This has always been one of my favorite shoots of Marlyn! Such a beautiful woman and her confidence is inspiring. We had the bench press photo framed in my college apartment, and I have always remembered it.
In 1952, LIFE magazine assigned photographer Philippe Halsman to shoot Marilyn Monroe in her tiny Hollywood studio apartment.
“I drove to the outskirts of Los Angeles where Marilyn lived in a cheap two-room apartment. What impressed me in its shabby living room was the obvious striving for self-improvement. I saw a photograph of Eleanora Duse and a multitude of books that I did not expect to find there, like the works of Dostoyevsky, of Freud, the History of Fabian Socialism, etc. On the floor were two dumbbells.
I took hundreds of pictures. Finally I asked her to stand in the corner of the room. I was facing her with my camera, the LIFE reporter and my assistant at my sides. Marilyn was cornered and she flirted with all three of us. And such was her talent that each one of us felt that if only the other two would leave, something incredible would happen. Her sex-appeal was not a put-on– it was her weapon and her defense.” –Philippe Halsman
About Philippe Halsman (via Philippe Halsman website)
Philippe Halsman (1906-1979) was born in Riga, Latvia and began his photographic career in Paris. In 1934, he opened a portrait studio in Montparnasse, where he photographed many well-known artists and writers — including André Gide, Marc Chagall, Le Corbusier, and André Malraux, using an innovative twin-lens reflex camera that he designed himself.
Part of the great exodus of artists and intellectuals who fled the Nazis, Halsman arrived in the United States with his young family in 1940, having obtained an emergency visa through the intervention of Albert Einstein.
Halsman’s prolific career in America over the next 30 years included reportage and covers for every major American magazine. These assignments brought him face-to-face with many of the century’s leading statesmen, scientists, artists and entertainers. His incisive portraits appeared on 101 covers for LIFE magazine, a record no other photographer could match.
Part of Halsman’s success was his joie de vivre and his imagination — combined with his technological prowess. In 1945 he was elected the first president of the American Society of Magazine Photographers (ASMP), where he led the fight to protect photographers’ creative and professional rights. In 1958 Halsman’s colleagues named him one of the World’s Ten Greatest Photographers. From 1971 to 1976 he taught a seminar at The New School entitled “Psychological Portraiture.”
Halsman began a thirty-seven year collaboration with Salvador Dali in 1941 which resulted in a stream of unusual “photographs of ideas,” including “Dali Atomicus” and the “Dali’s Mustache” series. In the early 1950s, Halsman began to ask his subjects to jump for his camera at the conclusion of each sitting. These uniquely witty and energetic images have become an important part of his photographic legacy.
Writing in 1972, Halsman spoke of his fascination with the human face. “Every face I see seems to hide – and sometimes fleetingly to reveal – the mystery of another human being. Capturing this revelation became the goal and passion of my life.”