The Aftermath of War: A Powerful New Exhibition Comes to New York

The pictures that legendary LIFE photographer Leonard McCombe made at the beginning of his career in the 1940s have a resonance that hits particularly hard in 2022.

McCombe grew up in the Isle of Man and by the time he was 18, he was working as a war correspondent in Europe, shooting photos of the violence that was tearing up the continent during World War II.

Now Europe is once again at war and citizens are facing the same dire circumstances due to Russia’s invasion of Ukraine. The photos in a new exhibition of McCombe’s work at the German Consulate General in New York tell the story of the deprivation and destruction of war.

McCombe, who was inspired to take up photography as a youth when he saw a copy of LIFE, would go on to become a staff photographer at the magazine. His many memorable stories for LIFE included a report from inside the Navajo nation and an essay on the vanishing American cowboy.

McCombe, who turned to farming after the original LIFE stopped publishing in 1972, died in 2015, at age 92. He left behind folders and envelopes full of negatives from his decades in photography. His son Clark and a friend, Hannah B. Ortiz, had begun going through those old photos when McCombe was alive, prodding the reticent photographer to talk about the history behind his pictures. Clark and Ortiz’s continued work provided the source material for the new exhibition at the German Consulate.

They originally began planning the show with the idea that it would run in 2020, on the 75th anniversary of the D-Day invasion. The COVID-19 pandemic pushed the show back to 2022, with the war in Ukraine displacing citizens by the millions.

“This exhibition is less a commentary on history than a reminder of its fragility,” said Clark and Ortiz in a statement in the exhibition catalog. “Instead of a recollection of the past, it is a mirror to the present.”

Clark today works the family farm that his father started in Long Island, New York. After McCombe had traded in cameras and far-flung assignments for apples and peaches and berries, he didn’t look back. Clark said in a phone interview that although his father didn’t talk much about the specifics of what he had witnessed during World War II, he was unmistakably anti-war. Clark remembers that in the 1960s his father would say of the those advocating for the Vietnam War, “If they had seen firsthand what war was, they wouldn’t be so quick to be bombing people.”

The pictures in this exhibition capture scenes from Berlin and Nuremburg, as well as Warsaw and other parts of Poland. Clark says that when he looks at the pictures, in addition to seeing the suffering they document, he can’t help but think of his father as a young man, traversing a war-ravaged Europe and taking in all this horror.

“When I look at what he did and how he managed, I just shake my head,” he said. “I don’t know how he did it, or a lot of those guys did it.”

The exhibition runs through August 15, 2022. Here is a brief selection of McCombe’s images:

Exhausted, homeless German refugees huddled in a city municipal building seeking shelter in Berlin, 1945.

Leonard McCombe

A starving German woman and child were taken in at a hospital in Berlin after having walked 180 miles from Silesia, 1945.

Leonard McCombe/LIFE Picture Collection/Shutterstock

German refugees, civilian and soldier alike, crowded platforms of the Berlin train station after being driven from Poland and Czechoslovakia following the defeat of Germany by Allied forces, 1945.

Leonard McCombe/LIFE Picture Collection/Shutterstock

A dying farmer raised his head to call to German Red Cross worker hesitating outside the truck, called a “”death carriage.”” October 1945.

Leonard McCombe/LIFE Picture Collection/Shutterstock

A former German soldier who had lost his lower legs was carried by a fellow soldier after departing a train that had brought him back to Germany from a Russian POW camp, 1945.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Prince Charles and Tricia Nixon: The Match That Didn’t Take

In 1970, a 21-year old Prince Charles came to the United States in the company of sister Anne, wearing not only the crown of British royalty but also the title of the most eligible bachelor in the world.

This was Charles’s first trip ever to the United States, and when he came to Washington DC, he and the president’s daughter, Tricia Nixon, ended up spending plenty of time together. The two saw the sights of Washington, attended a formal dinner and even went to a baseball game at RFK Stadium (For the curious: they saw the Senators top the Brewers 4-3).

In a 2021 interview Charles reflected on that trip to DC and the social arrangements that had been made. “That was quite amusing, I must say,” he told CNN. “That was the time when they were trying to marry me off to Tricia Nixon.”

LIFE magazine’s coverage of the visit in its July 31, 1970 issue made no mention of any prospective union between Charles and Tricia. But it did talk about how President Nixon seemed unusually excited about the royals. Columnist Hugh Sidey offered the theory that Nixon was so infatuated with them because the President lacked what Charles and Anne had in abundance. “He has hired more bands and had more ceremonies and designed more funny police uniforms and worn more white ties than any recent President in his intense but vain search for the magic which the prince and his sister carried along so casually,” Sidey wrote.

The weekend visit was capped by the formal evening event. “The young folks laughed and danced,” Sidey wrote. “Those who saw Richard Nixon say he never looked happier.”

But if Nixon entertained dreams of an old-world marriage of state, the kids had other ideas. Less than a year after Charles’ visit, Tricia married Edward F. Cox in a ceremony on the White House lawn. Cox was no royal, only a Harvard Law student, but their relationship earned Tricia Nixon two appearances on the cover of LIFE: one after it was clear the couple was serious, and another for the White House wedding. Their union was a lasting one: Tricia and Edward Cox remain married today.

Charles, meanwhile, had a good decade of bachelorhood in front of him before marrying Lady Diana Spencer on July 29, 1981. He and Diana would divorce after 15 years of marriage.

Prince Charles and Tricia Nixon, Washington D.C. 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

Prince Charles escorted Tricia Nixon, daughter of President Nixon, to a formal White House dinner, Washington DC, July 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

Prince Charles, President Nixon, Princess Anne and First Lady Pat Nixon at the White House, Washington D.C., 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

President Nixon with Princess Anne, Washington D.C., 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

Prince Charles and Tricia Nixon, Washington DC, 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

Tricia Nixon (far left) seated next to Prince Charles, David Eisenhower, Princess Anne, and Julie Nixon Eisenhower, at a Washington Senators baseball game at RFK Stadium in Washington DC, 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

Tricia Nixon, Prince Charles, David Eisenhower, Princess Anne, and Julie Nixon Eisenhower took in a Washington Senators baseball game in 1970 during a royal visit.

Stan Wayman/LIFE Picture Collection/Shutterstock

Tricia Nixon and Prince Charles at a baseball game at RFK Stadium, July 19, 1970.

Stan Wayman/LIFE Picture Collection/Shutterstock

LIFE Magazine Show Opens At Monroe Gallery Of Photography

Like thousands of New Yorkers, Sid and Michelle Monroe left the city after the events of September 11 to find a new home. They chose the art and cultural capital of Santa Fe, New Mexico, where they opened the Monroe Gallery of Photography in April 2002. Now, twenty years later, they’re celebrating their gallery’s anniversary by revisiting the topic of their first show: the photographers of LIFE Magazine.

Opening on May 6, 2022, the exhibit celebrates what the Monroes call LIFE’s “stunning affirmation of the humanist notion that the camera’s proper function is to persuade and inform.” Photographs from essays by LIFE icons such as Margaret Bourke-White, Alfred Eisenstaedt, Carl Mydans, and Andreas Feininger will be on display. LIFE photographer Bob Gomel, now 88, will also be in attendance at the opening reception from 5-7pm on Friday, May 6.

LIFE.com recently caught up with the gallerists Sid and Michelle Monroe over email to learn more about their show and their thoughts on LIFE, and, well, life in Santa Fe.

How did you become gallerists? Why did you choose to focus on photojournalism?

We both entered the museum field after college, Michelle with the Cooper Hewitt, Smithsonian Design Museum and Sid with the Metropolitan Museum of Art. Michelle was also a working artist and Sid was the director of a SoHo gallery specializing in fine art editions, where the gallery owner was exploring an exhibition with Alfred Eisenstaedt in collaboration with the LIFE Picture Collection. In 1985, we sat down with Alfred Eisenstaedt to discuss the exhibition and, then in our 20s, were were awed and engaged with his stories of an extraordinary life behind the camera.

We understood that we were in the presence of something bigger than we had ever encountered before. The work of Alfred Eisenstaedt is our collective history—we didn’t live this but this is what formed the world we were born into. In the eighties, photography was only beginning to gain a foothold in the fine art market, and most galleries were concentrating on the early “masters” of fine art photography. Eisenstaedt, and in general the field of photojournalism, had not been exhibited in a gallery setting. We believed immediately that a gallery which combined the realms of art, history, and reportage would be unique, and that set us on our course.

Albert Einstein 1948

Albert Einstein

Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock

Why a LIFE exhibition? Why now?

We had our beginning in New York, and over the course of the 1990s had the extraordinary opportunity to meet, get to know, and work with many of the legendary photographers of LIFE magazine, all in their retirement years. Through countless conversations, we learned how they saw the world and recorded it for the magazine, and more importantly, for history. Their work, and work approach, helped us gain insight into how to view their photographs, decades after they made them. Ever since, we have have worked conscientiously over the past 20 years to establish Monroe Gallery of Photography at the intersection between photojournalism and fine art, showcasing works embedded in our collective consciousness that shape our shared history. The Gallery represents several of the most significant photojournalists up to the present day, but the work of the LIFE photographers has been our foundation.

Mother and child in Hiroshima, Japan, December 1945.

Mother and child in Hiroshima, Japan, December 1945.

Alfred Eisenstaedt; The LIFE Picture Collection/Shutterstock

What do you wish collectors knew about LIFE? The general public?

The work of the photographers of LIFE magazine came to define the medium of photojournalism, and their photographs recorded history and informed us all for most of the twentieth century. It was long one of the most popular and widely imitated of American magazines, selling millions of copies a week. From its start, LIFE emphasized photography, with gripping, superbly chosen news photographs, amplified by photo features and photo essays on an international range of topics. Its photographers were the elite of their craft and enjoyed worldwide esteem. Published weekly from 1936 to 1972, the work of the photographers of LIFE magazine came to define the medium of photojournalism.

American sprinters Tommie Smith (center) and John Carlos (right), after winning gold and bronze Olympic medals in the 200m, respectively, raise their fists in a Black Power salute, Mexico, 1968. Australian silver medalist Peter Norman is at left.

American sprinters Tommie Smith (center) and John Carlos (right), after winning gold and bronze Olympic medals in the 200 meters, respectively, raised their fists in a Black Power salute, Mexico, 1968. Australian silver medalist Peter Norman is at left.

John Dominis/Life Pictures/Shutterstock

Do you have a favorite piece in the show?

Considering we curated the exhibit from potentially thousands of images, the exhibit itself represents our favorites—with enough left over we could easily do a “part two”!

Who are some of your favorite LIFE photographers? Are there some that may have been overlooked?

That’s a difficult question, as each LIFE photographer had their own individual and particular personality and style. We consider ourselves extraordinarily privileged to have been able to have known, and call friends, so many of these great photographers. To name only a few, Eisenstaedt was by many measures the “Dean” of the LIFE photographers and he taught us how to “see”;  Carl Mydans left a deep impression on us with his humility and intense humanistic dedication; Bill Eppridge was deeply committed to documenting historic and deeply sensitive subjects; and Bob Gomel‘s versatility and ingenuity impresses us to this day. 

John Lennon;Paul Mccartney;Ringo Starr;George Harrison

John Lennon, George Harrison, Paul Mccartney and Ringo Starr, February 1964.

© Bob Gomel / Courtesy of Bob Gomel

And for people who plan to visit the LIFE show in Santa Fe, are there other favorite art spots in the area that you recommend?

Santa Fe is a gem of an art-destination city. There are over 200 galleries showing every possible form of art from ancient Native American art and pottery to cutting edge contemporary art. [We recommend] SITE Santa Fe, a contemporary art space; Institute of American Indian Arts; Museum Hill; Georgia O’Keeffe Museum; and Meow Wolf, an ‘immersive art installation’ where visitors enter and discover that nothing is as it seems…

Do you have advice for young photojournalists who might want to display their works in a gallery?

Foremost, understand and dedicate yourself to the profession and its specific ethical requirements. Respect its role as the fourth estate and its check on power. Do the work. The role of photojournalists has perhaps never been as vital and important as it is today.

Indian leader Mohandas Gandhi reading next to a spinning wheel at home. (Photo by Margaret Bourke-White/The LIFE Picture Collection © DotDash Meredith)

Indian leader Mohandas Gandhi reading next to a spinning wheel at home. (Photo by Margaret Bourke-White/The LIFE Picture Collection © DotDash Meredith)

The LIFE Photographers exhibit will be on display at Monroe Gallery from May 6 through June 26, 2022. For hours and location, please consult the gallery’s website.

Jill Golden is the director of the LIFE Picture Collection, an archive of more than 10 million photographs created by—and collected by—LIFE Magazine.

Mamma Mia! The Everlasting Appeal of ABBA

The following is from the introduction to LIFE’s brand new special tribute issue ABBA: Their Songs. Their Stories. Their Lives, available at newsstands and online.

At their 1996 reunion concert, punk pioneers the Sex Pistols wanted to poke fun at pointless pop. Before they took the stage at London’s Finsbury Park, ABBA’s “Dancing Queen” blasted out of the PA system.

By 1996, the ABBA phenomenon seemed long dead; once a guilty pleasure the world over, did the Swedish quartet’s catalog retain any cultural capital, or was it a frivolous relic of the disco age? Evidently, Sex Pistols front man Johnny Rotten thought “Dancing Queen”—coincidentally celebrating a 20th birthday alongside “Anarchy in the U.K.”—deserved to be mocked. But the aging punks and young hipsters in the crowd didn’t make fun of the song. They didn’t laugh or boo when they heard ABBA sing “You can dance, you can jive/Having the time of your life.” Instead, the audience sang along with delight.

Punk couldn’t kill “Dancing Queen.” Time couldn’t kill ABBA. A generation past their prime, Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad remained beloved. Now, a quarter century after that night when the Sex Pistols tried to make ABBA a punch line, the band has attained immortality.

Late South African president Nelson Mandela and Nirvana frontman Kurt Cobain named ABBA as favorites. And they’re not the only revered statesmen and grunge champs who have adored the pop stars. When Foo Fighters leader (and ex-Nirvana drummer) Dave Grohl first heard ABBA’s 2021 reunion single “I Still Have Faith in You,” he “wept like a baby” and offered to play drums with the band anytime. When Secretary of State Colin Powell passed away, a military band performed “Dancing Queen” at his funeral. Powell loved ABBA so dearly he once got down on one knee and serenaded the foreign minister of Sweden with “Mamma Mia.”

Frequently dismissed as disposable in the early 1970s, ABBA has become essential. The band outlasted antagonists (such as the Sex Pistols) and would-be peers (at one point, KC and the Sunshine Band was poised to be bigger than ABBA). The foursome built their enduring popularity on solid pillars, including shrewd marketing; practically inventing the music video; and Agnetha and Frida’s charm, style, beauty, and golden voices. But it was mostly the music.

ABBA aimed high. They wanted to perfect pop. The group took the innovations of the ’60s (the Ronettes’ harmonies, the Beach Boys’ elaborate arrangements, the Beatles’ studio experiments) and synthesized them with forward-looking trends (glam rock, funk, disco, rock opera). Thanks to the members’ unique histories and personalities, ABBA ended up perfecting pop by reinventing it. 

No other band had ABBA’s strange formula. The two men wrote 95 percent of the songs but realized that their melodies improved exponentially when the two women intertwined their voices over them. The group mirrored the Scandinavian seasons by blending dark, brooding, minor-key verses (straight out of what Benny called the “melancholy belt”) with bright, blooming choruses. 

“The thing is, you keep the good stuff,” Benny told LIFE. “And very often the good stuff seems to be a little of everything with a string of melancholy… You hear yourself play things over and over again. Most of the stuff goes into the garbage bin. Some of it stays, and it tends to include more than just fun and joy.”

“This kind of happy-sad, this jubilant melancholia, is something that is perhaps very Nordic,” Björn added. “I don’t hear that in Germany or America or the U.K. or France. But in Swedish folk music, definitely. And then there’s the ladies’ voices together. The way it sounds is jubilant. Whatever they sing, however sad the song is, they manage to sound uplifting.”  

ABBA made pop with feeling and pop full of feelings, brimming with every emotion. The group mapped their wide emotional range on meticulously assembled songs such as “Dancing Queen” and “Mamma Mia,” “SOS” and “Take a Chance on Me.” 

But using this wide range as a blueprint for hooks sharp enough to cut glass took a toll. The work played out over years of love and pain, fan frenzy and flops. The story of ABBA is the story of climbing towering peaks and tumbling down hills over and over again—across two marriages and four intertwined careers—and squeezing that glory and chaos into a pop-music revolution.

The following is a selection of photos from LIFE’s new special tribute issue ABBA: Their Songs. Their Story. Their Lives.

Heilemann/Camera Press/Redux

ABBA, after their star-making performance at Eurovision in 1974. From left Annifrid Lyngstad, Agnetha Fältskog and Björn Ulvaeus, with Benny Andersson in the mirror.

IBL/Shutterstock

ABBA performed “Waterloo” on the British program Top of the Pops in 1974. From left to right: Benny Andersson, Anni-Frid Lyngstad, Bjorn Ulvaeus, and Agnetha Faltskog.

David Redfern/Redferns/Getty Images

ABBA performed in Vastervik, Sweden, July 9, 1975.

IBL/Shutterstock

ABBA posed for a group portrait in Stockholm, April 1976. Left to right: Benny Andersson, Agnetha Faltskog, Bjorn Ulvaeus, and Anni-Frid Lyngstad.

Michael Putland/Hulton/Getty Images

ABBA’s Bjorn Ulvaeus and Benny Andersson were surrounded by journalists during a flight to Warsaw in 1976.

Bjorn Larsson Ask/Kamerabild/TT/IBL/Shutterstock

ABBA arrived for a tour of the USA on Oct. 1, 1976.

Photo by Anwar Hussein/Getty Images)Anwar Hussein/Getty Images

ABBA”s Benny Andersson and Anni Frid Lyngstad at a Paris television show in 1978.

Photo by Bertrand Rindoff Petroff/Getty Images

ABBA—Benny Andersson, Agnetha Faltskog, Anni-Frid Lyngstad and Bjorn Ulvaeus—performed in Edmonton, Canada on the opening night of a North American tour in September 1979.

Andre Csillag/Shutterstock

Bjorn Ulvaeus (left) and Benny Andersson of ABBA practiced in the studio that they co-founded, Polar Studios, Stockholm, Sweden, July 1977.

Leif Skoogfors/Corbis/Getty Images

Bjorn Ulvaeus and Benny Andersson of ABBA took a bow at the premiere of the musical ”Mamma Mia” on October 18, 2001 in New York.

Lawrence Lucier/Getty Images

Benny Andersson posed for a photoshoot on Oct. 20, 2021 in advance of the release of the new ABBA album Voyage.

IBL/Shutterstock

Yabba Dabbo Doo!: Inside Hanna-Barbera and “TV’s First Cartoon for Grownups”

The Nov 21, 1960 issue of LIFE heralded new beginnings, great and small. The cover of the issue showed John F. Kennedy—with wife Jackie, mother Rose and sister Eunice— fresh off his win in the 1960 presidential election, and the headline declared a “New Era in Government.”

Another story in that issue featured a family that would change the medium of television—the Flintstones. LIFE hailed their new show as “TV’s first Cartoon for Grownups.” The prime-time hit on ABC debuted on Sept. 30, 1960 and centered around the prehistoric lives of Fred and Wilma Flintstone and their friends Barney and Betty Rubble. LIFE described the show, set in the town of Bedrock, as a “a parody of modern togetherness” and added, “By poking fun at dozens of humorless comedies now on the air, The Flintstones gives a much needed boost to a generally dismal TV season.” Viewers agreed. The show ran for 166 episodes, through April 1966, and Fred’s cry of “Yabba Dabba Doo” became part of the American vernacular.

The creative minds behind the show were William Hanna and Joseph Barbera. The two had worked together as animators at MGM studios, where they had won seven Academy Awards for their Tom and Jerry shorts. In 1957 Hanna and Barbera left MGM to form their own company, and had their first hit with The Huckleberry Hound Show (which would produce an even more popular spinoff, The Yogi Bear Show. Hanna-Barbera also go on to produce such shows as The Jetsons and Scooby-Doo. Their mark on the world of animation was as gargantuan as any of the dinosaurs stomping around Bedrock.

In 1960, when The Flintstones was the hot new thing, LIFE photographer Allan Grant took a deep dive into the world of Hanna-Barbera. His pictures show Fred Flintstone and other company creations popping up in unlikely settings—at the boardroom, in the recording studio, floating in the pool at Hanna’s house. Some particularly interesting photos show the Hanna-Barbera artists at work in the days when animators relied on pen and ink rather than computers. In one photo a cartoonist makes an exaggerated face in the mirror to use as reference for drawing the same expression on Fred Flintstone.

The Flintstones may have been the first adult-friendly cartoon to air in prime time, but it certainly wasn’t the last. The mantle was picked up most notably by The Simpsons, which debuted in 1989 and continues its remarkable run today. (In a nod to the bond between the shows, in one episode Homer hilariously recreates the Flintstones’ opening sequence.. If The Flintstones succeeded because it featured the most interesting family on television, the same sentiment applies to The Simpsons—or Family Guy, South Park, BoJack Horseman and the other shows that carry on the legacy of adult animation that can be traced back to the town of Bedrock and the studios of Hanna-Barbera.

William Hanna, Joseph Barbera and their creations, 1960

Allan Grant/LIFE Picture Collection/Shutterstock

William Hanna (left) and Joseph Barbera (right), 1960.

Allan Grant/LIFE Pictures/Shutterstock

Joseph Barbera (right) and Fred Flinstone get down to business, 1960.

Allan Grant/LIFE Pictures/Shutterstock

William Hanna and Joseph Barbera, 1960.

Allan Grant/LIFE Pictures/Shutterstock

Joseph Barbera (on the ground) at the offices of Hanna-Barbera, 1960.

Allan Grant/LIFE Pictures/Shutterstock

Animator Carlo Vinci at work on The Flintstones at Hanna-Barbera, 1960.

Allan Grant/LIFE Pictures/Shutterstock

Animator Carlo Vinci used a mirror to draw facial expressions of Fred Flinstone, Los Angeles, California, 1960.

Allan Grant/LIFE Pictures/Shutterstock

An animator works on Fred Flintstone at the offices of Hanna-Barbera, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

The offices of Hanna-Barbera Productions, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

Huckleberry Hound merchandise being made at Hanna-Barbera Productions, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

Huckleberry Hound and Yogi Bear merchandise being made at Hanna-Barbera Productions, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

Huckleberry Hound and Yogi Bear merchandise being made at Hanna-Barbera Productions, 1960. Yogi Bear debuted as a supporting character on The Huckleberry Hound Show before getting his own program in 1961.

Allan Grant/LIFE Picture Collection/Shutterstock

Animator William Hanna at home, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

Animator William Hanna at home, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

Joseph Barbera sitting by the pool with family, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

A Flintstones recording session at Hanna-Barbera studios, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

A Flintstones recording session at Hanna-Barbera studios, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

A Flintstones recording session at Hanna-Barbera studios, 1960.

Allan Grant/LIFE Pictures/Shutterstock

A Flintstones recording session at Hanna-Barbera studios, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

A bowling team at Hanna-Barbera, 1960.

Allan Grant/LIFE Picture Collection/Shutterstock

Training with “The World’s First Paleo CrossFitting Locavore”

In its July 7, 1958 issue, LIFE magazine ran a story on track star Herb Elliott and his 63-year-old trainer Percy Cerutty, headlined “Odd Partners’ Odd Way to a Record Mile.” While the 20-year-old Elliott was a world-record holder who never lost a mile race, Cerutty was the star of the story.

Cerutty wasn’t your average coach. The Australian came to running late, quitting his job as a telephone technician in his early 40s following a bout with pneumonia. The former four-pack-a-day smoker remade his life around healthy habits and, inspired by a racetrack revelation about how humans could learn from the running style of horses, he eventually took up marathon running, completing his first race at the age of 51. “I started too late,” he lamented to LIFE. But he established a small compound on the Eastern coast of Australia to impart his wisdom to younger athletes, with Elliott becoming his star student.

His workout program was as distinctive as it was rigorous. He placed more emphasis on weight lifting—even if only for minimal reps—than in common in track, and pushed his students toward a natural and uninhibited running style. This story on The Science of Running website gets into the details of this training methods.

In general he advocated living as naturally as possible. Cerutty called his approach “Stotan”—half Stoic, half Spartan. (The method is called simply “Spartan” in the LIFE story, and one imagines a copy editor understandably fixing a perceived misspelling). In that LIFE story Cerutty advised, “Put zest and life into your work.” According to the story Elliott and Cerutty had “run barefoot marathons together, lifted weights, gone for ice-cold swims and dieted on oats, nuts and fruits.” The duo’s adventures were captured by LIFE photographer Leonard McCombe.

The unconventionality that attracted LIFE to Cerutty may have also stood in the way of his broader acceptance in the coaching world. But time has judged him kindly. In 2014 Christopher McDougall, author of the popular book Burn to Run, wrote appreciatively about Cerutty for OutsideOnline.com in a story titled “Lessons from the Paleo Guru History Forgot.” McDougall deemed Cerutty “the world’s first Paleo CrossFitting locavore.”

In recent years interest in Cerutty surged enough that his six fitness guides, such as Be Fit! or Be Damned! , were brought back into print. Even if his name is not broadly known, the ideas Cerutty advocated have gone further than he might ever have imagined.

Runner Herb Elliott (left) ran with his trainer Percy Cerutty, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Track star Herb Elliott and his trainer Percy Cerutty, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Percy Cerutty (left) and Herb Elliott lifted weights, an unconventional approach for a track coach, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Trainer Percy Cerutty, 63, with track star Herb Elliott, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Herb Elliott (foreground) and trainer Percy Cerutty (background), 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Runner Herb Elliott climbed a rope as part of his training with Percy Cerutty, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Runner Herb Elliott watched his trainer Percy Cerutty (foreground) lift weights.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Trainer Percy Cerutty (foreground) and track star Herb Elliott, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Runner Herb Elliott eating with his trainer Percy Cerutty (left), 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Runner Herb Elliott (L) with his trainer Percy Cerutty, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Runner Herb Elliott (left) ate ice cream with his trainer Percy Cerutty, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

During a round of golf runner Herb Elliott watched his trainer Percy Cerutty, a non-golfer, execute a headstand, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

Trainer Percy Cerutty, 1958.

Leonard McCombe/LIFE Picture Collection/Shutterstock

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