Tag: war photographs

Exhibition dates: 2nd May – 1st September, 2025

  

  

Marius Meijboom (Dutch, 1911-1998)
Hunger Winter
February 1945
Marius Meijboom / Niod

  

Iconic photo of Henkie Holvast from the Jordaan, 9 years old

  

 

Resist!

The photograph of Henkie Holvast (February 1945, above) is an example of the famine the Nazis inflicted on the general population of the Netherlands during the last year of the Second World War.

I’ll leave you to make the correlation between these historical events and what is happening in Gaza today … and to understand the hypocrisy and evil of contemporary acts.

Like the photojournalists that are being targeted and killed for reporting the truth of the situation in Gaza, so these photographers would have been killed by the Nazis for photographing the occupation of the Netherlands if they had been caught.

“Verzet! Verzet!” (Resist! Resist!)

Dr Marcus Bunyan

Many thankx to Foam, Amsterdam for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

  

  

“The exhibition The Underground Camera captures the hunger and hardship in Amsterdam during the final year of World War II, but also sheds light on the untold stories behind the images, offering fresh perspectives.”

De Volkskrant

  

  

  

Cas Oorthuys (Dutch, 1908-1975)
Resistance slogans on a bomb shelter at Kwakersplein, Amsterdam
1944-1945
© Cas Oorthuys / Netherlands Photo Museum

  

  

“Verzet! Verzet!” (Resist! Resist!) is spray painted boldly on a public wall, confronting the public in Cas Oorthuys’s Verzetsleuzen op een schuilbunker Kwakersplein (Resistance slogans on a bunker at Kwakersplein), taken in Amsterdam between 1944-1945. In many ways this image serves as a visual manifesto for The Underground Camera, the new exhibition at Foam Amsterdam, articulating the collective’s commitment to resistance, subversion, and the political potential of the photographic image.

The Underground Camera, a group of Amsterdam based photographers, made the life-threatening and courageous decision to photograph the Nazi occupation of Holland, specifically the famine of 1944-45 in Amsterdam as a result of the Nazis blocking food transport. The photographers, recruited by members of the Dutch resistance, were tasked with making the unseen visible. The intention was to inform the Dutch government working in exile in London to advocate for food drops on their behalf while also documenting the conditions of the occupation, creating evidence in the event the Nazis would be held accountable. A general ban on photography was implemented in 1944 by the occupation, so The Underground Camera followed through with illegal acts carried out discreetly, often hiding the cameras under their garments.

Not only was participating in illegal acts under the Nazi occupation dangerous, but being associated with the resistance otten carried dire consequences. By highlighting the potential fatality of the mission, its dangerous conditions, and the equipment that was difficult to obtain at the time and often poor quality, Foam’s exhibit allows the audience to witness a quiet rebellion. A rebellion that is often overlooked not only in the history of photography, but in history as a whole.

With this exhibit, the courageous and inspiring group finally gets their time of recognition.

The Underground Camera, initially known as the more unassuming ‘Nederland Archief’ (Netherlands Archive), significantly contributed to the retelling of history regarding Germany’s occupation during the war, viewing the camera as both a witness and a weapon. The idea of the camera as a weapon is underscored by many academic discourses surrounding documentary war photography. A camera has the potential to become a tool of war whose target is completely dependent on the intention of the one shooting, but in this case of the camera has actively deconstructed propaganda while also holding the occupiers accountable.

There are many unknowns when it comes to this group. Who were the participating photographers, were any were caught, how were they organised, how did they operate, etc. This exhibition is giving them deserved institutional and academic recognition and advocates for their story to be told. The Underground Camera is an incredible show not only because it offers rare glimpses into the realities of war, but because the photographs are a product of courageous resilience.

Georgina Laube. “Apr 24: The Underground Camera | Foam,” on the Musee magazine website, April 2th, 2025 [Online] Cited 09/05/2025

  

  

Cas Oorthuys (Dutch, 1908-1975)
A man collects materials from a demolished building, Zwanenburgstraat
1944
© Cas Oorthuys/Nederlands Fotomuseum

  

  

Cas Oorthuys (Dutch, 1908-1975)
Two women returning from a hunger march
Early 1945
Courtesy of Foam
© Cas Oorthuys / Nederlands Fotomuseum

  

  

Foam presents The Underground Camera, an exhibition that features work from Dutch photographers who captured the consequences of the German occupation during the 1944-45 ‘famine winter’ in Amsterdam.

The exhibition The Underground Camera is inspired by the celebrations of Amsterdam’s 750th anniversary and 80 years of liberation.

With their photographs, The Underground Camera group made a significant contribution to the image of the Second World War. The photographers were recruited by members of the resistance, with the aim of informing the Dutch government in London. They worked independently and under the dangerous conditions of an occupied city, with hard-to-obtain, often poor-quality equipment. The exhibition provides an impressive picture of the consequences of hunger and cold in the dismantled Amsterdam at the end of the war.

The group of photographers included Cas Oorthuys, Emmy Andriesse, Charles Breijer, Kryn Taconis, and Ad Windig, among others.

Text from the Foam website

  

  

Charles Breijer (Dutch, 1914-2011)
Closure of the Jewish Quarter near the Waag, Nieuwmarkt, Amsterdam
1941
© Charles Breijer / Netherlands Photo Museum

  

  

Charles Breijer (Dutch, 1914-2011)
Charles Breijer photographs a German-requisitioned building near Vondelpark from his bicycle bag. He inadvertently captures his own shadow
Spring 1945
Charles Breijer / Netherlands Photo Museum (NFM)

  

German guard post in front of the Kriegsmarine building at Emmaplein in Amsterdam. Visible in the foreground is the shadow of photographer Charles Breijer, operating his Rolleiflex camera from his pannier.

  

  

Charles Breijer (Dutch, 1914-2011)
Andrea Domburg distracts bystanders while Margreet Meijboom-Van Konijnenburg takes the photo from her bag
Nd
Charles Breijer / Netherlands Photo Museum

  

  

Charles Breijer (Dutch, 1914-2011)
Margreet Meijboom-van Konijnenbrug (right) demonstrates photographing from a shopping bag. Andrea Domburg, in a nurse’s uniform, accompanies her to keep an eye on the surroundings
Nd
Charles Breijer / Netherlands Photo Museum

  

  

Charles Breijer (Dutch, 1914-2011)
Joop Kuijt, a refugee, crawls into a hiding place at Oranje Nassaulaan 15, Amsterdam
1945
© Charles Breijer/Netherlands Photo Museum

  

  

Charles Breijer (Dutch, 1914-2011)
Shortly after the liberation, Cas Oorthuys demonstrates how he took illegal photographs during the occupation
1945
© Charles Breijer / Nederlands Fotomuseum

  

  

In honour of Amsterdam’s 750th jubilee and the 80th remembrance of the Netherlands’ liberation, Foam presents The Underground Camera (De Ondergedoken Camera). The exhibition showcases images captured by the group of photographers who came to be known by the same name. They photographed the harsh realities of Amsterdam during the ‘Hunger Winter’ of 1944-1945, offering a rare glimpse into the courageous missions of the resistance group and their role in documenting the Nazi occupation. The exhibition features work by renowned Dutch photographers such as Cas Oorthuys, Charles Breijer and Emmy Andriesse.

The resistance group was led by Fritz Kahlenberg and Tonny van Renterghem. In November 1944, when the German administration banned public photography, they – alongside a network of fourteen photographers – worked in secrecy to document the occupation and the resistance. Their efforts, carried out at great personal risk, preserved a crucial visual record of this era. Kahlenberg, a German Jewish filmmaker who had migrated to Amsterdam in 1933, was involved in the forgery of identity cards for the resistance. Van Renterghem had a military background and was also actively involved in resistance work. Although he was not a photographer himself, he played a crucial role in the coordination between The Underground Camera and other resistance groups. The images taken by the photographers of The Underground Camera were intended to be smuggled to London to convince the Dutch government in exile of the need for Allied food droppings in the Netherlands. Today, the photos provide a realistic perspective of daily life in Amsterdam during the last months of the German occupation.

The historical material of the group was stored in various Dutch collections in the form of negatives, original photo prints, albums and picture books. The exhibition sheds light on topics such as the Hunger Winter, the resistance, the illegal press, instances of sabotage, the transport of weapons and the liberation by the Allied Forces.

The Underground Camera is the result of a close collaboration with the NIOD Institute for War, Holocaust and Genocide Studies. A publication by the same name, written by NIOD-researchers René Kok and Erik Somers, will be released in March 2025. The exhibition has been co-curated by Hripsimé Visser, former curator of photography at Stedelijk Museum Amsterdam, in collaboration with exhibition designer Jeroen de Vries.

The Mayor of Amsterdam, Femke Halsema, will open the exhibition at Foam.

The exhibition The Underground Camera is part of a research trajectory within Foam’s artistic programme, launched in early 2024 under the title The Camera as a Weapon, which included a pop-up exhibition of the same name and a symposium. In a time marked by conflict, Foam poses the question: what can photography do? Through this research line – which also includes the exhibition Sakir Khader – Yawm al-Firak – the museum responds to current events by presenting artistic practices in which the camera is used as a weapon.
In light of the national observance of Remembrance Day on 4 May and the national celebration of Liberation Day on 5 May, het Amsterdams 4 en 5 mei comité, in collaboration with Foam en NIOD, will also present an exhibition. This public exhibition will be shown from 29th of April until the 6th of May on the Museumplein.

About The Underground Camera

Kahlenberg and Van Renterghem, the driving forces behind the operation, instructed a group of photographers from their main location at the Michelangelostraat 36 in Amsterdam South from where they oversaw their resistance activities. Many of the The Underground Camera photographers would later become internationally renowned. They concealed their cameras in handbags and jackets in order for them to take the pictures unnoticed. Many used Rolleiflex cameras which had a viewfinder on top, making it easier to take pictures from hip height. Given the danger of being involved in organised resistance, the photographers did not know who else was part of the collective and worked under neutral names such as ‘Netherlands Archive’ (‘Nederlands Archief’) and ‘Central Imagery Archive’ (‘Centraal Beeldarchief’). Just a few weeks after the liberation, in early June 1945, a selection of work was showcased in the exhibition The Underground Camera located in the studio of the photographer Marius Meijboom at the Keizersgracht in Amsterdam. The exhibition brought national recognition for The Underground Camera’s work, leading the group to officially adopt this name. Now, 80 years later, their legacy returns in a new exhibition along the same canal.

UNESCO included The Underground Camera in its Dutch Memory of the World Register, making it the first photographic legacy ever to receive this prestigious distinction.

The Underground Camera consisted of Tonny van Renterghem (1919-2009), Fritz Kahlenberg (1916-1996), Emmy Andriesse (1914-1953), Carel Blazer (1911-1980), Charles Breijer (1914-2011), Cornelis Holtzapffel (1916-1984), Ingeborg Kahlenberg-Wallheimer (1920-1996), Boris Kowadlo (1912-1959), Frits Lemaire (1921-2005), Marius Meijboom (1911-1998), Margreet Meijboom-van Konijnenburg (1910-onbekend), Cas Oorthuys (1908-1975), Hans Sibbelee (1915-2003), Ben Steenkamp (1917-1967), Ad Windig (1912-1996) and Krijn Taconis (1918-1979). Taconis was the first Dutch person to become a member of renowned international photography collective Magnum.

Press release from Foam

  

  

Margaretha van Konijnenburg (1910 – d.)
Bicycle raid on the Weteringplantsoen in Amsterdam
Autumn 1944

  

Photographed from a shopping bag

  

  

Marius Meijboom (Dutch, 1911-1998)
Hungry
Nd
© Marius Meijboom, NIOD

  

  

Hans Sibbelee (Dutch, 1915-2003)
Children on Sarphatistraat remove the impregnated wooden blocks from between the tram rails, for the stove
March 1945

  

The photographer took the photo from under his jacket

  

  

Krijn Taconis (Dutch, 1918-1979)
Police officers guarding food supplies in the Amsterdam harbour to prevent looting will receive an extra meal
Nd
Krijn Taconis / Niod

  

  

Emmy Andriesse (Dutch, 1914-1953)
On the way to the soup kitchen
Nd
BBWO2 / Leiden University Library

  

  

Emmy Andriesse (Dutch, 1914-1953)
A man and a woman find some coal remains at the Weesperpoort station in Amsterdam
Spring 1945

  

  

Emmy Andriesse (Dutch, 1914-1953)
A boy eats a meal from a soup kitchen
Nd

  

  

H.R. Kettner (Dutch, 1916 – d.)
The distribution of groceries became increasingly difficult, resulting in long lines in front of, among other places, the Wijnbergh & Co. store on Middenweg
Nd

  

Other photographs by The Underground Camera photographers

  

 

Emmy Andriesse (Dutch, 1914-1953)
Amsterdam tijdens de hongerwinter (Amsterdam during the hunger winter) [1944-1945]
Published 1947
Bound volume
Closed: 29.21 x 22.86cm (11 1/2 x 9 in.)
Open: 29.21 x 44.45cm (11 1/2 x 17 1/2 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

Emmy Andriesse (Dutch, 1914-1953)

Emmy Eugenie Andriesse (Dutch, 1914-1953) was a Dutch photographer best known for her work with the Underground Camera group (De Ondergedoken Camera [nl]) during World War II. …

War years and the ‘Underground Camera’

In June 1941 Andriesse married graphic designer and visual artist Dick Elffers (a gentile with whom she had two sons, one who died young), but as a Jew during the Nazi occupation Andriesse was no longer able to publish and she was forced into hiding. At the end of 1944, with the assistance of the anthropologist Arie de Froe [nl] she forged an identity card and re-engaged in everyday life, joining a group of photographers, including Cas Oorthuys and Charles Breijer, working clandestinely as De Ondergedoken Camera. The photos that Andriesse made under very difficult conditions of famine in Amsterdam, include Boy with pan, The Gravedigger and Kattenburg Children are documents of hunger, poverty and misery during the occupation in the “winter of hunger” of 1944-1945.

Post-war

After the war, she became a fashion photographer and was an associate and mentor of Ed van der Elsken. She participated in the group show Photo ’48 and in 1952, together with Carel Blazer [nl], Eva Besnyö and Cas Oorthuys, the exhibition Photographie, both in Amsterdam’s Stedelijk Museum. Edward Steichen chose her 1947 portrait of a staid and elderly Dutch couple for the section ‘we two form a multitude’ in the Museum of Modern Art world-touring The Family of Man that was seen by an audience of 9 million. More recently (October 2006 – January 2007) she was included in a display of Twentieth Century European photography at the Barbican Art Gallery, London.

Andriesse’s last commission, the book The World of Van Gogh – published posthumously in 1953 – was not yet complete when she became ill and after a long battle with cancer, died at the age of 39.

Text from the Wikipedia website

 

 

Emmy Andriesse (Dutch, 1914-1953)
Amsterdam tijdens de hongerwinter (Amsterdam during the hunger winter) (detail)
1947
Bound volume
Closed: 29.21 x 22.86cm (11 1/2 x 9 in.)
Open: 29.21 x 44.45cm (11 1/2 x 17 1/2 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

Steeds grauwer werd het beeld de steden. Schoeisel en kleding raakten totaal versleten.

The image of the cities became increasingly grey. Footwear and clothing became totally worn out.

 

 

Emmy Andriesse (Dutch, 1914-1953)
Amsterdam tijdens de hongerwinter (Amsterdam during the hunger winter) (detail)
1947
Bound volume
Closed: 29.21 x 22.86cm (11 1/2 x 9 in.)
Open: 29.21 x 44.45cm (11 1/2 x 17 1/2 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

De etalages waren leeg of toonden alleen vervangingsmiddelen.

The shop windows were empty or only showed substitutes.

  

  

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