a studio photographer.
In his more... »
Marius Meijboom has been described as the uncrowned king of commercial photography. He was however best known for his photographs of the Dutch royal family. He also took fashion photographs. First and foremost he was a studio photographer.
In his youth he was an inspired amateur without any ambition to embark on a professional career. All this changed when he met Godfried de Groot in 1934. Under the Amsterdam portrait photographer's influence Meijboom decided to study at the Reimann school in Berlin. In 1936 he set up for himself in Amsterdam. He concentrated chiefly on portrait photography; his studio was in the immediate vicinity of the Stadsschouwburg playhouse, and many of his clients came from the theatrical world. Godfried de Groot's influence is evident in the pronounced chiaroscuro in these portraits.
Meijboom's reputation was established by his work for the royal family, and for his photographs in the book Personalities in the Kingdom of the Netherlands (1937-1938). It became necessary for him to employ assistants; by 1938 he had a staff of twenty-five.
Directly after the German invasion Meijboom fell under suspicion for having Jewish employees. In 1942 he was arrested for providing photographs for forged identity cards. His studio was closed for a while, but subsequently carried on by his wife, the photographer Margreet van Konijneburg. Meijboom was released at the end of 1943. In the final months of the war he was involved with a group who took illegal photographs of the German occupation. A selection of these photographs was exhibited in Meijboom's studio after the liberation. The group adopted the name of the show, The Camera in Hiding (De Ondergedoken Camera).
After the war Meijboom concentrated increasingly on commercial and fashion photography, which by 1950 accounted for eighty per cent of his assignments. This work was cast in a popularised mould of the achievements of New Photography: the design was contemporary and adapted to the function of the photo as a conveyor of information. Meijboom's clients included magazines (International Textiles and Elegance), advertising agencies (Lintas, Prad, Smits and FHV) and companies such as the Holland-Africa Line and a sulphuric acid plant. One of his regular clients was De Bijenkorf department store, for which he photographed window displays and made corporate and fashion reportages. « less...
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