PhotoLexicon, Volume 8, nr. 15 (March 1991) (en)

Carel Blazer

Tineke de Ruiter


As a photo journalist, before and after the Second World War Carel Blazer’s primary subject was people and their experiences. Perhaps the second greatest theme in his oeuvre is water: the Delta Works, fisheries and trade by water are constantly recurring subjects.

He had a sound knowledge of photographic technique, and was always ready to provide advice and help to others on technical matters. It is not without reason then that he is often seen as the Nestor for the group of Amsterdam photographers united in the GKf.




Carel Adriaan Blazer is born in Amsterdam on 16 June, son of the C.A. Blazer (1945-1948, endowed professor at the Nederlandsche Economische Hoogeschool in Rotterdam) and Johanna Bleeker.


Carel spends his childhood in Groningen.


The Blazer family moves from Groningen to Bussum. After elementary school Carel Blazer continues to secondary education.

In 1931 the family moves to Schubertstraat 6, in Amsterdam.


Blazer takes a course in mechanical engineering at the secondary technical school „Amsterdam” in Amsterdam. He passes his final examination on 13 February, 1932.


He becomes a technician for the central radio broadcasting station in Amsterdam.

While photographing Ulco Kooistra’s ballet Dynamo, Carel Blazer meets the photographer C. Kerkhof, who invites him to become a member of the Association of Workers-Photographers (VAF).


Carel Blazer makes shots of the Jordaan Riots in July, which have been lost.

In October and November, 1934, and again from mid-March to July in the following year, Blazer takes a course with the photographer Hans Finsler, in Switzerland.

After returning to The Netherlands, beginning 30 November, 1935, he rents a house in Amsterdam, at 522 Keizersgracht, together with the photographer Eva Besnyö and architect Alexander Bodon. This house becomes a meeting place for photographers and artists. Carel Blazer continues to live there until 1963.


Blazer works as a photographer in Amsterdam. In an advertising folder he lists his specialities as portrait photography, child photography, technical photos, advertising photos and teaching photography. Photo journalism is not listed, but in practice it quickly comes second, after portrait photography.

Hij begins to collaborate with the journalist Maarten (Mik) van Gilse. They hitchhike to France together in 1936, doing several stories which they then sell to magazines.

On 2 July, 1936, together with Cas Oorthuys and Nico de Haas, he becomes a member of the board of the photo and film section of the Bond van Kunstenaars ter Verdediging van de Kulturele Rechten (BKVK: Union of artists for the defence of cultural rights). Blazer is the secretary. He cooperates in the preparations for the exhibition De Olympiade Onder Dictatuur (DOOD).


Blazer is one of the organizers of the international exhibition foto ’37 in the Stedelijk Museum Amsterdam.

In March he goes to Spain with Mik van Gilse, where he does a three month stint reporting on the republican side in the civil war.


Together with Bart Riezouw and Lorjé, Carel Blazer becomes a member of the board of the Information Bureau Regarding China.

Commissioned by Imre Rona, on 13 September in he photographs the Anschluss in Czechoslovakia and the flight of the Sudeten Duitsers. He is arrested, and returns to The Netherlands.

Han Pieck works as a exhibition designer for the Economic Information service, which promotes annual trade fairs for Dutch products. Commissioned by Pieck, Blazer makes photo walls for the Economic Information Service.


In the autumn he succeeds Paul Guermonprez as photography instructor at the Nieuwe Kunstschool in Amsterdam. As a student Kryn Taconis works together with him. In addition, during the war Blazer gives lessons in photo technique to private students of Eva Besnyö and Emmy Andriesse.


The group of photographers in the BKVK are absorbed into VANK.

circa 1940

Carel Blazer prepares a photo wall for the Bols company; Marius Meijboom does the enlargements for it.

He meets Mea Dekker. She becomes his wife (they are officially married in 1950), model and co-worker.


Blazer works in the resistance in the Persoons Bewijs Centrale, supplying false identity documents.

Carel Blazer, Ad Windig and Kryn Taconis are arrested when the Dutilh spy group are rounded up in April, 1943. After 30 October, 1943, Blazer is placed in the Kriegswehrmachtgefangnis in Utrecht. He appears before the Kriegsgericht and is sentenced to death as a spy. However, plans are made to shift the blame to Jan Kann, who is safely in Switzerland and out of danger. These succeed, and Blazer is released on 10 February, 1944.

His sister and her husband Sal Presburg, who were arrested in the same operation, are sent to Birkenau and do not return.


Blazer does reports on the liberation. For the publisher Contact he also photographs the floods in Walcheren. The planned book is not however published, as the publisher does not believe there is enough interest. Blazer requests the opportunity to buy back his photos and negatives for a lower sum, so that he can publish them elsewhere.

The photos, which are printed in 1945 are stamped „foto: Carel Corza. Copyright”. He briefly uses this pseudonym.

Blazer takes part in the exhibition De Ondergedoken Camera in Studio Meijboom in Amsterdam.

In August, commissioned by Jayo Williamson, head of the Photo Section of the British and U.S. Mission to the Netherlands, together with Kryn Taconis. On assignment from the Ministry of Public Works and Reconstruction, he also photographs in Limburg, the Betuwe and Zeeland.

He becomes a ember of the NVF.

He holds press cards from the Military Authority for the Province of North Holland (as a reporter for the ANEFO), from the Commander of the Dutch Armed Forces, the City of Amsterdam, Het Parool and De Stem van Nederland.

Blazer is one of the founders of the Gebonden Kunstenaars federatie (GKf).


Huib van Oosterom becomes his darkroom assistant.


In June he photographs in Italy, particularly in Rome. His book Rome will appear in 1950 from Contact publishers.


Han Pieck is the designer for the exhibition De Nederlandse Vrouw (The Dutch woman), held in honour of Queen Wilhelmina, on the 50 th anniversary of her coronation. Carel Blazer, Cas Oorthuys, Annelies Romein and Ad Windig photograph for this exhibition; Blazer also does the enlargements.

circa 1948 – 1955

Carel Blazer rents a space on 3e Weteringdwarssstraat and fits it up as a darkroom for making large format prints, so that he is no longer dependent on Studio Meijboom. He also produces such prints for third parties. He cooperates on exhibitions with photo walls.

Carel Blazer and Ad Windig start a collaboration under the name Blazer and Windig. They visit businesses in an old American army Jeep, dropping off their advertising matter, in hope of assignments.


Blazer is fascinated by the ‘reconquest’ of land which was flooded during the war, and records the process in a number of photo documentaries.

He begins to concentrate on colour photography.


Dominga, the daughter of Carel Blazer and Mea Blazer-Dekker, is born on 24 April.


Blazer sails on the merchant ship Willem Ruys, operated by Rotterdamsche Lloyd. He photographs life aboard the ship and in the ports of call, Egypt, Goa, Singapore, Ceylon and Jakarta.


For Opdracht, an exhibition at the Stedelijk Museum Amsterdam, designed by the Vereniging van Beoefenaren van de Monumentale Kunsten, Carel Blazer makes a 3 x 2.5 metre composition to decorate the hall.


A 1956 aerial photo of the closing of the dike around the Flevopolder, made by Luc Vrind and Carel Blazer, is enlarged to a photo mural of 580 m² in the dome of the pavillion with the Dutch submission ‘The Netherlands and the water’ at Expo ’58 in Brussels.

Commissioned by Van Ommeren, Blazer travels around Europe and stops in Portugal and other countries to photograph lighthouses in colour for a calender.

Commissioned by Ahrend, Blazer produces a wall decoration for the instrument showroom in Amsterdam.

For the Leidsepleintheater in Amsterdam he executes an idea from the architect Stolle and Mea Blazer: a screen comprised of vertical strips of photos alternately printed as positive and negative.


Carel Blazer is a member of the directors of the photographers’ section of the GKf.


He makes a round-the-world trip, visiting Egypt, Colombo, Singapore, Melbourne, Sydney, Peru, Panama, Miami and Bermuda, among other places.

Blazer photographs a report on Danilo Dolci and his work among the poor people of Sicily. An book on this subject, with a text by Bianca Dony, is to appear from De Bezige Bij publishers. Although the photo section is printed, the publication never appears, for reasons unknown.


Carel Blazer sets up his studio at Noordermarkt 25, in Amsterdam. In February Blazer is divorced from Mea Dekker and begins living together with Willemien Pieters.


Blazer photographs texts around the city, for an idea of his own and Gerard Wernars, for a book with the working title Speling in de spelling. The book, on the list of publications from Meijer N.V., Wormerveer, never appears.


The children’s postage stamps for this year are by Otto Treumann (design) and Carel Blazer (photography).


In these years Carel Blazer makes a number of trips, including to Sardinia (1967), Brazil and Surinam (1968), the Dutch Antilles (1969) and Guadeloupe (1974).


On 2 April Carel Blazer receives the GKf Prize.


The Rietveld Academy makes funds available to the GKf to do research on photography training in other countries. Blazer travels to Montreal and to Conestoga College at Toronto (where Kryn Taconis teaches), and with Windig to Zurich (Hans Finsier) and Basel. Ad Windig and Aart Klein visit a school in London for the same report.

With the GKf Carel Blazer develops a plan for a large non-commercial exhibition Kinderspelen (Children’s games) and asks for funding from the Ministry of Culture. After initially favourable reactions, no money is forthcoming and the plans fall through.


Commissioned by the Post Office, Carel Blazer and Gerard Wernars investigate the possibility of developing a four-colour screen printing procedure from colour slides, for use on postage stamps.

In 1972 Blazeer is commissioned to provide a draft design for a stamp to be issued in 1973, of the satellite-ground station at Burum. The design is ultimately not used.

In 1972 the Amsterdam Arts Council awards the 1971 experimental photo commissions from the City of Amsterdam 1971 (10,000 guilders) to Carel Blazer and André Lamoth. Blazer receives the commission to continue his experiments with transferring colour slides to postage stamps in four colours and the production of lithographs.


On 24 January Carel Blazer marries Willemien Pieters. In May he suffers an accident, causing a hip fracture. He decides to stop with photography.


He moves to Altforst.


In March and April Blazer travels to Brazil, Curaçao and St. Maarten.

His book Anderland appears in December. Simultaneously the Prentenkabinet of the Haags Gemeentemuseum mounts an exhibition of the work of Carel Blazer.


Carel Blazer dies on 16 January in Nijmegen.


Carel Blazer must have been a man full of ideas and plans. He has been described as a mysterious loner, yet he gladly collaborated with others. He was so obsessed with photography that according to his own account he was glad when night came and he no longer needed to take pictures. This love for photography covered both the documentation and experimenting with techniques.

Carel Blazer came into contact with photography at a very early age. His father bought a Detective Etoile Deposé at the Guy de Coral photo store and photographed as a hobby. It was in part because of this that Carel Blazer himself began to photograph. An encounter with the ‘Dam’ photographer Kees Kerkhof shaped the course of his future development. That encounter took place in 1933, during a performance of the ballet Dynamo, by Ulco Kooistra and Maja Marova (Mogroby) which was being recorded by both photographers. Blazer’s girlfriend Ineke Madlener, a student at the Kunstnijverheidsschool, danced for this group. Kerkhof invited Blazer to take part in the activities of the Association of Workers-Photographers. There Blazer met Eva Besnyö, with whom he became very good friends. He began to assist her on various photo assignments. By then he had already decided to become a photographer.

After the death of his girlfriend Ineke in 1934, his father provided him the the opportunity to study with Hans Finsler (1891-1972). Finsler, who taught at the Kunstgewerbeschule in Zurich, was a representative of the New Photography, who had particular interest in simple forms, contrasts between highlights and shadows, and between positive prints and negative prints. In a 1968 interview in the Algemeen Handelsblad Carel Blazer said, „He is really the father of photography, and he taught me to work very precisely. Objectivity, reality. If someone did photos for a book for a publisher, beautifully set against a velvety background, Finsler made three plates: one of the front, one of the back and one of the spine. That is the book, he said, and nothing else.”

On his return to The Netherlands Blazer had Hajo Rose design a brochure in which he presented himself as a photographer. His specialities were listed as portrait photography, child photography, technical and advertising photos and photography courses. The ideas about technical and advertising photography that were expounded in this folder were very probably influenced by Finsler: „in technical photography only the object itself is decisive for the shot, every personal vision is absolutely forbidden. Objectivity is demanded here.” With regard to advertising photos Blazer wrote: „here the special character of the object being advertised must be expressed, for instance: the smoothness of the pottery and the perfection of the shape are heightened by a background of rough fabric.” A number of the photos that he made in the 1930s, such as those done for the Bols company, indicate that he indeed put these ideas in practice.

In a 1965 interview he also listed the books by L.P. Clerc, La technique photographique, and J. E. de Langhe, De grondslagen der photographie (Mechlin/Amsterdam, 1935) as being important for shaping his work as a photographer. This photographic literature particularly helped him on his way in dealing with technical problems.

In 1935 he began his practice as a photographer in Amsterdam. Together with Eva Besnyö he had a studio at Keizersgracht 522 where he could carry out assignments. At first he primarily had portrait commissions, which covered a good deal of his living expenses. His father contributed the rest. His folder also provides insight with regard to them: „it is not enough that a portrait is a likeness, but it must moreover depict the typical expression of the person involved, either by plastic or flat lighting, or by hard or soft negative material, or by manipulation of the depth of field. Ast but not least, contact between the photographer and the person to be photographed is necessary.” In general, Blazer’s portraits from the 1930s reflect these views; he usually photographed his sitters in the studio, or sometimes in their home, with a 6×6 camera, well lighted and clearly posed.

According to Blazer portraits of children require a different approach: „the world of childhood involves play and movement; it passes in the blink of an eye, that only the fast action of a small camera can capture, on the film with its many images; outdoor shots are very appropriate for this.” Such 35 mm shots are rarely to be found in Blazer’s archive. Most of his portraits of children are rather static studio studies on 6×6 stock. Only in the portraits that he made of his daughter Dominga after the Second World War does he reveal himself as a dynamic photographer. In 1936 he made a series of portraits of artist in France, including Kees van Dongen and Tjerk Bottema, in which the subjects were not ‘sitters’, but were captured during all sorts of activities. Other views about portrait photography, more in line with photographic reportage, then begin to show up in his work. After the Second World War he was scarcely involved with portrait photography any more.

Very quickly Carel Blazer applied himself to journalistic photography. The subjects of his reportage included the Dutch landscape and life in fishing villages and port cities, themes of interest to the illustrated press of the day.

In addition Blazer travelled through France and Austria with Mik van Gilse to do reports on, for instance, hitchhiking: Van Gilse was photographed ‘thumbing rides’.

Although he himself was of a middle class background, in the 1930s Blazer opted for communism. He became a member of the Communist Party, and moved in the circles of anti-fascist artists like Ulco Kooistra, Maja Mogroby, Hildo Krop and Han Pieck. In 1933 Blazer became a member of the Association of Workers-Photographers. To the extent possible, he did reportage that could be of service to the political struggle. For instance, in 1934 he photographed the Jordaan Riots, and in 1937 spent three moths photographing the Spanish Civil War. He first made pictures of shelters for children in Valencia. These shots were used for the Spanish pavilion at the 1937 Paris Exposition. On the basis of these photos he received permission to go to the front, where he photographed the brigades behind the sandbags. His photos, which appeared in many Dutch and international newspapers, never show the battles themselves, the violence. In that they differ from the photos of the Spanish Civil War done by Robert Capa and John Fernhout, who did show that.

After Spain Blazer returned more or less disillusioned, and gave up his Party membership. He did remain a member of all sorts of anti-fascist groups.

The war years were difficult for Carel Blazer. Because he was half Jewish, he could no longer publish. He had to make his living again primarily with portrait photography.

He began to collaborate with the Persoons Bewijs Centrale in the production of false identity papers, and with several friends, including the Van Gilse brothers and Yara Koreman-Wainstock, was a member of resistance groups. When the Dutilh group were rounded up, Blazer was also arrested and given a death sentence for involvement in spy photography. He continued to deny such activities. Just in time a request was smuggled in to Dutilh in Camp Vught, to shift the blame to Jan Kann, who was safe in Switzerland. Blazer’s sentence was revised because of ‘proven innocence’. After his death he was awarded Resistance Commemoration Cross. Following he release he decided that it was sensible to only give direct aid, for instance through the PBC, but not, like some colleagues, to photograph on the streets.

After the liberation he photographed the destruction in the south-east of The Netherlands, at Groesbeek, Hedel and Roermond.

Carel Blazer was one of the founders of the Gebonden Kunsten federatie (GKf). In the catalogue of the exhibition Foto ’48, by the group of photographers from the Gkf, there is a text which makes it clear that two aspects were important for these photographers: reportage and commissions. „This photography is serves a useful purpose, and in practice is connected with commissions.” Blazer would always stand behind this vision. According to him, photography was not primarily intended to be hung in museums, but was first and foremost a form of applied art. Many times Blazer worked together successfully with designers who were also members of the GKf: Han de Vries, Benno Wissing, Gerard Wernars, Mart Kempers and Jan Bons. Collaborations between designers and photographers was characteristic of the GKf. Composition, cropping, the progression from black to white were discussed mutually and adapted to what was thought necessary for a given assignment. The use of photography by designers was essentially an echo of the ideals of the New Photography of the 1930s, in which photography and typography played equal roles in the ‘typophoto’. In the 1950s and ’60s Blazer was the walking encyclopaedia for a large group of photographers in the GKf. He had mastered the technique, kept up with the literature in this field, and was always ready to be of assistance. Furthermore, his was often a very authoritative voice in elections and other ideological matters. Above all else, in the ‘form or fellow’ discussion he took the standpoint that the ‘fellow’ had to have been on the right side during the war.

In 1968 he received the biennial GKf prize, awarded to „a person or institution who has distinguished themselves in the field of the applied arts”. The prize had previously been awarded to Willem Sandberg and Piet Zwart. The awards ceased with 1968 . Large-scale art flourished in the years after the Second World War because of the furious building activity. Carel Blazer was one of the few photographers who was able to cash in on it. Already before 1940 he had designed photo walls, but he had then contracted out the enlarging. Because in the 1950s he was equal to the challenge of photo walls, not only artistically but also technically, he acquired a number of large commissions. For Carel Blazer the photo wall was a form of applied photography in which he could indulge his urge to experiment with technique to his heart’s content. When designing a photo wall he opted for a decorative, neutral approach. In that he reflected the views that predominated in mural painting. When the Vereniging van Beoefenaren van Monumentale Kunsten mounted the exhibition De Opdracht in the Stedelijk Museum in 1956, Carel Blazer produced a work of 3 x 2.5 metres. He mounted a number of non-three dimensional photos next to each other, linking the different shots by having a stylized figure, introduced in a second darkroom exposure, walking through them.

His chef d’oeuvre was the mural that he made in 1958 for Expo ’58 in Brussels. One single aerial photo of the closing of the ring dike around East Flevoland on 17 September, 1956, has to be enlarged for a wall in a dome, with an area of 580 m². With goniometric calculation Blazer divided the photo into 250 segments. Each segment had to be enlarged to about 1 x 2 metres. The enlargement was so great that one could only recognize blobs and blocks. He could only work at night, because every traffic vibration caused blurring. The final result brought him wide publicity.

In his darkroom the also did the finishing on photo walls for third parties.

In the postwar years Carel Blazer did considerable work for businesses. Major clients included Bruynzeel, the Twentsche Stoombleekerij and Nemavo. In many cases Blazer chose not to photograph the product or its production, but people making use of the product. For instance, for a ball bearing factory he did not photograph ball bearings, but people on bicycles, for which the bearings were used. This point of departure was not always valued by the clients.

Not as assignments, but on his own initiative, Blazer did a number of travel reports, which he was generally only able to publish in dribs and drabs. With striking frequency Blazer photographed fishing villages while on his travels. Whether it was in Portugal, or Italy, or Indonesia, he always sought out the coast. Ships and lighthouses were also a part of his constantly recurring subject, water. His fascination with the Delta Works fits in here too. They were an important subject in Blazer’s oeuvre, for which he alsways gave himself his own assignments. Along with Aart Klein, Blazer was the photographer of the Delta Works. The subject intrigued him from the time when he photographed the flooding of Walcheren. He followed the reclamation of flooded land during the Reconstruction. When the Delta Works began, starting in 1953, Blazer spent as much time there as possible. His general fascination with technology and with water was evidently the basis of his fondness for them. In general, Blazer presented a heroic image of the builder in his struggle against the elements.

Blazer’s postwar engagement was of a different character than that of the 1930s. A photo of the painted bow of a fishing boat in Ravenna, with the text ‘Viva la pace’, became the motto for Blazer’s photo work from the years after 1945. He could not, and would not, photograph war. What he wanted to show as „…the dignity of the Specimen Man, not made to be assaulted or killed, but to live in harmony with himself and society – provided that he is granted that basic right” (unpublished text, 10 May, 1968.) As a pacifist Blazer photographed people who were busy working, celebrating, eating, and sleeping. In this he remained a representative of the humanistic vision that took root in photography in the years after the Second Wpor;d War, through the 1955 exhibition Family of Man. He deliberately chose to photograph the poor, but he took care to avoid the pitfall of making them ‘picturesque’. He photographed them with a certain distance. His photographs were never an accusation, but his social concern was beyond question. „Of course I am a leftist. Every good photographer is leftist, otherwise he can not work,” he said in an interview in 1968 in the Algemeen Handelsblad. Blazer did not believe that sympathy was a basis for helping someone, and that is a reason why there are no shocking or distressing photos in his archive. In addition, he could not make traumatic photos. Death does nto appear in his photos.

In 1959 Blazer photographed the poverty in Sicily for a book on the social reform work of Danilo Dolci. The book which was to publicize that work in The Netherlands never appeared.

Although Carel Blazer was trained in the time of the New Photography, the formal aspects of that period – the diagonal, the rendering of textures, close-ups – are not emphatically present in his work. One aspect of the visual vocabulary of the New Photography, the disappearing horizon, however does recur in Blazer’s work. By opting for a high camera angle he creates images with great depth, in which the horizon is either absent, or is at the top of the image.

Apparently Blazer gave the documentary aspects of the medium more attention than the visual aspects. That Blazer did not cling to one particular cropping when he printed a negative, appears to confirm this.

After the Second World War he preferred colour photography to working in black and white. As early as the 1930s Carel Blazer experimented with colour photography He used the Kodak Dye Transfer method for a number of shots. He also had a Jos-Pé camera with which he made colour shots. After the 1950s, when both Kodak and Agfa brought high quality colour material on the market, Blazer began to concentrate on the use of colour photography. About 3000 colour slides were the result. Among other purposes, the shots were used for a number of famous Van Ommeren calenders which Jan Bons produced together with Blazer. Blazer had his Kodak Ektachrome material processed in Switzerland by Photo Studio 13.

Carel Blazer had a great love for technology; he was „crazy about little screws, wires and wheels”. His darkroom was full of self-made instruments: switch boxes and a hot air blower. He also had a magic lantern enlarger with various little motors which could be operated by remote control. He used this apparatus for making his gigantic enlargements, of up to 16 m².

Blazer owned a large number of cameras: an 18×24 camera, a mahogany travelling camera, his father’s Detective, a Thornton Reflex 9×12 dating from 1947, a Jos-Pé camera, three Rolleiflexes, two Leicas, a Bronica 6×6 (used for the colour slides), a Hasselblad and a semi-automatic Olympus. The ‘request number’ was a camera which was often loaned to colleagues: a 9×12 camera Blazer had had constructed for a wide angle Super Angulon 1:8/65 mm lens, following an idea from the photographer Gjon Mili.

Blazer was interested in technique, but this interest was directed primarily toward the mechanical side. For a long time he was regarded as the master printer; for instance, he was commissioned to print the photos by Erich Salomon for the Photokina in 1956. Blazer was chosen over laboratories, because he knew which style was required for the work of various photographers. He was an absolute perfectionist, and very demanding. He himself chose hard prints, because white had to be white and black black. Anything that one could retain of the intermediate tones came with that. In reproduction too, before all else the print had to be brilliant, the white without screening and the black practically solid.

It is worth noting that for a photographer for whom the photographic print was so important, he allowed his own archive to become so neglected. In general his negatives are badly preserved, and frequently scratched and otherwise damaged.

Carel Blazer became the subject of a myth. Particularly a number of the older photographers in the GKf attributed a leading role in Dutch photography to him. The fact that he was the conscience of the group contributed in part to this. His work is of good quality, but does not break new ground, and is similar to what other professional photographers, also those from the NFK, produced. It is serviceable applied photography, done on assignment for businesses and publishers. Perhaps his most notable contribution was made in the field of the photo wall and monumental enlargements.


Primary bibliography

Jan Derks (inl.), Rome, Amsterdam/Antwerpen (Contact) 1950.

Catalogus tent. Carel Blazer (Leve de Vrede), Amsterdam (Stedelijk Museum) 1968.

Willem Frederik Hermans, Anderland. Carel Blazer fotograaf, Amsterdam (Contact) 1979.


images in:

Figaro. Letterproef N.V. Lettergieterij „Amsterdam” voorheen N.Tetterode, z.j. Folder Polak & Schwarz, z.j.

Platenhoes Fiesta Tropicales, Luis Bordon et sa harpa paraguaya, z.p. (Discofoon) z.j.

D.L. Daalder, J.P. Strijbos, A. Viruly, Van Texel tot Walcheren, Amsterdam (Contact) z.j. (1936), p. 24-25, 52-53 (serie: De schoonheid van ons land).

P.J. Mijksenaar e.a., Amsterdam, Amsterdam (Contact) z.j. (1936), p. 20-21, 45, 53, 56, 81 (serie: De schoonheid van ons land).

(Brochure) Cas Oorthuys en Jo Voskuil, Eenheid voor vrede en socialisme. Tegen oorlog en fascisme, Amsterdam (CPH) 1936.

Jan Bons (ontwerp) en Carel Blazer, Hulp aan Spanje (bonkaart) 1937.

Catalogus tent. foto ’37, Prisma der Kunsten 1937 (speciaal nummer), p. 130.

W. Sandberg (red.), Les Pays-Bas et Les Indes Néerlandaises, Amsterdam 1937, p. 20 b.

Acht fotografen zien één meisje, in Wij. Ons werk ons leven 3 (2 juli 1937) 22, p. 16-17.

Wereldkroniek 7 augustus 1937, p. 1192-1193.

Sunday Express 8 augustus 1937, p. 24.

Schweizer Illustrierter Zeitung 11 augustus 1937.

Arbeiderbladet 12 augustus 1937.

Zürcher Illustrierte 1 oktober 1937.

Reynolds News 24 oktober 1937.

Reynolds News 5 december 1937.

Antonio Ruiz Vilaplana, Ik verklaar onder eede, Rotterdam (Brusse) 1938, omslag.

De Residentie, Amsterdam (Contact) z.j. (1938), (serie: De schoonheid van ons land).

L’art ménager januari 1939, omslag.

Reflets. Le magazine de la vie Beige mei 1939.

Paul Schuitema, Waar Nederland trotsch op is. Hoe we tegen het water vochten en wat we er mee deden, Leiden (Sijthoff) 1940.

Kroniek van Kunst en Kultuur 5 (15 september 1940) 15/16, p. 223-225.

Wij. Ons werk ons leven 1940.

De 8 en Opbouw 11 (1940) 15/16, p. 145, 147.

De 8 en Opbouw 12 (1941) 4, omslag, p. 53.

Wereldkroniek 48 (1941) 2459, omslag.

W.J. van Balen e.a., De Steden, Amsterdam (Contact) 1941, pi. 12, 33, 47, 55 (serie: De schoonheid van ons land).

Kalender VANK 1942, bladen mei en augustus.

A. de Froe, Er moet veel strijd gestreden zijn …, in De Vrije Katheder z.j. (1945) (speciale uitgave).

Ruim Baan 1 (5 oktober 1945) 2.

Gazette de Liége 5 oktober 1945.

Gazette de Liége 6/7 oktober 1945.

Picture Post 13 oktober 1945.

The Illustrated London News 20 oktober 1945, p. 437.

Le Soir Illustré 15 (25 oktober 1945) 696.

De Vuurpijl 3(15 september 1945) 22.

Norman Phillips en J. Nikerk, Nederland-Canada, Amsterdam/Antwerpen (Contact) z.j. (1946), p. 28, 63, 71 (idem: Holland and the Canadians, Amsterdam (Contact) z.j. (1946)).

Wereldkroniek (7 september 1946) 36, omslag.

Photographie (Éditions Arts et Métiers Graphiques) 1947, pl. 4, 49.

Martin Redeke, 50 Jaar Bruynzeel 1897-1947, z.p. (Amsterdam) z.j. (ca. 1947).

Th.P. Tromp, Verwoesting en wederopbouw, Amsterdam (Contact) z.j. (ca. 1947), p. 28, 59, 62, 73, 75, 82-90.

Catalogus tent. Foto ’48, Kroniek van Kunst en Kultuur 1948 (speciale editie), p. 12, 22-23, 26-27, 32.

Je Maintiendrai. De Stem van Nederland 9 (2 oktober 1948) 13, p. 11.

Evert Zandstra, Het Water, Amsterdam/Antwerpen (Contact) 1950, pl. 40 a, 72 a-72 b, 73 (serie: De schoonheid van ons land).

U.S. Camera Annual 1950, p. 54-55.

Auteur onbekend, Over fotografie, in Drukkersweekblad (1950) kerstnummer.

Lilliput juni/juli 1951, p. 33-35.

Het Parool 12 april 1952.

Lilliput juni/juli 1952, p. 39.

Max Dendermonde en H.A.M.C. Dibbits, De Dijken, Amsterdam (De Bezige Bij) 1954.

Max Dendermonde, De wereld rond. Willem Ruys, Wormerveer (Meijer) z.j. (ca. 1955).

P. Verhoog, Rotterdam, Rotterdam (Stichting Havenbelangen) 1955, p. 11, 19, 24-25, 42.

De Groene Amsterdammer 8 oktober 1955.

De Groene Amsterdammer 15 oktober 1955.

De Groene Amsterdammer 9 juni 1956.

Kalender Holland 1957.

Bertus Aafjes, Capriccio Italiano. Een reisboek over Italië, Amsterdam (Meulenhoff) 1957, omslag.

Max Dendermonde, The finishing touch. 100 Jaar Twentsche Stoombleekerij, Wormerveer (Meijer) 1957.

Catalogus tent. Ia Mostra internationale biennale di fotografia, Venetië (Sala Napoleonica) 1957.

Foto 12 (oktober 1957) 10, p. 388.

Catalogus tent. Fotografie als uitdrukkingsmiddel, Eindhoven/Arnhem (Stedelijk Van Abbe-museum/Gemeente-museum) 1957/1958.

Kalender Phs. van Ommeren N.V., Rotterdam 1958.

(Folder) Metz & Co, Amsterdam, 1958.

Max Dendermonde, Het water tot de lippen. Wat wij deden via het Nationaal Rampenfonds, Amsterdam (De Bezige Bij) 1958, p. 22, 28-29, 32, 174, 186, 188-189, 193-194, 196 en achterschutblad.

Photography 13 (oktober 1958) 10, p. 26.

De Groene Amsterdammer 11 oktober 1958, p. 12.

Kijkprikkels, Prikkels (november/december 1958) 231, p. 22, 37.

Kiekeboe-kje. Een (fotografisch) kijkje om de hoeken bij Ahrend, z.p. (Ahrend) z.j. (ca. 1959), p. 8, 26.

Kalender Phs. van Ommeren N.V., Rotterdam 1959.

Magnum (februari 1959) 22, p. 24.

Forum 14 (1959/1960) 12, afb. 17, 39, 43, 46.

Kalender Phs. van Ommeren N.V., Rotterdam 1960.

Kalender Deltawerken. Stad Rotterdam alle verzekeringen, Rotterdam 1960.

Forum 15 (1960/1961) 3, p. 105-106.

Kalender Deltawerken. Stad Rotterdam Anno 1720 alle verzekeringen, Rotterdam 1961.

Kalender Koninklijke Twentse Stoomblekerij N.V., Goor 1961.

Eugène Eberle, 4 Gaten in de grond, Brussel /Eygelshoven (Maatschappij tot Exploitatie der Steenkolenmijnen Laura & Vereeniging) z.j. (ca. 1961).

Jan G. Elburg (tekst), Zaandam, Zaandam (Gemeentebestuur) 1961 (uitgegeven t.g.v. het 150-jarig bestaan; met foto’s van Carel Blazer en Dolf Kruger).

Han Hoekstra, Dag Amsterdam, Amsterdam (N.V. Het Parool) 1961,p.45, 111.

Kalender Stadsdrukkerij van Amsterdam 1962.

Kalender Delta, alle verzekeringen Stad Rotterdam Anno 1720, Rotterdam 1962.

Gerrit Kouwenaar (inl.), De collectie Sandberg, Amsterdam (Meulenhoff) 1962.

Max Dendermonde en H.A.M.C. Dibbits, Wegen naar morgen, Wormerveer (Meijer’s Industriële Uitgeverij) 1962.

Eldert Willems, Nederland wordt groter, Amsterdam (De Bezige Bij) z.j. (ca. 1962), p. 7.

Kalender Delta Europoort. N.V. De Waerdye- Mij. van Levensverzekering op Basis van Beleggingen in Aandelen (alle verzekeringen Stad Rotterdam Anno 1720), Rotterdam 1963.

Bettina Spaanstra-Polak e.a., Teken aan de wand, Utrecht (Bruna & Zoon) z.j. (1963), p. 153-156.

Nederlandse jeugdhuizen, z.p. (Rotterdam) (Bouwcentrum) maart 1963 (Publikatie nr. 5 van de Stichting Ruimte voor de Jeugd).

Han de Vries (samenstelling en vormgeving), Foto grafie, in Drukkersweekblad en Autolijn (1963) 52 (kerstnummer), p.48-50.

Vandervelde Protection. Folder Ingenieursbureau J.C. van der Velde-Henning Franzen n.v., z.j. (ca. 1963).

Kalender Delta/Haringvliet. Assurantieconcern Stad Rotterdam Anno 1720, Rotterdam 1964.

Kalender Verenigde Machinefabrieken N.V. Stork-Werkspoor, 1964.

Sybren Polet, Verkenning in het onbekende. Vijftig jaar Koninklijke Shell Laboratorium Amsterdam, Wormerveer (Meijer) z.j. (ca. 1964).

Pastoe ’65, Utrecht 1964.

Max Dendermonde, De zaak is rond. Een halve eeuw SKF in Nederland, z.p. (Ned. Mij. van Kogellagers) 1964.

Kalender Phs. van Ommeren N.V., Rotterdam 1965.

Kalender Biesbosch. Assurantieconcern Stad Rotterdam Anno 1720, Rotterdam 1965.

Jaarverslag RPS 1965.

Kalender Phs. van Ommeren N.V., Rotterdam 1966.

Kalender Groeten uit Deltaland. Assurantieconcern Stad Rotterdam Anno 1720, Rotterdam 1967.

Kalender Drukkerij erven E. van de Geer, Amsterdam 1967.

Jack Bax, Rotterdam Europoort, Rotterdam 1967 (idem Japanse editie: Yoroppa boeki no tobira o hiraku kagi-Rotterudamu).

K.E. Schuurman, Wessel Couzijn, Amsterdam (Meulenhoff) 1967, afb. 15, 22 (serie: Beeldende Kunst en Bouwkunst in Nederland).

De Groene Amsterdammer 13 juli 1968.

Cahiers voor Vredesvraagstukken (1969) 2, omslag.

Kalender Assurantieconcern Stad Rotterdam Anno 1720, Rotterdam 1969.

Willem Hijmans, Van duin tot IJsselmeer, Amsterdam (Meijer Pers) z.j. (ca. 1969).

(Catalogus tent.) Dingen van Arie (Arie Jansma), Amsterdam (Stedelijk Museum) 1969 (catalogus nr. 454).

Bijeen 2 (april 1969) 4, omslag, p. 12-13.

Folder Tentoonstellingsbouw De Vier N.V. Amsterdam, 1972.

Geïllustreerde ledenlijst grafisch vormgevers en fotografen, Amsterdam (GKf/GVN) 1973 (losbladige uitgave).

Willem G. van Maanen, De hagel is gesmolten, Amsterdam (Querido) 1973, omslag.

Jeroen de Vries e.a. (samenstelling), Tot de strijd ons geschaard. Beeldverhaal over het communisme in Nederland, Amsterdam (Pegasus) 1979, p. 60.

Evert Werkman e.a., Dat kan ons niet gebeuren …, Amsterdam (De Bezige Bij) 1980, p. 104.

Hans Dankaart e.a., De oorlog begon in Spanje. Nederlanders in de Spaanse Burgeroorlog 1936-1939, Amsterdam (Van Gennep) 1985, na p. 32.

Kalender BNG 75. De BNG in driekwart eeuw, z.p. (nv. Bank voor Nederlandsche Gemeenten) 1989.

Karin van Gilst, Tiny Poppe en Andrea Tafoya (produktie), Top 40 van de Nederlandse fotografie, in Nieuwe Revu (2-9 augustus 1990) 32, bijlage, p. 24.

Secondary bibliography

(artikel over De schoonheid van ons land, deel II), in De Telegraaf 13 december 1936.

Catalogus tent. Photographie, Amsterdam (Stedelijk Museum) 1952.

Jan G. Elburg, Fotografie, een nieuwe tak der beeldende kunst, in Kroniek van Kunst en Kultuur 12 (april 1952) 5, p. 118-120.

E., Meester-fotografen tonen werk in Stedelijk Museum, in Het Vrije Volk 8 april 1952.

H.v.G., Vier fotografen in het Stedelijk Museum, in Algemeen Handelsblad 9 april 1952.

M.B., Fotografie als kunst, in De Waarheid 11 april 1952.

G.S., Rijke fotokunst van eigen en vreemde bodem, in De Volkskrant 17 april 1952.

Jan van Keulen, Photografie nieuwe tak van beeldende kunst?, in De Groene Amsterdammer 19 april 1952.

Dick Boer, Meester-fotografen tonen werk in Stedelijk Museum, in Focus 37 (26 april 1952) 9, p. 172.

Van W., De fotografie als kunstvorm. Bij een tentoonstelling te Amsterdam, in Kennemerland 2 mei 1952.

Auteur onbekend, Analyse der platen, in Focus 37 (10 mei 1952) 10, p. 198-202.

Auteur onbekend, Golfslag van de zee klinkt in het hart der Nederlandse paviljoens, in Algemeen Handelsblad 19 april 1958.

Auteur onbekend, Moderne fotografen peuren beweging uit dode zaken. Carel Blazer toont werk in Kantine, in Gooi- en Eemlander 22 september 1958.

Auteur onbekend, Expositie Carel Blazer, in Gooische Courant 22 september 1958.

W.K. van Loon, Meesterlijke foto’s van Carel Blazer. In de ‘kantine’ bij de Kei, in Het Vrije Volk 22 september 1958.

Auteur onbekend, Werk van formaat door een man van formaat. Eenmanstentoonstelling van Carel Blazer, in Het Parool 22 september 1958.

Haagse Post 27 september 1958.

Auteur onbekend, Carel Blazer exposeert: Experiment niet middel, doch doel, in Algemeen Handelsblad 27 september 1958.

J.J. Hens, Wat ik zag en hoorde, dat mij trof… Carel Blazer, in Foto 13 (november 1958) 11, p. 464-465, 467.

Theo Ramaker, Met Carel Blazer naar Sicilië, in Focus 45 (2 april 1960) 7, p. 212-215.

H.F. van Loon en J. Punt, Ook Nederland heeft foto-graven. Wij presenteren u: Onze camera adel, in De Telegraaf 19 maart 1960.

F. Stoppelman, Keizer Carel en de fotografie, in Foto 20 (september 1965) 9, p. 411-420.

Jan Spierdijk, Woelige tijden brachten grote fotografen voort. Overpeinzingen bij een fotoboek, in De Telegraaf 14. maart 1968.

Auteur onbekend, „Niet schieten hier zijn mensen!”. Carel Blazer (GKF-prijs 1968), in 8 vanavond. Uit-krant voor Amsterdammers april 1968.

Wim Alings Jr., Carel Blazer. Tentoonstelling in het Stedelijk Museum Amsterdam tot 5 mei, in De Groene Amsterdammer 4 april 1968.

Taco Swart, Fotograaf Blazer: De waarnemer van armoede. „Rijke mensen zijn zo vervelend om te fotograferen”, in Algemeen Dagblad 9 april 1968.

Martin Ruyter, Het is een verhaal over vrede. Fotograaf Carel Blazer: Liefde voor techniek, in De Volkskrant 11 april 1968.

W. Woltz, Carel Blazer: goeie rechtsefotografen bestaan niet, in Algemeen Handelsblad 13 april 1968.

Magda van Emde Boas, Bemoedigende foto-expositie van Carel Blazer, in Nieuwe Rotterdamse Courant 13 april 1968.

O.V. (= Olaf Veltman), Carel Blazer. Fotokunstenaar tegen wil en dank, in F. Vakblad Nederlandse Vereniging van Vakfotografen (mei 1968) 3, omslag, p. 6-9.

Robert d’Hooghe, Meister der Leica. Carel Blazer, in Leica Fotografie 20 (november/december 1968) 3, p. 222-233.

Ursula den Tex (eindred.), De bevrijde camera, Vrij Nederland-Bijvoegsel (15 mei 1976) 20, p. 15, 29, 31-33, 35, 38-39, 42-43, 45 (met foto’s).

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 3, 7-8, 10, 20, 22, 24, 26, 28-29, 112-113, 116-117, losse biografie.

Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 48, 56, 81-82, 85, 89, 96, 122, 125-126, 130, 135, 137, 140, 142, 146 (met foto’s).

Brochure tent. De illegale camera, Amsterdam (Paleis op de Dam) 1980.

Dolf Welling, Zelfbewuste fotografie in Haags Gemeentemuseum, in De Haagsche Courant 3 januari 1980.

Lily van Ginneken, Expositie in Den Haag. Fotografie-boek vult leegte, in De Volkskrant 5 januari 1980.

F.T. (= Frank Tiessing), Carel Blazer, fotograaf, in Utrechts Nieuwsblad 19 januari 1980.

Lily van Ginneken, Fotograaf Blazer overleden, in De Volkskrant 19 januari 1980.

Bas Roodnat, Carel Blazer was ‘nieuwe fotograaf’, in NRC Handelsblad 21 januari 1980.

R.B., Fotograaf Carel Blazer overleden, in De Waarheid 22 januari 1980.

Jan Bik, „Carel Blazer, fotograaf”. Een belangrijk document, in De Gelderlander 25 januari 1980.

Ursula den Tex, Bij de dood van Carel Blazer, een virtuoos fotograaf. Het idealisme in mineur van een naoorlogse generatie, in Vrij Nederland 26 januari 1980.

Mathilde Visser, Kunstkroniek. Carel Blazer, in Het Financieele VrijDagblad 28 januari 1980.

Walter Barten, ‘Nooit een voyeur, maar een van hen’. Bij het overlijden van Carel Blazer, in De Groene Amsterdammer 30 januari 1980.

Bert Hogenkamp, De eerste volwassenheid van de fotografie. Nederland tussen de wereldoorlogen in beeld, in De Groene Amsterdammer 30 januari 1980.

Ed Wingen, Met de lens op de werkelijkheid, in De Telegraaf 15 februari 1980.

Willem K. Coumans, Leve de vrede. Carel Blazer 1911-1980, in Foto 35 (maart 1980) 3, p. 74-78 (met foto’s).

Flip Bool en Jeroen de Vries, De arbeidersfotografen. Camera en crisis in de jaren ’30, Amsterdam (Van Gennep/Pegasus) 1982, p. 11, 17, 24, 44, 69, 75-76, 80, 88, 91, 105, 107, 110 (met foto’s).

Martin Schouten, Een wandeling door de tijd, in Foto in vorm. Grafisch Nederland 1984, Amsterdam (Koninklijk Verbond van Grafische Ondernemingen) 1984, p. 87-88 (met foto’s).

Remco Campert (inl.), Amsterdam 1950-1959 20 fotografen, Amsterdam (Fragment) 1985, afb. 9, 30,65, 75.

Pauline Terreehorst, Boerenkaas-realisme en grootsteedse grandeur. Gemeente-archief Amsterdam boort met fotocollectie goudmijn aan, in De Volkskrant 12 oktober 1985.

Catalogus tent. 50 Jahre Moderne Farbfotografie 1936-1986, Keulen (Photokina) 1986, p.58, 310.

Lin Jaldati en Eberhard Rebling, Sag nie, du gehst den letzten Weg. Erinnerungen Lin Jaldati und Eberhard Rebling, Berlijn (Der Morgen) 1986, p. 219-222, 228-229, 231-233, 238-241, 253, 362.

Jan Coppens, Nederlandse fotografen rond 1950 (2). Neutralisme en nieuw estheticisme, in Foto 41 (april 1986) 4, p. 88-89.

Jan Coppens, Niederlandische Fotografie um 1950, in Fotogeschichte 6 (1986) 19, p. 41-59.

Ankie de Jongh-Vermeulen, Carel Blazer, in Colin Naylor (ed.), Contemporary Photographers, Chicago/London (St.James Press) 1988, 2de dr., p. 94-95.

Igor Cornelissen, De GPOe op de Overtoom. Spionnen voor Moskou 1920-1940, Amsterdam (Van Gennep) 1989, p. 128, 218, 220-221, 253, 293.

Mattie Boom, Foto in omslag. Het Nederlandse documentaire fotoboek na 1945, Amsterdam (Fragment) 1989, p. 19, 21, 23-25, 27-28, 37, 42, 44, 68 (met foto’s).


VAF, ca. 1933-1934.

BKVK, 1936-1939.

VANK, 1939-ca. 1945.

NVF, 1945-ca. 1980.

GKf, 1945-1980 (bestuurslid 1958-’66).

BFN, 1945-1980.

Jury Kalenderprijsvragen Stichting Gerrit Jan Thieme fonds 1959-1965.


1940 7de prijs, Internationale Rollei-wedstrijd, Brunswijk.

1952 Oorkonde, Weltausstellung der Photographie, Luzern.

1957 Gouden medaille, Prima Biennale di Fotografia, Venetië.

1959 Eervolle vermelding (deelname buiten mededinging wegens jurylidmaatschap), voor foto’s in de kalender van Phs. van Ommeren n.v. te Rotterdam, Kalenderprijsvraag

1959 van de Stichting Gerrit Jan Thieme fonds.

1960 Eervolle vermelding (deelname buiten mededinging wegens jurylidmaatschap), voor foto’s in de kalender van N.V. Maatschappij van Assurantie, Discontering en Belening der Stad Rotterdam anno 1720, Kalenderprijsvraag 1960 van de Stichting Gerrit Jan Thieme fonds.

1961 Eervolle vermelding (deelname buiten mededinging wegens jurylidmaatschap), voor foto’s in de kalender van N.V. Maatschappij van Assurantie, Discontering en Belening der Stad Rotterdam anno 1720, Kalenderprijsvraag 1961 van de Stichting Gerrit Jan Thieme fonds.

1963 Eervolle vermelding (deelname buiten mededinging wegens jurylidmaatschap), voor foto’s in de kalender van N.V. De Waerdye-Mij. van Levensverzekering op Basis van Beleggingen in Aandelen te Rotterdam, Kalenderprijsvraag 1963 van de Stichting Gerrit Jan Thieme fonds.

1963 (september) Oorkonde, vanwege het feit dat de boeken De collectie Zandberg (Gerrit Kouwenaar e.a.) en Wegen naar morgen (Max Dendermonde/ H.A.M.C.Dibbits) waaraan Carel Blazer als fotograaf zijn medewerking heeft verleend, door de Commissie voor de collectieve propaganda van het Nederlands boek zijn gekozen als behorende tot de vijftig best verzorgde boeken van 1962.

1965 Eervolle vermelding (deelname buiten mededinging wegens jurylidmaatschap), voor foto’s in de kalender van Phs. van Ommeren N.V. te Rotterdam, Kalenderprijsvraag

1965 van de Stichting Gerrit Jan Thieme fonds.

1965 (26 april) Bekroning drukwerkreclame, toegekend door het Genootschap voor Reclame.

1965 (september) Oorkonde, vanwege het feit dat het boek Pastoe ’65 waaraan Carel Blazer als fotograaf zijn medewerking heeft verleend, door de Commissie voor de collectieve propaganda van het Nederlands boek is gekozen als behorende tot de vijftig best verzorgde boeken van 1964.

1968 GKf-prijs.


1937 (g) Parijs, Wereldtentoonstelling (Spaans paviljoen).

1937 (g) Amsterdam, Stedelijk Museum, foto ’37.

1941 (g) Leipzig, Leipziger Messe.

1945 (g) Amsterdam, Atelier Marius Meijboom, De Ondergedoken Camera.

1948 (g) Amsterdam, Stedelijk Museum, Foto ’48.

1948 (g) Utrecht, Jaarbeurs, De Nederlandse Vrouw.

1950 (g) Eindhoven, Stedelijk Van Abbe Museum, Vakfotografie 1950.

1951 (g) Milaan, Palazzo di Brera, 1a Mostra della Fotografia Europea 1951.

1952 (g) Amsterdam, Stedelijk Museum, Photographie.

1952 (g) Den Haag, Gemeentemuseum, Fotoschouw ’52.

1952 (g) Luzern, Kunsthaus, Weltausstellung der Photographie.

1953 (g) New York, Museum of Modern Art, Post-war European Photography.

1955 (g) Rotterdam, AHOY, E ’55.

1956 (g) Amsterdam, Stedelijk Museum, Opdracht.

1957/1958 (g) Eindhoven, Stedelijk Van Abbe Museum, Fotografie als uitdrukkingsmiddel (rondreizende tentoonstelling).

1957 (g) Venetië, Sala Napoleonica, 1a Mostra lnternazionale Biennale di Fotografia.

1958 (g) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, Foto’s GKf

1958 (g) Brussel, Expo ’58.

1958 (e) Hilversum, Steendrukkerij De Jong & Co, Carel Blazer.

1960 (g) Amsterdam, Stedelijk Museum, (foto’s uit eigen collectie).

1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.

1968 (e) Amsterdam, Stedelijk Museum, Leve de Vrede.

1968 (e) Heerlen, Raadhuis, Leve de Vrede.

1979/1980 (e) Den Haag, Gemeentemuseum, Carel Blazer.

1979/1980 (g) Den Haag, Gemeentemuseum, Foto 20-40.

1980 (g) Amsterdam, Paleis op de Dam, De Ondergedoken Camera.

1985 (g) Amsterdam, Gemeentearchief, Amsterdam 1950-1959 20 fotografen.

1986 (g) Keulen, 50 Jahre moderne Farbfotografie 1936-1986 (Photokina).


Amsterdam, Eva Besnyö, Dominga Blazer, Jan Bons, Aart Klein en Gerard Wernars, mondelinge en schriftelijke informatie.

Amsterdam, Stichting Fotoarchief Carel Blazer.

Callantsoog, Ad Windig, schriftelijke informatie.

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.


Amsterdam, Gemeentearchief.

Amsterdam, Rijksmuseum.

Amsterdam, Stedelijk Museum.

Amsterdam, Stichting Fotoarchief Carel Blazer.

Den Haag, Gemeentemuseum.

Den Haag, Rijksdienst Beeldende Kunst.

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.

Rotterdam, Museum voor Volkenkunde.