PhotoLexicon, Volume 20, nr. 35 (August 2003) (en)

Jannes Linders

Maartje van den Heuvel


‘Not a person to be seen’, read the headlines of Vrij Nederland in 1990 with respect to Jannes Linders’ photos at an exhibition in the Rijksmuseum. This, and the fact that these images were taken with a technical camera, was the most remarkable thing Dutch photographers and journalists had to say in the 1980s about Linders’ photography. At a time when social documentary photography was predominant in the Netherlands, this Rotterdam photographer created a stir by introducing the genre of the urban landscape. Now that photographing with urban and landscape motifs with large-format cameras has become widespread, Linders’ interest has shifted in a different direction. In his monumental colour photography, Linders experiments with spatial proportions, with people assigned a prominent role.




Joannes Hubertus Maria (Jannes) Linders was born on 23 May 1955 in Dordrecht as the third of seven children and the eldest son of Jan Linders and Jos Linders-Stumpel. His father is the director of a store chain, his mother a housewife.


Linders successfully completes his studies at the Catholic HBS-B Titus Brandsma College (an upper-level secondary school) in Dordrecht, at which time he experiments for the first time with photography.


Linders takes a beginner’s class in photography with the photographer Fred van Rijen at a cultural centre in Dordrecht.


Linders applies to the Filmacademie (‘Film Academy’) in Amsterdam. He shows his photos and sits for the entrance exam, but his application is turned down.


Linders starts his studies in the bachelor’s programme (‘propadeuse’) at the Landbouwhogeschool (‘Agricultural College’) in Wageningen, where he lives on his own. Upon completing the first general introductory year, his plan is to study landscape architecture. Approximately nine months later, however, he abandons his study and moves back to Dordrecht.


Linders spends three months working at a charitable living community operated by Emmaus International in Paris.

Linders fulfils a week of military service with the infantry at the ‘Frisokazerne’ military base in the vicinity of Deventer, but manages to get dismissed as ‘S5’ (unfit for military service).

Linders works at various temporary jobs, frequently warehouse work. After another brief period of living with his parents, he finds a place of his own on the Wolwevershaven in Dordrecht.


Linders studies at the Academie voor Beeldende Kunsten Sint Joost (‘Sint Joost Academy of Fine Arts’) located on the Sint Janstraat (main building) and the Minister Nelissenstraat (photography department) in Breda. He completes this study successfully. In 1977, Linders moves to the Dillenburgstraat in Breda, but travels often to Amsterdam to see his girlfriend, the art historian Mariëtte Haveman.


Linders does an internship and works as an assistant with the architectural photographer Sybolt Voeten in Breda, which lasts until briefly after the completion of his studies. For the next three months, he holds a temporary position as an assistant to the photographer Bert Nienhuis in Amsterdam, who works for the weekly newsmagazine Vrij Nederland. The Sint Joost Academy’s final exam exhibition is presented in June 1981 at De Beyerd in Breda.


Although Linders and Haveman have spent much of their time in Amsterdam, the city’s housing shortage prompts the couple to move to Groen van Prinstererstraat 16a in Rotterdam.

During the summer, Linders stays on a frequent basis at the Villa Clingendael in The Hague so he can attend the rehearsals and performances of the play Zomergasten (‘Summer Guests’), a production of the Onafhankelijk Toneel (‘Independent Theatre’). The idiosyncratic and socially engaged working style of this theatrical company appeals to him. The Onafhankelijk Toneel uses Linders’ photos for PR purposes.


After completing his studies, Linders starts up his own photography business with a darkroom and a photo studio on the Oostzeedijk in Rotterdam. Linders has his first solo exhibition at the publishing company Uitgeverij Samsom in Alphen aan den Rijn, featuring his final exam work. The newspaper Haarlems Dagblad is the first newspaper to publish one of Linders’ photos with author citation.


Jannes Linder wins first prize at a competition for non-commissioned portrait photography, hosted by the Bender Gallery in Rotterdam. The winning photo is printed ‘full page’ in the June issue of the magazine Foto.

Linders gets his first big assignment: photographing ‘harbourscapes’ for Havenarchitectuur (‘Harbour Architecture’), a book and an exhibition at the HIC (‘Harbour Industrial Complex’, in the hall of the post office) in Rotterdam.

Linders comes to an agreement with the Boymans-Van Beuningen Museum regarding a project to photograph objects and exhibitions. Over the years, he produces museum photography for the Centraal Museum in Utrecht, the De Pont Museum in Tilburg, the Stedelijk Museum in Schiedam, the Kröller-Müller Museum in Otterlo, De Paviljoens Museum in Almere, the Groninger Museum, and the Stedelijk Museum Amsterdam. Linders’ long-lasting collaboration with Studio’s Onafhankelijk Toneel, as well located in Rotterdam, also begins in this year.

Linders and Haveman move to Allard Piersonstraat 43a, where he has a darkroom set up in his home.


Linders shoots portraits of writers and does other kinds of photography for the literary magazine Bulkboek.

For the DROS/City of Rotterdam, Linders photographs architectural projects in the context of ‘tien jaar stadsvernieuwing’ (‘ten years of urban renewal’).

The AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) commissions Linders to do the documentary photo assignment, centring on the theme of ‘Cityscapes’.


Linders photographs Rotterdam cityscapes for Die stad komt nooit af (‘That City Will Never Be Finished’), a project of the Rotterdamse Kunststichting (‘Rotterdam Art Foundation’) focusing on city planning in Rotterdam. Linders also takes part in the exhibition Kunst uit Rotterdam (‘Art from Rotterdam’) at the Boymans-Van Beuningen Museum.

Linders produces portraits of actors and other performers for the Shaffy Theatre.


As part of its exhibition Meesterwerken uit de Hermitage Leningrad (‘Masterpieces from the Hermitage Leningrad’), the Boymans-Van Beuningen Museum commissions Linders to photograph the Russian city of Leningrad and the Hermitage Museum for a documentary photo exhibit.


In the framework of an open assignment organised by the Ministry of WVC (Welzijn, Volksgezondheid en Cultuur, ‘Welfare, Public Health and Culture’), Linders photographs a number of theatrical and opera companies during rehearsals and performances at the Holland Festival in Amsterdam.

Linders’ cityscapes of Amsterdam are on display at the Fodor Museum in a retrospective of the Amsterdam documentary photo assignments.

Linders’ work is part of the Perspektief Gallery’s event Architectuur & Fotografie in Rotterdam.

Linders’ work is also included in Vision de la Ville (‘Vision of the City’), an exhibition at the Atelier du Patrimoine de la Ville de Marseille (‘Patrimonial Studio of the City of Marseille’), France.


Linders executes a large commission for an art event in Amsterdam, entitled Century 87, with contemporary art exhibited in historical surroundings.

Linders takes part in an international project for the first time, entitled Verstedelijkt Landschap (‘Urbanised Landscape’), held in Rotterdam. This project results in a book.


Linders enters a collaboration with the Centraal Museum in Utrecht and photographs the renovated Rietveld-Schröder House, among other projects.

For AIR (Architecture International Rotterdam), Linders realises photography projects concerning large infrastructural projects in Rotterdam, beginning with the route of the railway tunnel.

Linders and André-Pierre Lamoth are selected for a documentary photo assignment of the Rijksmuseum in Amsterdam, centring on the theme ‘Landschap in Nederland’ (‘Landscape in the Netherlands’). Because Mariëtte Haveman sits on the jury, Linders’ appointment for this assignment creates a stir in the Dutch press.


Linders’ work is shown at the exhibition Obiettivo Amsterdam. Cent’anni di fotografia nella capitale Istituto Olandese (‘Objective Amsterdam. One Hundred Years of Photography of the Capital at the Netherlands Institute’), held at the Istituto Olandese in Rome, Italy, along with photos by Jacob Olie and Cas Oorthuys.


For the Stedelijk Museum Amsterdam, Linders takes interior shots of the exhibition Energieën (‘Energies’) to be featured in the exhibition catalogue.

Linders’ work is included in the book and exhibition Rotterdam, dynamische stad 1950-1990 (‘Rotterdam, Dynamic City 1950-1990′), a remake based on Cas Oorthuys’ book of the same name, organised by Duo Duo, a publishing company and gallery. Starting in October, the results of Linders’ assignment Landschap in Nederland are exhibited at the Rijksmuseum in Amsterdam.


Linders shoots photos for the outdoor exhibition Nachtregels (‘Night Rules’) on behalf of the Centraal Museum in Utrecht, a commission made possible through funding from the Ministry of WVC.

For the Boymans-Van Beuningen in Rotterdam, Linders photographs the museum’s expansion, designed by the architect Hubert Jan Henket.

The publishing company Uitgeverij 010 commissions Linders to photograph building projects designed by Benthem Crouwel Architects. This marks the start of a long-term collaboration between Linders and this architectural firm.


Linders’ work is exhibited as part of the international Fotografie Biënnale Rotterdam (‘Rotterdam Photography Biennale’), based on the theme Wasteland.

Linders enters a collaboration with the NAI (Nederlands Architectuurinstituut, ‘Netherlands Architecture Institute’) and is commissioned to photograph the various construction phases of the institute’s new building on a systematic basis.


Linders moves to the Claes de Vrieselaan 34 in Rotterdam, together with his new partner, the photographer Daria Scagliola.

Linders is responsible for the photography at the De Pont Museum in Tilburg. He also begins a collaborative project with the advisory firm Andersson Elffers Felix BV in Utrecht to produce photo essays for the company’s annual reports.

Linders acts as a ‘rijksgecommitteerde’ (an external examiner appointed by the state) for student exams at the Sint Joost Academy in Breda.

On behalf of Benthem Crouwel Architects, Linders takes extensive photos of Schiphol Airport.

Linders carries out a photo assignment on behalf of the Ministry of WVC for the Verslag en bevindingen Hoofdafdeling beeldende kunst, bouwkunst en vormgeving van het ministerie van WVC 1989-1991 (‘Report and Findings Chief Department of Fine Art, Architecture and Design of the Ministry of WVC 1981-1991’).

Linders receives a monumental photo assignment from the Ministry of VROM (Volkshuisvesting, Ruimtelijke Ordening en Milieu, ‘Public Housing, City Planning, and Environment’), the Rijksgebouwendienst (‘Dutch Government Buildings Agency’), and the Bureau Rijksbouwmeester (‘National Architect Agency’), to make large-format photos, which, combined with typography designed by Reynoud Homan, are to be permanently displayed in four meeting halls at this ministry. The four meeting halls are named after the Dutch architects Cuypers, Berlage, Dudok, and Rietveld.

On the occasion of the opening of the new building of the NAI in Rotterdam in November, a photo by Jannes Linders is featured on the front page of the institute’s promotional publication.

For the design firm ‘Hard Werken’ (‘Hard Work’), Linders makes a monumental photo wall mural for the cafeteria of the ‘Haagsche Veer’, the headquarters of the Rotterdam police.


Linders is hired as an instructor of documentary photography at the Sint Joost Academy in Breda.

Linders assembles an exclusive cassette case with photos shot in and around Rotterdam’s Museum Park— including images of the the NAI, the Kunsthal, and the expansion of the Boymans-Van Beuningen Museum—as a farewell gift for Joop Linthorst, the Rotterdam city council member in the department of Ruimtelijke Ordening (the city planning department) who was responsible for developing this specific part of the city.

Linders leads a workshop on architecture and photography at the Vrijhof Cultural Centre at the University of Twente in connection with the event TARt ’94 Archipolis Virtual Reality in Cyberspace.


In 1994, the Haagse Hogeschool (‘The Hague University’) commissions Linders to photograph the construction of the school’s new building as well as its neighbourhood in the Laakhaven Quarter of The Hague.

With the completion of the building in 1997, Linders’ final product is placed on permanent display at the Haagse Hogeschool.


Together with Daria Scagliola, Linders does a photo assignment on behalf of the head office of the VSB Bank. Besides a joint exhibition at the Frozen Fountain in Amsterdam, this is the only occasion that Linders and his partner collaborate as photographers.

One of Linders’ more notable publications is his yearbook for Andersson Elffers Felix, in which he photographs people in the style of William Klein both on their way to and leaving work.


Linders’ structural work for the Boymans-Van Beuningen Museum and a major assignment for the Haagse Hogeschool take up most of his time in this year.

Linders gives a master class at the KABK (Koninklijke Academie van Beeldende Kunsten, ‘Royal Academy of Art’) in The Hague and is a ‘rijksgecommitteerde’ for exams given at the Gerrit Rietveld Academy in Amsterdam.


Linders becomes a board member of the Nederlands Fotoarchief (‘Netherlands Photo Archive’) in Rotterdam. An outdoor monumental photographic work by Linders is part of the exhibition Het landschap voorbij (‘The Landscape Gone’), a component of the FotoFestival Naarden.

Linders ends his collaboration—on the decline since 1993—with the Boymans-Van Beuningen Museum.


On 30 April, Linders’ daughter Lulu is born.

Autonomous work, produced at the same time as his commissions for Benthem Crouwel Architects at Schiphol Airport, is shown at the exhibition Airport at the Nederlands Foto Instituut (‘Netherlands Photo Institute”).

Linders shoots photographs for the publication Beelden in de stad. Utrecht, 50 jaar kunst in de openbare ruimte (‘Images in the City. Utrecht, 50 Years of Art in Public Spaces’), commissioned by the city of Utrecht. An interesting aspect of this book is the combination of one photographer’s ‘sec’ (‘dry’) photos of the artworks with Linders’ colour photos, which portray the ‘gestures’ of the same artworks in a highly playful manner in response to their surroundings.

Through the intermediation of the ‘stichting Kunst en Bedrijf’ (‘Art and Business Foundation’) in Amsterdam, Linders receives a commission from the ‘Calland College’, a public secondary school in IJsselstein. For this project, he produces a monumental photomontage on vinyl—by digitally compositing several photos of spaces and people together—with the dimensions 2 x 20 meters, to be displayed on a permanent basis. Because the figures appearing in the image are somewhat larger in scale than the people moving about in the actual space of the school, a visual interaction occurs between the physical space and that seen in the photomontage: passers-by get the feeling they are moving ‘in the photo’.

KPN Philately commissions Linders to design two postage stamps: a stamp for Dfl. 0.80 and a stamp for Dfl. 1, featuring a photo of the Eastern Scheldt tidal basin in the vicinity of Haamstede.

On behalf of PTT Post (the former Dutch postal, telephone and telegraph company), Linders produces a monumental photo, printed on vinyl with the dimensions 2 x 5 meters. This canvas hangs permanently at the PTT’s expedition hub on the Terbregseweg in Rotterdam.

On 19 December, Linders appears as a guest on the television programme De Series, presentaties van levende kunst (‘The Series, Presentations of Living Art’), a talk show hosted by Wink van Kempen of the Centrum voor Beeldende Kunst (‘Centre for Visual Art’) in Rotterdam.


Linders is commissioned for the third edition of PhotoWork(s) in Progress, the documentary photo assignment organised by the Nederlands Foto Instituut and the Mondriaan Foundation. For this project he photographs the exponentially booming world of information technology, stripped of the promotional symbolism employed by the advertising industry to address this topic: e.g. computer fairs, so-called ‘data hotels’ (spaces accessible only to those qualified, where computer equipment has been installed), and the laying of cables.


Linders photographs the ‘business units’ of the Dutch football club Feyenoord for the photo project België-Holland, Holland-België (‘Belgium-Holland, Belgium-Holland’) in association with the European football championship in Antwerp (Belgium) and Rotterdam.

Linders’ video Zover (‘So Far’, 1999, 30 min.), produced in collaboration with Marc Ruygrok, is shown at the event Panorama 2000 in the Dom Tower in Utrecht.


Linders’ work for PhotoWork(s) in Progress—the series PipPopLaf (the abbreviation of ‘PhotoWork(s) in Progress’, ‘Points of Presence’ and ‘Linders Allied Forces’)—is presented in book form and at an exhibition held at the Nederlands Foto Instituut.

In collaboration with Marc Ruygrok, Linders makes large photo panels for the Cultura Cultural Centre in Ede. These panels show various scenes referring to the functions of the different spaces (music, painting, theatre). The frame and format of the photos are adapted to the surrounding architecture.

For the ‘Hofstad College’ secondary school in The Hague, Linders takes photos of the students, which are permanently mounted as friezes along the ceiling of the school’s cafeteria. Linders also makes a panel with a ‘window to the future’, dimensions 4.3 x 2.5 meters.

On 8 September, Linder’s second daughter, Lina Bess, is born.


Jannes Linders grew up in a Catholic family with seven children in Dordrecht. At the Linders’ home, there were always several cameras present. Jannes’ father took family shots on slides and Super-8 film. In Jannes’ fourteenth or fifteenth year—then a student at the HBS (Hogere Burgerschool, an upper-level secondary school) in Deventer—an aunt presented him with the twin lens 6×6 cm mirror reflex camera once belonging to his deceased grandmother. Linders photographed in and around the house and took street shots. In no time, he felt the urge to experiment. Using film that was high-speed for its day, he began taking night shots and making portraits of his brothers and sisters during dress-up parties at home. At a cultural centre in Dordrecht, Linders took a beginner’s class in photography and darkroom techniques, including developing and printing, which lasted several months.

After several years of indecision, during which he submitted applications to the film academy in Amsterdam and the agricultural college in Wageningen that led to nothing, Linders started studying photography in 1976. He was accepted at the Sint Joost Academy in Breda. Linders photographed using different kinds of cameras, both in an ‘idealising’ manner—in line with the standards of commercial photography—as well as a polemicizing approach, as was customary in social documentary photography. He also carried out peculiar experiments with taking ‘ugly’ photos, in stride with the then current precepts of photography. Hans Katan and Tim Hamoen were important instructors for Linders.

During Linders’ early days at the academy, an exhibition featuring the photography of Hans Katan and Tim Hamoen at the Lijnbaanscentrum (‘Lijnbaan Centre’) in Rotterdam made a big impression. The American photographer Walker Evans in particular would remain a source of inspiration throughout his career. Other photographers who likewise inspired him starting then were Richard Avedon, Harry Callahan, Irving Penn, Robert Frank, André Kertész, and to a lesser degree, Henri Cartier-Bresson and Robert Doisneau. The American exhibition New Topographics (1975)—featuring landscape photography by Bernd en Hilla Becher, William Eggleston, Robert Adams, Lewis Baltz, and others—also received significant attention in Europe during Linders’ years at the academy. This photography—more descriptive than romanticising—is often produced with large-format negatives, just as in the nineteenth century. It shows the man-made landscape in the same aesthetic manner as ‘pure’ and unspoiled nature. Via the Swiss magazine Camera, Linders grew to know these photographers’ innovative vision of landscape photography, which greatly appealed to him. In the Netherlands, this perspective of landscape had a relatively limited influence. Among Dutch photographers at this time, architectural photography was as well regarded with little esteem, due to a perceived lack of artisticity. That Linders had fulfilled an internship and worked as an assistant for the architectural photographer Sybolt Voeten was a testament to his artistic individuality. The large negative format that was used and the precise camera technique fascinated him. Later, during his days at the academy, Linders could be spotted in Rotterdam on days when the weather was dismal, at a time when the city had a reputation for being cold and unsightly. Carrying bulky technical cameras belonging to the Sint Joost Academy or Voeten on the back of his bike, Linders travelled around to various locations to shoot his harbour and cityscapes. The scorn with which his cityscapes were met during the final exam provides an indication of just how unusual his cityscapes were. Linders’ other final exam work was more well received: portraits and theatrical photos also shot with large-format negatives, but at least they had people in them.

Immediately after the academy, Linders began working as an assistant to Bert Nienhuis, a respected photographer with the weekly newsmagazine Vrij Nederland. From the start of his career in photography, Linders was highly versatile. In a curriculum vitae dating from this period, he described himself as a ‘freelance photographer in reportage, architectural, portrait, and theatrical photography’. His versatility was reflected not only in the different kinds of clients—for whom he was working all at the same time—but also in the wide range of styles and techniques, which he continued to test and adapt to accomplish the goal for which his photography was intended at any given moment.

During his career, Linders continually maintains a high level of productivity, with a broadly diversified penchant for experimentation. In his dealings with others, he is averse to finery and show and has a tendency to rebel against predominating groups or movements. This attitude is interwoven in his photography, to which all of his academy experiments with ‘ugly’ photos attest. With his unconventional urban and harbour photography, Linders took on the role of the rebellious photographer in the ‘ugly city’ of Rotterdam versus the predominant movement of social documentary photography, with its adherents concentrated in Amsterdam.

Remarkably, Linders has absolutely no desire to travel—another factor that distinguishes him from other social documentary photographers. Although there are exceptions, such as when he travelled to Leningrad to photograph the city and the Hermitage on assignment for the Boymans-van Beuningen Museum, he rarely leaves the country. Linders finds strange surroundings less inspiring for his photography than those close by, where he is indeed much more familiar with the composition and nuances.

Linders’ family members and circle of friends include many artists, producers and policy-makers in the areas of theatre, literature, and the fine arts. While he has always done much of his own acquisition with museums and architectural firms, especially at the start of his career, his own social environment is likewise important for obtaining commissions.

Linders has been doing museum and theatrical photography throughout his career: shots of art objects, exhibitions, museum buildings, actors’ portraits, theatrical shots, and set photos. These images are used by his clients for purposes such as documentation, research, and publicity, as well as self-initiated publications. Linders holds a great personal interest in art and theatre. When it comes to this kind of photographic work, he finds the general lack of author citation to be less of an issue.

Linders’ closest collaborations in the area of museum photography are with the Boymans-Van Beuningen Museum in Rotterdam, the Centraal Museum in Utrecht, and Museum De Pont in Tilburg. For theatre photography, his most important client is ‘Studio’s Onafhankelijk Toneel’ (‘Independent Theatrical Studios’), a company for which he did work from 1982 to 1997. Both in his museum and theatre photos, Linders visually minimises the hierarchy that exists between objects and persons of importance and those aspects of the theatre deemed insignificant, such as architectural details and the coulisses. Some clients, such as the Hollandia theatrical group, have chosen him specifically for his subtle, spatial photos. When it comes to newspaper editorial boards, however, Linders’ work often loses out to photos more spectacular in their appeal, i.e. images with dynamic compositions, dramatic emotions, or expressive poses.

Linders’ notoriety is chiefly derived from his architectural and landscape photography, areas in which he is most innovative in the Netherlands. These genres make up the largest part of his negatives archive.

An important project for Linders was the documentary photo assignment he received in 1983 from the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) on the behalf of the collection of the Amsterdam City Archives. He photographed his urban landscapes in Amsterdam, which according to his proposal of 10 October 1982 ‘(…) for some reason or other have not been subject to the accountability of any one architect or broader city planning vision. (…) Segments of the city composed of more or less random combinations of styles and functions: residential and non-residential architecture, roundabouts, squares; the connecting points of the city.’ Other leading Dutch photographers had already carried out commissions of this kind for the city archive’s collection, with a majority coming from the social documentary sector, including Eva Besnyö, Oscar van Alphen, Ed van der Elsken, Dolf Toussaint, and Willem Diepraam. Contrary to these photographers, Linders chose instead turned to ‘(…) the use of a technical camera for high detail sharpness and a well-balanced perspective; this, in combination with a normal lens. In my view, this technique seems commensurate with the character of the locations I’ve picked out.’ Linders expounded further on his departure from the norm: ‘(…) Looking at a large segment of photojournalism in the Netherlands, one notices a reliance almost only on distorting wide-angle lenses, coarse grain, and burned, heavy skies. These techniques are related to showing the photographer’s social involvement, but having become so commonplace over the years, they quite often overwhelm the actual subject and therefore have lost their original expressiveness. Naturally, the human situation is also important in my photos. But I believe this aspect as well, and perhaps at this time even more so, can be expressed from the ‘other side’: the characteristic, graphic, and psychological effect of the built environment itself. (…) As far as I know, the kind of photography I work with is a rare occurrence in the Netherlands. It entails finding a balanced combination of information, aesthetics, and sensitivity. What I am striving for is a restrained monumentality, with photos that require attention, without imposing their content.’

In 1984, Linders’ urban landscapes were shown at the Boymans-Van Beuningen Museum in Rotterdam. The catalogue praises the detached refinement and timeless robustness of his photos. In 1986, these photos were again exhibited at the Fodor Museum in Amsterdam during a retrospective of the Amsterdam documentary photo assignments. These assignment and their publication signalled a breakthrough: not only did it introduce Linders’ work to a broader public, but it also brought initial recognition to this particular genre of photography. In 1988, Linders and the photographer André-Pierre Lamoth were both selected for a documentary photo assignment commissioned by the Rijksmuseum on the theme of Landschap in Nederland (‘Landscape in the Netherlands’). Regarding his interest in areas lying outside the city, Linders wrote: ‘[In my urban landscapes] I first concentrated primarily on matters of a monumental and architectural nature. Later, when I had improved my grasp of the subject, I allowed additional elements, so as to reflect the appearance and unique atmosphere of locations where planned construction and rapid growth, new and old, and different functions of roads and buildings intersect with each other.’ (letter dated 30 May 1988, Collection Jannes Linders).

By approaching photography in this manner, Linders was turning to a nineteenth-century tradition that involved the use of large-format cameras on a tripod for shooting topographic architectural and landscape photos. In the Netherlands, it was a technique once practiced by photographers such as Jacob Olie and Pieter Oosterhuis. Elsewhere, this photographic tradition had continued on in the work of photographers such as William Eggleston and Stephen Shore in the United States and Bernd and Hilla Becher in Germany. In the Netherlands, by contrast, it had fallen to the wayside for a period lasting several decades, in part due to the predominance of social documentary reportage photography. While Dutch photographers indeed relied on technical cameras in the areas of architecture, fashion, and advertising photography, in the early 1980s it was an undeniable innovation that Linders was approaching clients in the art sector equipped with a technical camera and having artistic aspirations.

In Rotterdam, Linders emerged as an observer of urban developments occurring in the city. He has established contacts with a number of Rotterdam institutions, including the publishing company Uitgeverij 010, the Rotterdamse Kunststichting (‘Rotterdam Art Foundation’), AIR (Architecture International Rotterdam), and the Perspektief Gallery. All of these organisations have a structural interest both in the urban development of Rotterdam as well as architectural photography, as conveyed by the organisation of exhibitions and the release of various publications.

Linders’ photos were included in publications brought out by Uitgeverij 010, such as Die stad komt nooit af, Stadsvernieuwing Rotterdam 1974-1984 (‘That City Will Never Be Finished, Urban Renovation Rotterdam 1974-1984’), De geschiedenis van de Nederlandse architectuurfotografie (‘The History of Dutch Architectural Photography’), and Rotterdam, verstedelijkt landschap (‘Rotterdam, Urbanised Landscape’). ‘Duo Duo’, a publishing company established in 1990, did a remake of Cas Oorthuys’ Rotterdam, dynamische stad (‘Rotterdam, Dynamic City’), featuring work not only by Oorthuys, Carel van Hees, and Freek van Arkel, but also photography by Jannes Linders.

The Perspektief Gallery organised exhibitions and ‘Photography Biennales’, with architectural and landscape photography well represented, including Stadslandschappen. Gabriele Basilico, John Davies, Jannes Linders, Gilbert Fastenaekens (‘Urban Landscapes’, 1986/1987) and Wasteland (1992). These exhibitions also drew international interest, in part via the gallery’s bilingual magazine Perspektief, with Linders emerging as one of the Netherlands’ leading architectural and landscape photographers in publications and presentations.

The cultural organisation AIR (Architecture International Rotterdam) regularly commissions photographers to do large-scale photographic projects concerning developments in city planning. The exhibitions and publications that feature these photos are designed to provide an inspiring vision, intended both for the public and city planners. Linders’ photos often appear in projects produced by institutions of this nature. When Rotterdam drew up plans for the building of the NAI (Nederlands Architectuurinstituut, ‘Netherlands Architecture Institute’), Linders was commissioned to photograph the progress of its construction on a systematic basis.

The 1980s and ’90s were a favourable time for Linders’ firm. In part because of the booming economy, which resulted in higher employment opportunities as well as increased revenues, from which photographers also profited. Yet it was also during these years that photography became recognised an artistic medium, thus entering a new phase on an international level. In the world of international art and culture word was out that Photography is booming. Since that time, photographers have been more able than ever to enter the stage as autonomous artists and to likewise be appreciated as such. In the 1990s, they received access to a broader choice of clients, ranging from the world of applied journalism and commercial journalism to the non-profit sector of art and cultural institutions. With respect to other genres of photography, e.g. portrait and documentary photography, the popularity of architectural and landscape photography grew relatively quickly.

Linders’ photographic production is substantial. In 2002, after twenty years of production, his archive consists of a 2×2.5 meter wall of organisers filled with 35 mm, 6×6, 6×7, 6×9 cm medium-format and 4×5 inch negatives, slides, and contact prints. In addition, there are an estimated 150,000 negatives.

At a certain point, Linders took on interns to assist him in his work: Marien Kerver, a personal friend, later followed by the assistants Peter Krins, Stijn Brakkee, and Frank Hanswijk.

Linders’ development and the admiration for his work (as well for the market influence in the Netherlands) were reflected in the ever-increasing fees paid for his work. At the start of his career, he was glad to pull in Dfl. 75 (€34) for each writer’s portrait in Bulkboek and Dfl. 85 (€39) for each photo of urban renovation projects in a project commissioned by the city of Rotterdam. Somewhat later, the Schiedam Stedelijk Museum paid Linders Dfl. 200 (€ 91) per object photo. In 1983, the AFK paid Dfl. 11,500 (€ 5,218) for the documentary photo assignment. The Perspektief Gallery offered Dfl. 6,000 (€ 2,723) for a series of twenty photos in 1986, and for his 1988 assignment on the Dutch landscape, the Rijksmuseum in Amsterdam paid Dfl. 22,000 (€ 9,983). For his 1999 monumental photo assignment from the NFI and the Mondriaan Foundation in connection with PhotoWork(s) in Progress, Linders received Dfl. 50,000 (€ 22,689), including expenses. For his current regular commissions (anno 2003), Linders applies the standard rate suggested by the Fotografenfederatie (‘Photographers Federation’): Dfl. 2,000 (€ 910) per day.

The early 1990s marked a turnaround in Linders’ photography, at which time an entire generation of photographers emerged who were using large-format cameras to take cityscape and landscape photos. This threw Linders a little off base. In subsequent years, his interest gradually shifted in the direction of photographing people in relation to their surroundings. It was not the first time that he photographed people. Starting back in his days at the academy, Linders regularly shot commissioned portraits in the austere style of the photographer Bert Nienhuis, for whom he had worked as an assistant.

In his 1982 proposal for the Amsterdam photo assignment, Linders wrote: ‘(…) no longer necessarily [going to exclude] the presence of people in the photos.’ And for the Rijksmuseum assignment of 1988, he even went so far as ‘(…) to photograph people, embedded in the landscape, grouped together or running free like poultry’, hereby referring to examples by Weegee and Max Yavno.

Important in this development is the high-colour photobook Schiphol Stad (‘Schiphol City’) that Linders produced for Benthem Crouwel Architects. Since 1991, Linders has built up a close working relationship with this architecture firm responsible for the lion’s share of the expansion of Amsterdam Airport Schiphol in the years 1986 to 2005. Linders began systematically photographing this mega-project in 1992 on Benthem Crouwel’s behalf. For quite some time, he applied the customary objective style on which Schiphol’s architectural design and ‘urban’ space had initially been based—i.e. the style he was known for among urban planners. Notwithstanding, Linders’ more recent autonomous work has convinced these architects to see their urban planning designs in a different light. In Schiphol Stad, the emphasis now lies instead on the liveliness and people’s movement in relation to Schiphol’s architecture.

In addition to photography for exhibitions and publications, Linders takes monumental photos in which he processes the relationship between people and their surroundings with greater complexity. The dimensions and placement of these photos are directly interrelated to the architectural environment, occasionally even becoming a permanent part of it. Linders manipulates the proportions and perspective of these images, often digitally by means of the computer programme Photoshop. In doing so, he anticipates the viewer’s perception of the image. Linders’ approach arose in the 1990s, stemming from a commission for a wall in the cafeteria of the Rotterdam police headquarters. In another monumental project, for the Ministry of VROM (Volkshuisvesting, Ruimtelijke Ordening en Milieu, ‘Public Housing, City Planning, and Environment’) in The Hague, Linders combined his photos with the typography of Reynoud Homan. This work—comprising interior shots of buildings designed by the Dutch architects Cuypers, Berlage, Dudok, and Rietveld—is permanently on display in four different meeting halls named after these architects. The interiors of these spaces at the ministry appear to extend into Linders’ photos, which take up the entire wall surface.

Linders bases his later monumental photographic works on the principle that they be functionally related to the surroundings in which they are displayed. Examples are projects produced for the outdoor space of the FotoFestival Naarden, for school buildings such as the ‘Calland College’ (a multi-level secondary school) in IJsselsstein, and for the Ede civic cultural centre.

Linders’ experimentation in the relationship between people and their surroundings has also expanded into the realm of the motion camera image. On several assignments, he has worked with digital video in collaboration with the artist Marc Ruygrok. Both men are involved in the process of developing ideas; Linders does the camera work. The project Waar (‘Where’) is one example of such a video image: the suggestion of a window that allows people to see inside a building’s interior. The initial plan was to project this image on a building in the Amsterdam Bijlmermeer neighbourhood on a permanent basis. With the residents of this neighbourhood—known for its crime—fearful it would attract vandals, the work was nevertheless shown only once during a trial presentation.

Another video experiment is Apotheek van de ziel (‘Apothecary of the Soul’). In 2000, Linders and Ruygrok shot footage of the moving green neon advertising signs in the apothecaries of Paris. These images are used as screensavers for computers in the library of the Delft University of Technology.

While the growing number of applications for digital cameras has sparked Linders’ desire to experiment, he has not placed any particular emphasis on the moving image up to this time.

Jannes Linders is the photographer who introduced the genre of urban landscape to Dutch photography in the 1980s. In doing so, he adopted a nineteenth-century tradition that had long vanished from the Netherlands due to the popularity of social documentary photo reportage. Rebelling against the coarse-grain, left-wing orientation of 35 mm photography, which focused on social and societal themes that were common chiefly in the 1970s but also in the early 1980s, Linders produced detailed and well-balanced cityscapes, completely void of any human figure. His photos dominate the media image of several large-scale infrastructural areas of growth in the Netherlands, such as the urban development of the Rotterdam city centre and the expansion of Schiphol Airport. This is because Linders closely tracks these processes with his camera—often on assignment—and because these images appear in a variety of publications on a frequent basis.

In the Netherlands, Linders’ architectural photography and (urban) landscapes are innovative. Of all his work, these images have received the highest degree of notoriety and emulation. From the start, Linders has also always worked with other genres, including portrait, theatre, and museum photography. In his later architectural and urban photography—unlike his earlier urban landscapes—people’s relationships to their own surroundings play an important role.

Linders’ photography is documentary in nature and most certainly conveys an eye for developments in society. Nevertheless, his work is by no means socially engaged in any specific sense. While Linders refers to his photography as an applied art, his working method and merits are that of an autonomous artist. Driven by a constant effort to avoid single-mindedness and a desire for self-renewal, he is above all a specialist in observation. Jannes Linders’ work distinguishes itself through its highly skilled and artistic mastery of the graphic qualities of light, spatial proportion, volumes, and details.


Primary bibliography

(eigen publicaties: tekst, eventueel met foto’s, maar ook fotoboeken e.d.)

Jannes Linders, Over deze foto’s, in Catalogus tent. Kunst uit Rotterdam, Rotterdam (Museum Boymans-van Beuningen) 1984, p. 46.

André-Pierre Lamoth en Jannes Linders (foto’s), Willem F. Heinemeijer en Mariëtte Haveman (inl.), Landschap in Nederland/Landscape in the Netherlands, Amsterdam/Den Haag (Rijksmuseum/ Gary Schwartz/Sdu) 1990.

Jannes Linders, ‘Pull the cord, turn the key, press the button’, in Vrij Nederland 52 (23 maart 1991) 12, p. 67-68.

Jannes Linders, Fotografen over foto’s. Walker Evans, Part of Phillipsburg, New Jersey, 1936, in Kunstschrift 39 (1995) 4, p. 48-49.

Jannes Linders (ontwerp en foto’s), 2 postzegels met als thema Nederland Waterland, 1998.

Krijn van Beek e.a. (tekst), Jannes Linder (foto’s) en Jannes Linders e.a. (red.), PipPopLaf, Rotterdam (Nederlands Foto Instituut) 2001.

Jannes Linders (foto’s), Gezicht van een revolutie, in Volkskrant Magazine 24 maart 2001, VKM Special, p. 56-59.


(foto’s in boeken, tijdschriften en ander drukwerk)

Metropolis M 2 (1980-1981), diverse omslagen.

Catalogus tent. Verdeelde Beelden, Amsterdam (Museum Fodor) 1982.

Peter de Winter, Joop de Jong en Reyn van der Lugt (samenstelling), Havenarchitectuur. Een inventarisatie van industriële gebouwen in het Rotterdamse havengebied, Rotterdam (Rotterdamse Kunststichting Uitgeverij) 1982, p. 19-20, 54-58, 60-65, 70-71.

Nu [nieuwsblad van Nationale Nederlanden] 1982-1989.

Studio’s Onafhankelijk Toneel. Ansichtkaarten en brochures 1982-1997.

Twee N 1982-1989.

Mensen (mei 1982) 5, p. 64-67.

Wim Broekman, Portret ’82 een fotowedstrijd van Galerie Bender, in Foto 37 (juni 1982) 6, p. 9, 70-71.

Catalogus tent. Claes Oldenburg, Het Schroefboogproject. Een opdracht van Museum Boymans-Van Beuningen Rotterdam, Rotterdam (Museum Boymans-van Beuningen) 1983, p. 30-31.

Catalogus tent. Kees Franse, Rotterdam (Museum Boymans-van Beuningen) 1983, afb. 25, 36.

Edgar Cairo, Mi boto duro/Droomboot havenloos. Romanwerk, Amsterdam (Knippenberg) 1983, p. 5, 7-8, 24-25, 45 (serie: Bulkboek 11 (1983) 134).

Miep Diekman en Dagmar Hirarova, Ik heb geen naam. Uit het dagboek van een vijftienjarige, Amsterdam (Knippenberg) 1983, p. 41, 43, 45 (serie: Bulkboek 11 (1983) 133).

Yvonne Keuls, De moeder van David S. en ander werk, Amsterdam (Knippenberg) 1983 (serie: Bulkboek 11 (1983) 126).

Hugo Raes, De lotgevallen, Amsterdam (Knippenberg) 1983, p. 3, 5, 7, 10, 14, 18, 23, 26, 30, 34, 38, 41, 44, 46, 49, 53, 56,59 (serie: Bulkboek 11 (1983) 129).

De Ingenieur 1983-1984, diverse omslagen. Informatiefolder Bulkboek 1983/1984.

Het Nederlands Theaterboek (1983/1984) 33, p. 23.

Sociaal Jaarverslag Centrale ondernemingsraad van Nationale-Nederlanden 1983-1986.

Bulkboek Literatuurkrant voorjaar 1983, p. 23-26.

C. Buddingh, Met twee benen op de grond, Amsterdam (Knippenberg) 1984, omslag, p. 3, 6, 12-13, 29, 31 (serie: Bulkboek 11 (1984) 135).

Catalogus tent. Anna. Textielconstructies, tuintekeningen Sc schetsen 1970-1980, Rotterdam (Museum Boymans-van Beuningen) 1984, omslag, p. 22-25, 28-36, 38-44, 47, 49, 51, 53, 55.

Catalogus tent. Het Goud der Thraciërs. Archeologische schatten uit het bezit van 25 musea in Bulgarije, Rotterdam (Museum Boymans-van Beuningen) 1984, p. 180, 183.

J.A. Deelder e.a., Die stad komt nooit af. Een collage van verhalen en foto’s over stadsvernieuwing in Rotterdam, Rotterdam (Uitgeverij 010) 1984, p. 25-35.

Catalogus Rijksaankopen 1984. Werk van hedendaagse beeldende kunstenaars, Den Haag (Rijksdienst Beeldende Kunst) 1985, p. 294.

Catalogus tent. Carel Visser beelden 1975-1985, Rotterdam (Museum Boymans-van Beuningen) 1985, omslag, p. 14, 41, 44, 57.

Catalogus tent. Geënt op Bosch, Den Bosch (Museum Het Kruithuis) z.j. [1985].

Catalogus tent. Images/Sieraden [Jubileum tentoonstelling georganiseerd door de VES – Vereniging van Edelsmeden en Sieraadontwerpers – t.g.v. het 10 jarig bestaan], Laren (Singer Museum) 1985, p. 33-34, 36, 38-39, 44-51, 56-61, 66-77.

Catalogus tent. Jacques de Gheyn II als tekenaar 1565-1629, Rotterdam (Museum Boymans-van Beuningen) 1985, omslag en diverse reproducties. Paul Donker Duyvis e.a. (samenstelling en red.), De collectie moderne kunst van Museum Boymans-van Beuningen Rotterdam. Inventarisatie van aanwinsten, verworven in de periode 1978-1985, Rotterdam (Museum Boymans-van Beuningen) 1985.

Pieternel Fortuyn e.a. (red.), Stadsvernieuwing Rotterdam 1974-1984. 134 Sociale Woningbouwprojecten, Rotterdam (Uitgeverij 010) z.j. [1985], deel B, deel C projectnummers: KD01, KD03, OC0i, OC05, VW03, AW01, FN01, FN03, FN05-FN08, FN11, KL03-KL04, KL06-KL08, KL10-KL11, KL14-KL15, KL18, CW01, CW03-CW05, CW09, CW11, ON02, ON10, AB01, AB03, PW02, SD01, CL03, CL05, OW01, OW04, OW07, OW11, OW14, DH02, DH05.

Moniek Merkx, Studio’s Onafhankelijk Toneel, Rotterdam (Studio’s Onafhankelijk Toneel) 1985, p. 2, 9, 14, 18-19, 25, 35.

Nederlands Theaterboek (1984/1985) 34, TT. Toneel Theatraal 106 (september 1985) 8, p. 22-23.

Anne Mieke Backer en Arij de Boode (samenstelling), De schoonheid van hoogspanningslijnen in het Hollandse landschap, Rotterdam (De Hef) 1986, p. 6, 27.

Catalogus tent. Innovation and tradition. Niederländische Kunst der achtziger Jahre/Vernieuwing en traditie. Nederlandse kunst van de jaren tachtig, Karlsruhe (Badischer Kunstverein etc.) 1986.

Fred van der Hilst (eindred.), Een soort schoonheid [uitgave t.g.v. de manifestatie Perfo 3], Rotterdam (Lantaren/Venster) 1986, p. 41-42.

Foto 41 (mei 1986) 5, p. 42.

Jannes Linders, Stadsgezichten, in Plaatwerk 3 (juni 1986) 15, p. 4-11.

Nederlands Theaterboek (1985/1986) 35, TT. Toneel Theatraal 107 (oktober 1986) 8, p. 57.

R. Ader, G. van Beijeren, W.H. Crouwel e.a., Hoogtepunten uit de collectie Museum Boymans-van Beuningen Rotterdam, Utrecht (Veen) 1987, p. 12-13, 16, 62, 65, beeldpag. 43-44, 46, 48.

Jan van Adrichem, Beeldende kunst en kunstbeleid in Rotterdam 1945-1985, Rotterdam (Museum Boymans-van Beuningen) 1987, p. 5-6, 27, 32, 39, 41,91-92.

Wim van Bergen (samenstelling), De Verzameling [uitgave t.g.v. de tentoonstelling Reprise], Den Bosch (Museum Het Kruithuis) 1987, p. 33. 37. 41

Catalogus Koninklijke subsidie voor Vrije Schilderkunst 1980-1987. Koninklijk Paleis Amsterdam 30 april tm 15 mei 1988, Amsterdam (Stichting Koninklijk Paleis te Amsterdam) 1988, p. 78.

Catalogus tent. Arie van Geest, Rotterdam (Galerie Delta) 1987.

Catalogus tent. Century 87. Kunst van nu ontmoet Amsterdams verleden/Today’s art face to face with Amsterdam’s past, Amsterdam (Stichting Onafhankelijk Kunsthistorisch Onderzoek) 1987.

Harry Mulisch, Bericht aan de rattenkoning, Amsterdam (Bulkboek) 1987, p. 3, 5, 7 (serie : Bulkboek 16 (1987) 167).

Frits Palmboom, Rotterdam, verstedelijkt landschap, Rotterdam (Uitgeverij 010) 1987, afb. 17, 20-21, 25-27, 38, 40-43, 48-49, 68-70, 78-79, 82, 84-87.

Verslag Studio ‘s Onafhankelijk Toneel 1987-1991, p. 3, 11, 13, 17, 23.

Marion de Boo en Robbert Coops, Voeten in de aarde. Vanwaar Nederland waarheen [uitgave t.g.v. honderjarig bestaan van Heidemij.], Zutphen (Terra) 1988, p. 90.

Catalogus tent. Beelden in de stad Rotterdam. De stad als podium, Utrecht (Veen/Reflex) 1988, p. 18-19, 45-46, 48, 50-51, 56, 62, 67, 78, 101.

Catalogus tent. Niek Kemps. Twee two deux, Rotterdam/Saint-Etienne (Museum Boymans-van Beuningen/Musee d’Art Moderne) 1988, omslag, afb. 1, 5, 8, 14, 21-22, 27-28.

Catalogus tent. Questioning Europe. Biënnale Rotterdam, Rotterdam (Uitgeverij 010) 1988, p. 7.

Sjoerd Cusveller e.a. (red.), Drie pleinen in Rotterdam, Ontwerp-opdracht, Rotterdam (Uitgeverij 010) 1988.

Sjoerd Cusveller en Anne-Mie Devolder (red.) en Jannes Linders en Pieter Vandermeer (foto’s), Drie pleinen, zes ontwerpen/Three squares, six designs. Rotterdam ’88, de stad als podium/the city: a stage, Rotterdam (Uitgeverij 010) 1988.

J.J. Dankers en J. Verheul, Zekerheid in verandering. Nationale-Nederlanden 1963-1988, Maarssenbroek (Trendboek) 1988, p. 178.

Anne-Mie Devolder e.a. (red.) en Jannes Linders en Pieter Vandermeer (foto’s), Tracé spoortunnel. Negen concepten/The railway tunnel site. Nine concepts, Rotterdam (Uitgeverij 010) 1988.

Anne-Mie Devolder e.a. (red.), Tracé spoortunnel. Ontwerp-opdracht, Rotterdam (Uitgeverij 010) 1988.

(Folder, advertentie en affiche) Fotografie Biënnale Rotterdam, Rotterdam 1988.

Jos de Meyere e.a. (red.), … rede en resultaat… 16.08.72-1.11.88.

Afscheidsboekje i.v.m. vertrek mevrouw drs. A.M. Janssens, Utrecht (Centraal Museum) 1988.

Agenda Boymans-van Beuningen 1989, Rotterdam (Museum Boymans-van Beuningen) 1988.

Catalogus tent. Centraal Museum Utrecht 150 jaar, Utrecht (Centraal Museum) 1988.

André Koch, Industrieel ontwerper W.H. Gispen (1890-1981). Een modern eclecticus, Rotterdam (De Hef) 1988, p. 26, 30, 38-39, 64, 67, 93, 144-145, 147, 160, 180, 186.

Jim van der Put, Aad Speksnijder en Maarten de Vries (samenstelling en eindred.), Beelden in Rotterdamse Galeries, Rotterdam (Stichting Rotterdamse Galeries) 1988, p. 45.

Herman Hoeneveld, Bedrijfsleven en kunstsponsoring, in Capi-Lux Vakkrant mei 1988, p. 2-3.

Jan Brand en Han Janselijn (tekst), Architectuur en verbeelding/Architecture and imagination, Zwolle (Waanders) 1989, p. 349.

Catalogus tent. Groeten uit Utrecht, Utrecht (Centraal Museum) 1989.

Adri Duivesteijn e.a. (red.), Voorbij het gangbare. Een pleidooi voor de kwaliteit van volkshuisvesting en stedebouw, Amsterdam (De Balie) 1989, p. 24, 73.

(Folder) Centraal Museum Utrecht, Utrecht 1989.

Paul Groenendijk, Scheepsarchitectuur, Rotterdam (Uitgeverij 010) 1989, afb. 0, 16, 20, 32-33, 38, 40-41, 44-46, 49-51. 54-55. 57-58. 64, 72, 75.

Kalender 1990 Het Nieuwe Rotterdam, Rotterdam (Stichting ‘Rotterdam 1990’) 1989.

Peter van Mensch (red.), Professionalising the muses. The museum profession in motion, Amsterdam (AHA Books, Art History Architecture) 1989, omslag (serie: Discours 2).

Rob van Zoest (red.), Generators of culture. The Museum as a stage, Amsterdam (AHA Books, Art History Architecture) 1989, omslag, p. 18, 30, 54, 62, 80, 88 (serie: Discours 1).

Kunstschrift 33 (1989) 2,p. 27-31.

Catalogus tent. Energieën, Amsterdam (Stedelijk Museum Amsterdam) 1990, p. 4-5, 19, 28, 32-35, 50, 52-53, 70-71, 77, 80-81, 94-95, 108-109, 110-111, 122-123, 126-127.

Catalogus tent. Schrag, Bonn (Rheinisches Landesmuseum) 1990, p. 109.

Rotterdam. Koningin van de Maas. Rotterdam 650 jaar, Utrecht (Veen) 1990.

Aad Speksnijder (samenstelling/eindred.), Rotterdam, dynamische stad 1950-1990, Rotterdam (DUO/DUO) z.j. [1990], afb. 169-185.

SPIN. Bulletin over informatietechnologie 1990-1992, o.a. diverse omslagen. Stedelijk Museum Bulletin februari 1990, p. 16-17.

Beelden in Frankfurt, Barcelona, Parijs, in Kwartaalblad K&B 4 (december 1990) 4, katern.

Hetty Berens en D’Laine Camp (red.), DWL-terrein Rotterdam. Van waterfabriek tot woonwijk, Rotterdam (Uitgeverij 010) 1991, p. 51, 85.

Ruud Brouwers, Rotterdam. Metropolis on the Maas, Rotterdam (Robeco) 1991, p. 4-6, 12-14, 18, 22.

Catalogus tent. Arie van Geest, Rotterdam (Galerie Delta) 1991.

Catalogus tent. Christoph Rütimann, Amsterdam (De Appel) 1991, p. 4-15.

Catalogus tent. Diet Wiegman, Rotterdam (Galerie Delta) 1991.

Catalogus tent. Martin Visser, Utrecht (Centraal Museum) 1991, p. 32, 52, 56-57.

Catalogus tent. Nachtregels/Night lines words without thoughts never to heaven go, Utrecht (Centraal Museum) 1991.

Catalogus tent. The physical self. A selection by Peter Greenaway from the collections of the Boymans-van Beuningen Museum, Rotterdam/De keuze van Peter Greenaway uit de collecties van Museum Boymans-van Beuningen, Rotterdam, Rotterdam (Museum Boymans-van Beuningen) 1991, p. 12, 15, 21-22, 43-48. 75.

Anne-Mie Devolder e.a. (red.), Architectuur Rotterdam 1890-1945.

40 Gebouwen gedocumenteerd/Rotterdam architecture 1890-1945.

40 Buildings documented, Rotterdam (Uitgeverij 010) 1991, foto’s in katernen De Hef, Museum Boymans-van Beuningen en Holland-Amerika-Lijn.

Hans van Dijk, Sabine Lebesque en Mare A. Visser (red.), Architectonische kwaliteit als opdracht voor openbaar bestuur, Rotterdam (Nederlands Architectuur Instituut) 1991, p. 30.

H.W. Janson, The History of Art, New York (Abrams) 4de dr., 1991.

Roeland Schweitzer (tekst), Neon in Nederland. De stilte van neon, Amerongen (Schweitzer Publiciteit) 1991, p. 97.99.

Ludger Smit, Rietveldprijs 1991. Bouwen aan de omgeving in de stad Utrecht 1989-’90, Amsterdam (Toth) 1991, p. 17-28.

Seizoensbrochure Studio’s Onafhankelijk Toneel 1991-1992, p. 4, 19-21, 24.

Willy Halsema-Kubes, De noordnederlandse beeldhouwkunst in de 17e eeuw, in Kunstschrift 35 (mei/juni 1991) 3, p. 17, 20-21, 24, 43.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1991/1992, p. 169.

Maarten Bertheux (samenstelling), Stedelijk Museum Amsterdam. Jaarbericht 1985-1992, Amsterdam (Stedelijk Museum) z.j. [1992], p. 46, 89.

Nelleke Bos (eindred.), Scheepsbouw, ‘n bouwplaat in het groot, Rotterdam (Stichting AMV/VNSI) 1992, p. 6, 14, 22, 30, 38, 46, 54 (serie: Watertanden op zeebenen, nr. 1).

Catalogus tent. Het Beeld van de eeuw. [Overzicht van de ontwikkelingen in de beeldhouwkunst van de laatste honderd jaar aan de hand van objecten uit de verzameling van het Stedelijk Museum van Amsterdam], Amsterdam (De Nieuwe Kerk) 1992 (serie: Stedelijk Museum Amsterdam, nr. 768).

Catalogus tent. Coming from the subway. New York graffiti art. Geschiedenis en ontwikkeling van een controversiële beweging, Groningen (Groninger Museum) 1992, p. 193, 230, 234, 263, 269,297.

Catalogus tent. Frank Mandersloot. Body doubles, Rotterdam (Museum Boymans-van Beuningen) 1992.

Catalogus tent. De Opening, Tilburg (De Pont stichting voor hedendaagse kunst) 1992, p. 118-119, 129.

Anne-Mie Devolder en Hélène Damen (red.), Architectuur Rotterdam 1945-1970. 48 Gebouwen gedocumenteerd/Rotterdam architecture 1945-1970.

48 Buildings documented, Rotterdam (Rotterdamse Kunststichting/Uitgeverij 010) 1992, foto’s in katernen Meelfabriek Latenstein/Cementsilo NCHM en Industriegebouw Zuidplein.

Jaap Huisman, Mooi gebouwd Nederland. De selectie 50 mooiste, Den Haag (Sdu Uitgeverij Koninginnegracht) 1992, p. 60.

Dees Linders, Muses de la Meuse. La Collection de la Ville de Rotterdam. Kees Timmer, Co Westerik, Daan van Golden, Otto Egberts, Charly van Rest, Axel van der Kraan, Willem Oorebeek, Ben Zegers [Catalogus tent. Institut Néerlandais, Parijs oktober 1992], Rotterdam (Museum Boymans-van Beuningen) 1992, omslag, p. 16 .

Vincent van Rossem, Benthem Crouwel architecten, Rotterdam (Uitgeverij 010) 1992 (serie: Monografieën van Nederlandse architecten 7).

Verslag over 1992. A&EF Andersson Elffers Felix, fotokatern.

Trouw 27 november 1992, p. 21.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1992/1993, p. 39.

Jannes Linders (foto’s), Fotoverslag van de nieuwbouw van het Nederlands Architectuurinstituut in het Museumpark in Rotterdam. Van februari 1992 tot de opening in het najaar van 1993 elke maand een foto en een bericht, Rotterdam (Nederlands Architectuurinstituut) 1992-1993.

Ansichtkaartenreeks van tien verschillende beelden, Amsterdam (Art Unlimited) 1993.

G. Berlijn (eindred.), Verslag en bevindingen Hoofdafdeling beeldende kunst, bouwkunst en vormgeving van het Ministerie van WVC 1989-1991, Rijswijk (Ministerie van WVC) 1993, p. 12, 15, 20, 25, 28, 31, 34, 36, 38, 40, 42, 46, 53, 60, 64, 70, 74, 77, 80, 89.

Tjeerd Boersma (red.), A century of architecture in The Netherlands 1880-1990, Rotterdam (NAi Publishers) 1993, p. 380 (idem Nederlandse ed.: Een eeuw Nederlandse architectuur 1889-1990 en Duitse ed.: Ein Jahrhundert Niederlandischer Architektur 1880-1990, München (Aries) 1997).

Ruud Brouwers, Hans Ibelings en Arjen Oosterman (eindred.), Architectuur in Nederland. Teleac cursus, Rotterdam/Utrecht (NAl/Stichting Teleac) 1993, omslag, p. 74, 164.

Catalogus Nederlandse Kunst Rijksaankopen 1992, Den Haag/Zwolle (Rijksdienst Beeldende Kunst/Waanders) 1993, p. 19.

Catalogus tent. Kalkhaven NL Dordrecht, 51°48°- 04°40°, Dordrecht (Centrum Beeldende Kunst) 1993.

Catalogus tent. Portrait, still life, landscape. Een keuze van Robert Wilson uit de collecties van Museum Boymans-van Beuningen, Rotterdam/A selection by Robert Wildon from the collections of the Museum Boymans-van Beuningen, Rotterdam, Rotterdam (Museum Boymans-van Beuningen) 1993.

Catalogus tent. “Sandwiches”. Persen, drukken en trekken/Pressing, pushing and pulling, Rotterdam (Museum Boymans-van Beuningen) 1993, omslag, p. 39-86.

Catalogus tent. Wolfgang Laib, Tilburg (De Pont stichting voor hedendaagse kunst) 1993.

Adri Duivesteijn, Jo Coenen en Ruud Brouwers (tekst) en Jannes Linders (foto’s), Het Nederlands Architectuurinstituut, Rotterdam (NAi Publishers) 1993, omslag, p. 33-56 (idem Engelse ed.: The Netherlands Architecture Institute, omslag, p. 28-52).

Ton Idsinga e.a. (red.), De Bronzen Bever 1993, Kwaliteitsprijs Utiliteitsbouw, Den Haag (Ministerie van Volkshuisvesting, Ruimtelijke Ordening en Milieubeheer) 1993, p. 13-15.

Jaarverslag Nederlands Architectuurinstituut 1993, p. 4, 10, 15.

Eddie Marsman e.a., Ergens, thuis, Groningen (Stichting Fotografie Noorderlicht) 1993, p. 47.

Jan Oosthoek (tekst), Welschen 7 [uitgave t.g.v. het 75-jarig jubileum van het Gemeentelijk Woningbedrijf Rotterdam, Rotterdam (Uitgeverij 010) 1993, p. 43. 46-47, 52-53, 69-70, 83-84, 87-88, 93-96.

Verslag over 1993. A&EF Andersson Elffers Felix, omslag, fotokatern.

Het Hollands landschap als kunstwerk, Forum 37 (1993) 1, p. 50-51.

Magazijn (mei 1993) 255, p. 50.

Trouw 4 juni 1993, p. 19.

Tracy Metz, Tijdelijke sculpturen in Dordts Kalkhaven, in NRC Handelsblad 4 september 1993.

Algemeen Dagblad 15 september 1993.

De Architectuurkrant (oktober 1993) 8, p. 1, 3.5.

Judi Seebus, NAi opens doors in Rotterdam, in The Netherlander 13 november 1993, p. 16.

Anoniem (= Gerrit Confurius), Der Diskrete Charme der Stadtbrache, in Daidalos (15 december 1993) 50, p. 66-71.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1993/1994, p. 22-23, 72-73, 120-121, 123-125.

Gobert Beijer e.a., Over Rotterdam, afscheidsbundel t.g.v. vertrek gemeenteraadslid en wethouder Joop Linthorst, Rotterdam (Uitgeverij 010) 1994, p. 6, 8, 14, 26, 34, 40, 58, 64, 70.

Jaarverslag Nederlands Architectuurinstituut 1994, p. 1, 2, 10, 13, 31.

Ineke Schwartz, Museumpark Rotterdam, Amsterdam (Stichting Kunst & Onderwijs) 1994, p. 6-7, 10, 32.

Verslag over 1994. A&EF Andersson Elffers Felix, omslag, fotokatern.

Algemeen Dagblad 22 april 1994, p. 29.

NRC Handelsblad 26 april 1994.

Trouw 14 juni 1994, p. 8.

NRC Handelsblad 16 juni 1994, p. 27.

de Volkskrant 7 oktober 1994.

Bouw 49 (november 1994) 22.

J. Benthem, Vormgevingsinstituut te Amsterdam, Benthem Crouwel architekten te Amsterdam, in Bouw 49 (december 1994) 23, p. 27-31.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1994/1995, p. 6-7, 11.

Agenda 1996, Amsterdam (Amsterdam Airport Schiphol) 1995, p. 4-5,8-10, 14, 18-21, 26, 30-32, 40, 42, 44, 50, 52.

Taco Anema e.a. (red.), GKf 50. Fotografie 1945-1995, Amsterdam (De Verbeelding) 1995, p. 156-157.

Eden Askon en Richard Koek, Intermezzo rijkshuisvesting voor morgen, Den Haag (Ministerie van VROM/Rijksgebouwendienst/Bureau Rijksbouwmeester) 1995, p. 56-79.

Gerwim Mets (tekst), VSB hoofdkantoor. Enkele facetten van een opmerkelijk gebouw, Utrecht (VSB Stedelijk Vastgoed) z.j. [ca. 1995], omslag, binnenzijde voorflap, p. 14-15, 17, 18-19, 21-23, 25-27, 34, 37, 39-43, 49, 51-58, 63-67, 69. binnenzijde achterflap.

Catalogus tent. Anish Kapoor, Tilburg (De Pont stichting voor hedendaagse kunst) 1995.

Catalogus tent. GKf. Vijftig jaren van toekomst, Groningen (Stichting Aurora Borealis) 1995, ongepag.

Wilma Cornelisse (tekst), Waar licht is, is vreugde. Een eeuw gemeentelijke energievoorziening in Amsterdam, Amsterdam (NV Energiebedrijf) 1995, p. 145.

Detail 1995-1997.

Anne-Mie Devolder e.a. (red.), Architectuur Rotterdam 1970-1995.

75 Gebouwen gedocumenteerd/Architecture Rotterdam 1970-1995. 75 Buildings documented, Rotterdam (Uitgeverij 010) 1995, foto’s in katernen Museumpark, Reconstructies (Café De Unie, Museumwoning De Kiefhoek, Directiekeet Oud-Mathenesse,) Herstructurering Oude Havengebieden, Woningbouw De Peperklip, Het Oude Westen, Stadsuitleg Zevenkamp en Beverwaard.

Elbrig de Groot e.a. (tekst), Boymans modern art masterpiece exhibition, z.p. [Osaka] (The Yomiuri Shimbum) 1995.

Anna Hakkens (e.a.), Een verzameling beelden/A Collection Sculptures, Rotterdam (Caldic Collectie) 1995, p. 63, 101.

Bernard Hulsman (tekst), Architectuur voor kinderen [Lesboekje bovenbouw basisonderwijs], Amsterdam (Koninklijke Maatschappij tot Bevordering van de Bouwkunst/BNA) 1995.

Hans Ibelings, Nederlandse architectuur van de 20ste eeuw, Rotterdam (NAi Uitgevers) 1995, p. 149, 166, 172-173.

Philip Jodidio, Contemporary European Architects, deel III, Keulen (Taschen) 1995, p. 74-77.

Bart Lootsma e.a. (red.), Adriaan Geuze/West 8. Landschapsarchitectuur/Landscape Architecture, Rotterdam (Uitgeverij 010) 1995, p. 14-15, 25, 27, 35-37.39. 41 43, 47-49.

Michelle Provoost, Re-Arch. Nieuwe ontwerpen voor oude gebouwen, Rotterdam (Stimuleringsfonds voor Architectuur) 1995, p. 45.

Verslag over 1995. A&EF Andersson Elffers Felix, omslag, fotokatern.

Flos Wildschut, Vijf ontwerpen voor een nieuw museum in Nijmegen, Nijmegen (Gemeente Nijmegen i.s.m. LaVerbe Boek b.v.) 1995, p. 47.

Arthur Wortmann, Van Mourik Vermeulen Architecten, Rotterdam (Van Mourik Vermeulen Architecten) 1995. ongepag.

Koos Flinterman, Courting Colour, in View on Colour (1995) 6, p. 32-38, 41.

Trouw 28 januari 1995.

NRC Handelsblad 14 april 1995, CS, p. 6.

Blauwe kamer profiel (juni 1995) 3, p. 3.

Bauwelt 86 (9 juni 1995) 22, p. 1228-1229.

NRC Handelsblad 12 juli 1995.

Bauwelt 86 (14 juli 1995) 26, p. 1481-1483.

NRC Handelsblad 17 november 1995, CS, p. 7.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1995/1996, p. 31, 76-77, 79, 130-133.

Marion Bergmann, Jaap Huisman en Frank Pluym, Interieurarchitectuur. Ontwerpen. Indelen. Inrichten, Utrecht (Stichting Teleac/NOT) 1996, p. 17.

Martin Bril, Nederlandse Architecten 2. Terug naar de toekomst, Amsterdam (Uitgeverij Bis) 1996.

Catalogus tent. Guido Geelen, Tilburg (De Pont stichting voor hedendaagse kunst) 1996.

Catalogus tent. Manifesta 1, Rotterdam (Manifesta i.s.m. diverse Rotterdamse culturele instellingen) 1996.

Sophie Calle e.a. (samenstelling en red.), La Visite Guidee, Rotterdam (Museum Boymans-van Beuningen) 1996.

Gunda Dworschak e.a. (red.), Die Neue Einfachheit, Augsburg (WEKA Baufachverlage GmbH, Verlag fur Architektur) 1996, p. 67, 69, 71.

Mick Eekhout, Gespannen glas. Zappi of produktontwikkeling voor het NAi, Rotterdam (NAi Uitgevers) 1996.

R.L. Erenstein e.a. (hoofdred.), Een theatergeschiedenis der Nederlanden. Tien eeuwen drama en theater in Nederland en Vlaanderen, Amsterdam (Amsterdam University Press) 1996, p. 854.

Fred Feddes e.a., De architectuur van de ruimte. Nota over het architectuurbeleid 1997-2000, Zoetermeer etc./Den Haag (Ministerie van Onderwijs, Cultuur en Wetenschappen etc./Distributiecentrum Sdu/DOP) 1996, p. 60-61.

Haagse nieuwkomers. Een reis door de tijd, Den Haag/Amsterdam (Haags Gemeentearchief/Centrum voor de Geschiedenis van Migranten) 1996, omslag.

Gerrit Willems e.a. (tekst),James Turrell. Hemels gewelf in Kijkduin/Celestial vault in the dunes, Den Haag (Stroom hcbk) 1996, p. 4, 10-11, 28-29.

Maarten Kloos e.a. (red.), Schiphol Architecture. Innovative airport design, Amsterdam (Arcam/Architecture & Natura Press) 1996, p. 27-29, 54, 56-57, 63, 67, 79-80, 104.

Michelle Provoost, Asfalt. Automobiliteit in de Rotterdamse stedebouw, Rotterdam (Uitgeverij 010) 1996, p. 2, 78.

Joan Roig, Nuevos puentes/New bridges, Barcelona (Gili) 1996, p. 138-141.

Verslag over 1996. A&EF Andersson Elffers Felix, omslag, fotokatern.

Architectuur & Bouwen (1996) 2,p. 30-31.

Architectuur & Bouwen (1996) 6/7, p. 4-5.

NRC Handelsblad 27 januari 1996.

Bouwt 51 (april 1996) 4.

NRC Handelsblad 7 juni 1996.

Algemeen Dagblad 10 juni 1996, p. 25.

Het Parool 11 juni 1996, p. 6.

Trouw 13 juni 1996.

NRC Handelsblad 21 juni 1996,CS, p. 7.

Bouw 51 (september 1996) 51.

Trouw 21 september 1996, p. 21.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1996/1997, p. 102-103, 105-107.

BNA Jaarverslag 1997, omslag en middenkatern.

Fiona Brichout (red.), Innovations in steel. Bridges around the world, Brussel (International Iron and Steel Institute) 1997, p. 22.

Karen Buschman e.a. (red.), De muzische stad. Bij de opening van de nieuwe Theaterschool, Amsterdam (Amsterdamse Hogeschool voor de Kunsten) 1997, p. 90-91 (serie: Amsterdamse schriften over kunst en kunstonderwijs, 2).

Catalogus tent. Jo Coenen & Co. Building the territory 87-97 [uitgave bij de tentoonstelling te Berlijn, aug./sept. 1997], Maastricht (Jo Coenen & Co Architekten) 1997.

Catalogus tent. De kunst van het verzamelen. 20e-eeuwse kunst uit Nederland, Brussel (Paleis voor Schone Kunsten) 1997, p. 79, 90.

Catalogus tent. Someone else with my fingerprints, Keulen (Salon Verlag) 1997.

Jo-Anne Birnie Danzker, Robert Wilson, steel velvet, München (Prestel) 1997, p. 26-29.

Hans van Dijk (inl.), DKV Architecten/Architects, Rotterdam (Uitgeverij 010) 1997, omslag, p. 10, 25, 37-41, 50, binnenzijde omslag.

Priscilla Korver, Gecultiveerd landschap. Het Nederlandse landschap gefotografeerd, vanaf 1945 tot nu, Utrecht (Hogeschool voor de Kunsten Utrecht) 1997

Petra Timmer e.a., … Waar kleur een specifieke rol speelt. Sikkensprijs, Blaricum (V+K Publishing) 1997.

Jessica Voeten e.a., Een Nederlands wonder. Vijftig jaar Holland Festival, Zutphen/Amsterdam (Walburg Pers/ Stichting Holland Ferstival) 1997, p. 132.

Trouw 19 juni 1997, p. 15.

NRC Handelsblad 20 juli 1997.

Ruud Brouwers e.a., Het Nederlands Architectuurinstituut, Rotterdam (NAi Uitgevers) 1998, omslag, p. 11, 21, 23, 25-48 (idem Engelse ed.).

Catalogus tent. De Pont Collectie, Tilburg (De Pont stichting voor hedendaagse kunst) 1998, p. 2, 4-5, 6, 8, 11, 16, 31,41, 47, 58, 61, 71, 93-94, 109, 111-112, 116, 119, 151, 168-169, 175, 179-180, 182, 250, 255, 257-258, 260.

Mirjam van Eijden (eindred.), Beelden in de stad. Utrecht, 50 jaar kunst in de openbare ruimte, Utrecht (Gemeente Utrecht, Afdeling Culturele Zaken/Broese Kemink) 1998, p. 50-51, 53-65, 67, 79, 71, 73-75, 77, 79, 81-83, 85-87, 90-93, 95, 97, 99-101, 103, 105, 107-110, 155 (cat. nr. 166).

Dorothée van Hooff (tekst), Tegenbeelden, Amsterdam (Mondriaan Stichting/Amsterdam Airport Schiphol) 1998.

Jaarboek 1998. Andersson Elffers Felix, omslag, fotokatern.

Hans Lemmerman en Miranda Lonink (samenstelling en red.), Sprekende theaterbeelden, Zestien hedendaagse theatervormgevers, Arnhem (De Zwaluw) 1998, p. 53.

Portfolio Jannes Linders, [losse] Bijlage bij BNA Jaarverslag 1998.

Max van Rooy (tekst), Schiphol Stad, Amsterdam (Benthem Crouwel architekten) 1998.

Het Parool 3 februari 1998, p. 2.

Het Parool 13 maart 1998, bijlage PS, p. 2.

Trouw 19 maart 1998.

NRC Handelsblad 11 april 1998, p. 4.

de Volkskrant 11 april 1998, p. 25.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1998/1999, p. 60-61, 64-65.

Els Barents e.a., Huis Marseille, stichting voor fotografie, Amsterdam (Huis Marseille) 1999, p. 131-132, 134-135.

Catalogus tent. J.B. Jongkind en de Hoeksche Waard, Rotterdam (Museum Boijmans van Beuningcn) 1999, omslag, p. 32,36,47.

Catalogus tent. Jean Pierre Raynaud, Tilburg (De Pont stichting voor hedendaagse kunst) 1999.

Catalogus tent. Marc Mulders, Tilburg (De Pont stichting voor hedendaagse kunst) 1999.

Creëren komt voor recreëren. Kunst bij de ANWB, Den Haag (ANWB) z.j. [ca. 1999].

Hans van Dijk e.a. (tekst), Benthem Crouwel 1980-2000, Rotterdam (Uitgeverij 010) 1999.

Hans Haacke, AnsichtsSachen/Viewing-Matters [gepubliceerd bij de tentoonstelling Viewing Matters. Upstairs, in Museum Boijmans Van Beuningen te Rotterdam], Düsseldorf (Richter) 1999, omslag, p. 8, 28, 32, 39, 43, 55, 60-71, 93, 96-97, 102-103, 108-109, 114-115, 137, 146-147, 150-151, 160-161, B, C, F, G.

Joep Habets, BNA Architectenwijzer 2000, Amsterdam/Den Haag (BNA/Ten Hagen & Stam Uitgevers) 1999, omslag.

Hans Ibelings en Andreas Blühm (tekst) en Jannes Linders (foto’s), Van Gogh Museum Architecture. Rietveld to Kurokawa, Rotterdam (NAI Publishers) 1999.

Jaarboek 1999). Andersson Elffers Felix, omslag, fotokatern.

Ronald van de Krol, From airport to mainport, in Holland Herald 1999, p. 20-23.

Joh. R. ter Molen (red.), 150 jaar Museum Boijmans Van Beuningen Rotterdam. Een reeks beeldbepalende verzamelaars, Rotterdam (Museum Boijmans Van Beuningen/NAi Uitgevers) 1999, omslag, p. 106, 110-111, 116-117, 119, 122-125 (serie: Historische publicaties Roterodamum/Historische werken over Rotterdam, nr. 125).

Rien Robijns (tekst), Rotterdam, veranderde stad. Dr. A. Peper, burgemeester 1982-1998, Rotterdam (Donker) 1999, p. 44.

NRC Handelsblad M 2 (5 juni 1999) 2, p. 60, 62-65, 67-69.

Het Parool 5juni 1999, p. 48.

NRC Handelsblad 29juli 1999, p. 9.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1999/2000, p. 90-93, 136-139.

Anoniem, Beeld van een gebouw. Portrait of a Building [uitgave bij de voltooiingvan het ABN-AMRO Bankgebouw op de Wilhelminapier Rotterdam], Amsterdam (ABN-AMRO Bank) 2000.

Catalogus tent. België-Holland, Holland-Belgiê, Rotterdam (Nederlands Foto Instituut) 2000, ongepag.

Catalogus tent. Maarten van Severen [onderdeel van het project Furniture from Mechelen. From wood carving to design 1500-2000), Mechelen (De Garage) 2000, p. 5, 13, 21, 37, 39.

Jan Freeke (tekst), De kunst van het vervoer. Een beeld van 150 jaar Amsterdams openbaar vervoer, Den Haag (Sdu) 2000.

Gijs van der Ham, 200 jaar Rijksmuseum. Geschiedenis van een nationaal symbool, Amsterdam/Zwolle (Rijksmuseum/Waanders) 2000, omslag, schutbladen, p. 28, 48, 80, 92, 104, 144, 209.

Francine Houben (tekst) en Jannes Linders (foto’s), Maliebaan 16. Een huis om in te werken, Utrecht/Delft (Andersson Elffers Felix/Mecanoo Architecten) 2000.

Jaarboek 2000. Andersson Elffers Felix, omslag, fotokatern.

KPN Jaarverslag / Annual Report 2000, p. 5, 16-17, 28, 34, 42, 46, 52-53, 58-59, 70-71, 146-147.

Katrien Laenen, Kunst voor de Vlaamse vertegenwoordiging in Den Haag, Brussel (Team van de Vlaamse bouwmeester) 2000.

Willemieke Molenaar (red.), Waarheen de wind je waait, Zeewolde (De Verbeelding) 2000, p. 18, 30, 35, 41-42.

Wytze Patijn e.a., Ontwerpen aan Nederland. Architectuurbeleid 2001-2004. Een nota van de ministeries van OC&W, VROM, V&W en LNV, Den Haag (Sdu) 2000, p. 10-13, 92.

De Architect Interieur (maart 2000) 1, dossier Reizen, omslag (voorzijde), p. 9.

NRC Handelsblad 29 april 2000, p. 12.

De Architect Interieur (mei 2000) 2, dossier Winkelen, omslag (voorzijde), p. 5-6, 9, 70.

In memoriam Wim Beeren, in Maandberichten Museum Boijmans Van Beuningen (september 2000) 11, omslag.

De Architect Interieur (november 2000) 3, dossier Wonen, omslag (voor- en achterzijde), p. 5, 7, 9, 40, 56.

Elly Adriaansz e.a. (tekst) en Jannes Linders (foto’s), Brinkman en Van der Vlugt. Huis Sonneveld. Modern wonen in 1933, Rotterdam (NAi Uitgevers) 2001 (idem Engelse ed.: The Sonneveld House. An Avant-Garde home from 1933).

Jan Blokker en Victor Levie (samenstelling) , Jongens van Jan de Witt, Amsterdam (Nieuwe Kerk) 2001, ongepag.

Catalogus tent. Jan Dibbets, Tilburg (De Pont stichting voor hedendaagse kunst) 2001.

Catalogus tent. Rita McBride. 472 new positions, Tilburg (De Pont stichting voor hedendaagse kunst) 2001.

Op Lemen Voeten 23 (2001) 4, omslag, p. 18-20.

Rijksmuseum Foto Gids, De Gids 154 (januari 2001) 1/2.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 16 maart 2001, p. 11.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 23 maart 2001, p. 15.

De digitale economie [foto uit de serie Poinls of Presence], in NRC Handelsblad 30 maart 2001, p. 13.

Trouw 31 maart 2001, p. 29.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 6 april 2001, p. 13.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 13 april 2001, p. 13.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 18 april 2001, p. 19.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 27 april 2001, p. 15.

De digitale economie [foto uit de serie Points of Presence], in NRC Handelsblad 8 mei 2001, p. 17.

Marcel Hulskamp, Villa Sonneveld, in AD Magazine 30 juni 2001, p. 32-35.

de Volkskrant 12 september 2001, p. 1.

NRC Handelsblad 14 september 2002, p. 31.

Noor Mens (red.), De architectuur van het psychiatrisch ziekenhuis, Wormer (Inmerc) 2003.

de Volkskrant 16 januari 2003.

Trouw 12 april 2003, p. 27.

NRC Handelsblad 25 mei 2003, p. 26


in De Architect:

22 (april 1991), omslag, p. 112-119.

23 (april 1992), p. 99.

23 (mei 1992), omslag, p. 35-47.

23 (november 1992).

24 (februari 1993).

24 (september 1993), p. 110-113, 115.

24 (oktober 1993), p. 65-69.

25 (oktober 1994), p. 110-112.

26 (april 1995), p. 83.

26 (september 1995).

26 (oktober 1995), omslag, p. 62-63. (oktober 1995) themanummer 60, p. 77. (december 1995) themanummer 61, omslag.

27 (januari 1996) omslag, p. 18-37.

27 (september 1996), p. 76-77.

27 (november 1996), omslag, p. 76-77.

31 (juli/augustus 2000), p. 48-49, 51, 85.

32 (september 2000), p. 50-55.

Assignments (selection)

(na het jaar staat vermeld de opdrachtgever en tussen haakjes het onderwerp en/of het doel waarvoor de foto ‘s zijn gemaakt)

1982 Rotterdamse Kunststichting (Havenarchitectuur in Rotterdam).

1983 Amsterdams Fonds voor de Kunst (Stadsgezichten).

1983 Stadsontwikkeling Rotterdam (Stadsvernieuwingprojecten in Rotterdam).

1984 Stichting 10 jaar stadsvernieuwing Rotterdam (Stadsgezichten).

1986 Prins Bernhard Fonds (Affiche Monumenten in affichereeks t.g.v. 50-jarig bestaan Prins Bernhard Fonds).

1986 Maritiem Museum Prins Hendrik (Scheepsarchitectuur, Rotterdam).

1986 Ministerie van WVC (Toneel- en operagezelschappen tijdens Holland Festival 1986).

1986 Dienst Ruimtelijke Ordening en Stadsvernieuwing (Foto voor kalender Het Nieuwe Rotterdam t.g.v. 650 jaar gemeente Rotterdam).

1986 Rotterdamse Kunststichting (Stadsgezichten).

1987 Stichting Onafhankelijk Kunsthistorische Onderzoek (Century 87. Kunst van nu ontmoet Amsterdams verleden).

1987 Uitgeverij 010 (Verstedelijkt landschap).

1988 Rijksmuseum Amsterdam (Landschap in Nederland; opdracht aan Jannes Linders en André-Pierre Lamoth).

1988 Architecture International Rotterdam (AIR) (Grote Rotterdamse projecten).

1991 Centraal Museum, Utrecht (Nachtregels/Nightlines).

1991 Museum Boymans-Van Beuningen (Uitbreiding museum).

1991 Uitgeverij 010 (gebouwen van Benthem Crouwel Architekten).

1992 Nederlands Architectuurinstituut (Fotoverslag van de bouw van het Nederlands Architectuurinstituut in het Museumpark Rotterdam; van februari 1992 tot najaar 1993, maandelijks een foto van de voortgang van de bouw, met een tekst van Adri Duivestijn).

1993 Ministerie van WVC (Foto’s voor verslag 1989-1991).

1993 Ministerie van VROM (Monumentale foto-opdracht voor foto’s die permanent bevestigd worden in de vergaderzalen Cuypers, Berlage, Dudok en Rietveld).

1993 Ontwerpbureau Hard Werken (Monumentale fotowand).

1994 Haagse Hogeschool (Ontwikkeling nieuwbouw Haagse Hogeschool in relatie tot omgeving Laakhaven).

1997 Provincie Gelderland (Industriële architectuur Gelderland 1997-1999).

1997 Monumentale opdracht Foto-Festival Naarden (Het landschap voorbij).

1998 KPN Filatelie (Ontwerpen van twee postzegels).

1998 PTT-Post expeditieknooppunt Rotterdam (Monumentale foto-opdracht KPN Kunst & Vormgeving).

1998 Cals College, IJsselstein (Monumentale foto-opdracht stichting Kunst & Bedrijf).

1999 Op Lemen Voeten (Leren lezen van het landschap in het Groene Hart).

1999 Architecture International Rotterdam (AIR) (J.B. Jongkind en de Hoeksche Waard).

1999 Nederlands Foto Instituut, Rotterdam en Mondriaan Stichting Amsterdam (PhotoWork(s) in Progress III. Pip Pop Laf).

Secondary bibliography

(publicaties over de fotograaf en/of zijn werk)

Eindexamen Katalogus 1981. Academie van Beeldende Kunsten Sint Joost, Breda (Academie voor Beeldende Kunsten Sint Joost) 1981, p. 40.

B. Vroege, Fotografische visies op Rotterdamse architectuur, in R. van der Lugte.a. (red.), AIR Architecture International Rotterdam, Rotterdam (Rotterdamse Kunststichting) 1982, p. 77-78, 91-92.

P.D.D. [= Paul Donker Duyvis], De monumentaliteit van Jannes Linders, in Catalogus tent. Kunst uit Rotterdam, Rotterdam (Museum Boymans-van Beuningen) 1984, p. 11, 46.

Catalogus Rijksaankopen 1985. Werk van hedendaagse beeldende kunstenaars, Den Haag (Rijksdienst Beeldende Kunst) 1986, p. 183-184.

Catalogus tent. Foto’s voor de stad, Amsterdam (Museum Fodor) 1986, p. 3, 34-35 (met foto’s).

Sjoerd Cusveller e.a. (red.), Stadslandschappen/Urban Landscapes, Rotterdam (Uitgeverij 010) 1986 (met foto’s).

Cees van der Geer (red.), ‘Momentopname’ 86 -Actuele fotografie in Rotterdam, Rotterdam (Rotterdamse Kunststichting) 1986.

P.T., Fotografen en architectuur, in de Volkskrant 22 april 1986.

Willem Ellenbroek, Amsterdam in vijftien beeldverhalen. Gemeentearchief laat foto-opdrachten zien, in de Volkskrant 1 mei 1986.

Bas Roodnat, Vijftien fotografen legden drie jaren Amsterdam vast. Fascinerende portretten van Bogaerts en magistrale stadsgezichten van Linders op overzichtstentoonstelling in Fodor, in NRC Handelsblad 3 mei 1986.

Ton Hendriks, Vier architectuurfotografen in Rotterdam, in Perspektief (december 1986/januari 1987) 26/27, p. 40-46 (met foto’s).

Paul Klare, Het Holland Festival is dood. Leve het Holland Festival, in De Tijd 29 mei 1987, p. 60-61.

Catalogus Fototentoonstelling Holland Festival, in Foto (juni 1987) 6, bijlage, ongepag. (met foto’s).

Mattie Boom, 150 Jaar fotografie. Een keuze uit de collectie van de Rijksdienst Beeldende Kunst, Den Haag (SDU) 1989, p. 56-57 (serie: RBK-reeks nr. 2).

Robbert van Venetië en Annet Zondervan, Geschiedenis van de Nederlandse architectuurfotografie, Rotterdam (Uitgeverij 010) 1989, p. 20, 122-123 (met foto’s).

Hans Walgenbach, De collectie fotografie, Rotterdam (Centrum Beeldende Kunst/Artotheek Rijnmond) 1989.

Catalogus tent. Landschap in Nederland/Landscape in The Netherlands, Amsterdam (Rijksmuseum) 1990 (met foto’s).

Ursula den Tex, Geen mens te zien, in Vrij Nederland 27 oktober 1990, p. 46-51 (met foto’s).

Willem Ellenbroek, Grijs landschap, grijze luchten, in de Volkskrant 16 november 1990, bijlage K & C, p. 6.

Han van der Leur, [interview met Jannes Linders], in Rotterdams Dagblad 28 december 1991, p. 27.

Catalogus tent. Wasteland. Landscape from now on/Het landschap vanaf nu, Rotterdam (Uitgeverij 010) 1992, p. 37, 118-119 (met foto’s).

Mariëtte Linders, Vier mannen en het licht, in Catalogus tent. Casco 1992, Utrecht (Stichting Casco Kunstinitiatief) 1992, p. 18-21 (met foto’s).

Linda Roodenburg (samenstelling), Fotowerk. Fotografie in opdracht 1986-1992, Amsterdam (Uitgeverij 010) 1992, p. 26, 58-63 (met foto’s).

Anneke van Veen (red.), Foto’s voor de stad 72-91. Amsterdamse documentaire foto-opdrachten 1972-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag., nr. 088.

Sjoerd Cusveller, Op zoek naar een nieuw perspectief, Onvrede met architectuurfotografie, in De Architect 23 (april 1992), p. 95-101.

Menno Schenke, Ontwerpen van topklasse. Schoonheid zit in de strakke soberheid, in Algemeen Dagblad 29 mei 1992.

Hans Steketee, Het boek is een boot, in NRC Handelsblad 31 juli 1992, CS, p. 9.

Josephine van Bennekom, Het landschap is niet romantisch meer, in Trouw 5 september 1992, p. 15.

Hans Steketee, Ontbijtspek op de vuilnisbelt. De Rotterdamse Fotografiebiënnale. Wegwerpbedden over de wegwerpcultuur, in NRC Handelsblad 11 september 1992, CS, p. 3.

Dieuwke de Ooij, Vincent van Rossem en Jannes Linders…, in Trouw 24 september 1992.

A.E. [= Adriaan Elligens], Jannes Linders, in Jan Coppens (samenstelling), Een toekomst in de fotografie. Oud-studenten van de Academie Sint Joost te Breda, Eindhoven (Stichting Brabants Fotoarchief/Lecturis) 1993, p. 32-37 (met foto’s).

Catalogus tent. Leven in Nederland. Twintig jaar fotografie in opdracht, Arnhem (Nederlands Openluchtmuseum) 1994, p. 59.

Mirjam Keunen, Fotograaf als toeschouwer, in Algemeen Dagblad 21 september 1994, p. 33.

Frits Gierstberg, La Nouvelle Photographie du Paysage aux Pays-Bas/New Landscape Photography in the Netherlands, in Catalogus tent. Paysages, lieux et non-lieux/Landscape in Contemporary European Photography, Luxemburg (Galerie Tutesall) 1995.

Ton Hendriks, Beeldspraak. Fotografie als visuele communicatie, Amsterdam (Focus Publishing) 1995, p. 43.

Olof Koekebakker, Top Shots. Architectuurfotografen over hun beste foto, in Items 14 (1995) 5, p- 30-37.

Bas Roodnat, Alles is al gedaan en iedereen kan het. Het minderwaardigheidscomplex van de hedendaagse fotograaf, in NRC Handelsblad 10 november 1995, CS, p. 5.

Yvonne van Eekelen, Jannes Linders: contrasten, in Yvonne van Eekelen (red.), Magisch Panorama. Panorama Mesdag, een belevenis in ruimte en tijd, Zwolle/Den Haag (Waanders Uitgevers/ Panorama Mesdag) 1996, p. 179-182 (met foto’s).

Catalogus FotoFestival Naarden, Naarden (Stichting FotoFestival Naarden) 1997, p. 18, 30, 90-91, 137 (met foto’s),

Jurriaan van Kranendonk, Kunst in de Haagse Hogeschool, Den Haag (Haagse Hogeschool) 1997, p. 13,46 (met foto’s).

Peter Sierksma, Leugenachtige landschappelijkheid, in Trouw 1 mei 1997, p. 18.

Roos van Put, Wat te zien is, biedt zich aan, in Haagsche Courant 5 oktober 1997.

Een wereld verbeeld. Catalogus 1998, Eindhoven (Stichting Foto Manifestatie Eindhoven) 1998,p. 75.

Robbert Roos, Het vliegveld heeft een ziel, in Trouw 6 februari 1998, p. 23.

Sjoerd de Jong, Lopen in het luchtledige. Fototentoonstelling toont vliegvelden als utopieën, in NRC Handelsblad 20 februari 1998, CS, p. 2.

Loes van Harrevelt e.a., Architectuuragenda 2000. Architectuurfotografie, Rotterdam (Nederlands Architectuurinstituut) 1999, p. 1.

Anoniem, Drie geselecteerden fotografieopdracht, in NRC Handelsblad 1 juli 1999, p. 9.

Viveka van de Vliet, Frozen Fountain, in Het Parool 29 september 1999, p. 11.

Gabrielle de Nijs Bik (eindred.), Retourpeilen. Presentatie en verantwoording beeldende kunst- en vormgevingsbeleid provincie Gelderland, 1996-1997-1998-1999, Arnhem (Stichting voor Kunst en Cultuur Gelderland/Provincie Gelderland) 2000, p. 252-253 (met foto’s).

Mirelle Thijssen, Humanistische fotografie en het geluk van het alledaagse. Het Nederlandse bedrijfsfotoboek 1945-1965, Amsterdam (Universiteit Utrecht) 2000, p. 181, 203 (Proefschrift Universiteit Utrecht).

Wendy Jansen en Constance Kemperman, Foto’s moeten opwekkend zijn. Een interview met Jannes Linders, in Op Lemen Voeten 28 (2000) 2, p. 24-31.

Haro Hielkema, Verdwaal niet op de top, in Trouw 25 maart 2000, p. 49.

Anoniem, De Wandelmarkt voor grote en kleine lopers, in Trouw 25 maart 2000, p. 51.

Andrea Bosman, Goed en fout, in Trouw 9 juni 2000, p. 21.

Bart Jungmann, Voetbalfoto, in de Volkskrant 20juni 2000, p. 16.

Veilingcatalogus Glerum Auctioneers. Dutch Photography 1900-2000. Veiling nr 202, 27 november 2000, Amsterdam (Glerum) 2000, lot 165-166.

Anoniem, Expositie. Points of presence, in I & I. Nieuwe media in perspectief 19 (2001) 2, p. 48.

Anoniem, Beeldende kunst, in Trouw 23 maart 2001, p. 23.

Bas Heijne, De blik op oneindig. De ICT-wereld gefotografeerd, in NRC Handelsblad 30 maart 2001, Cultureel Supplement, p. 6.

Arno Haijtema, Een hedendaagse Wunderkammer vol beelden, in de Volkskrant 30 maart 2001, p. 12.

Henny de Lange, ‘Eigenlijk is mijn panoramaproject nooit af, in Trouw 31 december 2001, p. 17.

Susanne Klijndijk, Groeten uit Holland, de Nederlandse steden- en landschapsfotografie van nu, vergeleken met die van de jaren vijftig, Breda (Sint Joost) 2002.

Anoniem, Twee ton uit de VS voor NAi, in Het Parool 3 mei 2002, p. 10.

Sandra Smallenburg, KunstRAI gooit het roer om, in NRC Handelsblad 8 mei 2003, p.8.


Jury David Roëll Prijs 1988.

BFN, ca. 1992-1995.

Jury fotowedstrijd Architectuur in de Periferie, georganiseerd door TU Delft, i.k.v. de manifestatie Tart ’94 Archipolis Virtual Reality in Cyberspace. Over de grenzen van architectuur, 1994.

GKf, vanaf 1995.

Bestuur Nederlands Fotoarchief Rotterdam, vanaf 1997.

Selectiecommissie foto-opdrachten documentaire fotografie, Stichting Beeldende Kunst Gelderland 2001.


1982 Eerste prijs, categorie zwart-wit, wedstrijd Portret ’82 georganiseerd door Galerie Bender te Rotterdam.


1981 (e) Alphen aan den Rijn, Uitgeverij Samsom.

1981 (g) Breda, De Beyerd, [eindexamententoonstelling Academie St. Joost].

1982 (g) Rotterdam, Bouwcentrum, Havenarchitectuur (reizende tentoonstelling).

1982 (g) Rotterdam, Galerie Bender, Portret ’82 [winnaars van wedstrijd portretfotografie].

1982 (g) Rotterdam, HIC [hal van het postkantoor], Fotografische visies op Rotterdarnse architectuur.

1984 (g) Rotterdam, Galerie Westersingel 8, Die stad komt nooit af.

1984 (g) Rotterdam, Museum Boymans-van Beuningen, Kunst uit Rotterdam.

1985 (g) Rotterdam, Galerie Perspektief, Rotterdamse fotografen (II).

1985 (g) Rotterdam, Museum Boymans-van Beuningen, Meesterwerken uit de Hermitage Leningrad.

1986 (g) Amsterdam, Museum Fodor, Foto ‘s voor de stad. Documentaire fotoopdrachten 1983-1985 (Foto ’86).

1986 (e) Amsterdam, Shaffy Theater, Jannes Linders:portretfoto’s (Foto ’86).

1986 (g) Den Haag, Logement van de Heren van Amsterdam, Rijksaankopen 1985.

1986 (g) Marseille, Atelier du Patrimoine de la Ville de Marseille, Vision de la Ville.

1986 (g) Rotterdam, Galerie Perspektief, Gabriele Basilica, John Davies, Jannes Linders, Gilbert Fastenaekens [eerste tentoonstelling i.k.v. van het project Architectuur & Fotografie].

1986 (g) Rotterdam, Galerie Perspektief, Hedendaagse Architectuur in Nederland [tentoonstelling i.k.v. van het projectArchitectuur & Fotografie].

1986 (g) Rotterdam, Galerie Westersingel 8, Nederlandse Architectuurfotografie 1930-1960 [tentoonstelling i.k.v. van het project Architectuur & Fotografie].

1986 (g) Rotterdam, Galerie Westersingel 8, MOMENTopname. Actuele fotografie in Rotterdam [aankopen Rotterdamse Kunststichting 1986].

1986 (g) Rotterdam, Studio’s Onafhankelijk Toneel, [Verzameling Amy en Ana, onderdeel van decor toneelstuk Amy en Ana].

1986 (g) Tilburg, Schouwburg, Recente Architectuurfotografie.

1986 (g) Utrecht, Academie voor Beeldende Kunst, Buurten.

1986/1987 (g) Rotterdam, Galerie Perspektief, Stadslandschappen. Gabriele Basilica, John Davies, Jannes Linders, Gilbert Fastenaekens [laatste tentoonstelling i.k.v. van het project Architectuur & Fotografie].

1987 (g) Amsterdam, Muziektheater, Fototentoonstelling Holland Festival 1986.

1987 (g) Rotterdam, Archiefwinkel Gemeentearchief Rotterdam, Rotterdam nu gefotografeerd voor later (reizende tentoonstelling).

1987 (g) Rotterdam, Oude Gemeente Bibliotheek, Fotografie in opdracht. Documentaire en monumentale foto-opdrachten in Nederland.

1989 (g) Apeldoorn, Van Reekum Museum, Fotografie van A tot Z, eigen collectie.

1989 (g) Rome, Istituto Olandese, Obiettivo Amsterdam. Cent ‘anni di fotografia nella capitale Istituto Olandese.

1989 (g) Rotterdam, Centrum Beeldende Kunst, De Collectie (tentoonstelling i.k.v. manifestatie 150 jaar fotografie in Rotterdam).

1989 (g) Rotterdam, Maritiem Museum Prins Hendrik, Scheepsarchitectuur (reizende tentoonstelling).

1989 (g) Utrecht, Jaarbeurs, De Tweede Dimensie (fototentoonstelling als onderdeel van evenement Treinen door de Tijd).

1989/1990 (g) Rotterdam, Maritiem Museum ‘Prins Hendrik’, Ship Architecture (reizende tentoonstelling).

1990 (g) Amsterdam, Rijksmuseum, Landschap in Nederland.

1990 (g) Den Haag, Informatiecentrum Nieuwbouw VROM, Nederlandse architectuurfotografie.

1990 (e) Rotterdam, Capi-LuxVak.

1990 (g) Rotterdam, Galerie Duo Duo, Rotterdam, dynamische stad 1950-1990.

1990 (g) Rotterdam, Galerie Fotomania, Nederlandse landschappen.

1991/1992 (e) Utrecht, Centraal Museum, [foto’s van projecten uit 1989 en 1990 die voor de Rietveldprijs werden genomineerd].

1992 (g) Amsterdam, Beurs van Berlage, Fotowerk. Fotografie in Opdracht.

1992 (g) Amsterdam, Museum Fodor, 20 jaar Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991.

1992 (g) Rotterdam, Imax Theater, Wasteland. Landscape from now on (Fotografie Biënnale. Rotterdam).

1992 (g) Utrecht, Stichting Casco Kunstinitiatief, Vier mannen en het licht.

1993 (g) Den Haag, Galerie Van Kranendonk, Fotografie Sally Apfelbaum, Carl de Keyzer, Jannes Linders, Erica Uhlenbeck.

1993 (g) Groningen, USVA Galerie, A Home Is Not A House (Fotomanifestatie Noorderlicht 1993).

1993 (g) Rotterdam, Galerie Perspektief, EXIT Perspektief 1980-1993.

1994 (g) Amsterdam, Amsterdams Centrum voor Fotografie, Mijn belangrijkste foto in 1994.

1994 (g) Arnhem, Nederlands Openluchtmuseum, Leven in Nederland. Twintig jaar fotografie in opdracht.

1994 (g) Breda, De Beyerd, Een toekomst in de fotografie. Oud-Studenten van de Academie Sint Joost te Breda.

1994 (g) Den Haag, Haagse Hogeschool sector Gezondheidszorg/Gedrag & Maatschappij, Expositie fotografie Carl de Keyzer/Jannes Linders.

1994 (g) Parijs, Musée de 1’Art Moderne, La Beauté Exacte (presentatie Nederlandse fotografie).

1994 (g) Rotterdam, buitenexpositie in de Witte de Withstraat, Hallo Rotterdam (t.g.v. de opening van het Nederlands Foto Instituut).

1995 (g) Amsterdam, Exposorium Vrije Universiteit, Riek Bakker, vormgever van openbare ruimte.

1995 (g) Amsterdam, Rothmansgebouw Hel beslissende beeld, Nederlandse fotografie uit de 20ste eeuw (collectie Dunhill Dutch Photography).

1995 (g) Den Haag, Galerie Van Kranendonk.

1996 (e) Amsterdam, galerie/winkel ‘The Frozen Fountain’.

1996 (g) Luxemburg, Galerie Nei Liicht, Dudelange, Aspekte der Zeitgenössischen Niederländischen Fotografie.

1997 (g) Amsterdam, galerie/winkel ‘The Frozen Fountain’, [Daria Scagliola en Jannes Linders].

1997 (e) Den Haag, Galerie Van Kranendonk, En Avant.

1997 (g) Naarden, [buitenexpositie], Het landschap voorbij (FotoFestival Naarden).

1998 (g) Amersfoort, [buitenexpositie op bouwterrein KPN aan de Stationsstraat] , Beelden op de Bouw.

1998 (g) Amsterdam, Huis Marseille, De Rijksmuseum Foto Gids.

1998 (g) Eindhoven, Museum Kempenland, Stadsgezichten (Foto Manifestatie Eindhoven).

1998 (g) Nagele, Museum Nagele, Rietveld in Nagele. Werkplaats Gerard van de Groenekan.

1998 (g) Rotterdam, Nederlands Foto Instituut, Airport. Het vliegveld in de. fotografie.

1998/1999 (g) Almere, De Paviljoens, Landschapsfotografie.

1998/1999 (g) Amsterdam, [Bond Nederlandse Architecten].

1998/1999 (g) Moskou, Maly Manezh, Nederland: land uit zee [tentoonstelling georganiseerd door Nederlands Foto Instituut en Nederlands Fotoarchief].

1999 (g) Amsterdam, galerie/winkel ‘The Frozen Fountain’, [nieuwe kleding van Claudy Jongstra en foto’s van Jannes Linders].

1999 (g) Naarden, Bastion Oranje, ’99, Negenennegentig jaar Nederlandse fotografie (FotoFestival Naarden).

ïggg (g) Rotterdam, Museum Boijmans Van Beuningen, J.B. Jongkind en de Hoeksche Waard.

2000 (e) Amsterdam, Beurs van Berlage, [reportage over de Ronde Venen].

2000 (g) Rotterdam, Nederlands Foto Instituut, België-Holland, Holland-België.

2000 (g) Brugge, Kunstcentrum Oud Sint-Jan, België-Holland, Holland-België.

2001 (g) Amsterdam, Nieuwe Kerk, Jongens van Jan de Witt. Jan Blokkers keuze uit de Fotocollectie Nederland.

2001 (g) Rotterdam, Nederlands Foto Instituut, PhotoWork(s) in Progress III.

2003 (g) Amsterdam, RAI, KunstRAI [Atelier HSL].


1984 Rotterdam Cultuur van Hard Werken, diapresentatie van ca. 8 minuten, regie Torn van den Haspel, samenstelling ontwerpbureau Hard Werken.


1998 Waar, korte film, samenstelling Marc Ruygrok en Jannes Linders.

1999 Zover, film van 30 minuten bij het kunstwerk van Marc Ruygrok op het voormalige NS-kantoor ‘de inktpot’ in Utrecht, samenstelling Marc Ruygrok en Jannes Linders, [vertoond in de Utrechtse Domtoren tijdens de kunstmanifestatie Panorama 2000 van het Centraal Museum te Utrecht].

Radio and television programs

1991 (26 november) Het Klokhuis, aflevering landschapsfotografie, reportage waarin Jannes Linders tijdens zijn werk gevolgd wordt (NOS televisie) [herhaling op 6 mei 1993].

1997 (2 februari) Ophef en Vertier, interview met Jannes Linders (Radio 5).

1997 (24 oktober) Panorama Vrijdag, met een portret van architectuurfotografen Jannes Linders en Jan Versnel (NPS televisie).

1998 (15 maart) MOOIS, n.a.v. de tentoonstelling Airport in het Nederlands Foto Instituut (TV Rijnmond).

1999 (5 mei) MOOIS, n.a.v. Jeff Wall in het Nederlands Foto Instituut (TV Rijnmond).

2000 (juni) Studio V, n.a.v. de tentoonstelling België-Holland, Holland-België in het Nederlands Foto Instituut (TV Rijnmond).


Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteitsbibliotheek Leiden (o.a. ongepubliceerde doctoraalscriptie kunstgeschiedenis: Joyce Limburg, Visie op ruimte. Hedendaagse Nederlandse landschapsfotografie, Rijksuniversiteit Leiden 1993, p. 38-39).

Leusden Jan Wingender (collectie nederlands fotoboek).

Rotterdam, Jannes Linders.


Almere, ACHK- De Paviljoens (Collectie Almere).

Amsterdam, Bond Nederlandse Architecten.

Amsterdam, Gemeentearchief.

Amsterdam, Instituut Collectie Nederland.

Amsterdam, Rijksmuseum.

Amsterdam, Randstad Fotocollectie.

Apeldoorn, Van Reekum Museum.

Capelle a/d IJssel, IJsselland Ziekenhuis.

Chicago, La Salle Bank.

Den Haag, Haagse Hogeschool.

Den Haag, Ministerie van Buitenlandse Zaken.

Den Haag, Ministerie van VROM.

Den Haag, KPN-kunstcollectie.

Dordrecht, Centrum Beeldende Kunst.

Rotterdam, Centrum Beeldende Kunst Rotterdam.

Rotterdam, Gemeentearchief.

Rotterdam, Museum Boijmans van Beuningen.

Rotterdam, Nederlands Fotomuseum.