MARILYN MONROE CENTENARY, 2026
Marilyn Though Eve’s Lens
Intimacy as a way of seeing
At a time when Marilyn Monroe was often reduced to sex symbol, victim, myth or commodity, Eve’s photographs did something different. They restored her agency, intelligence, discipline and interior life.
Eve saw the glamour, but she did not stop there. She photographed Marilyn reading, rehearsing, thinking, waiting and preparing. She showed the work behind the image, and the woman behind the myth.
After Marilyn’s death, Eve resisted the rush to exploit her image. When she eventually published her book Marilyn Monroe: An Appreciation in 1987, it was not an act of sensation, but of homage: a way to remember Marilyn with dignity.
This centenary is a chance to look again.
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Marilyn Monroe first chose Eve Arnold after seeing Eve’s photographs of Marlene Dietrich.
Eve had photographed Dietrich not as an untouchable star, but as a working woman: rehearsing, recording, preparing and concentrating on the serious craft behind the performance. Marilyn recognised what that meant. As Eve later recalled, Marilyn said: “If you could do that with Dietrich, could you imagine what you could do with me?”
Marilyn saw that Eve looked at women differently. Eve did not photograph Dietrich as an object of desire, but as an artist at work. Marilyn wanted that same seriousness: to be seen not only as an image, but as a woman with intelligence, discipline and power of her own.
That understanding was central to Eve’s work. Robert Capa once said that Eve’s photographs fell, metaphorically, between Marlene Dietrich’s legs and the bitter lives of migrant potato pickers. Eve later understood how close he had come to naming the two worlds that shaped her vision: Hollywood image-making and lived human struggle.
As the daughter of Russian immigrants who grew up during the Depression, Eve understood poverty, work and vulnerability. But she had also grown up with Hollywood, and understood the force of its images: how they shaped women’s ideas of themselves, and how men saw them.
With Dietrich, Eve wanted the working woman, the unretouched woman. With Marilyn, she found a subject who understood that completely.
Their collaboration was built on trust, but also on shared intelligence. Marilyn knew how to perform for the camera. Eve knew how to watch without simplifying what she saw. Together, they made photographs in which glamour and performance remain present, but so do preparation, humour, vulnerability, discipline and private thought.
That is why Eve’s Monroe photographs still feel so modern. They are not simply images of access to a star. They are photographs about the making of an image, and about the human being inside it.
A pioneering member of Magnum Photos, Eve Arnold became one of the defining photographers of the twentieth century. Her work is held in major institutions and collections around the world, and she was named Master Photographer by the International Center of Photography and inducted into the International Photography Hall of Fame.
Eve changed photography by making intimacy a way of seeing. She helped move portraiture and photojournalism beyond surface appearance, showing that closeness could reveal psychological depth, social meaning and the full complexity of a human life. text goes here
Marilyn Monroe Reading Ulysses, Long Island, New York, 1955 © Eve Arnold Estate / Magnum Photos
