PhotoLexicon, Volume 6, nr. 11 (March 1989) (en)

Sanne Sannes

Cécile van der Harten


Sanne Sannes experienced a brief and stormy career in photography and film. At the time of his sudden death in March 1967, he was a leading photographer in the Netherlands who was just about to make a breakthrough abroad. Sannes’ photos and his ideas concerning aesthetics and the presentation of photography were diametrically opposed to all of the existing ‘rules and norms’, for which he received substantial attention in the press.




Sanne Sannes is born on 19 March in Groningen.


After having obtained his HBS (Hogere Burgerschool, ‘Higher Civic School’) diploma, Sannes attends the Academie van Beeldende Kunsten ‘Minerva’ (‘Minerva Academy of Visual Arts’) in Groningen. He studies painting and graphics as his main discipline, with photography as a secondary discipline, under the instruction of the photographer K.H. (Huug) Smit of Groningen. Sannes does not complete his study.


Sannes leaves the Minerva Academy and is obliged to enter military service almost immediately. While in the military, he has access to a darkroom, where he is able to continue his photographic activities and experimentation. He has plans for a photobook about the army, but this project is never realised.

In this year, Sannes’ photography receives attention in the press for the first time, including Vrij Nederland and Foto.


During his time in the military, Sannes spends his weekends in Groningen or at his parents, who in this year move from Groningen to Apeldoorn. Sannes uses the studio of Martin Tissing, a friend from the academy. It is here that he starts photographing models.

In Groningen, Sannes meets the writer Willem Frederik Hermans. Sannes discusses his ideas for a book with Hermans. The friendship is brief, however, and these plans are never realised. Sannes is likely to have met Geert Lubberhuizen at the publishing company De Bezige Bij through Hermans. Lubberhuizen becomes an important client and also arranges numerous contacts on Sannes’ behalf, both in the Netherlands and abroad.

In the same year, Sannes’ work is shown for the first time at various exhibitions, e.g. at the photography biënnale of Milan, Italy, and at the Groninger Museum, together with works by Meinard Woldringh and Huug Smit. In his free time, Sannes occasionally works as an assistant for his former teacher Huug Smit.


Around July, Sannes leaves military service and settles in Apeldoorn at the home of his parents. He also regularly spends time in Groningen and Amsterdam. In the same year, Sannes meets Anna Beeke, who studies photography at the Gerrit Rietveld Academy in Amsterdam, at a party. Shortly after this initial meeting, Beeke poses as a model for Sannes. Right up to the end of Sannes’ life, she will continue to be one of his favourite models.

Internationally, Sannes’ work is published for the first time in Photography. In an interview with Norman Hall for this magazine, Sannes states his plans to make films and expresses his wish to attend the film academy in Paris.


Sannes announces he will produce two photobooks. The first is entitled Les Amoureux; the second is to feature a text by Hugo Claus. Only the second photobook is realised, in the publication Oog om oog (‘Eye for an Eye’).


Sannes’ work is included in a major retrospective entitled Photography ’63, held at the George Eastman House in Rochester, New York. His participation is likely to have stemmed from the attention his work received in American magazines such as Photography, Photography Yearbook, and Art in America.

In the Netherlands, Sannes publishes photos with texts by the authors J. Bernlef, Bert Schierbeek, and other Dutch writers.

Sannes plays no active role in the Amsterdam art world, even though several friends are part of it. One such individual is Simon Vinkenoog, who writes a text for Sannes to accompany his plans for a photobook entitled Wie is Anna? (‘Who is Anna?’), modeled after Anna Beeke. Starting in this year, Sannes uses Vinkenoog’s address in Amsterdam for his correspondence, in addition to that of his parents.


Sannes experiences his major breakthrough. He wins both the Dutch and the European ‘Prix Nièpce’. Accompanying this prize is an exhibition of his work in Paris.

In June, Sannes signs a contract with the publishing company De Bezige Bij for the exclusive sales, reproduction, and publication rights in magazines and on television regarding photos as yet to be taken in Sweden. The photos that Sannes takes during his stay in Sweden and Denmark are featured as an independent series (and sometimes accompanied by Sannes’ own commentary) in newspapers and magazines. A number of photos from this Sweden series also figure in his other projects, such as in the photobook Oog om oog (‘Eye for an Eye’), released by De Bezige Bij in December. The book is a combination of Sannes’ photos and poems by Hugo Claus. Geert Vermeulen, the chief editor of the magazine Panorama, is an important contact for Sannes in acquiring commissions for various magazines.


During this year, most of Sannes’ efforts are devoted to film. In January, an official notice is made that Sanne Sannes is to receive a subsidy from the Ministry of OKW (Onderwijs, Kunsten en Wetenschap, ‘Education, Arts and Science’) to make a film. He plans to film his ‘ciné-roman’ (‘ciné-novel’), entitled Les Amoureux, and says that he plans to do this with Ed van der Elsken.

In the spring, preparations are made for the shooting of the film Santa Lucia, which Sannes plans to make for the VPRO broadcasting company. The film shoots take place in the summer and fall in Amsterdam, Groningen, and mostly at the Allersmaborg villa at Ezinge (in the province of Groningen), where Sannes’ friends at the academy, Martin Tissing and Annie Vriezen, are living at this time. Sannes meets Gerrit Jan Wolffensperger, a former production manager for films by Eric Terpstra. Wolffensperger will fulfil the same function for Sannes’ project. Wolffensperger maintains his contact with Sannes even after the film’s completion, as an ‘apprentice’ photographer and friend. As Sannes has no driver’s license at this time, the two men travel around together to a wide variety of locations. In October, Sannes travels to the Isle of Man to do preliminary research for a film about ‘witch parties’, to be made for the VPRO.


Sannes moves to Bergen, where he rents a flat on the coast.

Starting in 1965, an agency represents Sannes in New York: PIP Photo Inc. In 1966, Sannes and PIP are busy corresponding about plans for a photobook. In December, he travels to New York to discuss various matters considering the publication. (A selection of photos for this book was published posthumously under the title The Face of Love).

Just prior to his departure for New York, it is made known that the Dutch film rating board has turned down the televising of Sannes’ film, Santa Lucia. Sannes agrees with the VPRO broadcasting company to make a shortened version in which many of the most offensive scenes are to be cut out (a task he is never able to realise). The title of the film will be changed to Dirty Girl.


On 23 March, after making a reportage for the magazine Libelle in Bergen, Sannes loses control of his automobile and hits a tree. Sannes is killed immediately. Three other passengers in the car are seriously injured: two models and Gerrit Jan Wolffensperger.


‘I was originally a drawing artist, more than anything else I want to be a film director, and in between this I am a searching photographer.’—Sanne Sannes in Focus 48 (1963) 4, p. 21

In the eight years that Sanne Sannes was active as a photographer, he acquired the reputation of an angry young man, chiefly based on the unorthodox nature of his photography. His autonomous work, primarily black-and-white photography, was what brought him the greatest notoriety. In its content and technical quality, Sannes’ work was an assault on the existing rules and norms governing photography at the time. Sannes reaffirmed his reputation time and time again with his outspoken ideas about photography and his views concerning the manner in which the medium functioned within the existing art world.

As the spokesman of a new generation, Sannes played in important role in the discussion centring on the question of whether photography was to be considered art and whether it belonged in the traditional institutions as such. His position in these discussions is evident, for example, in a commotion of his own doing, instigated in response to an April 1964 exhibition at the Stedelijk Museum in Amsterdam. Sannes threatened to withdraw his work because he felt the manner in which the photographers and their work were being treated during the exhibition’s preparation was misplaced. Photo enlargements were being cut down to size without consultation in advance. Furthermore, works by photographers such as Wim van der Linde and Koen Wessing, though officially invited to participate, were rejected after being examined. Sannes accused the organisation of ‘dirigisme from the top’ and refused to acknowledge Louis Kloet, the exhibition’s organiser, as an authority in the area of photography. In Sannes’ view, the idea that the museum had maintained its right to turn down a submission—whether in part or in its entirety—was equivalent to censorship and discrimination with respect to photography as an art form.

Even while studying at the Kunstacademie Minerva (‘Minerva Art Academy’) in Groningen, Sannes was already assuming standpoints that were controversial. First there were disagreements with the school’s directors regarding the classes he was required to take. Sannes wished to study photography as his main discipline, which was not possible at this time. Consequently unable to complete his studies, Sannes was forced to comply with compulsory military service. There he had a chance to develop his photography further, by being provided access to a darkroom where he was able to experiment with various printing techniques.

Sannes’ autonomous photography focused largely on the theme of women. In his photos, he tried to create atmospheric images intended to evoke human emotions. He was searching for a wide range of emotional moments, which he saw ideally reflected in the female figure. In the actualisation of this theme, he made use of certain female types, ranging from the ‘eternal’ woman (Eve, Venus) to the witch and the female vampire. The mood of these photos changed with each type, from calm and serene to erotic and ecstatic.

Like a film director, Sannes tried to win the trust of his model in order to create a field of tension. He first directed and then photographed the situations, preferably working with camera in hand and taking advantage of available light. This approach resulted in motion blur and a strong contrast effect, thus bringing suspense to Sannes’ photography. This he intensified even more by evoking the suggestion that his model had just been caught unawares at a moment of personal intimacy. It was especially this atmosphere of intimacy that was viewed as erotic at the time, consequently creating quite a stir. Sannes found this ridiculous. Eroticism for him was ‘that field of vision where all human emotion can be accommodated’. Moreover, art in his view was also eroticism: ‘you can also read eroticism as the desire to live’.

Sannes believed that the ideas governing photography were out-dated: in his view, they were partially to blame for the uniformity. Too often people were striving after pictures appealing for their technique—cliché images—in which absolutely every trace of the man behind the camera had been omitted. The notion that technical perfection supersedes artistic quality meant that every new approach was nipped in the bud. Sannes felt this uniformity in photography could only be broken by innovation derived from experimentation. He was therefore continually seeking the medium’s boundaries and possibilities by experimenting with negatives and prints.

In addition to motion blur and contrast, Sannes also turned to fragmentary enlargement, combination printing, the scratching of negatives and prints, coarse grain, photomontage, and cut negatives. He sometimes laid his photographic paper beneath a glass plate covered with drops of water. These experimental manipulations had an absolute effect on the moods and emotions he wished to emphasise in his photos.

Despite Sannes’ critique of traditional photography, his work can be seen as a continuation of developments that had become extremely popular in the 1950s. On one hand, the stylistic principles formulated by Otto Steinert under the term ‘Subjective Photography’ resonated greatly at this time; on the other hand, a personal aspect was introduced, e.g. human interest photography. Sannes’ photography, as it were, is a synthesis of both movements (he admired the photos of Pim van Os as well as Ed van der Elsken), a combination of aesthetic principles and his own vision of the subject photographed.

Sannes refused to be categorised into any one group or movement. He tried to fulfil a self-determined goal on his own. It was important for a photographer to maintain his own style and not be preoccupied with public recognition. He had to go his own way and be convinced of his own personal values and ideas: ‘the certainty that you can create something, that is one of your biggest assets’. Sannes strived for an expansion of the term ‘photography’. In this respect, he no longer recognised the term ‘photo’. It was for this reason that photography, as a medium, was too limited for him. While he continued to view photography as his hinterland, in 1965 he stated the following: ‘I don’t believe in photography. It no longer gives me enough satisfaction. If we continue in this direction, I’m going to repeat myself. The plague of photography is the endless repetition.’

Sannes was seeking a new visual idiom, a combination of photo and film: ‘fotofilm’, made up of both photo and film fragments. Based on this idea, one could only do a photo justice when using it in a book or a film. In Sannes’ view, a photo derived its quality and meaning from the series of images in which it was placed. The totality of such a series was determined by the order and experimental nature of the photos. It was through the cohesion of the images that the observer was to experience and interpret the mood. These series were narrative in structure. Their stories could be traced back to the so-called ‘ciné-romans’ (cinema-novels). This was Sannes’ designation for the scenarios he wrote for photobooks and photofilms.

The made-for-television film Dirty Girl (Santa Lucia) was the only project based on one of these scenarios that was realised, commissioned by the VPRO broadcasting company (the film is today preserved at the Film Museum in Amsterdam). The televised broadcast was planned for 28 May 1966. The VPRO dared not take responsibility for the film’s content, however, and left the decision regarding the film’s broadcasting to the Dutch film ratings board (the ‘filmkeuring’). This organisation judged the film to be too shocking and inappropriate for broadcasting on television. The board had trouble with what it viewed as the extreme erotic and sadistic nature of the film. Furthermore, the technical quality of the film was not entirely successful. Particularly problematic was the editing of the individual photos, from which the film was compiled, resulting in the loss of much of its expressiveness.

Sannes was much more successful with his contribution to the exhibition Vijf Gelderse Fotografen (‘Five Photographers from Gelderland’) at the Gemeentemuseum in Arnhem. The design of his presentation at this exhibition was a clear reflection of what he had been trying to achieve with his ciné-novels. In the museum itself, Sannes had the walls of the rotunda painted black, with a black canvas spanned across the ceiling. His photos covered two of the walls, printed in various formats. On a third wall, he took individual photos and arranged them in the form of a cross that continued down across the floor. Two projectors were used to show alternating slides on the walls. The space was lit with continually changing colours produced by a flashing traffic light, while experimental music played in the background. The spectators were completely absorbed in a play of image, light, and sound. With his presentation, Sannes showed convincingly how the boundaries of photography could be surmounted, simultaneously breaking with traditional forms of presentation.

Sannes’ oeuvre also includes commissioned photographic work. He published regularly in weeklies and newspapers and also worked for women’s magazines such as Margriet, Libelle and Rosita. Not all of the photos in this category convey an outpouring of inspiration. In many cases, the subjects—primarily fashion reportages—were minimally appealing to him. In effect, he only accepted commissions of this kind in order to finance his more artistic projects. Favourable exceptions are the photo commissions for which he was given greater freedom in the selection and actualisation of the subject to be photographed. A photo reportage that Sannes did for Libelle in 1966 in India demonstrated he was capable of high-quality documentary photography. Another example was a reportage he made in Sweden on behalf of the publishing company De Bezige Bij. These photos were not only published in numerous newspapers and weeklies, but were used by Sannes in his own projects.

Equally intriguing are the reportages that Sannes made on behalf of Panorama. The artistic freedom given by the magazine’s editors gave him an opportunity to experiment with slide and colour material. This can be seen, for instance, in two publications from 1965: Het haar van haar (‘The Hair of Hers’) and a reportage on Jenny Arean, for which Sannes also did the layout.

In the 1960s, Sannes’ work largely defined the face of photography in the Netherlands. Both in professional and amateur circles, the influence of his photography and its groundbreaking character were unmistakable. Notwithstanding, the taboos that Sannes was attempting to break—in terms of content and technique—lost their relevance quite soon after his death.

Despite the fact that historical literature on photography in the Netherlands describes Sannes as an innovator, few today are familiar with his name. Sannes’ premature death prevented him from fully meeting the high expectations existing at the time, but also from obtaining general recognition for his photography and his views concerning the medium.


Primary bibliography

Focus 45 (23 juli 1960) 15, p. 489-491 (met foto’s).

Een tuin, in Focus 48 (6 december 1963) 25, p.6-10 (met foto’s).

Hugo Claus (tekst), Oog om oog, Amsterdam (De Bezige Bij) 1964.

Jonge vrouwen in Zweden, in Nieuwsblad van het Noorden 18 april 1964, p. 11 (met foto’s).

Fotografie in het museum, in Focus 49 (5 juni 1964) 12, p. 13-15, 18.

Vrouwen van Zweden – ‘Satan op zakenreis’ , in Vrij Nederland 5 september 1964, p. 3 (met foto’s).

Sanne Sannes, in Focus 50 (5 februari 1965) 3, p. 30-31.



W. Steevensz (tekst, lay-out), Sex a Gogo, Amsterdam (De Bezige Bij) 1969.

H. Hughes en L. Wijers (eds.), The face of love, Cranberry (N.Y.) (Barnes & Co. Inc.) 1972.


images in:

Niveau 3 (1959) 1, omslag, p. 3.

Taboe maart/april 1961, p. 18-19.

Vrij Nederland 8 april 1961, p. 18.

Vrij Nederland 11 november 1961, p.8-9.

Photography Year Book 1962, pl. 104, p. 208.

Vrij Nederland 14 april 1962, p. 1.

Randstad3 augustus 1962, omslag, p. 1.

Vrij Nederland 22 december 1962.

Photography Year Book 1963, pl. 79.

Catalogus Photography 63 / An international exhibition, Rochester (George Eastman House) 1963.

Algemeen Handelsblad 5 januari 1963, supplement, p. 3.

Algemeen Handelsblad 13 april 1963, supplement.

Algemeen Handelsblad 1 juni 1963, p. 7.

Nieuwsblad van het Noorden 13 juli 1963, p. 17.

Nieuwsblad van het Noorden 20 juli 1963, p. 17.

Nieuwsblad van het Noorden 24 augustus 1963, p. 5.

Nieuwsblad van Het Noorden 19 oktober 1963, p. 17.

Verstandig Ouderschap november 1963, omslag, p. 313.

Verstandig Ouderschap december 1963, p. 350.

De Nieuwe Linie 14 december 1963, p. 8-9.

Televizier (21 december 1963) 51, p. 12-13, 15.

De Nieuwe Linie 21 december 1963, p.9.

Han de Vries (samenstelling en vormgeving), Fotografie, in Drukkersweekblad en Autolijn (1963) 52, (Kerstnummer), p. 20-21.

Algemeen Handelsblad 23 januari 1964, supplement, p. 3.

Verstandig Ouderschap februari 1964, p. 40.

Margriet (15 februari 1964) 7, p. 26-28, 30.

Margriet (22 februari 1964) 8, p. 88-90, 93, 98, 101.

Margriet (29 februari 1964) g, p. 90-93.

De Nieuwe Linie 29 februari 1964, p. 24.

Nieuwsblad van het Noorden 29 februari 1964, p. 19.

Verstandig Ouderschap maart 1964, omslag.

Romance (april 1964) 4, p. 72-74.

De Nieuwe Linie 4 april 1964, p. 24.

Algemeen Handelsblad 25 april 1964, supplement, p. 5.

Verstandig Ouderschap mei 1964, p. 146.

Queen 3 juni 1964, p. 22.

De Nieuwe Linie 6 juni 1964, p. 24.

Verstandig Ouderschap juli 1964, omslag, p. 208-209.

Het Vrije Volk 16 oktober 1964.

Vrij Nederland 6 maart 1965, p. 7.

Algemeen Handelsblad 10 april 1965, supplement, p. 17.

Televizier (6 november 1965) 45, p. 12-17.

Vrij Nederland 27 november 1965, p. 11.

Photography Year Book 1965, pl. 192.

Photography Year Book 1966, p. 102-103.

Rosita (5 november 1966) 45, p. 62-71.

Rosita (11 februari 1967) 6, p. 48-55.

Cri (6 mei 1967) 18, omslag.

Cri (27 mei 1967) 21, p. 30-32.

Varagids 8 februari 1969, omslag.

Wij Vrouwen (april 1968) 12, p. 5.

Sextant (mei 1970) 5, p. 14.

Nieuwe Revu (25 juli 1970) 30, p. 28-33.

Zien Magazine (november 1980) 1, p. 1, 4-6.

Zero 4 (maart 1982) 1, p. 106.


in Libelle:

(22 januari 1966) 4, p. 61.

(26 maart 1966) 13, p. 34-39.

(9 april 1966) 15, p. 72.

(23 april 1966) 17, p. 84-95.

(7 mei 1966) 19, p. 26-31.

(18 juni 1966) 25, p. 106-115.

(25 juni 1966) 26, p. 90-97.

(2 juli 1966) 27, p. 88-94.

(9 juli 1966) 28, p. 74-78.

(16 juli 1966) 29, p. 74-79, 97, 99.

(23 juli 1966) 30, p. 16-19, 98.

(3 september 1966) 36, p. 98-101, 103.

(24 december 1966) 52, p. 82-92.

(31 december 1966) 53, p. 21-31, 74.

(14 januari 1967) 2, p. 52-57.

(21 januari 1967) 3, p. 70-74.

(27 mei 1967) 21, p. 64-67.

(17 juni 1967) 24, p. 62-69, 77, 79.

(1 juli 1967) 26, p. 34-37.


in Panorama:

(18 oktober 1964) 43, p. 32-37.

(22 november 1964) 48, p. 22-28.

(29 november 1964) 49, p. 46-52.

(20 maart 1965) 12, p. 31-35.

(24 april 1965) 17, p. 24-27.

(1 mei 1965) 18, p. 40-43.

(5 juni 1965) 23, p. 38-43.

(14 augustus 1965) 33, p. 18-21.

(25 september 1965) 39, p. 34-39.

(18 december 1965) 51, p. 30-35.

(19 februari 1966) 8, p. 22-27.

(14 mei 1966) 20, p. 32-37.

(13 augustus 1966) 33, p. 18-23.

(8 oktober 1966) 41, p. 30-33.

(29 oktober 1966) 44, p. 19-21.

(24 december 1966) 52, p.8-11.


in Het Parool:

8 mei 1965, p.5.

28 januari 1966, p. 9-11.

18 maart 1966, p. 16-19.

22 april 1966, p. 16-19.

6 mei 1966, p. 6-7.

27 mei 1966, p. 18-19.

Secondary bibliography

Vrij Nederland 18 april 1959 (met foto’s).

Auteur onbekend, Een stroper, met een camera als geweer, in Nieuwsblad van het Noorden 22 augustus 1959, p. 9.

Auteur onbekend, Problemen bij die fotografie van ons, in Foto 14 (november 1959) 11, p.512-521 (met foto’s).

Catalogus tent. Drie fotografen, Groningen (Groninger Museum voor Stad en Lande) 1960.

Auteur onbekend, Bij de foto’s van Sanne Sannes. Voor onze zwart-witters, in Focus 45 (23 juli 1960) 15, p. 489.

J J . Hens, Kritische Speurtocht. De Kamera-groep ‘Holland’, in Foto 15 (augustus 1960) 8, p. 394, 397.

Auteur onbekend, Foto’s in museum, in Nieuwe Provinciale Groningse Courant 7 november 1960.

Auteur onbekend, Groninger Museum: Tentoonstelling Drie Fotografen geopend, in Nieuwsblad van het Noorden 7 november 1960.

Auteur onbekend, Drie Fotografen in Groninger Museum, in Ons Noorden 7 november 1960.

Auteur onbekend, Foto’s in Groninger Museum, in Het Vrije Volk 7 november 1960.

W. Jos de Gruyter, Drie fotografen. Een belangwekkende tentoonstelling in het Groninger Museum, in Focus 45 (26 november 1960) 24, p. 783-787.

W.F. Hermans, De fotograaf Sanne Sannes, in Vrij Nederland-Boekenbijlage 26 november 1960, p. 24-25 (met foto’s).

J. Andriessen, Drie fotografen in Groninger Museum, in Foto 15 (december 1960) 12, p. 614-615.

Auteur onbekend, Sanne Sannes maakt foto’s in een eigen stijl, in Nieuwe Gelderlandse Courant 22 december 1960.

N.H. (= Norman Hall), Sanne Sannes: Unknown, uncompromising, Dutch and 23, in Photography (1961) 7, p. 32-37 (met foto’s).

Auteur onbekend, Sanne Sannes: ’n warm hart klopt tussen doodskoppen, in Nieuwe Apeldoornse Courant 18 november 1961.

Auteur onbekend, Sanne Sannes en het verschijnsel: vrouw, in Nieuwsblad van het Noorden 31 augustus 1962, p. 13.

Nieuwsblad van het Noorden 29 september 1962, p. 25.

Cor Woudstra, Cor Woudstra sprak met: Sanne Sannes, in Focus 48 (15 februari 1963) 4, p. 16-21 (met foto’s).

Ch. Boost, Foto en tekening, in De Fotojournalist 15 mei 1963, p. 15-16.

Auteur onbekend, The younger generation, in Art in America (1963) 6, p. 76.

H.E., Sanne Sannes, in De Nieuw Linie 2 november 1963, p. 24.

The British Journal of Photography Annual 1964, pl. 102, p. 181.

Catalogus tent. Vijf fotografen, Amsterdam (Stedelijk Museum) 1964 (met foto’s).

F. Kempe, Fetisch des Jahrhunderts, Düsseldorf 1964.

Catalogus tent. Vijf Gelderse fotografen, Arnhem (Gemeentemuseum) 1964 (Catalogus 91) (met foto’s).

Auteur onbekend, Sanne Sannes, in De Nieuwe Linie 14 maart 1964, p. 48.

Auteur onbekend, Niet alleen op zondag, in Revu (28 maart 1964) 13, p. 60-61.

Auteur onbekend, Sanne Sannes, in Vrij Nederland 28 maart 1964, p. 3.

Henk Enkelaar, Sanne Sannes. „Ik wil afrekenen met mezelf!”, in De Nieuwe Linie 4 april 1964, p. 11.

Auteur onbekend, Vijf jonge fotografen in het Stedelijk, in Het Parool 4 april 1964.

Auteur onbekend, Stedelijk Museum toont vijf jonge fotografen, in Algemeen Dagblad 6 april 1964.

R. Nieman, Vijf fotografen, in Elseviers Weekblad 11 april 1964.

Auteur onbekend, Fotografie visie? 5 Jonge fotografen, in Haagse Post 11 april 1964, p. 19-20.

Auteur onbekend, Hoe staat het met de fotografie in Nederland? Gesprek tussen twee generaties fotografen, in Vrij Nederland 11 april 1964, p. 9.

Auteur onbekend, Allemaal mensen, in Revu (18 april 1964) 16, p. 34.

Auteur onbekend, Fotograaf Sanne Sannes probeert iets anders, in Het Vrije Volk 29 april 1964.

Auteur onbekend, Sanne Sannes’ visie op de liefde, in Het Parool 30 mei 1964, supplement, p. 15.

J.J. van den Andel, Vijf jonge fotografen in het Stedelijk Museum te Amsterdam, in Focus 49 (5 juni 1964) 12, p. 12-13.

M. Orovan, Women, wives & witches, in US Camera 27 (augustus 1964) 8, p. 68-71 (met foto’s).

GKf Bulletin (1964) 9.

Het Vrije Volk 10 oktober 1964.

Zwolse Courant 10 oktober 1964, p. 14.

Hans Schrijen, Fotografie (2). Wat verstaan wij onder fotografie?, in Foto 19 (november 1964) 11, p. 525-528.

H.J. Oolbekkink, De naakten kleden met verzen, in Het Parool 2 december 1964.

Auteur onbekend, Wonderlijke gebruikserotiek, in Algemeen Handelsblad 12 december 1964, p. 21.

Auteur onbekend, Sannes en Claus, in De Nieuwe Linie 12 december 1964, p. 24.

Auteur onbekend, Oog in oog, in Nieuwe Rotterdamse Courant 19 december 1964.

Auteur onbekend, Sanne Sannes, bezeten fotograaf, die niet in zijn fotografie gelooft, in Algemeen Dagblad 22 december 1964, p. 9.

Photography Year Book 1964, p. X, pl 7-10 (met foto’s).

Foto-Almanach International 1964, pl. 67, p. 194.

The British Journal of Photography Annual 1965, p. 200.

H., 5 Gelderse fotografen in het Arnhemse Gemeentemuseum, in Foto 20 (januari 1965) 1, p. 41.

Auteur onbekend, Sanne Sannes, in Filmkrant 1 (15 januari 1965) 1, p. 1.

Auteur onbekend, Vijf fotografen – vijf visies, in Waag 1 (1965) 5, p. 3.

C. Schouwenaars, Poëtische fotografie – fotografische poëzie, in De Nieuwe Gazet 6 januari 1965.

Friese Koerier 16 januari 1965.

Dick Boer, Vijf Gelderse fotografen in Gemeentemuseum Arnhem, in Focus 50 (5 februari 1965) 3, p. 27.

Maasland februari 1965.

H., Bij de fotograaf. Ditmaal Sanne Sannes, Foto 20 (april 1965) 4, p. 170-179 (met foto’s).

K. Schippers, Van Sannes tot Beatles, in De Groene Amsterdammer 10 april 1965.

W. Gijsen, Vertederend werk van Claus en Sannes, in Utrechts Nieuwsblad20 april 1965.

J. Eijkelboom, Oog in oog met Sanne Sannes, in Vrij Nederland 4 september 1965, p. 9.

Auteur onbekend, Sanne Sannes maakt film van ‘losse’ foto’s, in Nieuwsblad van het Noorden 18 september 1965, p. 27.

K. de Br., ‘t Boekenplankje, in Haagsche Courant 29 september 1965.

Auteur onbekend, Over een mannenjaagster en heksen … Sanne Sannes maakt een film van ‘losse’ foto’s, in Leidsch Dagblad 30 oktober 1965.

Auteur onbekend, The nightmare photography of Sanne Sannes, in Good Photography 1966, p. 14-25 (met foto’s).

Auteur onbekend, Hugo Claus Sanne Sannes Oog om Oog, in Terre d’images (18 maart 1966) 22, p. 10.

A. van der Mijn, VPRO-film komt niet op de buis, Sanne Sannes: ‘Pornografie-wat is dat?’, in Het Parool 25 mei 1966, p. 17.

F. Kempe, Sanne Sannes, in Foto Prisma (juli 1966) 7, p. 338-343 (met foto’s).

Auteur onbekend, Sanne Sannes: pionierswerk moetje nooit overhaasten, in Zwolse Courant 17 december 1966, p. 15.

Photography Annual 1967, p. 72-77 (met foto’s).

U.S. Camera World Annual 1967, p. 120.

Auteur onbekend, Sanne Sannes: fotograaf van de liefde, in De Telegraaf 19 januari 1967, p. 5.

S. den Boer, Met goede voornemens terug uit New York, in Het Parool 20 januari 1967.

Willemijn Brattinga-Kooy, Sanne Sannes’ satirotiek, in Algemeen Handelsblad 21 januari 1967, p. 18.

Auteur onbekend, Sanne Sannes verongelukt, in Haagsche Courant 24 maart 1967.

Auteur onbekend, Groninger fotograaf Sanne Sannes verongelukt, in Nieuwsblad van het Noorden 24 maart 1967, p. 2.

Auteur onbekend, Sannes, experimenteel romanticus, in Het Parool 24 maart 1967, p. 7.

Auteur onbekend, Auto tegen boom: één dode en 4 gewonden, in De Telegraaf 24 maart 1967.

Auteur onbekend, Sanne Sannes verongelukt, in Het Vrije Volk 24 maart 1967.

Auteur onbekend, Erotiek in de fotografie. Sanne Sannes „Mijn foto’s zaaien onrust doordat ze geëmotioneerd zijn”, in Nieuwsblad van het Noorden 25 maart 1967, p. 19.

Auteur onbekend, Sanne Sannes in Arnhem herdacht, in De Telegraaf 25 maart 1967.

Auteur onbekend, Verkeerd voedsel oorzaak ongeluk top-fotograaP Sanne Sannes omgekomen, in Trouw 25 maart 1967.

Auteur onbekend, Sannes: vermaard fotograaf, in De Tijd 25 maart 1967.

Auteur onbekend, Expositie Sanne Sannes in Arnhem, in Het Vaderland 25 maart 1967.

vdV, Sanne Sannes internationaal vermaard fotograaf, in De Volkskrant 25 maart 1967.

P. Berger, Sanne Sannes, in Het Vaderland 28 maart 1967.

Auteur onbekend, Sanne Sannes: fotograaf van ‘het erotische gezichtsveld’. Herdenkingsexpositie in Arnhem, in De Gelderlander 4 april 1967.

J.E., Sanne Sannes, in Vrij Nederland 8 april 1967.

J. v.d. W., Foto’s van Sannes: magie en extase, in Nieuwsblad van het Noorden 12 april 1967, p. 17.

G. Vermeulen, In de laatste bocht van de eeuwige laan.. , in Panorama (22 april 1967) 16, p. 20-23 (met foto’s).

Richter Roegholt, Sanne Sannes: fotograaf van allure, in Verstandig Ouderschap (mei 1967) 5, p. 144-145 (met foto’s).

Auteur onbekend, Foto’s van Sanne Sannes in museum, in Nieuwsblad van het Noorden 24 mei 1967.

Jacques Meijer, Sanne Sannes, in Fototribune 29 (juni 1967) 6, omslag, p. 16-24 (met foto’s).

Auteur onbekend, Groninger Museum ‘Sanne Sannes’, in Nieuwsblad van het Noorden 13 juni 1967, p. 15.

Auteur onbekend, Sanne Sannes’ India, in Camera 65 juni/juli 1967, (met foto’s).

A.M.J., Sanne Sannes, in Techniques Graphiques 6 juli 1967, p. 408-422 (met foto’s).

L.N., Sanne Sannes exposeert in ‘De Krabbedans’, in Eindhovens Dagblad 29 september 1967.

K. Pawek (ed.), 2.Weltausstellung der Photographie – Die Frau, Aspekte eines grossen Themas, Hamburg 1968.

(Brochure) Sanne Sannes foto’s over het thema ‘Vrouw’, Hilversum (Goois Museum) 1968.

Auteur onbekend, Sanne Sannes, in Gooi en Eemlander 12 januari 1968.

Auteur onbekend, Tentoonstelling van Sanne Sannes-foto’s, in De Gelderlander 8 februari 1968.

Auteur onbekend, Expositie Sanne Sannes in ‘En plein public’, in Nieuwsblad van het Noorden 12 juli 1968, p. 5.

Auteur onbekend, Werk uit nalatenschap van fotograaf Sanne Sannes, in Nieuwsblad van het Noorden 13 juli 1968, p. 17.

Auteur onbekend, Film van Sanne Sannes vertoond in Groninger zomermanifestatie, in Algemeen Handelsblad 15 juli 1968.

Auteur onbekend, Beelden weer ‘En plein Public’, in De Groninger Gezinsbode 17 (1968) 5, p. 1.

D. Swaneveld, Sanne Sannes’ ‘Dirty Girl’ te vrijzinnig voor de VPRO-tv, in Nieuwsblad van het Noorden 15 juli 1968, p. 9.

Auteur onbekend, Ontdekking in Arnhem, in Panorama (20 juli 1968) 29, p. 15.

Auteur onbekend, Sanne Sannes: The hearts eye, in Popular Photography’s Woman 1969, p. 82-97 (met foto’s).

J. van der Kleij, Sanne Sannes, in Apeldoornse Courant 22 november 1969.

J. van der Kleij, Sanne Sannes schiep zijn eigen monument, in Nieuwe Apeldoornse Courant 20 december 1969, p. 17.

Auteur onbekend, Sanne Sannes: een rijk en veelzijdig talent, in Nieuw Utrechts Dagblad 15 januari 1970, p. 4.

J. Juffermans, Selectie uit nalatenschap tentoongesteld in Maasbergen Sanne Sannes alleen, in Algemeen Dagblad 15 januari 1970.

Auteur onbekend, Selectie uit nalatenschap tentoongesteld in Maasbergen Sanne Sannes alleen, in Drentsche en Asser Courant/Hoogeveens Dagblad 15 januari 1970.

Auteur onbekend, Tweemaal Sanne Sannes; ongelooflijk veelzijdig, in Nieuwe Apeldoornse Courant 6 oktober 1971.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 33, 34, 66-67, biografie (met foto’s).

Auteur onbekend, Our 1979. Galerie Fiolet Amsterdam, in Printletter (januari/februari 1979) 19, p. 6.

Bas Roodnat, ‘Meisjesportretten’ Sanne Sannes: verfijnde erotiek, in NRC Handelsblad 15 februari 1979.

A. Flapper, Sannes blijft boeien, in Het Parool 17 februari 1979.

De Volkskrant 17 februari 1979.

Auteur onbekend, Exposities, in Haarlems Dagblad 27 februari 1979.

Auteur onbekend, Meisjesportretten van Sanne Sannes, in De Telegraaf 21 juni 1985.

Auteur onbekend, Erotische lading bij Sanne Sannes, in Utrechts Nieuwsblad 22 juni 1985, p. 9.

Auteur onbekend, Beurzen/Tentoonstellingen, in De Volkskrant 25 mei 1985, p. 7.

Auteur onbekend, Foto’s van Sanne Sannes in Sittard, in De Limburger 28 juni 1985, p. 19.

Auteur onbekend, Tentoonstellingsnieuws, in Stadjournaal (4 juli 1985) 27, p. 4.

Auteur onbekend, Minerva toont: een foto is meer dan vastgelegd moment, in Nieuwsblad van het Noorden 24 januari 1986, p. 29.

Auteur onbekend, Exposities, in Nieuwsblad van het Noorden 24 januari 1986.

Rommert Boonstra, De wederopstanding van de fotografie, in Perspektief (september 1986) 25, p.8-11.

Cécile van der Harten, Sanne Sannes, in Ingeborg Leijerzapf e.a., Roots & Turns. 20th Century photography in The Netherlands, Den Haag (SDU Publishers) 1988, p. 96-101, 170 (met foto’s).

A. Aarsbergen e.a., Kroniek van Nederland, Amsterdam 1988, p. 1017.

M. Haveman, Vluchtwegen in verbeelding – Onsamenhangende foto’s als rebussen, in De Volkskrant 16 februari 1988, p. 10.

T. James-Kester, Dutch photography: A broad view, in Holland Herald (maart 1988) 3, p.22-33.


Cameragroep ‘Holland’, vanaf 1960.

GKf, vanaf 1962.


1964 de Nederlandse Prix Nièpce (onder auspiciën van de Geïllustreerde Pers); gedeelde prijs met Martin Neumann.

1964 de Europese Prix Nièpce (onder auspiciën van de Gens d’Images).


1960 (g) Groningen, Groninger Museum voor Stad en Lande, Drie Fotografen.

1960 (g) Rotterdam, ‘t Venster, Kameragroep ‘Holland’.

1960 (e) Apeldoorn, Hotel Bloemink, Sanne Sannes.

1960 (g) Milaan, Biennale di Fotogrqfia.

1962 (g) Amsterdam, Museum Fodor, 75 jaar N.A.F.V.

1963 (g) Rochester (N.Y.), George Eastman House, Photography ’63.

1963 (g) Venetië, Biennale di Fotogrqfia.

1964 (g) Parijs, (n.a.v. Prix Nièpce).

1964 (g) Amsterdam, Stedelijk Museum, Vijf jonge fotografen.

1964 (e) Nijmegen, Akademie Onderlangs, Sanne Sannes.

1964 (g) Zwolle, Hopmanshuis, 70 jaar Z.A.F.V., foto’s van Sanne Sannes en van leden van de Vereniging.

1964/1965 (g) Arnhem, Gemeentemuseum. Vijf Gelderse fotografen.

1966 (e) Rochester (N.Y.), George Eastman House, Sanne Sannes.

1967 (e) Arnhem, Gemeentemuseum, Sanne Sannes.

1967 (e) Groningen, Groninger Museum voor Stad en Lande, Sanne Sannes (1937-1967).

1967 (e) Haarlem, De Vishal, De Vrouw.

1967 (e) Haarlem, Frans Hals Museum, Sanne Sannes.

1967 (e) Eindhoven, Stichting De Krabbedans, Sanne Sannes.

1968 (e) Hilversum, Goois Museum, Sanne Sannes foto’s over het thema ‘Vrouw’.

1968 (e) Nijmegen, Sociëteit Het Singelhuis, Sanne Sannes.

1968 (g) Groningen, Groninger Museum, En plein public.

1968/1969 (e) Dordrecht, Dordrechts Museum, Sanne Sannes 1937-1967 Tekeningen en dia’s.

1978 (g) Ezinge, Huize Allersma, 9 Artisten en Allersma.

1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1979 (e) Amsterdam, Galerie Fiolet, Sanne Sannes.

1983 (e) Utrecht, Zwolsche Algemeene (verzekeringsmaatschappij), Sanne Sannes.

1985 (e) Hilversum, Cultureel Centrum De Vaart, Sanne Sannes.

1985 (e) Sittard, Kritzraedthuis, Sanne Sannes.

1985 (g) Apeldoorn, Van Reekum Museum, Women in the magie mirror.

1986 (g) Groningen, Minerva Akademie.

1986 (g) Amstelveen, Cultureel Centrum, Dutch Photography (vervolgens rondreizend).

1987 (g) Amsterdam, De Meervaart, Naakt voor de camera.

1988 (g) Apeldoorn, Van Reekum Museum, Vluchtwegen in de verbeelding.

1988 (g) Houston, Sarah Campbell Blaffer Gallery, Roots & Turns. 20th Century photography in The Netherlands.

1988 (e) Amsterdam, Olympus Gallery.


1966 Dirty Girl (Santa Lucia).


Amsterdam, Anna Beeke (mondelinge informatie).

Amsterdam, Gerrit Jan Wolffensperger (mondelinge informatie).

Ezinge, Annie Vriezen (mondelinge informatie).

Groningen, Martin Tissing (mondelinge informatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Zaandam, Rob Sannes (mondelinge informatie en documentatie).


Amsterdam, Filmmuseum (Dirty Girl).

Amsterdam, Olympus Gallery (bruikleen erven Sannes).

Amsterdam, Stedelijk Museum.

Arnhem, Gemeentemuseum.

Den Haag, Rijksdienst Beeldende Kunst (collectie Hartkamp).

Haarlem, Stichting Nederlands Foto- & Grafisch Centrum (Spaarnestad Photo).

Leiden, Prentenkabinet van de Rijksuniversiteit.

Rochester (N.Y.), George Eastman House.