Marianne Dommisse, a freelance photographer in The Hague, became known in photography circles for her extensive series of artist’s portraits and her impressions of the Dutch village Staphorst (1959-1965). Less attention has been given to other themes in her oeuvre: photos of graves and headstones, interiors, still lifes and landscapes, photographic travel journals, and experimental photography. People and their surroundings are central to Dommisse’s work. With an eye for small, significant details and a painterly quality, she photographs everyday reality in a direct manner that is neither sterile nor idealised.
Wilhelmine Marianne Elisabeth (Marianne) Dommisse is born into a preacher’s family on 5 October in Utrecht. She is raised with two younger sisters in the small village of Dalem (now the municipality of Gorinchem).
Dommisse’s parents divorce. Her mother remarries, to a family doctor. The family subsequently moves to Sassenheim. Dommisse works for a while on an asparagus farm. Marianne’s youth is far from happy: the middle sister is mentally disabled and demands all the attention.
Dommisse attends the Montessori School in Oegstgeest. She begins her HBS (Hogere Burgerschool, an upper-level secondary school programme) at the Rijnlands Lyceum (‘Rhineland Lyceum’) in Wassenaar, but never completes her studies.
Dommisse’s parents are active in the Dutch resistance and provide space for a number of Jews in hiding in the attic of their house. Marianne gets milk from the local farmers and extra ration stamps in Leiden. Out of concern for her safety, Dommisse spends a major part of the war alone in Warmond and in the Frisian village of Winaldum, where she gains experience at a biodynamic farm. During the last years of the war, Dommisse’s parents enrol her in the school of agriculture and horticulture in Rijswijk. At the time, this is the only place in the Netherlands where woman are accepted to study topics of this nature. Due to the worsening situation of the war, however, Dommisse leaves The Hague after just a couple days.
In December, Dommisse flies to Denmark—malnourished—to stay at her uncle’s home in Copenhagen in order to recover from a war trauma. Dommisse studies agriculture and horticulture in the Danish town of Kongens Lyngby near Copenhagen and is employed by diverse companies in the same industry.
During a brief holiday in the Netherlands, Dommisse meets Charlotte (‘Lottie’) Walkate-Grünebaum through her parents. Walkate is a school photographer from The Hague, who has survived the concentration camp in Auschwitz. When Walkate is in desperate need of assistance with her sole proprietorship on the Anna Paulownastraat, Dommisse decides to stay in the Netherlands and help her out. She does this more out of a feeling of obligation than an interest in photography. From that time onward, Dommisse resides in The Hague. It is likely in this same year that Dommisse spends a bit of time in Paris, where she has vague plans to gain some practical experience at a rose farm. She ultimately ends up at the famous Studio Harcourt, where she retouches photos of film stars, actors and photo models. In the photo studio of Brassaï, she receives an opportunity to study his photographs.
Upon returning from Paris—most likely in early 1952—Dommisse starts attending night school at the Fotografenvakschool (‘Vocational School of Photography’) on the Jan van Nassaustraat in The Hague. In part due to the unfriendly attitude towards woman and the age difference between herself and the other students, she is unhappy there. After approximately two years, Dommisse takes her exams, but fails to pass because some unknown individual pours boiling water into the photographic developer, ruining the results of Dommisse and several others. In September 1952, she signs up for the evening study ‘advertising topics’ at the KABK (Koninklijke Academie van Beeldende Kunsten, ‘Royal Academy of Art’) in The Hague. Dommisse never completes the study and leaves the academy in the summer of 1954.
She makes portraits—already often for a fee—of school children, bridal couples, first communions, and family members in a glamour-like style, with emphatic lighting and using a fine-grain film.
The North See Flood is the inspiration for Dommisse’s first combination print, entitled Idea (disaster). Her first photos as a freelancer are published in magazines and newspapers, such as Handel (‘Trade’) and Het Vaderland (‘The Fatherland’). For years, Dommisse is responsible for the column, ‘Den Haag vandaag’ (‘The Hague Today’) in the latter newspaper, together with Kobbe (pseudonym for Helga Ruebsamen). Ruebsamen provides a short column to accompany Dommisse’s photos of everyday topics, taken close to home and in the streets of The Hague.
Dommisse takes her first shots for a documentary series on dilapidated church graveyards in the Netherlands and France, a project that continues to expand until about 1960.
Dommisse receives a major commission from the VNF (Vereniging Nederlands Fabrikaat, ‘Association of Dutch Manufacturing’), which she completes in the following year. For this client, she photographs industrial products made in the Netherlands, including children’s toys, saucepans and a ‘mohair fantasy’. She also produces shots of fashion shows, company stands at fairs, factory personnel at work, bricklayers, prominent industrials and managers for VNF. Some of these are included together with Carel Blazer’s photos in the 1955 brochure, ‘Tien miljoen Nederlanders keken nog nooit door deze ruit’ (‘Ten Million Dutch People Never Looked through this Window’).
Dommisse is commissioned by Elisabeth Heskes, owner of the antique store ‘Accolade’ on the Rapenburg in Leiden, to photograph the store’s ever-changing front window displays on a fortnightly basis. Dommisse begins photographing artists, performers, writers, and scientists. The magazine, Vrij Nederland, publishes a number of these portraits, often with interviews by the Dutch journalist Bibeb until 1962. In the newspaper, Het Vaderland, portraits of (typically) artists in The Hague are frequently featured in the column, ‘Muze in ‘t Spionnetje’ (‘Muse in the Spionnetje’). Approximately in this period, Dommisse is commissioned to make portraits of members of the personnel at the Swedish embassy. Dommisse’s portraits of artists appear on the back cover of the magazine De Groene Amsterdammer on a highly frequent basis until 1960. These are accompanied by reproductions of the artists’ works as well made by Dommisse, along with a brief description of the artist added written by Jac van der Ster or Dommisse herself.
In August, Marianne Dommisse registers at the Hague Chamber of Commerce as a press photographer.
Commissioned by the Hague City Archives, Dommisse photographs a number of war and commemorative monuments in and around the city. In this year and subsequent years, she produces a series of photos (from 1958 on as well in colour) of Jan Cremer, who lives in The Hague at this time.
Dommisse marries Theo van der Nahmer, a sculptor in The Hague. She makes several lengthy visits to Staphorst, where she produces—with special permission—an extensive reportage in black and white and colour on everyday life in this village, where taking photographs is generally not permitted. The Staphort series, which is gradually expanded in years to follow, signals more or less a breakthrough in the appreciation for her work. The series receives substantial attention in newspapers and magazines, both in the Netherlands and abroad.
The Hoogheemraadschap Rijnland (‘Rhineland Water Board’) commissions Dommisse to photograph the assets and activities of its managing body.
Dommisse’s son, Marco Alexander, is born. He figures in many of her photos, which in the coming years appear in publications such as the Eindhovens Dagblad.
Dommisse photographs fashion accessories for the magazine Eva.
Commissioned by the couturier Jean Louzac in Voorburg (near The Hague), Dommisse photographs fashion, jewellery and shoes until around 1967. The photos appear in various newspapers and are purchased by Gelmok, a manufacturer of custom-made clothing.
In the years 1962-’63 and 1967-’70, Dommisse produces a series of photos for the column ‘De vrouw in wereldkroniek’ (‘The Woman in Worldkroniek’) in the Dutch magazine Wereldkroniek, featuring household appliances and other utilitarian objects. She is also commissioned to photograph the Residentieorkest (aka ‘The Hague Philharmonic’).
In the mid-1960s, Dommisse photographs on behalf of the actors, theatre directors and writers, of the Haagse Comedie (‘The Hague Comedy’ theatre company), including Edward Albee. For the Haags Gemeentemuseum (‘Municipal Museum of The Hague’), Dommisse takes photos of children in the museum’s education department for printed matter.
To improve her technique and composition, Dommisse takes a written correspondence offered by the ‘Famous Photographers School’.
As photographer and a member of the editorial board of the magazine Allerhande, Dommisse makes reportages about physically disabled people who create arts and crafts from waste materials in their own homes. The photos convey great respect for those portrayed.
Dommisse becomes a member of the editorial staff and a freelance photographer for the Pulchri Periodiek (‘Pulchri Periodical’, shortened to ‘Pulchri’ starting in 1977), the magazine of the artist’s society of the same name in The Hague. After 1977, her activities for this magazine expand.
For several years, Dommisse works on commissions for the Ministry of CRM (Cultuur, Recreatie en Maatschappelijk Werk, ‘Culture, Recreation and Social Work’). She produces photos for various projects, including the brochure ‘Museum… wat is dat?’ (‘Museum… What is that?), which entails photographing a large number of modernised museum interiors.
Together with Liesbeth Brandt Corstius and Josine de Bruyn Kops, among others, Dommisse establishes the SVBK (Stichting Vrouwen in de Beeldende Kunst, ‘Women in Visual Art Foundation’) in The Hague in July.
Besides portrait photos, Dommisse also works on photo collages for a while during this period.
Dommisse follows the courses ‘Special Photographic Techniques’, ‘Expressive Photography’, and ‘Darkroom Technique’ given by Hans Götze, a photographer in Haarlem. She perfects her technique in combination printing and discovers ways to make her negatives more expressive in the darkroom.
Marianne Dommisse is the chairwoman of the selection and advisory committee ‘Collection Formation Photography’ of the Ministry of CRM. In the spring of 1980, she takes her first trip to Egypt and returns with black-and-white photos of architecture, people, and landscapes.
For the much talked about exhibition and accompany catalogue Thuiscultuur (‘Home Culture’) at the Haags Gemeentemuseum, Dommisse produces photos of eleven highly disparate home interiors in the Hague.
The Ministry of Foreign Affairs commissions Dommisse to photograph numerous receptions and meetings.
In 1984, Dommisse takes a trip across the Sahara, starting in Tunisia.
Theo van der Nahmer becomes seriously ill, with Dommisse having to cut back on her photographic activity. She also ends her work for the Ministry of Foreign Affairs.
In the months May and June, Dommisse teaches a number of classes on photo collage technique as a guest instructor at the Vrije Academie (‘Free Academy’) in Delft.
Theo van der Nahmer dies.
Dommisse makes her second trip to Egypt.
The Artotheek (artworks-on-loan library) commissions Dommisse to photograph a series of twenty-eight artists from The Hague. The results are presented at the exhibition Haagse Kopstukken 1961-1992 (‘Prominent Figures of The Hague 1961-1962’), along with a number of Dommisse’s earlier artist’s portraits, and published in a catalogue of the same name. Dommisse makes her third trip to Egypt.
Marianne Dommisse makes a photo reportage in Poland.
Dommisse travels to Indonesia.
Dommisse makes a series of artist’s portraits for the exhibition catalogue Bouw & Kunst (‘Building & Art’), which accompanies an exhibition of the same name at the Pulchri Studio in The Hague.
Dommisse is commissioned by the Louis Couperus Museum in The Hague (still in the process of being set up), to photograph covers of the first editions of Louis Couperus’ books. She also takes a trip to Albania.
Marianne Dommisse celebrates her fortieth anniversary as a professional photographer (based on the date of her registration at the Hague Chamber of Commerce in 1956).
Marianne Dommisse can best be characterised as a spontaneous, feisty, and down-to-earth Dutch woman, who is also prone to laughter and averse to any form of dogmatism. She is a lively talker who says what she thinks, is curious, possesses a hands-on attitude, and on occasion, is someone who chooses to stand her ground. At the same time, she can be reserved and is socially sensitive. Although almost approaching her seventies, Dommisse still has plenty of energy and is perhaps even restless. Her photographic work has an effortless quality about it. At first glance, her photos usually appear simple and austere. A highly involved technical printing process nevertheless often precedes Dommisse’s images. Her choice of subject matter is by no means overly complex: what concerns her is a visually appealing, meaningful way of documenting day-to-day reality, and then especially the small, but significant aspects thereof. The main theme is virtually always people and their immediate surroundings, e.g. individuals (at their work), objects for everyday use, interiors, studios and cities, or traces left by man in the landscape and elsewhere. Hierarchy is completely lacking when it comes to her choice of subject matter. From a bottle opener to an material art painting, from children to the minister of Foreign Affairs, from Bedouins to artists: Dommisse has photographed it all, based on the objective approach associated with her profession. Just as with her subject matter, no structure is to be observed in terms of the locations and kinds of media with which she approaches her work. Dommisse has exhibited at the Stedelijk Museum in Amsterdam, but also at the Clara Hospital in Rotterdam. Her photos have been published in the exhibition catalogues of important museums as well as magazines such as Libelle and Allerhande. With her non-elitist attitude, Marianne Dommisse falls under a special category in the Dutch photography world. While her work has unquestionably received a notable degree of notoriety and appreciation, it still seems to have remained on the sidelines.
Marianne Dommisse has developed herself largely as an autodidact, working as an assistant for a photographer of the Hague School, Lottie Walkate-Grünebaum, a woman who took photographs to make a living, but whose primary interest lay in politics. Walkate would chiefly be known as a co-founder of the Chilicomité (‘Committee for Chile’). On her first working day, Marianne was thrust into the deep end, with no knowledge of photography whatsoever. Having arrived too late, she was resigned to consulting a German-langue technical book and a minimum of oral instructions given by Walkate, who had to rush off for an appointment. While Walkate was out visiting schools, her pupil was printing her first photographs. After this experience, Dommisse never left photography again. She saw virtually no future in a career in agriculture and horticulture, for which she had studied, nor in the boring ‘nine-to-five work’ that she had been doing prior to this time in the ‘stuffy cave’ of the De Kler bookstore in Leiden. Her choice for photography was in fact a negative choice: she could not think of anything better to do. Looking back, Dommisse now considers this practical experience as an excellent learning method, even if she did not find Walkate’s photos particularly stimulating in artistic terms. It drove her—perhaps to a greater degree than she would willingly admit—to seek out a more artistic way to photograph children and other people. Walkate’s approach to photographing children, however, could hardly be considered as extremely orthodox when compared to the work of other photographers: children were not asked to pose and instead photographed while at play or in the school classroom.
Marianne Dommisse, who remained Walkate’s assistant for quite some time, gradually discovered there were artistically innovative photographic alternatives to the general routine that typified school photography. Dommisse got to know Emmy Andriesse’s Van Gogh book via Walkate, who was on friendly terms with Andriesse (among others). This also opened Dommisse’s eyes to other perspectives.
The same applied to the other studies that Dommisse undertook: she learned a bit about technique, but received too few creative impulses. In her opinion, the tempo was too slow and there was no form of creativity or artisticity whatsoever. Moreover, she had mastered many of the photographic techniques already. She learned more from the other departments of the KABK than she did in that of photography. In the visual art section, for instance, she received lessons in composition and perspective from Willem Schrofer and Gerrit Kiljan. She was also inspired during her stay in Paris, at which time she retouched photos of film stars, actors and photo models for Studio Harcourt. In the photo studio of Brassaï, she received several tips from one of his assistants. She met the master only once. On occasion, she and several other people who were interested were permitted to follow him at a distance while he took shots outdoors. For Dommisse, her internship in Paris was particularly valuable because she was able to view a large number of Brassaï’s photos.
Dommisse has very little knowledge with regards to the work of other photographers, preferring to keep herself as unrestrained as possible. Besides Brassaï, she is interested in the work of Cecil Beaton, Bill Brandt, and especially, Izis Bidermanas. Even prior to her departure for Paris, she had purchased the latter’s photobook, Grand Bal du Printemps (Lausanne 1951), produced together with the poet, Jacques Prévert. In the 1950s, Dommisse revealed that she shared a similar preference for subjects as the Parisian: numerous photos of children living in a poetic and painterly decor of exceptionally framed, dreary, impoverished streets. Along with her instructor at the KABK, Gillis van Oostrom, Dommisse found at the time that people in the Netherlands were hardly anywhere near prepared for Izis’ work. The strong block-and-white contrasts, the limited number of grey tones and the absence of the proportions of the Golden Ratio in his work and in the work of those adhering to subjective photography—the movement led by Otto Steinert—were highly unusual.
Steinert’s definition of subjective photography concerned a renewed appreciation for the photographer’s personal input, in which experimentation and the search for new solutions played a major role. It was precisely these aspects that Dommisse incorporated in her work. In the Netherlands, the work of Emmy Andriesse is what speaks to Dommisse the most.
In Marianne Dommisse’s extensive oeuvre—which though recently thinned out, still consists of more than 50,000 negatives—is largely comprised of portraits of artists, writers, musicians, actors, scientists, children, businessmen and civil servants. The advantage of photographing artists, in her view, is that they are frequently not only interesting personalities, but that they are also more open to experimental forms of portraiture. A short unpublished piece that Dommisse wrote in 1961 to accompany a (published) photo reportage in Amateur Photographer provides insight into her thoughts concerning portrait photography. In contrast to the flattering portrait that appeals to a larger public—technically perfect, flawlessly lit, possibly still retouched—Dommisse’s preference is for the portrait that presents not only the character traits that typify the person being portrayed, but also the photographer’s vision. In her opinion, the photographer should have the technique mastered in such a manner that it plays an entirely subordinate role during the actual process of photographing. As such, the photographer can then concentrate solely on creating his vision of the person to be portrayed.
Working in series is especially typical for Marianne Dommisse. During portrait sessions, she often shoots a series of photos that are similar or, by contrast, complementary. Collectively, the photos should provide a characteristic image of the sitter that transcends the time-bound, incidental moment of the shot. For the cover of a book about Jaap Nanninga, a painter in The Hague, published in 1964, Dommisse created a series of six equivalent, more or less interchangeable portrait photos, which were to be printed next to each other as in a film roll. The publisher, however, chose to print each photo separately according to convention: the experiment went no further than idea. Dommisse did go on to realise the concept of a complementary presentation of one person’s portraits. In 1965, she exhibited forty photos under the title Jan’s Cremertorium, at the Amsterdam printing company Sigfried. These photos were from different sessions spread out over a number of years and were designed to collectively give an insight into the person, lifestyle and experience of the painter/writer, Jan Cremer. The exposition showed Cremer’s development from 1957, as a beginning ‘barbarous’ painter in The Hague, until 1965, when he lived as an established writer on the Valkenburgerstraat in Amsterdam. Dommisse’s attempts to create a timeless, characteristic portrait that rises above the incidental moment of the shot, might very well appear to contradict her attempts to follow the same person photographically over a number of years. It is a fruitful paradox that is fed by a great interest in a number of artists. Through her husband, the sculptor, Theo van der Nahmer, Marianne Dommisse has developed a preference for artists and sculptors in The Hague. Besides Cremer and Nanninga, she has made extensive portrait series of artists such as Lotti van der Gaag, Jurjen de Haan, Willem Hussem, Theo van der Nahmer, Aart van den IJssel, and Co Westerik.
Dommisse photographs her figures typically full-frame, centrally in the image, or just outside the photo’s middle axis. She sometimes even introduces an extreme close-up, as with Jaap Harten’s portrait, where his head fills the entire image with a high contrast in black and white. Usually, however, Dommisse portrays the artist in surroundings relevant to him or her, in many cases their own studio interior. This is the case in her recent portrayal of Joseph Semah, a visual artist from Amsterdam, bending with full attention over a drawing he is making, fist under the chin, across from an overflowing bookcase featuring the pictorial and written sources with which he converses in dialogue in his work. A bare lamp fitting with a brightly burning light bulb just above the artist’s head, in another photo from the series, completes the image of the thinker/creator. Dommisse photographed the caricaturist, Jaap Vegter, reflected in a mirror in his living room/library. The symbolism is obvious: we are confronted by a serious man, who taking distance, holds a mirror in front of society. Jaap Nanninga is portrayed as sombre and sunk deep in his thoughts, placed in a chapel-like niche with a crucifix hanging on the wall above his head: an exquisite representation of the artist’s divine inspiration. When viewed retrospectively, it almost seems like an ominous premonition of his untimely death. Strikingly, Dommisse chooses to portray many of the Haagse Comedia theatre company’s actors against the neutral background of a bare wall.
The majority of the artists portrayed are not photographed during their work, but are aware of the camera’s immediate presence. While Dommisse tries to avoid unnatural poses, she does however appreciate it when artists do their best to present themselves in a manner that is special and characteristic. In this respect, Jan Cremer was a photogenic and much appreciated subject to photograph. One moment he would assume the look of a dreadful ‘painting beast’ in an old sweater or a manly, bare-chested lover; next James Bond in a sleek, custom-made suit or a favourite son of the people wearing a cap with a halo painted above him on the ceiling. It should be noted that Dommisse left out the halo above Cremer’s head: she is clearly the one who determines the composition, not the person being photographed. In her portrait photographs, Dommisse likes an expressive black-and-white contrast without too many greys as well as an abundance of backlighting, so as to create pleasing contours. Her figures are often placed in front of a window, with the challenge being to keep their facial features visible. Dommisse is averse to artificial lighting because of its unnatural character: the light that is available must be sufficient. Only in her fashion photos for the couturier Jean Louzac did she permit poses that were obvious and a strong artificial lighting. Finally, Marianne Dommisse’s many children’s portraits cannot go without mention. In addition to her son, Marco, she took large numbers of photos in the 1950s of children at school, on the street and at carnivals. Many of these were published in Het Vaderland. In so doing, Dommisse showed a tremendous empathy in the way children experience the world around them. She captured a small child nervously hanging a candle in a Christmas tree, showed the surprise of a toddler sitting on a policeman’s horse, portrayed the loneliness of a child who is not allowed to play with the other children, and photographed the exaltation and intense interest of children with balloon sellers or at carnivals and puppet shows. These everyday events are seemingly insignificant, but nevertheless carry a tremendous tension.
The portrait also plays an important part in the series on Staphorst, which comprises more than 300 photos. Dommisse had decided to photograph the village after had received a lot of negative publicity. A young man had been forced by the local villagers to marry a young woman he had got pregnant by tying him to a manure cart and pulling it around the village. In order to present a more balanced image of the village and to record its slowly dissipating cultural tradition, Dommisse stayed there for three weeks in 1959 at the home of Stien Eelsingh, a friend who lived in Staphorst. Despite the fact that she had received special permission from the village’s mayor—for religious reasons, photography was strictly forbidden there—Dommisse still sometimes encountered significant physical opposition from the local inhabitants while taking her photographs. In the end, however, there emerged a huge series of black-and-white photographs of both the interiors and exteriors of the farms, working on the land, the Sunday procession, and women and (playing) children wearing traditional attire.
Dommisse continued to supplement her Staphorst series until about 1965, not only with black-and-white but also colour photos. In 1967, preparations for a photobook on Staphorst featuring a short text, to be published by Boom Publishing Company in Meppel, were already at an advanced stage, when legal problems began to arise concerning the placement of some of the photos and the author of the text suddenly died. Subsequently, the book was never realised.
From approximately 1954 to 1960, Marianne Dommisse worked on a series of black-and-white photos of graves and headstones in the Netherlands and France. By using a low-grain film, a high black-and-white contrast, an occasionally not all too sharply focussed camera setting and her choice for run-down graves, covered in moss and overgrown vegetation, the photos that she took had a rough and desolate appearance. This effect was heightened by the absence of people in the photos, excepting an occasional funeral procession. Dommisse was struck by the contrast of a dark cast-iron cross against a sharply bleak sky. She sometimes focussed on a group of stones or crosses, but usually she concentrated on a single headstone that filled the entire image. Several graves are photographed so free of any context that they are no longer recognisable as such, and in doing so, they attain an almost abstract character.
By adding a small piece of a mirror at the crossing of a photographed crucifix and a presentation of photos in little boxes filled with grass, Dommisse gave several photos an assemblage-like appearance. Dommisse attributes her fascination with this subject to her youth being raised in the family of a Protestant preacher.
The austere still lifes that Dommisse has been making since the mid-1950s are often related to her (artists’) portraits. When visiting artists either in their home or their studio, she encounters objects ordered in such a way that, when cropped by her photo camera, turn out to be attractive topics for photography. Rearranging these constellations to make them more pleasing for a photo is taboo for her. In a number of publications, such as a catalogue for ‘Verve’ (1956), an artists’ group in The Hague, Dommisse has published a large number of these (what she calls) ‘still lifes’, paired together with artists’ portraits.
In the same period, Dommisse took numerous painterly photographs for the storefront window display of ‘Accolade’, an antique store in Leiden. Her photos of arts-and-crafts products and fashion accessories—photographed against a neutral background, using natural light—demonstrate a more objectivist approach, produced for the Wereldkroniek, the VNF (Vereniging Nederlands Fabrikaat, ‘Association of Dutch Manufacturers’), and the couturier Jean Louzac
Of noteworthy mention is the photo series that Dommisse produced for the 1981 exhibition Thuiscultuur (‘Home Culture’) at the Gemeentemuseum in The Hague. To provide insight into the tremendous diversity of home interiors in the Netherlands, Dommisse photographed eleven highly disparate home interiors in The Hague: from a squatter’s space to a luxury apartment, from Dutch oak to lily-white, from overly extravagant to extremely austere. In addition to complete overviews of the interiors, she also took detail shots of theses spaces and portraits of their inhabitants.
Since 1980, a substantial share of Dommisse’s oeuvre consists of travel reportages in black and white as well as colour. Egypt and the Sahara region are her favourites, but she has also travelled to Albania, Indonesia and Poland. Here too it is the people, the architecture and the cultivated landscape that she charts out. It is not Dommisse’s aim to choose for subjects that, in her view, are sure to find success, such as starving children or impoverished circumstances. Instead, she attempts to present an image that is representative of the frequently joyful everyday life, the religion and culture. A position is nowhere to be found here. The almost atmospheric colour photos, with their full range of tints, stand in considerable opposition to the contrast-rich black-and-white photos.
Dommisse has never had any desire to commit to any one newspaper, magazine, or any other kind of client—not even to an artists’ association. As a freelancer, she possesses a tremendous amount of freedom in determining her subjects and choosing her assignments. It is for this very reason that the photos that she has produced on commission in no way form any real break with her other work, such as the many reproductions of two- and three-dimensional artworks that Dommisse made for a modest price for artists such as Wies de Bles, Bram Bogart, Jan Cremer and Lotti van der Gaag. Among her commissioned works, the numerous short pieces that she has written in the last twenty years for the magazine, Pulchri, should also be included. Just as her photographic portraits, these written portraits are remarkable for their high degree of simplicity, spontaneity, accessibility and regard for the artist as a person.
Mentioned above were the experiments with a stark black-and-white contrast and the assemblages in which Dommisse combined her photos with other media. She also produced a number of prints in mirror image, sometimes together with a combination print, such as the diptych of Maastricht in the rain. For the Stichting Vrouwen in de Beeldende Kunst (‘Women in Visual Art Foundation’), she made a combination print of a woman awakening at her painter’s easel. She also printed several photos of sculptures on gold- and metallic-coloured paper. In the mid-1970s, she put together collages from torn photos, featuring numerous apple-shaped forms.
More remarkable are the montage photos Dommisse made by taking two separate negatives and turning them into one, as with a portrait photo of the tormented looking artist Theo Mooyman in his studio, displayed on an initially blank painting canvas.
While Marianne Dommisse turns to visual devices and techniques adopted from art, she does not see her photography as an art form. She rejects an approach to the medium based solely on aesthetic grounds. Instead, she sees photography much more as an independent medium with its own qualities, possessing not just an aesthetic value, but also a news value, a narrative aspect, and a documentary character.
Marianne Dommisse depicts her subjects directly and with clarity. Matters of priority can easily be distinguished from what is secondary. Attention is usually concentrated on a single motif. Empty surfaces are often an important element in these photos, instilling the image with serenity. Sometimes the photos are technically imperfect: a blur sometimes occurs, a shadow sometimes falls across the face of the person being portrayed, small imperfections that give photos a spontaneous feel, bestowing on them a certain traditional charm. Dommisse prefers an imperfect technique to a photographic style that is in her eyes static and sterile. She tries to portray the people in front of her camera as authentically as can be: either working, or in any event, in surroundings that are meaningful. Staging, manipulation or additional lighting of the subject are only used when there is a specific situation that demands it. Dommisse uses three different Rolleiflex cameras with wide-angle, telephoto and 2.4 lenses. Since the mid-1970s, she also photographs with a 35 mm camera. From the very start she has used—an initially quite coarse-grain—400 ASA film, which allows her to take photos quickly. She prints virtually all of her photos in a rectangular format and preferably as large as possible.
Contrary to what has always been assumed, Dommisse has never been a member of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’) or of the artist’s association, Pulchri. The only association in which she was actually involved was the SVBK (Stichting Vrouwen in de Beeldende Kunst, ‘Women in Visual Art Foundation’). Together with Liesbeth Brandt Corstius, Josine de Bruyn Kops, and others, Dommisse founded this organisation in 1977 in The Hague with the goal of creating a more evident position for female artists in the art world, which in her opinion was strongly dominated by men. Through her work for the foundation, Dommisse became involved in the Dutch feminist magazine Opzij for which she made photo reportages about female artists for several years. It was these photos in Opzij that resulted in Pulchri’s request in 1978 for Dommisse to do photographic and written reportages on female artists for the association’s magazine. It was the start of a lengthy series of concise articles, in combination with photos, on both female and male visual artists. Dommisse’s active involvement in the SVBK as well as her participation in group exhibitions organised by the foundation came to an end in the early 1980s.
Besides its aesthetic qualities, Marianne Dommisse’s extensive oeuvre is also of substantial documentary value. Her photo archive provides a practically complete image of cultural life and the artistic climate in The Hague and environs from about 1955 to present. For certain artists, Dommisse’s photos have clearly had an influence on shaping their image in the public eye. The numerous portraits of Jan Cremer are remarkable in this respect, as well as the frequently reproduced photograph of Willem Hussem painting rather awkwardly. Like her fellow colleagues Livinus van de Bundt and Gerard Fieret, Dommisse provided a cautious counterweight to conventional ‘practices’ in The Hague through the original and liberating design of her photos. Dommisse’s influence appears to be limited to the area in and around The Hague. Meanwhile, however, a number of Hague artists have gained national notoriety. Consequently, the documentary significance of Dommisse’s oeuvre is growing parallel to the success of those artists whom she has portrayed.
Liesbeth Brandt Corstius (tekst) en Marianne Dommisse (foto’s), Tien Nederlandse kunstenaressen, in Opzij 5 (november 1977) 11, omslag, p. 22-29.
[artikelen met foto’s], in Pulchri 1978-heden.
Fotografie is arbeidsintensief, in Stichting Vrouwen in de Beeldende Kunst. Nieuwsbulletin 2 (oktober 1979) 5, p. 23.
Ingrid van Santen en Dolf Welling (tekst) en Marianne Dommisse (portretfotografie), Haagse Kopstukken 1961-1992. 30 jaar Haagse beeldende kunst in 2×28 zelfportretten, Den Haag (SeaPress) 1992.
[Folder] Nyma presenteert, Nijmegen (Nyma) z.j.
Het Vaderland 1953-1962.
Handel 8 (februari 1953) 5.
Internationale Handel 9 (mei 1954) 7.
[Brochure] Tien miljoen Nederlanders keken nog nooit door deze ruit, Den Haag (Vereniging Nederlands Fabrikaat) 1955.
Vrij Nederland 1955-1962.
Vrije Geluiden 21 mei 1955, omslag.
‘s Gravenhage 10 (december 1955) 11.
Libelle 22 (24 december 1955) 52, p. 52-55.
Catalogus tent. W.L. Bouthoorn. Schilderijen en gouaches, Voorburg (Museum Hofwijck) 1956.
Catalogus tent. Facetten 2: hedendaagse Belgische en Nederlandse schilderkunst, Den Haag (Haags Gemeentemuseum) 1956.
Catalogus tent. 5 jaar Verve, Den Haag (Postmuseum) 1956.
Catalogus tent. Co Westerik: tekeningen, aquarellen, lithografieën, Voorburg (Museum Hofwijck) 1956.
Catalogus Achttiende nationale kerstsalon van fotografische kunst van de Amsterdamsche Amateur-Fotografen Vereeniging, Amsterdam (Arti et Amicitiae) 1956, p. 23.
Groene Amsterdammer 1956-1960.
Algemeen Dagblad 21 januari 1956.
‘s Gravenhage 11 (februari 1956) 2, p. 26-29.
Haags Dagblad 18 mei 1956.
Voorburgse Gourant 2 1 september 1956.
Haagsche Courant 1 oktober 1956.
Catalogus tent. 50 jaar “Haagsche Amateur Fotografen Vereeniging”, Den Haag (Grote Kerk) 1957, p. 45.
Catalogus tent. Jan van Heel, Den Haag (Haags Gemeentemuseum) 1957.
‘s Gravenhage 12 (maart 1957) 3- Stolica. Warszawski tygodnik ilustrowany 12 (1957) 23.
Het Vaderland 30 november 1957.
Charles Wentinck, De moderne beeldhouwkunst in Europa, Zeist etc. (De Haan etc.) 1958, afb. 40 (serie: Phoenix pocket no. 12).
Eva 25 (10 mei 1958) 19, p. 18.
Düsseldorfer Zeitung 14 februari 1959.
Elegance 16 (april 1959) 4, p. 45-47.
De Telegraaf 23 april 1959.
Elegance 16 (juni 1959) 6, p. 45-47.
Elegance 16 (juli 1959) 7, p. 20-23.
Haagse Post 11 juli 1959.
Elegance 16 (augustus 1959) 8, p. 52-56.
Elegance 16 (november 1959) 11, p. 83-85.
Run-Magazine 1 (24 november 1959) 36, p. 7-9.
C. Doelman, Keuze. Een keus uit het werk van Haagse beeldende kunstenaars, Den Haag (Bert Bakker/Daamen N.V.) 1960, p. 44-46, 64-67, 70, 84, 102-103, 113, 116-117, 124, 134, 137.
Haagsche Courant 15 januari 1960.
Fugare [krant verschenen bij de oprichting van de gelijknamige kunstenaarsvereninging in ‘Pulchri Studio’], Den Haag, 26 januari 1960.
Haagse Post 5 maart 1960.
Elseviers Weekblad 2 april 1960.
Algemeen Handelsblad 22 april 1960.
Eva 17 (9 juli 1960) 28, p. 2-3.
Olie. Maandblad voor het personeel der tot de Koninklijke/Shell groep behorende maatschappijen september 1960, p. 287.
J.W. du Pon, Het eigen huis. Voorbeelden van eensgezinshuizen in Nederland, Amsterdam etc. (Kosmos) 1961.
Amateur Photographer 1961. Museumjournaal 7 (oktober 1961) 4, p. 90, 95.
New Photograms 1961, afb. 98, p. 30.
Eindhovens Dagblad ca. 1961-1965.
Catalogus tent. Jaap Nanninga, Rotterdam (Museum Boymans-Van Beuningen) 1962.
New Photograms 1962, afb. 30, p. 20.
Haagsche Courant 1962-1965.
Catalogus tent. 150 Jaar Nederlandse kunst. Nationale Herdenking 1813-1963: schilderijen, beelden, tekeningen, grafiek 1813-1963, Amsterdam (Stedelijk Museum) 1963.
Paula Dietz, Schering en inslag. Een boek over zelf weven, weefgetouwen en weeftechniek, Amsterdam (Keesing) z.j. [ca. 1963].
F.L.L.M. Merckelbach, Chirurgie zonder mes, Blaricum (Bigot & Van Rossum N.V.) z.j. .
Rico Bulthuis, Poëtisch Meesterschap: Don en Ly Vermeire’s marionetten, Meister des Puppenspiels (1963) 10, ongepag.
Algemeen Dagblad 5 september 1963. Gerrit Borgers e.a. (samenstelling), Louis Couperus, Den Haag (De Bezige Bij) 1963, p. 15 (serie: Schrijversprentenboek 9).
Museumjournaal 9 (september 1963) 3, p. 53.
Catalogus tent. Zuidhollandse kunstenaars van nu, Den Haag (Haags Gemeentemuseum) 1964.
George Lampe, Jaap Nanninga, Amsterdam (J.M. Meulenhoff) 1964, omslag, afb. 6, 9, 11, 13, 16 (serie: Beeldende kunst in Nederland).
Algemeen Handelsblad 17 maart 1964.
Catalogus tent. Michel Cardena, Den Haag (Internationale Galerij Orez) 1965.
Catalogus tent. José Maria Gorris, Den Haag (Internationale Galerij Orez) 1965.
Catalogus tent. Peter Struycken, Den Haag (Internationale Galerij Orez) 1965.
Algemeen Dagblad 12 januari 1965.
Algemeen Handelsblad 2 juni 1965.
[Programmaboekje] RO. Het Residentie-Orkest. Seizoen 1965-’66, Den Haag 1965, omslag, ongepag.
Lady 1 (januari 1966) 8.
Haagsche Courant 1 maart 1966.
Algemeen Handelsblad 15 oktober 1966.
[Programmaboekje] RO. Het Residentie-Orkest. Seizoen 1966-’67, Den Haag 1966, omslag, ongepag.
Catalogus tent. De bonte wereld van het poppenspel, Den Haag (Haags Gemeentemuseum) 1967.
Het Vrije Volk 1967-1968.
De Groene Amsterdammer 4 mei 1967. [Programmaboekje] RO. Het Residentie-Orkest. Seizoen 1967-’68, Den Haag 1967, ongepag.
G.W. Sannes, Afrikaanse primitieven. Functionele schoonheid van maskers en beelden, Lochem (N.V. De Tijdstroom) 1968 (idem Eng. ed.: African ‘Primitives’. Function and form in african masks and figures, Londen (Faber and Faber) 1970).
19NU 4 (1968) 2, p. 20-23.
Eindhovens Dagblad 20 juni 1968.
Ons jonge platteland september 1968.
Circuit. A link between friends of the Netherlands throughout the world (juni 1969) 26.
F. van der Linden, De grafische technieken, De Bilt (Cantecleer) 1970, p. 89, 127-128, 130, 135, 171, 173-174, 212-213, 215.
Catalogus tent. Quirijn van Tiel, Rotterdam (Museum Boymans-Van Beuningen) 1970, omslag.
Cronica da Hollanda (1970) 45, p. 31-33.
Amateur Photographer 141 (25 februari 1970) 8, p. 8.
Hoogheemraadschap van Rijnland 10 november 1971.
Pierre H. Dubois e.a. (bijdr.), 25 jaar Haagse Comedie. Jubileum-uitgave 1947-1972, Den Haag etc. (Nijgh & Van Ditmar) 1972.
P. Dietz, Schering en inslag. Weven -weefgetouwen – techniek, Amsterdam/Antwerpen (Uitgeverij Keesing N.V.) 1972.
A. in ‘t Veld, Littekens, Den Haag (Uitgeverij Gradivus B.V.) 1972.
Het Vaderland 3 januari 1972.
Pulchri Periodiek 1973-1976.
Catalogus tent. Joep Goeting, Parijs (Institut Néerlandais) 1973.
Catalogus tent. Berry Holslag en Henk Molenaar, Delft (De Volle Maan) 1973.
T. Cruls, 40 jaar Bodega De Posthoorn. Lange Voorhout 39a Den Haag, Den Haag (Drukkerij van der Gang) 1974, ongepag.
F.L.L.M. Merckelbach, Langer leven met minder kilo’s, Naarden (Uitgeverij Strengholt) 1974.
[Brochure] Taco Swart, Museum… wat is dat?, Den Haag (Ministerie van Cultuur, Recreatie en Maatschappelijk Werk) 1976.
Trefpunt oktober 1976.
Hedendaagse Haagse beeldende kunstenaars, Den Haag (Dienst voor Schone Kunsten) 1977.
Catalogus tent. Goeting, Goeting, Goeting, Middelburg (De Vleeshal) 1977, p. 4-7.
Catalogus tent. Haagse Kunstkring: werk verzameld, Den Haag (Haagse Kunstkring) 1977, p. 137.
Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 96.
F.L.L.M. Merckelbach, Celtherapie volgens Niehaus? Ja!, Den Haag (Uitgeverij Gradivus B.V.) 1978.
Jan Cremer Krant (1978) 4.
Chrysallis (1979) 4, p. 205-208.
Fotocatalogus Rijksvoorlichtingsdienst, Den Haag (Staatsdrukkerij) 1979.
Catalogus tent. Kees Smits: schilderijen en tekeningen 1974-1979, Middelburg (De Vleeshal) 1979.
Catalogus tent. Textiel in progress, Rotterdam (De Doelen) 1979.
Bijvoorbeeld 11 (1979) 1, p. 12-15.
Trefpunt (oktober 1979) 9.
Bijvoorbeeld 12 (1980) 3, p. 14-16.
Catalogus tent. Haagse Aquarellisten 25 jaar, Den Haag (Pulchri Studio/Haags Gemeentemuseum) 1980, afb. 22, 32, 45, 92.
J. Huisman, Vrouwen in ‘mannenberoepen’: ervaringen, achtergronden, achterstanden, Baarn (Anthos) 1981.
Catalogus tent. Massacultuur, Den Haag (Haags Gemeentemuseum) 1981.
Catalogus tent. Thuiscultuur: elf Haagse interieurs, Den Haag (Haags Gemeentemuseum) 1981.
Foto 36 (maart 1981) 3, p. 10-11.
Lezerskrant 8 (mei 1981) 2, p. 6.
[Brochure] De post inventaris in het gezinsbudget, Den Haag (Nibud) 1982.
BZ, Maandblad voor de medewerkers van het departement van Buitenlandse Zaken ca. 1982-1986.
Catalogus tent. Wies de Bles: installatie lusthof, Middelburg (De Vleeshal) 1983.
Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint-Jan’) 1983, p. 7, 84.
Catalogus tent. Maja van Hall: beelden/sculpturen, Breda (De Beyerd) 1983, no. 2, 5, 10, 13.
Emancipatieraad Kwartaalnieuws (september 1983) 6.
Catalogus tent. Wies de Bles: sculptures, Middelburg (Culturele Raad) 1984.
VPRO-gids (26 februari 1984) 8, omslag. Guus Luijters (red.), Jan Cremer in beeld, Amsterdam (Loeb Uitgevers) 1985, p. 27, 29, 32, 35-36, 40, 59, 61, 65, 76, 146-147, 154-155, 223, 234, 240.
VPRO-gids (10 augustus 1985) 32.
Metropolis M 7 (januari/februari 1986) 5/6, p. 53.
Catalogus tent. De Nieuwe Haagse Salon, Den Haag (Pulchri Studio) 1986.
E. Slagter, Nanninga: schilder/painter/peintre, Amsterdam (Openbaar Kunstbezit) 1987, p. 31, 64.
NRC Handelsblad 20 januari 1988.
H. Overduin (red.), Het museum als obsessie, Amsterdam (AHA Books) 1988, p. 35.
S. van Faassen, H. Sleutelaar en J.Janssen (red.), De nieuwe stijl 1959-1966, Amsterdam (De Bezige Bij) 1989, p. 102.
G.J. Dröge (red.), Cremer 50. Het vriendenboek, Den Haag (SDU Uitgeverij) 1990, p. 125.
Het torentje (juli-augustus 1990) 5/6.
Geschiedkundige Vereniging Die Haghe. Jaarboek 1991, p. 277.
Catalogus tent. De jaren ’50: een Haagse Visie, Den Haag (Pulchri Studio) 1993.
Den Haag zoals het was (1993) 9, p. 219.
Den Haag zoals het was (1993) 11, p. 263.
Rooie Vrouwen Magazine 3 (december 1993) 9, omslag.
Catalogus tent. Bouw & Kunst. Een visie van 20 beeldende kunstenaars op het thema ‘bouwen’ in Pulchri Studio, Den Haag (Pulchri Studio) 1994, p. 17, 21, 25, 29, 33, 37, 41, 45, 49, 53, 57, 61, 65, 69, 73, 77, 81, 85, 89, 93.
H. Steenbruggen, Willem Hussem. Tussen schrift en leegte, Eindhoven (Stichting Plint) 1994, p. 65, 79.
Stroom journaal (maart 1994) 3, p. 5-8.
Haagsche Courant 13 mei 1995.
H.L. Wesseling, Onder historici. Opstellen over geschiedenis en geschiedschrijving, Amsterdam (Uitgeverij Bert Bakker) 1995, p. 102.
Decorum 14 (1996) 3, p. 5, 54.
Marion Bergmann, Jaap Huisman en Frank Pluym, Interieurarchitectuur: ontwerpen, indelen, inrichten, Utrecht (Stichting Teleac) 1996, p. 82.
Leidsch Dagblad 21 oktober 1996.
W. de Koning Gans, Honderd jaar Den Haag 1895-1995, Den Haag (Levensverzekeringsmaatschappij De Onderlinge van ‘s Gravenhage) 1996, afb. 72b.
61 (11 oktober 1958) 41.
66 (24 september 1960) 39.
67 (1 april 1961) 13.
68 (1962) – 69 (1963).
70 (4 januari 1964) 1.
70 (18 januari 1964) 3.
70 (25 januari 1964) 4.
70 (1 februari 1964) 5.
70 (21 maart 1964) 12.
70 (28 maart 1964) 13.
70 (4 april 1964) 14.
70 (2 mei 1964) 18.
70 (16 mei 1964) 20.
70 (23 mei 1964) 21.
70 (4 juli 1964) 27.
70 (18 juli 1964) 29.
70 (1 augustus 1964) 31.
70 (22 augustus 1964) 34.
70 (29 augustus 1964) 35.
70 (12 september 1964) 37.
70 (21 november 1964) 47.
70 (5 december 1964) 49.
70 (12 december 1964) 50.
70 (19 december 1964) 51.
70 (26 december 1964) 52.
71 (9 januari 1965) 2.
71 (23 januari 1965) 4.
71 (30 januari 1965) 5.
71 (6 februari 1965) 6.
71 (20 november 1965) 47.
71 (27 november 1965) 48.
71(18 december 1965) 51.
72 (14 mei 1966) 20.
73 (1967) – 1970.
Frans Dony, Haagse Postiljon, in Haagse Post 11 oktober 1958, p. 27.
Auteur onbekend, Woman in photography, in Photography 14 (mei 1959) 5, p. 62.
Auteur onbekend, “Een bijzondere reportage”. Marianne Dommisse fotografeerde (ondanks verbod) Staphorst, in Algemeen Handelsblad 22 april 1960.
J.J. Hens, Kritische speurtocht, in Foto 15 (mei 1960) 5,p. 232-237.
W. Lynch, Dutch Photography. A review of the exhibition shown in the Society’s House from 5 to 27 april 1960, in The Photographic Journal 100 (juni 1960) 5, p. 166-172.
Auteur onbekend, De vrouw in de persfotografie. Emancipatie drong ook door in wereld van celluloid. Guusje de Zoete, Marianne Dommisse, Maria Austria, in Het Binnenhof 18 november 1961.
Auteur onbekend, Drie vrouwen met een kiekkast. Zelfs voor het keiharde vak van persfotograaf is het zwakke geslacht geknipt, in Brabants Dagblad 21 november 1961.
Auteur onbekend, Taboo, in Photography 16 (december 1961) 12, omslag, p. 42-45.
Joke Fehmers, Persfotografe Marianne Dommisse: afstand nemen, in Algemeen Handelsblad 2 7 april 1965.
Auteur onbekend, Veertig maal Jan Cremer op foto’s. Opmerking leidde tot expositie, in Algemeen Dagblad 29 mei 1965.
Auteur onbekend, Hij, Jan Cremer; foto-expositie van Marianne Dommisse, in Algemeen Handelsblad 2 juni 1965.
J.P., Foto’s van Staphorst in ‘t Meyhuis, in Bisdomblad Helmond 17 september 1965.
R. Bijnen, Marianne Dommisse vindt Staphorst een plaatje, in Libelle 32 (9 oktober 1965) 41, p. 32-37 (met foto’s).
Dick Dijs, Haagse fotografe nam uitdaging aan. Toch foto’s in Staphorst, in Gooi en Eemlander 23 september 1966.
D. Dijs, Staphorst geknipt voor eerdaags te verschijnen fotoboek, in Dagblad van de Zaanstreek 24 september 1966.
D. Dijs, Eerste fotoboek van Staphorst. Marianne Dommisse: “Het is mijn recht hier normaal te werken”, in Utrechtsch Nieuwsblad 26 september 1966.
Rita Beukman, Staphorst schoorvoetend op de foto. Marianne Dommisse: “Als ik neen krijg zet ik graag door”, in Algemeen Dagblad 15 oktober 1966.
D. Dijs, Marianne Dommisse maakt fotoboek van Staphorst, in Arnhemse Courant 23 februari 1967.
Auteur onbekend, Expositie in Provinciehuis, in Het Binnenhof 12 november 1981.
Cees van den Berg, Marianne Dommisse fotografeert de wereld, in Algemeen Dagblad 12 juli 1983.
R. Groenewoud, “BZ”-fotografe Marianne Dommisse exposeert in Pulchri, in BZ 11 (oktober 1984), p. 23-24.
E. Herberts, Nederlandse kunstenaressen en de nieuwe media, in Ruimte 10 (1993) 2, p. 30-40.
A. Boersma, Marianne Dommisse veertig jaar fotografe, in Pulchri 24 (1996) 2, p. 2-4.
J. Korving, Marianne Dommisse, jaren bedacht op de andere kant, in Haagsche Courant 30 mei 1996.
Jury, Fotomatch. Fotowedstrijd in het kader van Monumentenjaar 1975, 1975.
Stichting Vrouwen in de Beeldende Kunst, 1977-begin jaren tachtig.
Selectie- en adviescommissie collectievorming fotografie van het Ministerie van CRM, 1979-1980 (voorzitter).
1956 Bronzen medaille van de Bond van Nederlandse Amateur Fotografen Verenigingen, Achttiende Nationale Kerstsalon van Fotografische Kunst (AAFV), Amsterdam.
1957 Bronzen medaille van de Bond van Nederlandse Amateur Fotografen Verenigingen, tentoonstelling 50 jaar “Haagsche Amateur Fotografen Vereeniging”, Den Haag.
1957 Zilveren medaille, I Miedzynarodowa wystawa fotografii artystycznej (Première Exposition Internationale de la Photographie d’Art), Warschau.
1954/1955 (g) Amsterdam, Arti et Amicitiae, Zestiende Nationale Kerstsalon van Fotografische Kunst (AAFV).
1955 (g) Barretos (Brazilië), Foto Cine Club de Barretos, 4. ° Salao de arte fotografica de Barretos (internacional).
1955/1956 (g) Amsterdam, Arti et Amicitiae, Zeventiende Nationale Kerstsalon van Fotografische Kunst (AAFV).
1956 (g) Biella (Italië), Cineclub Biella, 2° Concorso Internazionale di Fotografia Artistica.
1956 (g) Den Haag, Postmuseum, 5 jaar Verve.
1956 (g) Kopenhagen, Charlottenburg, Den VII’. Internationale udstilling af billedmaessig fotografi i Danmark.
1956 (g) Londen.
1956 (g) Wervik (België), Stadhuis, 9de Internationale fotosalon.
1956/1957 (g) Amsterdam, Arti et Amicitiae, Achttiende Nationale Kerstsalon van Fotografische Kunst (AAFV).
1957 (g) Den Haag, Grote Kerk, 50 Jaar “Haagsche Amateur Fotografen Vereeniging”.
1957 (g) Warschau, Palac Kultury i Nauki, I Miedzynarodowa wyslawa fotografii artystycznej (Première Fxposition Internationale de la Photographie d’Art).
1957/1958 (g) Amsterdam, Arti et Amicitiae, 19e Nationale Kerstsalon (AAFV).
1958 (g) Antwerpen, Stedelijke Kunstsalon, 25e Internationale fotosalon (Fotografische Kring “Iris”).
1958/1959 (g) Amsterdam, Arti et Amicitiae, 20e Nationale Kerstsalon (AAFV).
1959 (g) Heerlen, Raadhuis, 20e Nationale Kerstsalon (AAFV).
1960 (e) Den Haag, Vrije Academie v.b.k., Een bijzondere reportage. Foto’s van Marianne Dommisse (‘Staphorst’ en ‘Kerkhoven in Limburg’).
1960 (g) Londen, Royal Photographic Society, An Exhibition of Contemporary Dutch Photography.
1960 (e) Rotterdam, ‘t Venster, Staphorst /foto ‘s van Marianne Dommisse.
1964 (e) Arnhem, Academie van Beeldende Kunsten, Marianne Dommisse fotografeert dertig Haagse kunstenaars.
1965 (e) Amsterdam, N.V. Drukkerij Sigfried, Jan’s Cremertorium.
1965 (g) Arnhem, Academie van Beeldende Kunsten, Jonge Haagse kunstenaars.
1965 (e) Helmond, Kunstzaal ‘t Meyhuis, Foto Marianne Dommisse. Reportage Staphorst.
1965 (g) Londen, Royal Photographic Society, Fifty-sixth Annual Exhibition The London Salon of Photography.
1975 (g) Den Haag, Pulchri Studio.
1975/1976 (e) Utrecht, Museum, wat is dat…? (rondreizende tentoonstelling: Leeuwarden, Haarlem en andere steden).
1977 (g) Rotterdam, Erasmus Universiteit.
ca. 1977 (g) Amsterdam, Centrum voor Vrouwen in de Beeldende Kunst, Interieur. 14 interpretaties.
1978 (g) Haarlem, Studio’s Galerie, Zes oud-kursisten.
1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.
1979 (e) Delft, Galerie Seele, Appels van Eva.
1979 (e) Haarlem, Studio Galerie, Marianne Dommisse: portretten en andere objecten.
1979 (e) Veenendaal, Kunstcentrum Scheepjeswol/Kreatief Trefcentrum Veenendaal, Textiel foto ‘s.
1980 (g) Amsterdam, Rijksacademie, Vrouwen + beeldende kunst.
1980 (e) Utrecht, Uitgeverij Kluwergroep Algemene tijdschriften, Kerkhoven en foto-collages van Marianne Dommisse.
1981 (g) Amsterdam, Stichting Amazone, Vrouwen in beeld: Catrien Ariëns, Eva Besnyö, Marianne Dommisse, Bertien van Manen, Corinne Noordenbos, Maya Pejic, Jutka Rona, Paula Vanes, Gerda van der Veen.
1981 (e) Den Haag, Haags Gemeentemuseum, Thuiscultuur: elf Haagse interieurs; Massacultuur.
1981 (e) Den Haag, Provinciehuis, Marianne Dommisse- fotografie (Pulchriportretten en Caïro-impressies).
1981 (e) Maassluis, Gemeentemuseum, Focus op Egypte.
1981 (e) Rotterdam, Galerie Clara, Focus op Egypte.
1981 (g) Zoetermeer, De Graanschuur, Marianne Dommisse en Theo van der Nahmer.
1982 (e) Gouda, Atelier De Regenboog, Marianne Dommisse.
1983 (e) Rijswijk, Openbare Bibliotheek, Fascinerend Egypte.
1983 (g) Strakonice (Tsjechoslowakije), Okresni kulturni stredisko, Mezinarodni Vystava Fotografii/International Photographic Exhibition ‘Zena’.
1983/1984 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.
1984 (e) Den Haag, Haags Cultureel Trefpunt, Fascinerend Egypte. Foto ’s van Marianne Dommisse.
1984 (e) Den Haag, Pulchri Studio, Hel fotografisch oog van Marianne Dommisse. Fotoportretten van beeldende kunstenaars in Pulchri Studio.
1984 (g) Huins (Friesland), Galerie Judith Boer, Een andere kijk op bloemen.
1985 (e) Scheveningen, Galerie Voorheen Bar I, Foto-impressies.
1988 (g) Den Haag, Galerie Kadans, Muziek in Kadans.
1990 (g) Monster, Scholengemeenschap Oranje Nassau, Egypte in Monster.
1992 (g) Amsterdam, Stichting Amazone, Weerzien. Zes fotografes opnieuw in Amazone: Catrien Ariëns, Eva Besnyö, Marianne Dommisse, Corinne Noordenbos, Maya Pejic, Jutka Rona.
1992 (e) Den Haag, Artoteek, Haagse Kopstukken 1961-1992. 30 jaar Haagse beeldende kunst in 2×28 zelfportretten.
1994 (g) Den Haag, Het Koorenhuis, Marianne Dommisse en Fifi van Leent.
1995 (g) Cuijk, Museum Ceuclem, Oud en nieuw brons.
1995 (g) Den Haag, Diemensie, Lente expositie.
1995 (e) Den Haag, Galerie Kadans, Marianne Dommisse. Foto ‘s Indonesië, Sumatra, Bangha en Sulawesi.
1996 (g) Den Haag, Arti et Industriae, Modern Mirror – hedendaagse fotografie.
1996 (e) Den Haag, Galerie ‘de Vrije Vogel’, 40 jaar fotografie van de Haagse fotografe Marianne Dommisse.
Den Haag, Marianne Dommisse, mondelinge informatie en documentatie.
Leiden, Ingeborg Leijerzapf (openingswoord bij de tentoonstelling Het fotografisch oog van Marianne Dommisse, fotoportretten van beeldende kunstenaars in Pulchri Studio, Den Haag, Pulchri Studio, 6 oktober 1984).
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Amstelveen, Cobra Museum voor Moderne Kunst.
Amsterdam, Stedelijk Museum.
Den Haag, Gemeentearchief.
Den Haag, Haags Gemeentemuseum.
Den Haag, Rijksdienst Beeldende Kunst.
Den Haag, Rijksvoorlichtingsdienst.
Den Haag, Schilderkunstig Genootschap Pulchri Studio (permanente portretgalerij met een wisselende samenstelling).
Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.
Middelburg, Culturele Raad Zeeland.