PhotoLexicon, Volume 3, nr. 5 (September 1986) (en)

Cor Jaring

Bernike Pasveer


In the turbulent 1960s, Cornelis Jaring—born and raised in Amsterdam—produced reportages on Amsterdam that were then groundbreaking and which today serve collectively as a highly valuable historical document reflecting that time. He became famous as a reportage photographer primarily for his shots of the Provo movement. Yet he was and still is active in the field of documentary photography, as clearly affirmed by his travel photo accounts and, for example, his work concerning the port of Amsterdam.




Cornelis Jaring is born on 18 December on Wittenburg, one of the islands on the eastern side of Amsterdam. He is the son of Willem Jaring and Bertha Akkerman.


Jaring attends primary school at the Parel School. In his seventh and eighth year, he attends the Leeghwater School.


Jaring takes on various jobs at the port of Amsterdam—ship maintenance, janitorial work, dock sailor and fireman. He also assists his father with his shop in second-hand wares, called ‘Willem koopt alles’ (‘Willem Buys Everything’). In sports, Jaring is an active boxer and cyclist.

Jaring makes his first attempts at painting and meets his future wife, Willy Zoutberg.


While serving in the military, Jaring takes his first photos.


Jaring devotes his time to photography, taking shots of street life in Amsterdam, as well as nudes. In addition, he works as a children’s photographer at the Raat photo agency.


Together with Toon Huibrechts, Jaring establishes the HUJA, Internationale Onderneming in Fotografische Aangelegenheden (‘International Enterprise in Photographic Affairs’). The two work together for a year as children’s photographers.


Jaring begins work as a reportage photographer for the press agency Print, located on the Rokin in Amsterdam. His first reportage appears in 1961 in the newspaper De Volkskrant, featuring the renovation of the New Church on the Dam Square.When, in 1962, Print goes out of business, Jaring continues with what he did before: photographing street life in Amsterdam, people at work, and the city’s port. He receives his first exhibition in the same year, held at the photographic society Sociëteit De Kiekeboe.


Robert Jasper Grootveld hires Jaring as a photographer for his ‘anti-smoke happenings’ as well as the scene surrounding them.


Jaring’s photos of the Provo movement raise a furore. He gets around everywhere with his cameras. The Provo movement as well benefits as it garners publicity outside the Netherlands through Jaring’s photos. Together with Henk J. Meier, Jaring starts up the press agency Groep 45 (‘Group 45’). Meier writes, Jaring makes photos. They publish Dit [‘This’] hap-hap-happens in Amsterdam.


On 10 March, Jaring does a photo coverage of Queen Beatrix’s and Prince Claus’s wedding, including the riots the wedding sparked. His photos of a smoke bomb during this event are dispersed around the world. For the first time, Jaring travels abroad. Replacing a colleague that has fallen ill, Jaring accompanies the transport of a shipment of poultry to the Soviet Union. The television guide Televizier publishes his photos.

In September of the same year, Jaring travels for four months to the Far East, in part financed by Japan Airlines. Ben van Meerendonk arranges for the international publication of these photos.


In the summer of this year, Jaring travels across much of Africa and Europe on his own instigation. It is the onset of a period during which he becomes involved in a series of mystical, joyful, environmental clubs such as the Insektensekte (‘Insect Sect’), Het Deskundologisch Laboratorium (‘The Knowledgeable Laboratory’), and Het Ballongezelschap (‘The Balloon Association’). Together with other members, Jaring organises expeditions, operas, and investigations aimed to draw attention to environmental decline in the Netherlands. He photographs these events, usually in colour.


Jaring publishes his book Je bent die je bent (‘You are what you are’), in which he gives a plain account of his travel experiences. At the same time, he presents his ‘Pershelm’ (‘Press Helmet’). The helmet—a response to the police’s frequent assaults on protestors—is equipped with a radio receiver and broadcaster, flash, sound destroyer, fully automatic object seeker, and a thirty meter smoke curtain.


Jaring’s archive of the 1960s becomes a source of income through its frequent use in publications, books, and exhibitions. At the same time, he continues photographing workers as well as eccentric inhabitants of Amsterdam. There are no longer any movements to which Jaring feels drawn; in his view, the squatter’s movement is resorting to too much violence.


Jaring becomes an instructor of photography at the AKI (Akademie voor Kunst en Industrie, ‘Academy for Art and Industry’) in Enschede.


Jaring receives a documentary photo assignment from the AFK (Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) to photograph labourers at the port of Amsterdam.


For Jaring, the paintbrush and the camera are struggling for priority. Upon revealing his plans for the future, however, it appears the camera is to triumph for the time being: he publishes a book about various kinds of manual labour virtually becoming obsolete, produces a reportage on the gardens behind people’s homes in the Amsterdam Dapperbuurt (an urban neighbourhood), and organises a photo expedition on the Nordhorn Canal with students of the AKI.

17 november 2013

Jaring dies.


Cornelis (Cor) Jaring has done more than just photograph the Provo movement, for which he is best known. His scope of activity also includes distant countries, the streets of Amsterdam, workers, the harbour, and various kinds of ‘expeditions’. In terms of content and form, his oeuvre is unified by the ever-present relationship between himself and the surroundings and people he photographs. Time and again he focuses consistently on those who live and work in the margins of organised society. The images he makes of these people are dark and shot from close up, with his contact to them clearly noticeable.

When Cor Jaring entered military service in 1956, there was nothing in his background to suggest he would undertake a career in photography. The Amsterdam port and the street were his home. His performances as a cyclist, boxer, and a painter were not bad. As someone who was used to doing whatever he liked, he was unable to subject himself to the strict discipline of the military. Eighteen months in, he was moved to the department of ‘welfare work’ within his military company. It was here that he first became familiar with photography, initially through making prints of other people’s negatives, but later through participating in photo competitions himself, winning each and every one of them using a borrowed camera. Due to his inexperience, Jaring’s plates were blurry and coarse-grained, giving them an ‘abstract’ quality that made them perfectly suited for the Subjective Photography of that time.

Once out of the military, Jaring decided he wanted to learn about photography by gaining practical experience. Working for a brief time as an employee, then independently, he learned to quickly focus, frame, light, and carefully finish his photographs. Together with Toon Huibrechts, Jaring went door-to-door offering to make portraits of children for a fee. In about 1961, he found employment as a press photographer for Persbureau Print (‘Print Press Agency’) on the Rokin in Amsterdam. This experience in finding news, observing, and photographing helped him to improve his skills as a photographer and taught him to use the talents with which he was born; the ability to feel at home anywhere, to keenly observe a great deal around him, and to take his own initiatives.

As a photographer, Jaring received his first public recognition with a reportage on the port of Amsterdam, exhibited at the Sociëteit De Kiekeboe (a photographic society). It was his first exhibition. The documentary reportages on workers and the alienating surroundings in which they live and work—entirely familiar to the people themselves—are a major element in Jaring’s photography. His amicable attitude and the ease with which he approaches others allows Jaring to bridge the distance that typically occurs when people feel uncomfortable in front of the camera. Form-wise, Jaring’s compositions—serene, taken from an ostensibly simple camera angle, and usually shot with a wide-angle lens—would most certainly fall under the ‘humane’ tradition of post-war documentary photography. The black and coarse-grained prints—though carefully exposed—are nevertheless more characteristic of his own day: the anarchistic generation of the 1960s.

From 1965 on, Jaring travelled across half the world, often doing commissioned work for airlines and magazines. He roamed about the Soviet Union, the Far East, Africa, and large parts of Europe, at times getting home-sick, experiencing exciting adventures and taking large numbers of photographs. In his travel photography as well, his numerous portraits of outsiders and other eccentric figures appear as if they were produced by a ‘kindred spirit’. Yet Jaring’s travel photography says more about his adventures, his attitude, and his curiosity in a strange environment than it does about the countries and people themselves. When labourers and Jaring come together in Amsterdam, he becomes more of the voyeur who enters another world to record his own emotions and adventures. Jaring is famous—and infamous—for the role he played as a photographer in turbulent Amsterdam during the 1960s. In 1962, he became involved in virtually everything that made Amsterdam into a ‘Magies Centrum’ (‘Magic Centre’) at this time, via Robert Jasper Grootveld: the happenings around the statue ‘t Lieverdje; the psychedelic hole that Bart Huges drilled into his own head in 1964; two years of the Provo Movement; Beatrix and Claus’ royal wedding; the Deskundologisch Laboratorium (‘Knowledgeable Laboratory’); the Kietschkonservatorium (‘Kitsch Conservatory’); De Insektensekte (‘Insect Sect’); the anti-Vietnam demonstrations; and the Stichting Nieuw Wereldrecord (‘New World Record Foundation’). Jaring was by no means the only photographer on the scene, but he was most certainly the one consistently present at the heart of all that was happening, despite the risks involved.

Both the left- and right-wing press in the Netherlands and abroad made use of Jaring’s photos. The Provo movement as well used his work in their own publications. Jaring never hesitated to work free-of-charge for those sympathetic to the same causes, nor did he refrain from making good money when publishing his work in various foreign magazines, including some that were less favourable towards the Provo movement. Most of the work did little to harm those involved in the movement, but Jaring’s publishing policy said a great deal about his position in the movement of the 1960s: he was much more connected to the mood of the times in railing against the sacrosanctity of the newly emerging welfare state, the value of things unorganised, and later initiatives involving nature, fun and jest like the Insektensekte, than the political philosophy of the Provos and other movements. With the Insektensekte, he was an active member; with the Provo movement, he was little more than a voyeur of all the rioting. In spite of—or perhaps because of—his understanding with the Provos, Jaring’s working style and photos helped to make the 1960s what they were: an era that inspired international infamy, anger, and astonishment, but that also spoke to the imagination. In the history of photography in the Netherlands, never before were the activities of a photographer, a socio-political movement, and the media’s interest so strongly interdependent.

Since 1971, Jaring has been an instructor of photography at the AKI (Akademie voor Kunst en Industrie, ‘Academy for Art and Industry’) in Enschede. Without having a single teaching credential to his name, he entered the school and paid for his students’ film with his first salary. He would always continue to teach his classes about photography by venturing out into the world. The first time was to ‘surround’ Enschede. In the spring of 1986, he even arranged an ‘expedition’ floating down the Nordhorn Canal on a foam-rubber raft. Jaring teaches his students in the same way he learned to work himself: ‘you’re nothing with just a photo. It comes down to dealing with people, gauging them, reading them. All of it together, your whole personality, the taking, selling, running around with a camera, your outer appearance: that’s what makes a photographer.’

Jaring generally works with a 24 mm or a 28 mm lens, which forces him to stay on top of things, to be at the heart of an event, to get so close to ‘his’ portrait ‘that you can smell their scent’. The same can be said for his reportage photography: the observer finds himself, as it were, standing directly in the middle of the riots.

Jaring’s work is typically very black, on occasion clearly blurred, and coarse-grained. This starts out in his negatives: in order to take advantage of the available light anywhere he goes, he works with highly light-sensitive photographic material. But it is also part and parcel of the time in which he grew up as a photographer: the black mystic-sombre style of printing—introduced in the Netherlands by Ed van der Elsken in the 1950s—became popular for political photography in the 1960s, as an expression of an attitude towards life that contrasts with the laid-back mood of the 1950s. Aesthetic and formal considerations make way for an ostensible anarchy in form: the content of the things themselves—the political message—is far more important than anything else. That Jaring improved the exposure when using photos from his Provo archive at a later date—making prints that were less black and more carefully finished—illustrates just how far he was able to take this purported anarchy. Jaring’s trained painter’s eye ‘requires’ that the compositions of his images are always carefully weighed. Cluttered images and people cut off at the waist are elements generally not found in Jaring’s photos, unless necessary. He still always has the option of honing the compositions in the darkroom, when unable to do so during the actual shoot.

With many of Jaring’s colleagues—photographers of the 1960s and ’70s—a certain degree of political idealism, a ‘holy obligation’, is not to be denied: this had to be evident not only in the photos themselves, but also in the way they were used. This was less true of Jaring. It was not so much the actual photos of the Provo movement that testify to this, but how he dealt with them. Jaring never hesitated to sell his photos, even to the Provos’ political opponents. The significance of this period for his career was therefore substantial. Equally important is the relevance of Jaring’s photography to the perception of the 1960s: even today, his photos play a key role in the visualisation of this period.


Primary bibliography

Henk J. Meier, Dit hap-hap-happens in Amsterdam, Amsterdam (Arbeiderspers) 1966.

Je bent die je bent (en dat ben je), Huizen (Tritonpers) 1968.

Cor Jaring, Bekentenissen van een beroepsgluurder, in Televisier 11 mei 1968.

Emile Fallaux, Amsterdam Plusminus, Huizen (Tritonpers) 1969.

De sekte van het insekt, in De Post 2 mei 1976 (met foto’s).

H.J.A. Hofland, Honderd Mensen van Cor Jaring, Amsterdam (Meulenhoff/Landshoff) 1984.

Op blote voeten, Baarn (De Kern) 1985.

Simon Vinkenoog (inl.), Jarings jaren zestig, Baarn (De Kern) 1986.


images in:

Zien oktober 1964.


Verschillende Provo-publicaties in 1965 en 1966, waaronder:

Rob Stolk en Christoph Hahn (red.), 10Maart 1966;

De Parel van de Jordaan, Amsterdam 1966.

De Telegraaf 1965, 1966.

Het Parool 1965, 1966.

Provo, maandblad van Provo in 1965, 1966.

Ratio, literair maandblad, 1965, 1966.


Verschillende binnen- en buitenlandse dagen opiniebladen rondom acties van Provo, waaronder:

Posti 1965.

Kwik 22 januari 1965.

Elsevier Weekblad 23 januari 1965.

Nieuws van de dag 20 februari 1965.

Algemeen Dagblad 27 maart 1965.

National Inquirer 11 april 1965.

Uge og Hjemme 30 april 1965.

Uge og Hjemme 28 oktober 1965.

Wereldkroniek 4 december 1965.

Haagse Post 12 maart 1 g66.

Hitweek 1 april 1966.

Televizier 23 april 1966.

Neue Revue 10 juni ig66.

Paris Match 25 juni 1966.

Life 11 juli 1966.

Rheinische Post 16 juli 1966.

Schweizer Illustrierte 15 augustus 1966.

Panorama 3 september 1966.

Neue Illustnerte 9 oktober 1966

Extra Bladet 3 december 1966.

Televizier 31 december 1966.


Dick P.J. van Reeuwijk, Damsterdamse extremisten, Amsterdam (De Bezige Bij) 1965- H. Enkelaar, Welvaart eist scheepvaart, in De Nieuwe Linie 30 januari 1965.

Auteur onbekend, Strand en dok, in Televizier 5 juni 1965.

HJ. Meier, Yoga in Nederland, in Televizier 15 januari 1966.

H.J. Meier, Een zwarte dag in de belgische zwarte driehoek, in Vrij Nederland 12 februari 1966.

Auteur onbekend, Yogi, in Paroolpers 22 april 1966.

Auteur onbekend, Dokwerkers van Cor Jaring, in Foto 21 (1966) 8, p. 356-363.

Auteur onbekend, Uithoorn Kiev v.v., in Meridiaan oktober 1966.

G. Fortgens, Op 80 banden naar Kiev, in Televizier najaar 1966 (4 afleveringen).

H. Kolb, World Press Photo ’66, Wormerveer (Meijer) 1966, p. 28, 29,.

J.J. Thorsen, Sex og Smerte, in Extra Bladet 5 januari 1967.

Auteur onbekend, Xoelapepel, in Televizier 11 februari 1967.

R. Bonewit, Relliënd naar Dukla-Ajax, in Televizier 25 februari 1967.

M. Scholtens, Anderhalve ton voor de rovers, in Televizier 25 maart 1967.

Auteur onbekend, fotoprijs amsterdam 1967, Amsterdam (Stedelijk Museum, cat. nr. 418) 1967.

E. de Jong, Mijn avontuur als haschisdealer, in Haagse Post 23 september 1967.

E. Fallaux, Hoepla gaat mank op mooie benen, in Televizier 14 oktober 1967.

H. Verhagen, De Yogi en het pijpje in de sinaasappel, in Televizier 28 oktober 1967.

C. Kleesieck, Die Unbekleidete auf den Bildschirm, in Neue Revue 29 oktober 1967.

E. Fallaux, Yin-Yang, de nieuwe uitlaat van Wim de Bie, in Televizier 18 november 1967.

J. Mackie, The Indonesian Confrontation, in History of the 20th century nr. 91 (z.j.).

C. Kleesieck, In Holland kann man Liebe lernen, in Neue Revue 10 juni 1968.

Hette Visser, Bedevaart naar Lourdes, in Eva 13 december 1969.

H. van Assumburg, Tof of niet tof, in De Lach 4 april 1969.

E. Fallaux, Rare vogels op de grachten, in De Post 19 december 1971.

J. Juffermans (red.), Handboek der deskundologie deel 1, Amsterdam, 1972.

F. Oppenoorth, Holland Promotion een actueel deskundologisch verslag, in Avenue 7 (juli 1972), p. 78-87.

Verschillende uitgaven van het Deskundologisch Tijdschrift, Amsterdam, 1972 e.v.

G. van Lennep, Er hangt blauw in de lucht, in De Post 23 januari 1972.

Cor Jaring, Fodor 4, 1972.

G. van Lennep, Zendelingen van Krishna, in Nieuwe Revu 20 mei 1972.

J. Hopman, Nederland is bijna klaar, in Televizier 4 augustus 1973.

B. van Garrel en W. Rothuizen, Robert Jasper Grootveld, de Amsterdamse tovenaarsleerling, in Haagse Post 6 juli 1974.

F. Oppenoorth, de bronnen van de amstel, in Avenue 9 (juli 1974), p. 96-103.

G. van Lennep, amsterdam hier leeft de haven, in Avenue 10 (februari 1975), p. 28-39.

R. Kalkhoven, De Eurosnack, in Nieuwe Revu 30 mei 1975.

M. Reneman, Openbaar Kunstgebit, in Avenue 10 (december 1975), p. 10-15.

Mr. G. van Hall, Ervaringen van een Amsterdammer, Amsterdam/Brussel (Elsevier) 1976, na p. 160.

Foos, fotokrant van de Akademie voor Kunst en Industrie, Enschede, november 1977.

H. Maatjes, Een deskundologische speurtocht door kikkerland, in Nieuwe Revu 10 augustus 1979.

Magazijn oktober 1979.

Paulien Terreehorst e.a., De stad in zwart/wit, Amsterdam (Fodorcatalogus) 1981, p. 24.

J. van de Merwe, Gerrit Jan Zwertbroek, De paria van de Vara, in Vrij Nederland 16 april 1983.

Fiona de Vos, Het ingebrande televisiebeeld van de jaren zestig, in Reflector november 1983.

R. van Duyn, Het Provoboek, Amsterdam (Meulenhoff) 1985.

M. Otten, Provo en de zomer van 1965, in Vrij Nederland 3 augustus 1985.

Reflector november 1985 (omslag).

Secondary bibliography

F. Stoppelman, De Cor Jaring happening, in Focus 52 (17 maart 1967) 6, p. 2-9.

Auteur onbekend, Het Zesde Zintuig Van Een Fotogek, in Haagse Post 16 september 1967.

Auteur onbekend, Special Operations, in Renault Revue januari 1968.

Ineke Jungschleger, Jarinkie Van Wittenburg, De Beruchte „Een vinger in het wereldnieuws”, in De Volkskrant 30 maart 1968.

Jacques Gans, Is men die men is?, in De Telegraaf 4 mei 1968.

H. Eggenkamp, „m’n Grote Krachttoer Was m’n Objectiviteit”, in De Nieuwe Linie 6 april 1968.

Gerard Paques, Op recordjacht in het Vondelpark, in De Volkskrant 3 augustus 1968.

Auteur onbekend, „Ik ben slechts een schakel in de draaimolen van het maffe leven”, in Harpoen 51 (1968) 8.

Michiel Schmidt, Cornelis Jaring, de man, die zus mag zeggen tegen Mevrouw Soeharto, in Utrechts Stadsblad 19 september 1968.

Auteur onbekend, ‘Vlinder-opera’ komt op voor bedreigde insecten, in Het Parool 22 februari 1969.

Auteur onbekend, Cor Jaring „Ik wil de mensen uit de sleur halen”, in Noordhollands Dagblad 27 februari 1969.

Frits Stommels, Cor Jaring laat ieder zijn eigen wereldrecord vestigen, in De Gelderlander 27 februari 1969.

Gosse Woudsma, Fotoboek van Cor Jaring, in Het Parool 21 augustus 1969.

J. J. Metz, Fotoboek Cor Jaring, in Algemeen Handelsblad 22 augustus 1969.

Auteur onbekend, „Ik was wel een wilde jongen”, in De Telegraaf 23 augustus 1969.

Ary Jassies, „Mijn laatste grandioze idee: een nationaal familie fotoalbum”, in Haagsche Courant 4 september 1969.

Joop Bromet, Cor Jarings Amsterdam: Te veel voor de incrowd, in Nieuw Israelietisch Weekblad 17 oktober 1969.

Auteur onbekend, Blote borst in boek leidt tot kort geding, in De Volkskrant 22 oktober 1969

J. Donia, Cor Jaring, in Televizier 25 oktober 1969 (met foto’s).

Auteur onbekend, Cor Jaring ving in foto’s magisch centrum Amsterdam, in Gooi- en Eemlander 14 november 1969.

H. Meerum Terwogt, Vrouwen van Amsterdam, Amsterdam (Foton) 1970.

Auteur onbekend, „Wat ik hier erg goed vind is de tolerantie”, in Het Parool 20 januari 1970.

W. Aerts, ‘Corretje’ Jaring: „Mijn mond zei constant dat mijn handen konden wat mijn ogen zagen”, in Dagblad voor Noord-Limburg 31 januari 1970.

Auteur onbekend, Deskundoloog Cor Jaring: En toch is Holland mooi, in Gooi- en Eemlander 29 april 1972.

B. van Garrel, ‘Die fantasie, dat wordt nog eens mijn ondergang’, in Haagse Post 5 juli 1972, p. 32, 35-36.

Frits van Iterson, Cor Jaring: Milieuvervuiling gaat erin als roomsoezen, in De Nieuwe Linie 19 november 1975.

Bas Roodnat, Het Portret (13) Waar Cor Jaring Het Eerst Aan Dacht, in NRC Handelsblad 25 september 1976.

Els Barents (red.), Fotografie in Nederland 1940-1975, ‘s-Gravenhage (Staatsuitgeverij) 1978, p. 33, 74-75-

H. van de Louw, Cor Jaring fotograaf: „Ik wil altijd op straat werken”, in De Nieuwe Linie 17 mei 1978.

Mary Cordesse (inl.), La fête, Arles 1978. Hans Aarsman, Cary Markerink, Ouwehoeren Met Cor Jaring, in Plaatwerk 1 (nov./dec. 1983) 4, p. 16-19.

Pauline Terreehorst, „Ik blijf altijd een deskundoloog”, in De Groene Amsterdammer 22 augustus 1984.

Cees van den Berg, „Nou, dat is dan die beroemde Cor Jaring”, in Algemeen Dagblad 25 augustus 1984.

F. Kotterer, Cor Jaring, fotograaf van mensen, in Parool 25 augustus 1984.

Rolf Bos, Altijd boeiende mensen bij Jaring, in De Volkskrant 29 augustus 1984.

B. Roodnat, Fodor exposeert veelzijdig werk fotograaf Jaring, in NRC Handelsblad 30 augustus 1984.

Hennie van de Louw, De dolle wereld van Cor Jaring, in De Tijd 31 augustus 1984, p. 44-47.

H.J.A. Hofland, Honderd mensen van Cor Jaring, in Fodor augustus /september 1984.

Pieter Bos, Cor Jaring onderdeel van de wereld, die hij fotografeert, in Dagblad Tubantia 5 september 1984.

H. Hoeneveld, Honderd mensen van Cor Jaring, in Kunstbeeld september 1984.

Rutger ten Broeke (inl.), Fotobiënnale Enschede, Enschede 1984, p. 42, 61.

E. Kok, Honderd Mensen Door Cor Jaring, Foto 39 (1984) 11, p. 39.

Auteur onbekend, Honderd mensen van Cor Jaring, in Fotoprof 2 (december 1984) 4, p.44.

Remi van der Elzen, Foto’s zijn bezems, de rest is gelul, in Mensen januari 1985.

Koos Tuitjer, „De straat was m’n academie”, in De Gelderlander/De Nieuwe Krant 15 februari 1985.

Leo Thuring, Hoffotograaf van de jaren zestig jaagt nog verbeten op sappelaars en malloten, in Zutphens Dagblad/Deventer Dagblad/Amersfoortse Courant/Twentse Courant/ Gelders-Overijselse Courant/Sallands Dagblad 23 februari 1985.

Bert de Jong, Smeuiige verhalen over kinderen in de oorlogstijd, in Trouw 14 maart 1985.

Auteur onbekend, Jarinkie van Wittenburg weer vol grote plannen, in De Echo 5 mei 1985.

Auteur onbekend, Cor Jaring: „Ik fladder maar wat rond in dit leven”, in Zwolse Courant/Het Dagblad/Nieuw Kamper Dagblad 8 augustus 1985.

Auteur onbekend, Cor Jaring, in Dieren Kreet mei 1985.

Piet Romer, Amsterdammer in hart en nieren, in Nieuws van de Dag 22 maart 1986.

Auteur onbekend, Amsterdamse fotograaf exposeert Amsterdamse foto’s, in Aspekt 26 maart 1986.

Willem Ellenbroek, Straatfotograaf Cor Jaring is hofschilder van de jaren ’60, in De Volkskrant 28 maart 1986.

Rudolf van Erp, Roerige jaren zestig in unieke foto’s, Plein Aktueel maart 1986.

Auteur onbekend, Seeing Amsterdam through the 6os, in The paper about Holland maart 1986.

C. Wallagh, De geest van de rookbom, in Algemeen Dagblad 2 april 1986.

Cees Straus, Jager op historische stennis, in Trouw 12 april 1986.

Leo Divendal, Jaring kwam, zag en fotografeerde, in De Waarheid 12 april ig86.

Constant Wallagh, De geest van de rookbom, in Dagblad Rijn en Gouwe 2 april 1986.

Maarten Jager, Pakkend tijdsbeeld in het Historisch Museum, in Nieuws van de Dag 3 april 1986.

Auteur onbekend, Cor Jarings jaren ’60 in AHM, in De Uitkrant 8 april 1986.

Igor Cornelissen, Cor Jaring: ‘Mijn métier is toch die Jan met de pet’, in Vrij Nederland 12 april 1986, p. 15, 20.

Auteur onbekend, Historische hippies, in Amsterdams Stadsblad 17 april 1986.

Auteur onbekend, Provo hoffotograaf Cor Jaring blikt terug op roerige jaren ’60, in De Echo 23 april 1986.

Ellen Kok, Cor Jaring, hoffotograaf van de provotarische beweging, in Foto 41 (1986) 4, p. 18-23.

Piet Peters, „Hof”Fotograaf Van De Roaring Sixties Cor Jaring, in Foto & Doka 8 (april 1986) 4, p. 21-25.


BBK, vanaf ca. 1965.

De Keerkring.


1975 Eerste prijs van Amsterdam, beeld van een stad.

1979 Fotoprijs van Amsterdam.


1962 (e) Amsterdam, Sociëteit De Kiekeboe, De Haven.

1966 (g) Amsterdam, Polak en Van Gennep, 10 Maart 1966.

1966 (g) Den Haag, Gemeentemuseum, World Press Photo ’66.

1967 (g) Amsterdam, Stedelijk Museum, Fotoprijs Amsterdam.

1972 (g) Enschede, Vroom en Dreesman, Enschede today.

1972 (g) Amsterdam, Museum Fodor, Amsterdamse kunstenaars in Fodor.

1972 (g) Amsterdam, Stedelijk Museum, Een kruistocht op de fiets in 15 staties (Onderdeel van De Keerkringtentoonstelling).

1973 (g) Rotterdam, Museum Boymans-van Beuningen, De jaren zestig.

1974 (g) Amsterdam, Van Goghmuseum, World Press Photo ’74.

1974 (g) Rotterdam, Lijnbaancentrum.

1975 (e) Enschede, Galerie Markt 17.

1976 (e) Amsterdam, Pasqualerie.

1977 (g) Amsterdam, Amsterdams Historisch Museum, Foto’s voor de stad.

1978 (g) Arles, La Féte.

1978 (e) Amsterdam, De Melkweg, De Jaren 68.

1978 (g) Enschede, Café-chantant De Kater, Dit is je wereld.

1978/79 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1979 (g) Rotterdam, Museum Boymans-van Beuningen, Actie, werkelijkheid en de fictie in de kunst van de jaren zestig in Nederland.

1979 (g) Parijs, Institut Neérlandais, La Féte.

1980 (e) Amsterdam, Amrogalery.

1981 (g) Amsterdam, Museum Fodor, De stad in zwart/ wit.

1983 (g) Amsterdam, Stedelijk Museum, Een kruistocht op de fiets in 75 staties.

1983 (e) Amsterdam, Pasqualerie.

1984 (e) Amsterdam, Museum Fodor, Honderd mensen van Cor Jaring.

1984 (g) Enschede, Fotobiennale.

1985 (e) Den Haag, Nikon Fotogalerie, overzichtstentoonstelling.

1985 (g) Amsterdam, Amsterdams Historisch Museum, De verbeelding aan de macht.

1985 (e) Lelystad, Hotel-Congrescentrum.

1985 (e) Nijmegen, Galery De Tweeling.

1986 (e) Amsterdam, Amsterdams Historisch Museum, Jarings Jaren Zestig.

1986 (e) Amsterdam, Galerie Forum, Jarings Jaren Zestig.

1986 (e) Eindhoven, Galerie Pennings.


Cor Jaring, documentatie en mondelinge informatie.

Amsterdam, Universiteitsbibliotheek (Provoarchief).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand. Collecties

Amsterdam, Instituut voor Sociale Geschiedenis.

Amsterdam, Gemeentearchief (foto’s en diaseries).

Amsterdam, Stedelijk Museum.

Amsterdam, Universiteitsbibliotheek (Provoarchief).

Den Haag, Rijksdienst Beeldende Kunst

(foto’s in collectie Hartkamp; rijksaankopen, waaronder diaseries ‘Holland Promotion’, in bruikleen bij het Prentenkabinet Leiden).