Mr. Zimbel’s remarkable photos of Marilyn Monroe, shot during a publicity shoot for The Seven Year Itch, later graced museums, and he also loved to shoot urban landscapes – first in New York, later in his adopted home of Montreal
Poet William Blake wrote of “he who kisses the joy as it flies.” That would be an apt description of the American-Canadian photographer George S. Zimbel. A distinctiveripples through Mr. Zimbel’s classic black-and-white images, whether they capture Marilyn Monroe gamely posing on a subway grate, a Teamster in overalls playfully goosing a buddy, or a little deaf-mute girl twirling ecstatically in her private world.. “I see things that are ‘up’ and it gets me interested.
While he sometimes shot movie stars and politicians, including JFK and Pierre Trudeau, more often Mr. Zimbel trained his camera on ordinary, often working-class people. One of the great street photographers, he loved to roam urban landscapes – first in New York, later in his adopted home of Montreal – and catch priceless moments.
Returning to New York in 1953, Mr. Zimbel went back to freelance work. His most famous photo sequence came about by chance, when he obtained a discarded press pass to a publicity shoot for the 1955 Marilyn Monroe comedy. As a grinning Ms. Monroe cavorted in her billowing white dress above a Lexington Avenue sidewalk grate, Mr. Zimbel grabbed a remarkable series of shots documenting the promotional stunt. They included director Billy Wilder conferring with Ms.
Mr. Zimbel did, however, sell many other pictures. In the 1950s and 60s, his work appeared in many of the major U.S. media outlets, from popular magazines Life, Look and Redbook to the New York Times. They included some iconic images of the period, such as his 1960 close-up of a jubilant John and Jacqueline Kennedy riding in a convertible during a ticker-tape parade. “It really illustrates the magic of that Camelot era,” Mr. Bulger said. Between gigs, Mr.
Mr. Zimbel had started exhibiting his work in PEI, unearthing the Marilyn sequence for a 1976 show at the Confederation Centre Art Gallery in Charlottetown. In Montreal, he had further solo exhibitions in the 1980s and his reputation grew. His work was acquired by the Museum of Modern Art and the International Center of Photography in New York, the National Gallery of Canada, the Musée d’Art Contemporain de Montréal and the Tokyo Metropolitan Museum of Photography, among others.
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