PhotoLexicon, Volume 28, nr. 43 (February 2011) (en)

Wout Berger

Maartje van den Heuvel


Wout Berger has contributed greatly to the revival of a form of ‘topographic’ landscape photography in the Netherlands. Inspired by American landscape photography of the 1970s and ’80s, he combined a fascination for the cultural landscape with a detached, registrational photographic method achieved with a technical camera. Berger’s somewhat overexposed, etherial landscape photos have influenced a variety of photographers in the Netherlands. The series Toegangswegen tot Amsterdam (‘Roads Leading into Amsterdam’), Giflandschap (‘Poisoned Landscape’) and Ruigoord are considered his most important work. One can nevertheless distinguish other episodes in his life as a photographer, each with its own focus. More than from a theoretical or conceptual approach, Berger’s work is derived from his enduring interest in experimenting with observation and photographic technique.




On 29 December, Wouter Johannes (Wout) Berger is born in Ridderkerk as the son of Cornelis Berger and his wife Klaziena Berger-Toller. Wout’s father is a member of the Dutch Reformed Church and a family doctor working out of his home. The family resides at Donckselaan 4 in Ridderkerk. Wout is the youngest of seven children. There are five sons and two daughters, with the eldest child twelve years his senior.


On 8 May—shortly after the liberation of the Netherlands—Wout loses his father in a dramatic incident at the age of three. Cornelis Berger is executed by a German firing squad in his own backyard stemming from a skirmish between members of the Dutch resistance staying at Berger’s home and German soldiers as yet quartered in a neighbouring house. Three months after this incident, Klaziena Berger and her seven children move to Stadhouderslaan 6 in the Hillegersberg neighbourhood of Rotterdam.


Wout Berger attends the Nassau School, a Christian primary school in Rotterdam.


Berger first attends the MULO (Meer Uitgebreid Lager Onderwijs, a lower-level secondary school), followed by the Christian HBS North (Hogere Burgerschool, an upper-level secondary school) in Rotterdam, where he passes his final exam in 1962.


Berger attends the Fotovakschool (‘Vocational School of Photography’) in The Hague, together with his friend Piet van Leeuwen.


Piet van Leeuwen and Wout Berger leave the Fotovakschool prematurely, based on their mutual desire to focus more on the creative versus the technical side of photography. Berger takes an abridged, written correspondence course at the Fotovakschool in Apeldoorn and receives his diploma as a photographer.


For several years, Berger’s principal source of income is a job working two nights a week as a ‘tallyman’, i.e. monitoring cargo shipments in the port of Rotterdam. In this same period, Berger does reportage wedding photography for friends and acquaintances. In addition, Berger produces self-devised fashion photos of his own accord and as well for ‘Puck & Hans’, a unique Rotterdam clothing boutique run by friends of Berger’s.


In May, Wout Berger weds Marjolijn Juray, an artist who paints and works with ceramics and other media. The couple moves to Spoorsingel 69 in Rotterdam. On 7 December, a daughter is born, ‘Sanne Mari’.

Wout Berger receives his first assignment from the influential Dutch fashion magazine Avenue for a fashion reportage. Berger goes on to shoot fashion series on a regular basis for the same magazine, including several assignments done in collaboration with Piet van Leeuwen.

Berger receives his first assignment in the area of advertising photography from the Lintas advertising agency, a firm associated with Unilever. The product is the margarine brand Becel. Berger becomes friends with the agency’s art director Jan Hendrik and more projects follow. Berger’s photos are featured in high-profile advertisements for products such as the cigarette brand Belinda and a promotional campaign for milk.


The Berger family moves to a farm at Broekermeerdijk 25 in Broek in Waterland. In the coming years, Berger regularly collaborates with Piet van Leeuwen on assignments commissioned by the advertising agency FH&V (Franzen, Hey and Veltman) in Amsterdam. Their projects include shooting photos for a promotional campaign involving milk.


Wout Berger and Marjolijn Juray divorce. The couple sells their farm, with each subsequently proceeding to buy their own home. Wout Berger moves to Uitdammer Dorpsstraat 51 in Uitdam, a house on the dike bordering the vast waters of the IJ, where he lives to the present day.

In the same year of Bergen’s divorce, Noor Damen moves in with him. At this time, Damen is a costume designer for dance theatre groups, including the company of Krisztina de Châtel and the BEWTH movement theatre.


Noor Damen and Wout Berger are frequent visitors to the hippie colony at Ruigoord, where they come into contact with the photographers Gerda van der Veen and Ed van der Elsken.


Wout Berger stops with advertising photography. He buys a technical camera and devotes an increasing amount of time to his autonomous work.

Berger instructs Damen in photography. Her interest gradually shifts more in the direction of photography than costume design.


Berger receives a working subsidy to photograph in Ireland. The main theme of this project is ‘time laps’: the passing of time made visible through photography.

In 1984, Wout Berger’s work is added to a public collection for the first time: curator Els Barents acquires photos for the collection of the Stedelijk Museum in Amsterdam, including the series Watching the Waterflow.

Introduced by Gerda van der Veen, Berger becomes a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’). He will remain a member until circa 1992. Through the GKf, Berger comes into contact with photographers such as Hans Aarsman and Henze Boekhout, whom he befriends.


Together with Hans Aarsman, Taco Anema, and Frits Gerritsen, Berger sits on the GKf’s exhibition committee responsible for the exhibition 100 Meter foto in het Stedelijk (‘100 Meters of Photos at the Stedelijk’) at the Stedelijk Museum in Amsterdam.


During these years, Berger teaches photography (as an elective for ‘Autonomous Art’) at the ABK (Academie van Beeldende Kunsten en Technische Wetenschappen, ‘Academy of Visual Arts and Technical Sciences’, from 1998 on the Willem de Kooning Academy) in Rotterdam.


The SKOR Foundation (Stichting Kunst en Openbare Ruimte, ‘Art and Public Space Foundation’) commissions Berger and six other photographers to capture ‘the West-Frisian landscape’. Each of the series are meant to help residents and visitors at the Verpleeghuis Lindendael, an elderly care facility in Hoorn, to recall the landscape from which they originated. Berger rents a mobile boom lift and photographs the surroundings of the nursing home from above.


The AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) commissions Berger for the documentary photo assignment, this year centring on the theme of Toegangswegen tot Amsterdam (‘Roads Leading into Amsterdam’). Here too Berger photographs from a boom lift.


Berger’s first photobook Giflandschap (‘Poisoned Landscape’) is published by Uitgeverij Fragment.

Berger’s work is shown at the Perspektief Gallery in connection with the Photography Biennial Rotterdam, based on the theme Wasteland. Landscape from Now On.

The Ministry of WVC (Welzijn, Volksgezondheid en Cultuur, ‘Welfare, Public Health and Culture’) commissions Wout Berger, Wijnanda Deroo, and Mirjam de Zeeuw to work on a project. Berger produces photos—on a one-time basis—in collage technique. His six collages address the following themes: ‘colonial history’, ‘shipping’, ‘painting’, ‘anatomy’, ‘typography’ and ‘war’. These works are published in the book Het eeuwige moment. Een fotografische visie op het cultuurbehoud door Wijnanda Deroo, Mirjam de Zeeuw en Wout Berger (‘The Eternal Moment. A Photographic Perspective on Cultural Preservation’). An exhibition displaying the project results is also held at the Rijksmuseum in Amsterdam.


Berger places his work under the charge of the Van Kranendonk Gallery in The Hague. From this time forward, his work is shown at both art and photography fairs, e.g. Paris Photo.

Berger regularly takes part in (group) exhibitions and presentations outside the Netherlands, including Trade (Winterthur Photo Museum, Switzerland, 2001), In Sight (The Art Institute of Chicago, 2005), Nature as Artifice (Neue Pinakothek, Munich; George Eastman House, Rochester; Aperture Gallery, New York; 2008/2009) and New Ways of Looking (Brighton Photo Biennial, 2010).

From ca. 2000

Berger aims his camera downward and takes photos ‘with no horizon’, e.g. for the series Ruigoord and his so-called ‘landscape still lifes’.


Wout Berger and Noor Damen shoot photos together for the project Zand water veen / Harena aqua palus (‘Sand Water Moor’), commissioned by the Province of South Holland.


On assignment for Stichting Atelier HSL (‘High-Speed Railway Studio Foundation’) and in collaboration with the SKOR Foundation, Berger photographs the future route of high-speed trains between Hoofddorp and the Belgian border (HSL South, the railway line running from Amsterdam to Antwerp). For this assignment, Berger again photographs from a boom lift and zooms in on the building construction below. The Rijksmuseum subsequently acquires the photos.


Berger produces his second photobook, entitled Like Birds.


Wout Berger’s interest in photography developed while in secondary school at the HBS (Hogere Burgerschool, an upper-level study programme). He photographed with an Agfa Clack camera, which he had purchased himself. Berger was advised to contact Piet van Leeuwen, who was also experimenting with photography on an amateur basis and lived in nearby Schiebroek. Like Berger, Van Leeuwen would also go on to become a recognised professional photographer. After their initial meeting, the two men would continue to exchange numerous thoughts about photography for years to come. They applied to the Fotovakschool (‘Vocational School of Photography’) at the same time and collaborated in their work on several occasions.

Berger’s commercial fashion and advertising photography, which he started in 1968 and continued well into the 1970s, is less well known than his landscape photography. Just as with his wedding reportage photographic work for friends and acquaintances, the Dutch landscape was also a common feature in his fashion and advertising work, i.e. as a background for his models. Berger furnished promotional photography to advertising agencies and did fashion reportages for various Dutch magazines. For quite some time—from 1968 to about 1980 on a very frequent basis, with a final series in 1988—he did photo shoots for the fashion and lifestyle magazine Avenue, which was popular in the Netherlands and important for photographers.

Berger often worked together with Piet van Leeuwen on fashion and advertising assignments. Van Leeuwen’s specialty in this collaboration was his snapshot style, while Berger’s trademark became the Dutch landscape, with its dunes and forests, but also the ‘wastelands’ of the port of Rotterdam, as locations for photographing his models. Berger distinguished himself by experimenting in a variety of ways, for instance by applying collage techniques and colourising his photos.

In the late 1960s through the ’70s, photographers and art directors working for magazines and advertising agencies were still enjoying a great deal of artistic freedom. Marketing had not yet been developed and the word ‘target group’ was as yet virtually non-existent. During this period, starting in the early 1970s, the function of ‘account executive’ began to emerge as someone who acted as an intermediary between the client and the advertising firm with its photographers. Account executives were formulating target groups along with their perceived qualities with ever-increasing specificity, from which stipulations were devised that were then passed on to the photographer. There was also a growing demand for photography produced in the studio with technically advanced equipment. It was precisely for this reason that Berger began to lose interest in fashion and advertising photography, as he cherished his artistic freedom and wished to continue photographing outdoors. Around 1980, he dramatically cut back on the amount of work he was doing in this sector. The models disappeared from Berger’s images, leaving only the landscape, which from that point forward garnered all of his attention.

This shift in scope—from commercial fashion and advertising photography to autonomous landscape photography—marked the start of a period in which Berger would achieve his most innovative and influential work. In the late 1970s, Berger’s new life partner, Noor Damen, introduced him to Ruigoord, an alternative living community in the vicinity of Amsterdam. It was at Ruigoord that he first came into contact with the photography duo Gerda van der Veen and Ed van der Elsken, and others. It was Van der Veen who introduced Berger at the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) in Amsterdam in 1984. The GKf was an association for photographers that had been established after World War II, to which numerous leading photographers in the Netherlands belonged. At this time, new members were accepted only after a highly stringent balloting round. In the GKf, Berger connected with other photographers seeking innovation in the idealistic and visual jargon of post-war documentary photography. He himself introduced a number of formal, stylistic, and substantive changes, born of his fascination with photographic technique.

For example, Berger was interested in printing his own colour photography with the negative-positive process (the ‘chromogenic colour print’ or ‘C-print’). The only other person he knew who applied the same process was the photographer Jean Ruiter. Generally speaking, colour printing was done in professional photo laboratories. The lack of interest in colour photography among many photographers was not only linked to the high expense. Well into the 1980s, commercial fashion and advertising photography, on the one hand, and autonomous documentary photography on the other, were two totally distinct categories. The predominant notion was that colour was ‘slick’ and therefore exclusively suitable for commercial photographers. Colour was a tool not found in the repository of documentary photographers working autonomously. The few who did on occasion photograph in colour, e.g. Ed van der Elsken, typically turned to 35 mm slide film. Colour slides, however, were often seen as ‘marginal elements’ in a photographer’s oeuvre. Berger was one of the first photographers to further specialise in producing his own colour photos. Van der Elsken was among those who visited his darkroom, in order to observe how this was done.

The use of a technical camera was a second element that Berger introduced to photographers working autonomously. Works by the American photographers/artists Stephen Shore and Lewis Baltz, which he had seen in photobooks, had been a major revelation for him. They spoke to his desire for a more detached and serene form of photography, one in which the photographer’s intentions and message vanished into the background—a desire that Berger shared with other innovators in Dutch photography, including Hans Aarsman. The 35-mm camera gave the photographer the utmost mobility, allowing him to follow his subject’s every move while maintaining a dynamic presence at the heart of the action. The technical camera, by contrast, was extremely static. Sheerly based on its size, weight, and the necessity for a tripod, the technical camera entailed a slow approach to working, as well as a careful technical planning and adjustment. As a teacher at the ABK (Academie van Beeldende Kunsten en Technische Wetenschappen, ‘Academy of Visual Arts and Technical Sciences’) in Rotterdam, Berger also instructed a younger generation of architectural and urban photographers in how to work with a technical camera, including Ralph Kämena and Frank van der Salm.

Berger took his yearning for a detached photography to the extreme. In 1988, he began working with extraordinarily high vantage points, thus forming the third element with which he distinguished himself in Dutch photography. For a project commissioned by SKOR (Stichting Kunst en Openbare Ruimte, ‘Art and Public Space Foundation’), Berger photographed—his first time to do so from a boom lift—the ‘West Frisian landscape’ on behalf of the ‘Omring Verpleeghuis Lindendael’ (an elderly care facility) in Hoorn. For Berger, the high vantage point represented the ‘divine perspective’, looking down upon the living environment familiar to the elderly person. Based on his interest in the abstract image that arose from this approach, Berger further developed his technique of shooting photos from above, using boom lifts and model aircraft. In 1991 and ’92, he again chose a high vantage point to shoot photos of several roads leading into Amsterdam for a documentary assignment commissioned by the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’). Berger was continually seeking that distance at which abstraction arose, introducing an element of tension to the level of realism in the image. The series received substantial publicity and was avidly discussed by photographers and photography historians.

The detached style of photographing with a technical camera as introduced by Wout Berger in his series Toegangswegen tot Amsterdam (‘Roads Leading into Amsterdam’, 1991) and his first book Giflandschap (‘Poisoned Landscape’, 1992)—together with the publication and exhibition in the Stedelijk Museum Amsterdam of Hans Aarsman’s Hollandse Taferelen (“Dutch Scenes’, 1989) and the photographer Jannes Linders’ Landschap in Nederland (‘Landscape in the Netherlands, 1990)—contributed significantly to a revival of ‘topographic’ landscape photography in the Netherlands. As applied here, the term ‘topographic’ refers to a combination of a registrational and detached style of photography, with a substantive interest in the man-altered landscape. Its use as a stylistic description for a movement in photography originates from the exhibition New Topographics. Photographs of a Man-altered Landscape, held at the George Eastman House in the United States in 1975. ‘New’ was in reference to the revival of the ‘old’ topographic photography produced in the nineteenth century, which involved photographers carrying cumbersome large-format cameras and venturing out to visually map a landscape.

In the 1980s, the work of the American photographers involved in this movement, e.g. Stephen Shore, Robert Adams, Lewis Baltz, and Walker Evans, was being circulated among photographers in the Netherlands, chiefly in book format. On occasion—albeit much later and far less frequently than, for instance, in the United Kingdom and the US—a similar exhibition of landscape photography was likewise organised in the Netherlands during this period. Berger personally held a high regard for the exhibitions Jean-Marc Bustamante: Landschappen [‘Landscapes’] 1978-1982 at the Paul Andriesse Gallery in Amsterdam and the exhibition Lewis Baltz: Five Projects 19831988 at the Stedelijk Museum in Amsterdam. Starting in the late 1980s, German photographers such as Andreas Gursky, Candida Höfer, and Thomas Struth developed the themes and approaches to topographic landscape photography even further by introducing colour, large formats, periodically extensive (digital) manipulations, and an orientation towards highly industrialised and urbanised areas.

The series and the book Giflandschap, which Berger worked on from 1988 to 1992, shared certain elements encountered in these forms of photography from abroad. There are a number of explanations why this photo series made such a big impression on the Dutch cultural scene. First and foremost, the marked absence of people in Berger’s photos was striking. Secondly, Berger ‘s focus lay not on nature in its untainted form, as was the case with other landscape artists and photographers, but on those locations where traces of a human presence had been left behind. Jannes Linders’ series Landschap in Nederland as well evoked the same reactions during this period. A final reason why Giflandschap created such a stir was the tension between form and content in his photos. For the subject of his photos, Berger chose the contrast between what one knows about a place and how it looks in reality. In Giflandschap, his starting point was a list of the most polluted places in the Netherlands. The list had been receiving substantial publicity at this time due to recently passed legislation, which stipulated that instigators of pollution were to be held responsible for the cost of combating that pollution. According to Berger, the then current political reality led to a quicker acceptance of Giflandschap, in an artistic climate where politically engaged art was still greatly valued. Berger, however, was much more interested in the contradiction that places having a negative connotation could also hold remarkable beauty. Working around this discrepancy influenced other Dutch artists as well, including Gert Jan Kocken, who made the series Rampplekken (‘Disaster Places’) in 1999.

In the early 1990s, Berger began collaborating with his life partner Noor Damen, who had been a theatre costume designer prior to this time. Damen learned how to photograph from Berger as well as the photographer Siebe Swart at the ACF (Amsterdams Centrum voor Fotografie, ‘Amsterdam Center for Photography’). A more fleeting and informal, snapshot style began to emerge with the onset of Berger and Damen’s collaboration, which coincided with the occasionally austere and symmetrical photos Berger was still taking on his own, e.g. Greenhouse with Ferns. ‘People’ also began to again appear in Berger’s photos, such as for the assignment Harena Aqua Palus (‘Sand Water Moor’), taken together with Noor Damen for the Province of South Holland, as well as his photos for the assignment PhotoWork(s) in Progress on the theme of ‘Constructing Identity’, a collaborative project of the NFI (Nederlands Foto Instituut, ‘Netherlands Photo Institute’) in Rotterdam and the Mondriaan Foundation, a national fund for the arts.

In the early years of the new millennium, Berger turned his attention to a form of landscape photography that literally entails aiming his camera in a downward direction. As a result, the horizon can no longer be seen, with the focus shifting to small-scale occurrences taking place on the ground. Berger entered an association with the internationally oriented Van Kranendonk Gallery in The Hague, in order to ensure his photos could be directly exhibited and sold as well outside the Netherlands. In 2001, Berger produced his series Ruigoord. The exhibition’s name refers to a village and its surrounding area, located west of the municipality of Amsterdam. Once designated as an industrial zone, the village had been scheduled to be demolished. Consequently, the residents of Ruigoord were bought out and forced to move circa 1970. Due to a squatter’s protest in 1972, however, the village’s planned demolition was never carried out. Ruigoord subsequently emerged as a mecca for hippies, squatters, and alternative artists from around the world, as well as a symbol of the mindset of political engagement and anti-authoritarianism thriving in the 1970s and ’80s.

In the photos from this series, Berger has photographed the landscape solely as a pattern of pretty flowers, blades of grass, and twigs. An identification of Ruigoord’s specific geographic location is found only in the title. Just as with his photography taken from a high vantage point, Berger again achieves a new form of abstraction in these photos. In both cases, he concentrates on visual patterns that predominate in the representation of landscape, albeit on two different scales.

The manner in which Berger has depicted Ruigoord is characteristic of the working style that distinguished him from previous generations of photographers. The black-and-white photos of Gerda van der Veen, for example, are continuously filled with multitudes of alternative people and touring actors from the street theatre companies that frequented Ruigoord. Berger could not possibly have created a starker contrast than by turning his camera in the direction of the ground, focusing on the beautiful bleached colour of the built-up sand underlying Ruigoord and the appealing abstract pattern of plants, flowers, and twigs.

A later phenomenon in Berger’s work are his close-ups of elements of the landscape, or as he refers to them himself: ‘landscape still lifes’. Again with his camera looking down, he photographs details such as flowers along the roadside (the series Roadside Flowers) or a gully. Just as in his photography shot from above and his images void of any horizon, Berger is seeking to find that point at which disorientation first emerges in the experience of reality in a landscape scene. He accomplishes this through magnification and the interplay of sharpness and blur, resulting in a depiction that seems unreal—like a detail from a miniature or a scale model.

While Wout Berger’s photos are primarily of landscapes in the Netherlands, he has also been involved in a number of projects abroad, frequently on assignment. For the obvious reason that this is the country where he lives, providing him with the most immediate access to the natural environment, the Dutch landscape has received the greatest amount of attention in his work. Yet there was also a substantive reason why Berger found the landscape of his native country so appealing: his preference lay with the cultural landscape versus unspoiled nature. As one of the most densely populated, industrialised, urbanised, and highly controlled landscapes in the world, the Netherlands was therefore as well a welcome source of inspiration for Berger.

One exception to Berger’s preference for the cultural landscape are his photos taken along the coast of Brittany, France. Here he is currently working on a new visual experiment: taking numerous shots depicting the same exact scene at different intervals and subsequently layering them on top of one another. Between the rocks in the shallow waters of surging breakers on the coast, Berger takes multiple photos, shot consistently from the same identical vantage point, of ‘small-scale’ scenes of pebbles, algae, and other details floating about, using a technical camera. These shots are taken at different times, showing how the tide causes the water to perceptibly rise and recede. He then combines the different shots of varying sea levels on the computer. This combining of the shots taken from identical locations with contrasting levels of seawater gives the image a fragile transparency.

Wout Berger once remarked about his work: ‘You could call my work a way of phenomenological observation; phenomenology being a philosophical direction or method whereby the accurate descriptor of the things around us, combined with intuitive observation, can serve to lay bare their essence.’ Berger’s tremendous fascination has always been related to observation: both in the various photographic techniques that allow this observation to occur as well as the various forms of aesthetic that arise from these different techniques. This has not prevented Berger’s work from being substantively categorised in traditions such as politically engaged art (with his project Giflandschap), nor from being included in an exhibition focusing on the revival of ‘Romanticism’ in visual art (one of his landscape still lifes was featured at the exhibition Ophelia at the Museum of Modern Art in Arnhem). Content-wise, however, Berger’s standpoint was emphatically neutral. He always worked from the visual aspect of his surroundings, which he tried to observe and represent in continually different ways through an endless array of camera and printing techniques.

It was based on an interest in technique and form that Berger developed his landscape photography, which was and still remains a major influence in Dutch photography. At a time when coarse-grain, high-contrast, and politically engaged black-and-white images were the norm in photography, Berger introduced landscape photos in a registrational, detached style. The use of the technical camera, colour, and the introduction of elevated vantage points were important innovations emulated by other photographers in the Netherlands. For Dutch photography, it brought about an alignment with movements in landscape and urban photography occurring abroad, including those photographers whose work was represented at the exhibition New Topographics in the United States during the 1970s, as well as German photography from the 1990s later known as the ‘Düsseldorfer Schule’ (‘Dusseldorf School’).


Primary bibliography

Jan Donkers (tekst) en Wout Berger (foto’s), Mexico. On the trail of B. Traven, in Holland Herald 24 (januari 1989) 1, p. 5, 30-38.

Wout Berger (foto’s) en Rob Sijmons (tekst), Giflandschap. Vervuilde locaties en landschappen in Nederland = Poisoned landscape. Polluted sites and landscapes in the Netherlands, Amsterdam (Fragment) 1992.

Wout Berger (foto’s) en Rob Sijmons (tekst), Vuile aarde, in Vrij Nederland 53 (22 augustus 1992) 34, p. 42-47.

René Appel (tekst) en Wout Berger (foto), Wervershoof, Haarlem (Stichting Culturele Raad Noord-Holland, Tentoonstellingsdienst) 1993 (serie: Noord-Holland in proza, poëzie en prenten 69).

Hans Ibelings (tekst) en Wout Berger (foto’s), Sjoerd Soeters, architect, Rotterdam (Uitgeverij 010) 1996 (serie: Monografieën van Nederlandse architecten 13).

Wout Berger, Photography, Den Haag (Galerie Van Kranendonk) z.j. [ca. 1998].

Arno Haijtema (tekst) en Wout Berger e.a. (foto’s), Zand water veen – Harena aqua palus, Amsterdam (De Verbeelding) 2001.

Wout Berger (foto’s) en Willem Ellenbroek e.a. (gedichten), Beelden. Anoniem, z.p. [Santpoort] (Mercator Press) 2003.

Wout Berger, Wout Berger, Den Haag (Eigen uitgave/Galerie Van Kranendonk) 2004.

Wout Berger (tekst en foto’s), De bereiding van plasmaprodukten = The production of plasma products, Amsterdam (Sanquin) 2005.

Wout Berger, Focusing, in Lisa White, Provider 2: Alchemical, Parijs (E.T.I.C.) 2006, p. 97-103 (met foto’s).

Wout Berger, Like Birds, Den Haag (Galerie Van Kranendonk) 2009.


in Avenue:

Wout Berger en Piet van Leeuwen (foto’s), Zwart is terug, (augustus 1967) 8, p. 26-42.

Wout Berger (foto’s), De show van een sport, (november 1968) 11, p. 83-89.

Wout Berger (foto’s), Uiting van eenvoud, (oktober 1970) 10, p. 50-53.

Wout Berger (foto’s), Voorjaar, (april 1972) 4, omslag, p. 50-59.

Wout Berger (foto’s), Tailleurs, (juli 1973) 7, p. 96-101.

Wout Berger (foto’s), Vijf kleuren voor het wit seizoen, (augustus 1973) 8, p. 68-73.

Wout Berger (foto’s), Sportieve kleding, (november 1973) 11, p. 119-123.

Wout Berger (foto’s), Wat draagt men om één uur ’s nachts, (januari 1974) 1, p. 121-129.

Wout Berger (foto’s), Zoals-ie zit, zo staat-ie, (oktober 1974) 10, p. 108-111.

Wout Berger (foto’s), De nacht in, (november 1974) 11, omslag, p. 50-53.

Wout Berger (foto’s), Kleur van ver, (december 1974), p. 44-47.

Wout Berger (foto’s), Ik neem een arcadeboog, (februari 1975) 2, p. 76-77.

Wout Berger (foto’s), Een op een eiland, (mei 1975) 5, omslag, p. 48-55.

Wout Berger (foto’s), Als je er maar lol in hebt, (augustus 1975) 8, omslag, p. 78-83.

Wout Berger (foto’s), Goed voor baby’s, goed voor ons. Babyverzorging voor volwassenen, (augustus 1975) 8, p. 90-91.

Wout Berger (foto’s), Kortom de benen, (april 1976) 4, p. 62-64.

Wout Berger (foto’s) en Marie Louise Terwindt (prod.), Tenue de ville, (oktober 1980) 10, p. 108-115.

Wout Berger (foto’s) en Marie Louise Terwindt (prod.), In combinatie, (november 1980) 11, p. 26-33.

Wout Berger (foto’s), Chiapas het land van B. Traven, (januari 1988) 1, p. 24-35.

August Willemsen (tekst) en Wout Berger (foto’s), Pessoa. Bewoner van het denkbeeldige, (november 1988) 11, p. 122-124, 127-137, 139, 142.


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


Foto 18 (februari 1963) 2, p. 98.

C. Buddingh (tekst) en Wout Berger (foto’s), Bouke Ylstra, Schiedam (Stedelijk Museum Schiedam) 1968.

Anenue (januari 1970) 1, p. 44-45.

Avenue (juli 1971) 7, p. 24-25.

Avenue (maart 1975) 3, p. 96.

Sandra van Beek (tekst), Wout Berger en Frits van Santen (foto’s), Klaas Gubbels. 74-76, Amsterdam (Spruijt) 1976.

Lorenzo Merlo, New Dutch photography = Hedendaagse fotografie in Nederland, Amsterdam (Kosmos) 1980, p. 6-11.

Margriet (22 oktober 1982) 42, p. 48-49.

Avenue (november 1983) 11, p. 110.

Otto Holzhaus en Leo van Noppen, Bier. Eerst bier, toen brood, bier als water, bierschoon, indianenbier, biermeermin, wild bier, bier bracht redding, bierliefde, kajuitsbier en nog veel meer, Bussum (Michon) 1984.

Dick van de Pol (red.), Foto in vorm, Grafisch Nederland 1984, p. 33.

Professionele Fotografie (april/mei 1984) 2, p. 48.

Catalogus tent. Kunst over de vloer. Foto – Video – Installaties, Entrepôtdok Amsterdam 15/27 september 1987, Amsterdam (Stichting Kunst over de Vloer) 1987, p. 37-39.

Marlou Hage (prod.) en Wout Berger e.a. (foto’s), Voetzoekers, in Avenue (februari 1989) 2, p. 52-53.

Hans van Blommestein e.a. (samenstelling), Op reportage. 25 jaar Avenue-reisreportage, Amsterdam/Den Haag (Focus/SDU) 1990, p. 68, 74, 94 (met foto’s).

Henk Strijbos (red.), Beroepskostenvergoedingen 1989, Amsterdam (Stichting Fonds voor beeldende kunsten, vormgeving en bouwkunst) 1990, p. 39.

Graphis Photo (1990) 90, p. 230 (afb. 305).

Catalogus tent. Rencontres Internationales de la Photographie, Arles 1992.

Catalogus tent. Morgen gemaakt. Kunstenaars en de fotografie in het huidige ‘fin de siecle’, zomer 1993, Amsterdam (Arti et Amicitiae) 1993, ongepag.

Anne-Mie Devolder (samenstelling), De Alexanderpolder. Waar de stad verder gaat = Alexanderpolder. New urban frontiers, Bussum (THOTH) 1993, p. 13-14, 16, 18-19, 57-59.

Hans Aarsman, Het engeltje dat op mijn tong pieste, z.p. [Amsterdam] (De Verbeelding) 1995, p. 40.

Taco Anema e.a. (red.), 50 jaren fotografie. GKf 1945-1995, Amsterdam (De Verbeelding) 1995, p. 138-139 (met foto’s).

Bas Vroege, Deanna Herst en Hanrik Barends (samenstelling), Groningen A-Z in foto’s, Edam (Paradox) 1997, ongepag.

Trouw 20 maart 1998.

Hans van Dijk, Architectuur in Nederland in de twintigste eeuw, Rotterdam (Uitgeverij 010) 1999.

Arma Jaarverslag 1999, fotoserie Bridges.

Arma Jaarverslag 2000, fotoserie Tunnels.

Trouw 16 mei 2001.

Arma Jaarverslag 2001, fotoserie Roadside works of art.

Arma Jaarverslag 2002, fotoserie Roads.

Hans Aarsman (samenstelling en tekst), Vrrooom! Vrrooom!, Rotterdam (NAi Uitgevers/Nederland Fotomuseum) 2003, ongepag.

Marianne van Gils e.a. (samenstelling), De Kerf verbeeld. Impressies van een nieuw landschap, z.p. [Schoorl] (Conserve) 2003, p. 20-23.

de Volkskrant 20 juni 2003.

ArtPress (maart 2004) 299, p. 4.

Le Monde 21 maart 2004, p. 18.

Catalogus Van heinde en verre. Een keuze van foto’s uit de kunstcollectie van het Ministerie van Buitenlandse Zaken, Den Haag (Ministerie van Buitenlandse Zaken) 2005, p. 72, 82.

Philippe Piguet, Collection 2. Du 17.03.05 au 03.06.05, Annecy (Fondation pour l’art contemporain Claudine et Jean-Marc Salomon) 2005, p. 14-17.

Rob van Zoest (samenstelling), De Amsterdamse haven, 1275-2005, Amsterdam (Kunsthistorisch Bureau D’ARTS) 2005, p. 152-153, 169, 200-201, 264-265 (Engelse ed.: The Amsterdam harbour, 1275-2005).

Gabriel Bauret, La Terre, z.p. [Parijs] (Editions du Chene-Hachette Livre) 2006, p. 100-101 (serie: Est-ce que les hommes vivent).

Adriaan Monshouwer (eindred.) en Marco Bakker e.a. (foto’s), Het gezicht van Waterland = The many faces of Waterland, Broek in Waterland (Waterland Photo Gallery) 2007, ongepag.

Trouw 21 april 2007.

Dick Breebaart, Pia van Boven en Laura Starink, Punt. Uit. Vijfenzestig fotografen voor Hans, z.p. 2008, ongepag.


1987 Stichting Kunst over de Vloer, Amsterdam (Kunsttoepassingen in woon- en werkruimtes van het Entrepôtdok).

1987 Stichting Kunst en Openbare Ruimte (SKOR) (zeven fotografen – Wout Berger, Willem Diepraam, Theo Baart, Ger Dekkers, Martin Kers, Ed van der Elsken en Martin Parr – maken fotoseries rond het thema ‘het Westfriese landschap’, bestemd om te rouleren in het interieur van het geriatrische verpleeghuis Lindendael in Hoorn).

1991 Amsterdams Fonds voor de Kunst (Toegangswegen tot Amsterdam).

1992 Ministerie van WVC, Den Haag (opdracht samen met Wijnanda Deroo en Mirjam de Zeeuw: Het eeuwige moment. Een fotografische visie op het cultuurbehoud).

1994 Provincie Noord-Holland, Haarlem (reportage over West-Friese dorp Barsingerhorn (gemeente Niedorp)).

1995 Rijksgebouwendienst, Den Haag (opdracht t.b.v. het Provinciehuis, Groningen: Mens en landschap in de provincie Groningen).

1997 Nederlands Foto Instituut (NFI) i.s.m. de Mondriaan Stichting (opdracht samen met Noor Damen: PhotoWork(s) in Progress II/Constructing identity).

1998 Arma Lease, Nieuwegein (Veren in Nederland en België).

1998 Rijksgebouwendienst, Den Haag (opdracht t.b.v. de Penitentiaire Inrichting, Ter Apel).

1999 Arma Lease, Nieuwegein (Bruggen in Nederland, België en het Verenigd Koninkrijk).

2000 Arma Lease, Nieuwegein (Tunnels in Nederland, België en het Verenigd Koninkrijk).

2000 Provincie Zuid-Holland, afdeling Toerisme, Recreatie en Cultuur, Den Haag (Zand water veen/ Harena aqua palus; vier fotografen – Bertien van Manen, Wijnanda Deroo en het duo Wout Berger/Noor Damen – brengen het Groene Hart in beeld).

2001 Arma Lease, Nieuwegein (Kunst langs de weg in Nederland, België en het Verenigd Koninkrijk).

2002 Rabobank Haarlemmermeer, Hoofddorp (opdracht samen met Noor Damen: Mens en land in de Haarlemmermeer).

2003 Stichting Atelier HSL i.s.m. SKOR (Stichting Kunst en Openbare Ruimte) (aanleg tracé van de HSL (Hogesnelheidslijn)).

2004 Sanguin (bloedbank), Amsterdam (De bereiding van plasmaproducten).

2005 FLACC, Genk (Landschappen in het verdwijnende steenkoolwinningsgebied).

2005 Gelders Landschap, Province Gelderland (Cultuurlandschap dat weer wordt teruggegeven aan de natuur).

2006 NautaDutilh, Amsterdam (opdracht samen met Wim van Egmond: Magnified Landscapes).

Secondary bibliography

Anoniem, Prijs voor de beste modefoto, in Nieuw Utrechts Dagblad 7 mei 1966.

Anoniem, Sigfried-expositie Nederlandse modefotografie. Tussen top en overigen gaapt nog diepe kloof, in Revue der Reclame 11 mei 1966.

Anoniem, Modefoto’s bij Sigfried, in Offset 13 mei 1966.

Anoniem, Fotografen Dukkers en De Vogel winnen de eerste prijzen. Textilia-Texpress prijsvraag voor beste modefoto in Benelux, in Texpress 14 mei 1966.

Fred den Ouden, Piet van Leeuwen + Wout Berger = 2 nieuwe sterren aan het mode firmament, in Focus 52 (21 juli 1967) 15, omslag, p. 14-17 (met foto’s).

Anoniem, Fotograaf, mode en maatschappij, in Algemeen Dagblad 6 juli 1970, p. 9 (met foto).

Anoniem, De anti-erotiek van Wout Berger, in Panorama (21 september 1979) 38, p. 3, 62-67 (met foto’s).

Catalogus tent. Instantanés, Parijs (Musée nationale d’Art moderne/Centre George Pompidou) 1980, p. 33, 67, 96 (met foto’s).

Anoniem, Oerhollands, in de Volkskrant 27 april 1984.

Catalogus Beeldende Kunst Biennale Noord-Holland, z.p. (Werkgroep Beeldende Kunst Biennale Noord-Holland) 1985, p. 106-107.

Catalogus tent. Foto ’86, Amsterdam (Stichting Amsterdam Foto) 1986, p. 95, 101.

Herman Hoeneveld, Toen en nu, de blik van de fotograaf op de wereld, in Het Parool 14 mei 1986, Uit en Thuis, p. 12-13.

Anoniem, Sporen in een verstild landschap, in De Waarheid 6 oktober 1987.

Willem Ellenbroek, Landschap na de ramp aan de rand van de stad, in de Volkskrant 14 oktober 1987.

Anoniem, Foto’s nog mooier dan werkelijkheid, in Eindhovens Dagblad 28 november 1987.

Catalogus Fotografie in Rotterdamse galeries, Rotterdam (Stichting Rotterdamse Galeries) 1988, p. 74-77, 93.

Jan Erik Burger e.a. (red.), Visies op het landschap, Amsterdam/Nijmegen (Op Lemen Voeten/Dwarsstap) 1989, p. 50-59.

Catalogus Internationale Fotoveiling Amsterdam [25 februari 1990], Amsterdam (Stichting Canon Image Centre/Stichting F 32/Hotel Pulitzer) 1990, lot 16-19.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20 e eeuw = The decisive image. Dutch photography from the 20th century, Amsterdam (BIS) 1991, p. 156, 180.

Wim de Wagt, Natuur staat centraal aan Houtplein, in IJmuider Courant 29 mei 1991.

Catalogus tent. Wasteland. Landscape from now on = Het landschap vanaf nu, Rotterdam (Uitgeverij 010) 1992, p. 35, 40, 86-87 (met foto’s).

Maartje van den Heuvel en Anneke van Veen (samenstelling), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991 / Leontine Coelewij, Haro Plantenga en Anneke van Veen (samenstelling), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1989-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag.

Edwin van Huis en Renée Sommer (red.), Het eeuwige moment. Een fotografische visie op het cultuurbehoud door Wijnanda Deroo, Mirjam de Zeeuw en Wout Berger = The eternal moment. A photographic view of cultural preservation by Wijnanda Deroo, Mirjam de Zeeuw and Wout Berger, Amsterdam (Fragment) z.j. [1992], p. 18, 20, 68-79 (met foto’s).

Linda Roodenburg, Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (Uitgeverij 010) 1992, p. 68-69, 148-149, 158.

Anoniem, “Gevaarlijk terrein, niet betreden”, in Trouw 18 januari 1992, bijlage Zaterdag/zondag, p. 3.

Linda Roodenburg, Gifbelten = Chemical Waste Dumps. Wout Berger, in Perspektief (februari 1992) 43, p. 49-58 (met foto’s).

Janneke Wesseling, Wout Berger, in NRC Handelsblad 7 februari 1992.

Henk van Gelder, Amsterdam voor de camera’s van de stadsfotografen, in NRC Handelsblad 14 maart 1992.

Anoniem, Korting op kunstbeurzen is ‘desastreus’, in NRC Handelsblad 27 mei 1992.

Arend Evenhuis, Werk in stilte en toch in uitvoering, in Trouw 11 juni 1992.

Sjak Jansen, Landschappen van deze tijd, in Algemeen Dagblad 6 augustus 1992.

Wilma Sütö, Cadmium in lovers’ lane, in de Volkskrant 4 september 1992.

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

Hans Steketee, Ontbijtspek op de vuilnisbelt, in NRC Handelsblad 11 september 1992, Cultureel Supplement, p. 3.

Willem Ellenbroek, Landschappen vol dioxine, benzeen, tolueen, cadmium en xyleen, in de Volkskrant 17 oktober 1992.

MRZ, Fotodrietal weggestopt in het Rijksmuseum, in De Telegraaf 31 december 1992.

Catalogus International Photo-Auction Amsterdam 1993 [21 februari 1993], Amsterdam (Canon Image Centre/Hotel Pulitzer) 1993, lot 22-23.

Catalogus Nederlandse Kunst. Rijksaankopen 1992, Den Haag (SDU/Rijksdienst Beeldende Kunst) 1993, p. 48-49.

Iris Dik (red.), Ver = Hier. Uit de collectie van het Nederlands Fotomuseum, Sittard, Sittard (Nederlands Fotomuseum) 1993, p. 10-11, 28-29.

Sabine Funneman, Cultuurbehoud onderwerp van pretentieuze foto-expositie, in Utrechts Nieuwsblad 8 januari 1993.

Feike Boschma, Hoe eeuwig is een moment?, in Fries Dagblad 19 februari 1993.

Sikke Doele, Hoe fotografeer je ‘het belang van cultuurbehoud’? ‘Het eeuwige moment’: eigen bijdrage Fries Museum het interessantst, in Leeuwarder Courant 23 februari 1993.

Arjen Ribbens en Marianne Vermeijden, Het gemis van ergerlijke ruzies. Fotogalerie Perspektief in Rotterdam sluit, in NRC Handelsblad 26 februari 1993.

Peggie Breitbarth, Het eeuwige moment, in Tubantia 5 juni 1993.

Anoniem, Fotoserie, in de Volkskrant 6 december 1994.

Anoniem, Opdracht fotoserie Noord-Holland, in Het Parool 7 december 1994.

Frits Gierstberg, « New Landscape Photography in The Netherlands », in Gabriel Bauret e.a., Paysages lieux et non-lieux. Landscape in contemporary european photography, Luxemburg (Café-Crème) 1995, p. 122-125 (met foto’s).

Ton Hendriks, Beeldspraak. Fotografie als visuele communicatie, Amsterdam (Focus) 1995, p. 66.

Eddie Marsman, Honderd kiekjes uit het dagelijks leven, in NRC Handelsblad 10 juni 1995.

Anoniem, Installaties voor IJsselmeerkust, in Het Parool 21 juni 1995.

Catalogus tent. Fotodiffusione ’96 – Olanda. Mostra e incontri dedicati alla fotografia in Olanda, z.p. [Turijn] (Fondazione Italiana per la Fotografia) 1996, p. 24, 28.

Catalogus tent. Zeventien visies op Noord-Holland. Fotodocumentaire opdrachten 1991-1995, z.p. [Haarlem] (Provincie Noord-Holland) 1996, p. 9, 12, 20-21, 55 (met foto’s).

Froukje Hoekstra, De kracht van het onnadrukkelijke, in Ingeborg Walinga (red.), Foto’s, Furniture & Ferngläser. Vijf kunstopdrachten in het Provinciehuis Groningen, Groningen (Provincie Groningen) 1996, p. 45-50 (met foto’s).

Silke Schmalriede und Alexander Tolnay (red.), Zeitgenössische Fotokunst aus den Niederlanden, Berlin/Heidelberg (Neuer Berliner Kunstverein/Braus) 1996, p. 50-55.

M. Thijsen, Kunstbeurs als bakermat voor vertrouwensrelatie, in Het Financieele Dagblad 27 september 1996.

Catalogus Fotofestival Naarden, Naarden (Stichting FotoFestival Naarden) 1997, p. 10, 41, 131.

Priscilla Korver, Gecultiveerd landschap. Het Nederlandse landschap gefotografeerd, vanaf 1945 tot nu, Utrecht (Hogeschool voor de Kunsten Utrecht) 1997, p. 39-40, 90.

Joep Eijkens, Lezingen landschapsfotografie Bredanaar Luijkx, in De Stem 4 april 1997.

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

Anoniem, Vier opdrachten voor Photowork(s), in NRC Handelsblad 27 mei 1997.

Catalogus tent. Un nouveau paysage humain. Rencontres Internationales de la Photographie, Arles, Arles (Actes Sud) 1998, p. 145, 157, 248.

Catalogus tent. Een wereld verbeeld, Eindhoven (Stichting Foto Manifestatie Eindhoven) 1998, p. 15.

Roos van Put, Moeder natuur alleenheerser, in Haagsche Courant 25 september 1998.

Catalogus Le Mois de la Photo à Montréal 1999. Le souci du document, Montréal 1999, p. 146, 148-151, 213, 219.

Catalogus tent. Human conditions intimate portraits = Conditions humaines portraits intimes, Rotterdam (Nederlans Foto Instituut) 1999, p. 034-043, Nederlandstalige bijlage (met foto’s).

Linda Roodenburg (samenstelling), PhotoWork(s) in progress II/Constructing identity, Gent/Rotterdam (Snoeck-Ducaju/Nederlands Foto Instituut) 1999, p. 10, 13-45, 110 (met foto’s).

Ursula den Tex, Dicht bij huis. Interview met Wout Berger, in Hollands Licht (1999) 2, p. 4-8 (met foto’s).

Anoniem, PhotoWork(s) in Pregress II. Constructing Identity, in NFI news (februari 1999) 6, p. 4-6.

Joep Eijkens, ‘Constructing Identity II’ in Foto Institiuut, in Brabants Dagblad 22 februari 1999.

Arno Haijtema, Bouwstenen van onze identiteit. Fotografen maken kanttekeningen bij moderne samenleving, in de Volkskrant 12 maart 1999.

Mirelle Thijsen, Fotografie geconstrueerde identiteit. Fotoinstituut en Mondriaan Stichting ondersteunen projecten talentrijke fotografen, in Het Financieele Dagblad 27 maart 1999.

Anoniem, Landschappen, in Trouw 17 februari 2000.

Onno Hoedeman, De schilderijen van Simon mag je in beweging zetten, in Alkmaarsche Courant 18 februari 2000.

Sandra Heerma van Voss, Van Kranendonk, in NRC Handelsblad 25 februari 2000.

Sandra Heerma van Voss, ‘Als fotograaf doe ik wat ik wil’. Gesprek met Frank van der Salm, in NRC Handelsblad 21 maart 2000.

Anoniem, Zand, water en veen in foto’s gevangen. Vier fotografen brengen Groene Hart in beeld, in Rijn en Gouwe 7 juli 2000.

Catalogus tent. More than red, white and blue. Works of art purchased by the Ministery of Foreign Affairs = Meer dan rood, wit en blauw. Kunstaankopen door het Ministerie van Buitenlandse Zaken, Den Haag (Ministerie van Buitenlandse Zaken) 2001, p. 16-17.

Catalogus tent. Trade. Commodities, communication, and consciousness,Winterthur (Fotomuseum Winterthur/Scalo) 2001, p. 116-119.

Toon Tellegen e.a. (gedichten) en Wout Berger e.a. (foto’s), Beeld versus woord. Dichters en fotografen op reis, Zwolle/Enschede (Waanders/Eigen-Wijze Reizen) 2001, p. 2, 4-11 (met foto’s).

Krista Oldenburg, Zuid-Hollands zand, water en veen gefotografeerd, in de Volkskrant 20 juni 2001.

Theo de With, Zand, water en veen in beeld gebracht. Elke fotograaf heeft eigen kijk op de Rijnstreek, in Rijn en Gouwe 20 juli 2001.

Wim van Sinderen, Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag/(Ludion/Fotomuseum Den Haag) 2002, p. 34-35.

Hans den Hartog Jager, De mens loopt in de weg. Foto’s over handel en globalisering, in NRC Handelsblad 11 januari 2002.

Henny de Lange, Fotografen vinden handel vooral vies. Fotografie, in Trouw 21 januari 2002.

Tracy Metz, Clubruimte in ovaal flexkantoor, in NRC Handelsblad 31 januari 2002.

Mirelle Thijsen, Stad noch land. Fotografie op grensgebied van natuur, dorp, stad en industrieterrein, in Het Financieele Dagblad 6 april 2002.

Sandra Smallenburg, Interieurs op de foto, in NRC Handelsblad 27 mei 2002.

Aart van der Kuijl, Kunst tussen stroop en afval, in Rotterdams Dagblad 7 september 2002.

Frederike Huygen, Kleren maken de man. Overzicht van Nederlandse modefotografie vanaf jaren vijftig in het Frisia Museum, in Het Financieele Dagblad 14 december 2002.

Catalogus tent. Wout Berger, Nature/ Culture, Den Haag (Gallery Van Kranendonk) 2003.

Sabrina Kamstra, Simon Knepper en Johan Kortenray (red.), AMC Kunstboek = AMC Art Book, Amsterdam (Amsterdam University Press Salomé) 2003, p. 115.

Vanessa van Zuylen-Menesgue, Élisabeth Nora en Brigitte Ollier, L’insensé. Photo. Pays-Bas, z.p. [Parijs] (Éditions Spiralinthe/Inextenso) 2003, p. 28-33.

Anoniem, Wout Berger, in NRC Handelsblad 19 februari 2004.

Anoniem, Duikboot duikt op bij Pictura, in De Dordtenaar 26 februari 2004.

Anoniem, Wout Berger, in Kunstbeeld. Tijdschrift voor beeldende kunst 28 (maart 2004) 3, Kunstwereld, p. XI.

Merel Bem, Een wazige blik op ‘het’ landschap, in de Volkskrant 9 maart 2004.

JvK, Wout Berger photographer, in EyeMazing (voorjaar 2004) 2, p. 144.Anoniem, Wout Berger: Various Positions, in Zurban Paris 14 april 2004, p. 57.

Merel Bem, Meer dan alleen Martin Parr. I Fotobeurs Paris Photo is dit jaar diverser en hedendaagser dan voorgaande jaren. Bleke meisjes in groen landschap zijn er nog steeds, in de Volkskrant 13 november 2004.

Barbara van Erp, De kritische keuze, in Vrij Nederland 27 november 2004.

Catalogus tent. Constructed moment, Den Bosch (Stichting Kw14) z.j. [2005], p. 6, 70-72 (met foto’s).

Catalogus tent. In sight. Contemporary Dutch photography from the collection of the Stedelijk Museum, Amsterdam, Amsterdam (Stedelijk Museum) 2005, p. 15, 40-45 (met foto’s).

Catalogus tent. [Made in Holland. Epson Fotofestival Naarden], Naarden 2005, p. 74-75, 101.

Mirelle Thijsen, Alledaags sober, in Het Financieele Dagblad 9 april 2005.

H.J.A. Hofland, Anoniem beroemd, in NRC Handelsblad 8 juli 2005.

Catalogus tent. Ecotopia. The Second ICP Triennial of Photography and Video, New York, New York (International Center of Photography) 2006, p. 46-51 (met foto’s).

Jhim Lamoree en Elizabeth Nora, Netherlands now. L’école du Nord, Parijs (Editions du Regard) 2006, p. 7, 76-79, 112.

Anoniem, Agenda. Wout Berger, in NRC Handelsblad 2 februari 2006, p. 21.

Merel Bem, Het landschap vlak voor onze voeten, in de Volkskrant 8 februari 2006.

Machteld van Hulten, Peiling. Moeten fotografen hun foto’s gratis aanbieden via internet, in de Volkskrant 3 mei 2006.

Arno Haijtema, Onvervulde verlangens bij baanbrekende beelden, in de Volkskrant 13 september 2006.

Flip Bool e.a. (red.), Nieuwe geschiedenis van de fotografie in Nederland. Dutch Eyes, Zwolle (Waanders i.s.m. Stichting Fotografie in Nederland) 2007, p. 27, 230-231, 236, 271, 374, 378, 446, 506 (met foto’s) (idem Engelse editie: A critical history of photography in the Netherlands. Dutch Eyes).

Henk van Os e.a, Contour. Continuïteit. Heden en verleden met 111 hedendaagse Nederlandse kunstenaars in drie Delftse musea, Delft /Zwolle (Stedelijk Museum Het Prinsenhof/Waanders) 2007, p. 177, 232.

Julie Rouart, Photographies modernes et contemporaines. La Collection Neuflize Vie, Parijs (Flammarion) 2007, p. 79.

Edo Dijksterhuis, Fotografisch epicentrum, in Het Financieele Dagblad 28 april 2007.

Elly Molenaar, ‘Vaak zijn het prachtige natuurgebieden’, in Noordhollands Dagblad 20 augustus 2007.

Nanska van der Laar, ‘We zijn allemaal gepassioneerd’. Kunst kijken Monnickendam gewijd aan architectuur, in Noordhollands Dagblad 6 september 2007.

Merel Bem, Goede foto’s zijn zeldzaam. Interview Galeriehouder Jurriaan van Kranendonk, in de Volkskrant 15 november 2007.

Maartje van den Heuvel en Tracy Metz, Nature as artifice. New Dutch landscape in photography and video art, Rotterdam (NAi Publishers) 2008, p. 34-47, 284 (met foto’s).

Arno Haijtema, Door mensenhand geschapen. Recensie ‘Nature as Artifice’ toont keerzijde pastorale idylle, in de Volkskrant 26 juni 2008.

Hans den Hartog Jager, Weg met ons. Moderne Hollandse landschappen in het Kröller-Müller Museum, in NRC Handelsblad 4 juli 2008, Cultureel Supplement, p. 8-9.

Peter Delpeut, Het gaat niet om schoonheid. Perspectieven op het Nederlandse landschap, in De Groene Amsterdammer 132 (11 juli 2008) 28/29.

Wim van der Beek, Landschap met een eigen smoel, in De Stentor/Veluws Dagblad 12 juli 2008.

Anoniem, ‘We proberen kunstwerken volgend jaar in Epe of Vaassen te laten zien’. Een kunstige kijk op het Wisselse Veen, in De Stentor/Veluws Dagblad 11 oktober 2008.

Hripsimé Visser en Rik Suermondt, Fotografie in het Stedelijk. De geschiedenis van een collectie, Amsterdam/Rotterdam (Stedelijk Museum Amsterdam/NAi Uitgevers) 2009, p. 215, 270, 286-287 (serie: Catalogus Stedelijk Museum Amsterdam, nr. 890).

Merel Bem, Het landschap vlak voor onze voeten, in de Volkskrant 8 februari 2009.

Edo Dijksterhuis, Lelies in een verstikte vijver, in Het Financieele Dagblad 28 februari 2009.

Arno Haijtema, Geconcentreerd loeren. Recensie. Landschapsfoto’s van Wout Berger, in de Volkskrant 19 maart 2009.

Sandra Smets, Ook wie dood is kan er best goed uitzien, in NRC Handelsblad 31 maart 2009.


GKf, 1984-ca. 1992.

Tentoonstellingscommissie 100 Meter foto in het Stedelijk (GKf), Amsterdam 1986.

Jury, Capi-Lux Alblas-prijs 1995.


1963 (g) Amsterdam, [tentoonstelling uitgeschreven door Famos, de Federatie van Amsterdamse Middelbare-scholieren].

1970 (g) Amsterdam, Expositieruimte van NV Drukkerij Sigfried, Signaal ’70.

1979 (e) Amsterdam, Canon Galerie (Reestraat).

1980 (g) Parijs, Musée nationale d’Art moderne-Centre George Pompidou, Instantanés.1984 (e) Amsterdam, Canon Gallery, Wout Berger, recent werk.

1984 (g) Purmerend, Museum Waterland, Fotografie [Wout Berger en Eric van Straaten].

1985 (e) Dublin, Gallery of Photography.

1985 (g) Zaandam, Stichting Zienegoog, [kunstbiennale Noordhollandse kunstenaars].

1986 (g) Amsterdam, Koopmansbeurs, Nederlandse kleurenfotografie (Foto ’86).

1986 (g) Amsterdam, Stedelijk Museum, 100 meter foto in het Stedelijk (GKf).

1986 (g) Haarlem, Gebouw Noord-Holland, ‘Kunstmap Waterland’ [Wout Berger, Madelein Metsaars, Ingeborg Oderwald en Leo Poelmeijer].

1986 (e) Rotterdam, Galerie De Lachende Koe, Wout Berger, kleurenfoto’s.

1986 (e) Venray, Galerie “En Passant”, Wout Berger fotografie.

1987 (e) Amsterdam, Canon Photo Gallery, Verboden voor onbevoegden (landschappen van Wout Berger).

1987 (g) Amsterdam, Entrepôtdok, Kunst over de vloer.

1987 (g) Middelburg, Kunstuitleen Middelburg, [Paul den Hollander, Eric van Straaten en Wout Berger].

1987/1988 (e) Eindhoven, Galerie Pennings, Verboden voor onbevoegden.

1988 (g) Amsterdam, SBK, Fototentoonstelling uit eigen collectie.

1988 (e) Rotterdam, Galerie Hélène van Stralen, Wout Berger Foto’s.

1989 (g) Amsterdam, Stedelijk Museum, De fotografie van de 20ste eeuw [foto’s uit eigen collectie] (Foto 89).

1990/1991 (g) Amsterdam, Canon Image Centre, Op reportage. 25 jaar Avenue-reisfotografie.

1991 (g) Amsterdam, Nieuwe Kerk, Het Beslissende Beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw (Collectie Stichting Dutch Photography).

1991 (g) Haarlem, Gebouw Noord-Holland, “Natuurlijk” [Jan Groenhart aquarellen, Wout Berger foto’s en Gijs Royaards schilderijen].

1992 (g) Amsterdam, Beurs van Berlage, Fotowerk, fotografie in opdracht 1986-1992.

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

1992 (e) Arles, Poisoned Landscapes (Rencontres Internationales de la (Rencontres Internationales de la Photographie d’Arles).ania, Giflandschap (Foto Biënnale Rotterdam III).

1992 (g) Rotterdam, Imax Theater, Wasteland. Landscape from now on (Fotografie Biennale Rotterdam III).1992 (e) Rotterdam, Perspektief, centrum voor fotografie, Gifbelten.

1992/1993 (g) Amsterdam, Rijksmuseum, Het eeuwige moment. Een fotografische visie op cultuurbehoud door Wout Berger, Wijnanda Deroo en Mirjam de Zeeuw [reizende tentoonstelling: 1993 Leeuwarden, Friesch Museum; Enschede, Rijksmuseum Twenthe; Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’].

1993 (g) Amsterdam, Arti et Amicitiae, Morgen gemaakt.

1993 (e) Baarn, Kasteel Groeneveld, Giflandschap. Landschapsfoto’s van Wout Berger.

1993 (g) Den Haag, Provinciehuis Zuid-Holland, ‘Denkend aan Holland’. hedendaagse cultuurlandschappen. drie fotografen geven hun visie. Wout Berger giflandschappen. Martin Luijendijk volkstuinen. Erik van Straaten haven- en industrieterreinen.

1993 (g) Stittard, Nederlands Fotomuseum, Ver = Hier.

1994 (g) Amsterdam, Fotogram, De eerste de beste.

1994 (g) Amsterdam, Stedelijk Museum, Giflandschap

1994 (g) Graz, Gallery Camera Austria, Poisoned Landscape.

1995 (g) Haarlem, Stichting Beeldende Kunst Kennemerland, [Wout Berger, Rommert Boonstra, Jean Ruiter, Peter Ruting en Martin Thomas].

1995 (g) Hoorn, Mariakapel, Kustlijn [zomerkunstmanifestatie].

1995 (g) Rotterdam, Galerie Fotomania, De Concurrenten [Henze Boekhout, Hans Aarsman en Wout Berger].

1995 (g) Rotterdam, Kunstbeurs, Galerie ’95 [presentatie Galerie Fotomania: Henze Boekhout, Hans Aarsman en Wout Berger].

1995 (g) Tokio, Metropolitan Museum of Photography, Critical Landscapes.1996 (g) Berlijn, Neuer Berliner Kunstverein, Zeitgenössische Fotokunst aus den Niederlanden.

1996 (e) Den Haag, Galerie Van Kranendonk

1996 (g) Dudelange, Galerie Nei Liicht, Aspekte der zeitgenössischen Niederländischen Fotografie

1996 (e) Haarlem, Vishal (De kleine zaal), Wout Berger.

1996 (g) Karlsruhe, Badischer Kunstverein, Zeitgenössische Fotokunst aus den Niederlanden.

1996 (g) Naarden, Grote Kerk, Zeventien visies op Noord-Holland.

1996 (g) Turijn, Fotodiffusione ’96 [presentatie Galerie Fotomania].

1996/1997 (g) Amsterdam, De Balie, Circumstantial Evidence [Henze Boekhout, Hans Aarsman en Wout Berger].

1997 (g) Braunschweig, Museum Braunschweig, Motivation Landschaft.

1997 (e) Dudelange, Gallery Nei Liicht.

1997 (g) Groningen, Quadrant, Schoonheid van het Verval.

1997 (g) Halle, Hallescher Kunstverein, Zeitgenössische Fotokunst aus den Niederlanden.

1997 (e) Naarden, [buitenexpositie], Wout Berger (Fotofestival Naarden).

1997 (g) Wenen, Fotogalerie Wien, [Bilder. Nr. 136, Austauschausstellung. Fotogalerie Wien – Galerie Fotomania/Rotterdam].

1998 (g) Arles, Un nouveau paysage humain (XXIXe Rencontres Internationales de la Photographie d’Arles).

1998 (e) Den Haag, Galerie Van Kranendonk, Landschappen op bijna klassieke wijze. Wout Berger.

1998 (e) Den Haag, Galerie Van Kranendonk.

1998 (g) Eindhoven, Voormalig gebouw Akademie van Industriële Vormgeving, ‘Openbaar-Privé’ (Foto Manifestatie Eindhoven 1998).

1998 (g) Sheffield, City Museum & Mappin Art Gallery.

1998 (e) Stockholm, Stockholm Art Fair [presentatie Galerie Van Kranendonk].

1999 (g) Montreal, Maison de la culture Frontenac, Human conditions, intimate portraits/Conditons humaines, portraits imtimes (Mois de la Photo) [reizende tentoonstelling: 2000 Rotterdam, Nederlands Foto Instituut; 2000 Madrid, La Sala de Exposiciones del Canal de Isabel 11; 2005 Dunaújváros, Kortárs Müvészeti Intézet (Institute of Contemporary Art)].

1999 (g) Rotterdam, Nederlands Foto Instituut, PhotoWork(s) in Progress II.

2000 (e) Amsterdam, KunstRai, [presentatie Galerie Van Kranendonk].

2000 (g) Bergen, Kunstenaars Centrum Bergen (KCB), Wout Berger foto’s Walter Simon schilderijen.

2000 (g) Den Haag, Galerie Van Kranendonk, Dierbaar.

2000 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2000 (g) Rotterdam, TENT. Centrum Beeldende Kunst, Niet om het even [laatste tentoonstelling Galerie Fotomania].

2001 (g) Bodegraven, Fort Wierickerschans, Zand water veen – Harena aqua palus [reizende tentoonstelling: Jacobswoude, Gemeentehuis; Liemer, Gemeentehuis; Lisse, Keukenhof; Leiden, Galerie LUMC; Den Haag, Provinciehuis Zuid-Holland].

2001 (g) Den Haag, Galerie Van Kranendonk, Intimate spaces. Foto’s van: Hans Aarsman, Wout Berger, Nick Bick, Wijnanda Deroo, Bertien van Manen, Uli Martens, Maarten Wetsema.

2001 (e) Londen, Photographers Gallery.

2001 (g) Meymac, Abbaye St. André, Ambiance Magasin.

2001 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2001 (g) Winterthur, Fotomuseum Winterthur, Trade.

2001/2002 (g) Den Bosch, Kruithuis, Met een knipoog van de camera.

2001/2002 (g) Den Haag, Haags Gemeentemuseum, More than red, white and blue [kunstcollectie Ministerie van Buitenlandse Zaken].

2001/2002 (g) Parijs, Paris Photo Encore [presentatie Galerie Van Kranendonk].

2002 (g) Amsterdam, Huis Marseille Museum voor Fotografie, Foto’s van de koude grond/Cultivated in the open, photographs .

2002 (g) Arles, Rencontres Internationales de la Photographie d’Arles [presentatie Galerie Van Kranendonk].

2002 (g) Assendelft, Stortlocatie Nauerna, Van IJ tot Zee 02 [onderdeel kunstroute in het gebied van het Noordzeekanaal].

2002 (g) Den Haag, Galerie Van Kranendonk, Interior delight. Foto’s van Wout Berger, Wijnanda Deroo, Edith Eussen, Martin Luijendijk, Rafaël Philippen, Anne-Meike van Willegen.

2002 (e) Den Haag, Galerie Van Kranendonk, Wout Berger.

2002 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2002 (g) Paris, Institut Neerlandais, zand – water – veen (harena – aqua – palus).

2002 (g) Rotterdam, Nederlands Fotomuseum, Trade. De wereld van de hedendaagse handel verbeeld.

2002/2003 (g) Den Haag, Fotomuseum Den Haag, Fotografen in Nederland 1852-2002.

2002/2003 (g) Spanbroek, Frisia Museum, Passie voor pose. Nederlandse modefotografie vanaf 1950.

2003 (g) Amsterdam, Stedelijk Museum, LinkGemeente aankopen 2002-2003.

2003 (g) Bergen, Kunstenaarscentrum Bergen, De Kerf verbeeld. Impressies van een nieuw landschap.

2003 (e) Den Haag, Galerie Van Kranendonk, Wout Berger.

2003 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2003 (g) Parijs, Colette, L’insensé Pays-Bas.

2003 (g) Rotterdam, Nederlands Fotomuseum, Vrrooom! Vrrooom!

2003 (e) Rotterdam, Rotterdam Cruise Terminal, Art Rotterdam 2003 [presentatie Galerie Van Kranendonk].

2004 (e) Amsterdam, Galerie Witteveen, Wout Berger. Fotografie.

2004 (g) Amsterdam, RAI, KunstRAI 2004 [presentatie Galerie Van Kranendonk].

2004 (g) Ardèche, Galerie Le Besset.

2004 (g) Clermont-Ferrand, Musée des Beaux Arts, Soleil Vert.

2004 (g) Conches en Ouche, Biënnale Conches.

2004 (g) Den Haag, Galerie Van Kranendonk, The world in five steps.

2004 (g) Dordrecht, Teekengenootschap Pictura, 1: een – Levensecho.

2004 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2004 (e) Parijs, Galerie Polaris, V arious positions.

2004 (g) Tokio, Maison Louis Vuitton, L’Insensé.

2005 (g) Annecy, Fondation Salomon, Collection 2.

2005 (g) Chicago, The Art Institute of Chicago, In Sight. Contemporary Dutch Photography from the Collection of the Stedelijk Museum, Amsterdam.

2005 (g) Den Bosch, Stichting KW14, Constructed moment.

2005 (g) Dordrecht, Centrum voor Beeldende Kunst, Selectie 05 [tentoonstelling met voorstellen nieuwe aankopen kunstuitleen].

2005 (g) Genk, FLACC, INward OUTward.

2005 (g) Naarden, Grote Kerk, (Made in Holland. Epson Fotofestival Naarden).

2005 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2005 (g) Rotterdam, Nederlands Fotomuseum, Foto’s uit de polder (2de Internationale Architectuur Biënnale).

2005 (g) Tokio, Tokyo Metropolitan Museum of Photography, 10th Anniversary Commemmorative Exhibition, The Collection of the Tokyo Metropolitan Museum of Photography. How Photography Changed People’s Viewpoint. 4. CHAOS. Our Time, Our Future.

2005/2006 (g) Doorwerth, Kasteel Doorwerth, [project Vereeuwigd landschap, waarbij het Wisselse Veen in beeld wordt gebracht].

2006 (g) Amsterdam, Galerie Witteveen, Wout Berger en Noor Damen.

2006 (g) Den Haag, Galerie Van Kranendonk, Particolare.

2006 (e) Den Haag, Galerie Van Kranendonk, Wout Berger.

2006 (g) Langon, Association Imagiques, Les imagiques. Rencontres photographiques en sud-gironde.

2006 (g) New York, International Center of Photography (ICP), Ecotopia. The Second ICP Triennal of Photography and Video.

2006 (g) Palm Beach, Convention Center, [kunstbeurspresentatie samen met fotograaf Stephane Couturier].

2006 (g) Parijs, MEP. Maison Européene de la Photographie, L’esprit du Nord. Netherlands Now, L’école du Nord.

2007 (g) Amsterdam, Loods 6, [4 galleries onder 1 dak].

2007 (g) Amsterdam, RAI. Parkhal, Art Amsterdam [presentatie Galerie Van Kranendonk].

2007 (g) Broek in Waterland, Waterland Photo Gallery, Het gezicht van Waterland.

2007 (g) Delft, Contour / Continuïteit, Heden en Verleden [111 hedendaagse Nederlandse kunstenaars in 3 Delftse musea: Stedelijk Museum Het Prinsenhof, Museum Nusantara en Museum Lambert van Meerten].

2007 (g) Leiden, Stedelijk Museum De Lakenhal, Fotografie uit eigen collectie.

2007 (g) Monnickendam, Kunst kijken Monnickendam [kunstroute langs verschillende locaties].

2007 (e) New York, Bonni Benrubi Gallery.2007 (g) Parijs, Paris Photo [presentatie Galerie Van Kranendonk].

2007 (g) Rotterdam, Nederlands Fotomuseum, Dutch Eyes. Een nieuwe geschiedenis van de fotografie in Nederland.

2008 (g) Amsterdam, RAI. Parkhal, Art Amsterdam [presentatie Galerie Van Kranendonk].

2008 (g) Den Haag, Galerie Van Kranenkonk, Miami Revisited.

2008 (g) New York, Wave Hill Gallery, Landscapes in Distress.

2008 (g) Otterlo, Kröller-Müller Museum, Nature as Artifice. Nieuw Nederlands landschap in fotografie en videokunst [reizende tentoonstelling 2008/2009 (g) München, Neue Pinakothek, Nature as Artifice – Natur als Kunstgriff; 2009 Rochester, George Eastman House, Nature as Artifice. New Dutch Landscape in Photography and Video Art; New York, Aperture Gallery]

2008 (g) Rotterdam, Galerie Poonberg, Flower Power.

2009 (e) Amsterdam, RAI. Parkhal, Art Amsterdam [presentatie Galerie Witteveen].

2009 (g) Arnhem, Museum voor Moderne Kunst, Ophelia. Sehnsucht, melancholie en doodsverlangen

2009 (e) Den Haag, Galerie Van Kranendonk, Like Birds.

2009 (g) Renkum, Gemeentehuis van Renkum, Verenigd landschap.

2010 (g) Brighton, Co-operative department store, New Ways of Looking (Brighton Photo Biennial 2010: New Documents. Curated by Martin Parr).

2010 (g) Den Haag, Galerie Van Kranendonk, Na Pele da Terra [Op de huid van de aarde; samen met Gerco de Ruiter en Wim van Egmond].

2010 (e) Lille, Palais Rameau, (festival Transphotographique: Une Seconde Nature).


Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand

Leusden, Jan Wingender (collectie nederlands fotoboek).

Uitdam, Wout Berger.


Amsterdam, ABN AMRO Kunststichting.

Amsterdam, AMC Collectie.

Amsterdam, Huis Marseille Museum voor Fotografie.

Amsterdam, Randstad Collectie.

Amsterdam, Rijksmuseum.

Amsterdam, Stadsarchief.

Amsterdam, Stedelijk Museum.

Amsterdam, Stichting Dunhill Dutch Photography.

Arnhem, Akzo Nobel Art Foundation.

Chicago, Collection of the LaSalle National Bank.

Den Haag, Kunstcollectie Ministerie van Buitenlandse Zaken.

Den Haag, Ministerie van Binnenlandse Zaken.

Dublin, Photo Art Gallery.

Frankfurt, Photo Forum.

Groningen, KPN Kunstcollectie.

Kansas City, The Hallmark Photographic Collection.

Kansas City, The Nelson-Atkins Museum of Art.

Leiden, Stedelijk Museum De Lakenhal.

New York, Arience Capital Collection.

Parijs, Collection Neuflize.

Purmerend, Museum Waterland.

Rotterdam, Caldic Collectie.

Rotterdam, Centrum Beeldende Kunst.

Rotterdam, Erasmus Universiteit.

Rotterdam, Museum Boijmans van Beuningen.

San Francisco, The Wong Collection of Art.

Schiphol, KLM Kunstcollectie.

Tokio, Metropolitan Museum. Utrecht, Kunstcollectie UMC.

Utrecht, Stichting Kunst & Historisch Bezit Fortis.