It’s still not too late to celebrate Marilyn’s birthday, and on June 21, Pop International Galleries in New York launches an exhibit in her honour, curated by Andrew Weiss and featuring hand-signed photos by William Carroll, Laszlo Willinger, Bert Stern and George Barris.
Surgical scars can be seen on Marilyn’s tummy in two of her final photo shoots, with George Barris (left) and Bert Stern (right), and in her ‘nude’ swim scene for the unfinished Something’s Got to Give, as Mehera Bonner reports for Marie-Claire. Marilyn underwent an appendectomy in 1952, and had her gallbladder removed in 1961, a year before she died. She also underwent several operations to alleviate her endometriosis and help her to have children, sadly without success. While surgical procedures are considerably more sophisticated today, our expectations have also increased. While there’s something rather liberating about these gorgeous, unaltered shots, it’s also important to remember that Marilyn – who exerted rigid control over her photo shoots, if not her movies – may herself have wanted to airbrush these photos had she lived long enough to fully review them. In fact, she vetoed many of Stern’s images, marking the rejects with an orange ‘X’; but after her death, he published the session in its entirety.
“Though she was famous for her perceived ‘perfection’ and ‘flawlessness’ (all the eye-rolls at the inherent sexism that goes into these terms), Marilyn Monroe had a pretty big scar across her stomach—which appears in both the Last Sitting and in Something’s Got to Give.
The scar itself is the result of gallbladder surgery that occurred before Stern’s famous images were taken. He says Marilyn was self-conscious about it, and called upon her hairdresser George [Masters] for reassurance before shooting. When Stern noticed the scar, he reportedly remembered Diana Vreeland saying to him, ‘I think there’s nothing duller than a smooth, perfect-skinned woman. A woman is beautiful by her scars.’
Diana Vreeland is right: women *are* beautiful with scars. But she’s also incorrect about women without them being dull. Either way, the sometimes-removal of Marilyn’s scar offers a fascinating insight into beauty standards in Old Hollywood—did she ever truly have agency as to how her body was portrayed?
Ironically, Something’s Got to Give was the first time Monroe was ‘allowed’ to expose her belly button on film—as most of her previous swimwear moments were high-waisted. Before her death, she’s said to have quipped ‘I guess the censors are willing to recognize that everybody has a navel.’
Following their previous online sale featuring photos of Marilyn in January (see here), Julien’s have announced another internet auction, ‘Iconic Imagery of Marilyn Monroe.’ Ending on August 13, the lots include photos by Douglas Kirkland, George Barris and others.
150 photos of Marilyn taken by George Barris in the weeks before she died are the centrepiece of a dedicated auction at Paddle8 in New York, reports Vanity Fair.
“The auction, called Platinum Blonde: Collectible Marilyn, takes place in New York from August 2 to 11, also includes memorabilia—including Monroe’s eighth-grade class photo from Ralph Waldo Emerson Middle School and movie posters from classics like Some Like It Hot and The Seven Year Itch—from the late star, who would have turned 91 this year.
Barris, who originally met with Monroe to do a Cosmopolitan story from the set of Something’s Got To Give, instead became a confidant of sorts in the final weeks of her life. The two began working on a book about Monroe’s life; Barris interviewed her extensively and began to photograph her as well.
In the 1980s, private collector acquired the images from Barris, who died late in 2016. In this auction, these three lots are presented in the original photoboxes from Barris, ranging from 43 to 63 images in each, with estimates from $8000-24,000. The Paddle8 auction, to [Dean] Harmeyer’s knowledge, features the biggest collection of Barris’s work to ever go on sale.”
This lovely 1962 shot of Marilyn on Santa Monica Beach, taken just a few weeks before she died, graces the latest cover of Los Angeles Magazine, and a feature about ‘The Iconic Photos That Define L.A.‘ (It’s also a nice tribute to photographer George Barris, who passed away recently.)
George Barris, one of the last photographers to work with Marilyn, has died aged 94, Mike Barnes writes for the Hollywood Reporter. His photos of Marilyn revisiting her childhood haunt of Santa Monica Beach, wearing a Mexican-style sweater over her bathing costume, are among the most natural and poignant images from her final days.
“George Barris, the photojournalist … died Friday at his home in Thousand Oaks, Calif., his daughter Caroline told The Hollywood Reporter. He was 94.
Barris and Monroe became friends after they met on the set of The Seven Year Itch (1955).
‘When I first saw her, I thought she was the most beautiful, fantastic person I’d ever met,’ Barris told the Los Angeles Daily News in 2012. ‘She completely knocked me off my feet.’
Barris photographed the actress on a windswept beach in Santa Monica on July 13, 1962, about three weeks before she was found dead of a drug overdose at age 36. He moved to France after her death and remained there for two decades.
A native of New York City, Barris enlisted in the U.S. Army and served in the office of public relations during World War II. He was Gen. Dwight D. Eisenhower’s personal photographer for the welcoming Victory Parade in New York on June 19, 1945.
While on assignment for Cosmopolitan, Barris photographed Elizabeth Taylor while she filmed Cleopatra (1963) in Rome, and during his career he also shot such stars as Steve McQueen, Marlon Brando, Charlie Chaplin, Frank Sinatra, Clark Gable, Sophia Loren and Walt Disney. His daughter also said that he photographed Chubby Checker for the singer’s ‘The Twist’ record cover.”
A more detailed biography, including a full account of his work with Marilyn, is available on the Cursum Perficio website.
He first met and photographed Marilyn in 1954 in New York where she was on location for the film The Seven Year Itch , where they became friends.
He was one of the last photographers to take Marilyn in pictures, between June 29 and July 1, 1962:
Friday 29 and Saturday 30, June, at Walter ‘Tim’ Leimert’s house, located 1506 Blue Jay Way, North Hollywood Hills
Sunday 1st, July, last day of the session, last pictures. It took place at the Santa Monica beach, near the Lawfords’ house.
Those pictures were to be published in Cosmopolitan magazine.
Some of those pictures were published in 1973 in Norman Mailer’s biography, and most of them in the book he wrote with Gloria Steinem in 1986 (Marilyn: Norma Jeane).
In 1995, he published Marilyn : Her Life in Her Own Words, whose text is composed of notes jotted after the picture sessions. Those notes should have produced an autobiography they had planned to write together.
After returning to California with his family, Mr Barris became a respected member of the Monroe fan community, as Leslie Kasperowicz reports for Immortal Marilyn.
“George Barris attended many Marilyn memorials and events and was one of the most accessible of Marilyn’s photographers to fans from around the world. He spoke frequently at the Memorial service held at Westwood and signed books and photos for fans at public and private events. Immortal Marilyn was honoured to have him present at several of our own events.
George leaves behind his daughter Caroline, who was also a frequent presence at Marilyn events, another daughter Stephanie, his wife Carla, and legions of Marilyn Monroe fans who have spent nearly 55 years appreciating his work and his willingness to lend us his ear and tell us his stories of that summer of 1962.”
One of Marilyn’s first memories was visiting Santa Monica Pier with her mother, and she held an affection for the area throughout her life. Her friends the Lawfords lived nearby, and she would be photographed on the beach by George Barris just weeks before her death in 1962. As the Santa Monica Hippodrome (the Pier’s original name) celebrates its centenary, Julia Bennett Rylah investigates its history in an article for LAist.com.
“It was June 12, 1916 when the Santa Monica Looff Hippodrome opened its doors. Charles Looff was a carousel carver who had previously worked on the first two carousels at Coney Island. Jim Harris, Santa Monica Pier historian and author of Santa Monica Pier: A Century on the Last Great Pleasure Pier, tells LAist that Looff had expanded beyond carousels and into building whole amusement parks across the country. The Santa Monica Looff Pleasure Pier, now simply the Santa Monica Pier, would be Looff’s last park before he died in 1918.
‘When the Santa Monica Municipal Pier was built—the long part that goes over the ocean—the citizens of the northern part of the Santa Monica wanted an amusement park built next to it. And so, seeing the opportunity and realizing that the Red Cars stopped right at this location and that there was an electric tram running up and down the beach, Looff thought it would be an excellent location.’
Only three months after the carousel opened, Looff added a fourth row of horses to accommodate additional riders at the popular attraction. Back then, it cost five cents for a ride. Today, it’s $2 for adults and $1 for children.
The Looff family sold the amusement pier and the Hipppdrome to a group of local relators in 1924, and the Security First National Bank took the over both in 1939. In 1943, Walter Newcomb leased the pier and the Hippodrome, hiring the Gordon family to manage it in 1955. The Gordon family took ownership in 1956…
In the 60s, the building had a very famous visitor, though many who encountered her were probably oblivious. ‘Towards the end of her life, Marilyn Monroe was living in Brentwood and hung out at the Santa Monica Beach a lot,’ Harris says, noting that many of the iconic photos George Barris took of the actress were shot here.
‘She would come to the Hippodrome to find solace. She’d sit on a bench and watch the horses go round and round. Being sensitive to who she was, she would come in disguise wearing a scarf and overcoat and sunglasses. One day, the gentleman who was operating the carousel walked up to her and said something along the lines of, Why do you come here every day? You’re young and you should get a job. She then revealed [her identity] and said, I do have a job, I’m Marilyn Monroe.‘”
Eight prints by George Barris – among the last photos taken of Marilyn before her death in 1962, and reproduced in limited edition by Edward Weston in 1987 – are on offer at Dreweatts & Bloomsbury of London, as part of their Photo Opportunities auction on June 4, reports IJ Review.