Written by Kasey Caminiti

Page 42, Nude, September 1953

Taken during their first sitting for Look magazine, this series was shot after the entourage from Look had left. Milton loved to use props in his photography. Here Marilyn is wearing one of Amy’s sweater coats, a favorite of Milton’s. At the time, many of these photos were considered too risqué for Look magazine, which ended up only publishing a few of the pictures of her sitting on the floor. Here, notice Marilyn is sitting on the floor or kneeling, the result of a sprained ankle.

Written by Kasey Caminiti

Page 115, Ballerina, October 1954

Perhaps Milton and Marilyn’s most recognizable series of images, the Ballerina Sitting, was named by Time magazine in 1999 as one of the top three photographs of the 20th century, alongside Philippe Halsman’s photo of Albert Einstein and Yousuf Karsh’s Winston Churchill. Taken in Milton’s New York studio, Marilyn is wearing an ill-fitting tulle and satin dress. The design of the dress has been commonly attributed to Anne Klein, a close personal friend of the Greenes whose clothes Milton frequently borrowed. However, it was actually created by another New York designer, Herbert Kasper, while working for 7th Avenue fashion manufacturer Arnold-Fox. Milton also used Kasper’s designs at various times during the 1950s.

The fitting error was because Milton’s wife, Amy, did not know Marilyn’s actual dress size, as they had yet to shop together. Apparently, the dress was two sizes too small, requiring Marilyn to hold up the front bodice. What we love is Marilyn’s ability to take it all in her stride. It was her sense of humor and deep trust in Milton that made this such an iconic series.

Written by Kasey Caminiti

Written by Kasey Caminiti

Page 158, Wicker, March 1955

Imbibing spirits, Milton and Marilyn holed up in his New York studio to create this loose and relaxed series of images. Marilyn is wearing matching trousers and jacket designed by Jax of Hollywood. This retro style for a 1950s modern woman became a signature look for Marilyn. Marilyn hated wearing high heels. Her personal preference was to go barefoot or to wear a simple pair of flats.

Written by Kasey Caminiti

Page 139, White Robe, March 1955

Here Marilyn has just finished doing her makeup, and is wearing her favorite outfit, a white terrycloth robe. As she came out of the studio, Milton said, “Let’s shoot this.” And, unprompted, he began shooting her in the robe.

Written by Kasey Caminiti

Page 11, Black Cape, October 1955

Milton selected two outfits from a rack of clothes left over from a fashion shoot and used Marilyn as a model while setting up lights for two shooting environments to be used the following day. Milton and Marilyn had heard that the lawsuit filed against 20th Century Fox would soon be settled and were in festive mood. “She wasn’t a victim. I hate when people describe her as a victim,” recalled Amy.“She was a young woman that was a sponge who wanted life to come in and show her what she had to do. She was ready for anything. That’s why she had such a great sense of humor. And she lived every day in the present.”

Written by Kasey Caminiti

Page 285, April 1956

Here Marilyn is dressed as a gypsy palm reader, one of the many outfits she would dress up in while ransacking the 20th Century Fox costume department with Milton on Sunday afternoons. Milton’s intuition led him to photograph Marilyn in three different environments: on the stairwell inside the shop; on the windowsill from the inside looking out; and from the street looking in through the window. He also got a wide exterior as well. That’s the sign of a photographer exploring options.

Written by Kasey Caminiti

Page 340, Prince and the Showgirl, July/August 1956

The 30-year-old Marilyn Monroe and 34-year-old Milton H Greene embarked on their second film collaboration together. Marilyn Monroe Productions was the executive producer of record and the two of them were in control of all aspects of the production, including allowing Laurence Olivier to direct, and Milton hiring the great photographer/cinematographer Jack Cardiff. Milton and Jack shared an appreciation of aesthetics that guided them through costume design, lighting and camera angles. Newlyweds Marilyn and Arthur arrived in London on July 14 to the eagerly waiting British press. Filming took place at Pinewood studios, but when you look at the sets, the costumes and the lighting, you see the grand, old dramatic Hollywood style of the 1930s. The difficulties encountered during the four months of filming are well documented. However, when you see Marilyn’s performance of Elsie on the screen, all those troubles fade away.

Written by Kasey Caminiti

The Essential Marilyn Monroe is the completion of a five year project by Joshua Greene, Milton Green's son, who restored hundreds of photographs his father had taken of Marilyn Monroe over the course of their friendship.

The deluxe edition will be limited to 500 copies and will come hand-numbered and stamped by the Milton Estate. Available at accpublishinggroup.com.