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PHOTOGRAPHY
Andre Kertesz
His Life and Work
Edited by Pierre Borhan
Essays by P ierre BOLhan, Laszlo Beke,
Dominique Baque, and Jane Livingston
Kertesz \Yas above all a consistentl y fin e photograph er. "
Andre Kertesz
His Life and Work
Pi crrc Borh a n
Andre Kertesz
His Life and Work
Essa ys by
Pierre Borhan
Laszlo Beke
Dominique Baque
Ja ne Li vingston
All rights reserved. No part of thi s book may be reprodu ced i11 a 11 y fo rm or by auv
C' IC'etroni c or mechanical mean s. in c ludin g informati011 sto ra ge and retrieval systems.
without permission i11 writ in g from tlte publisher. exce pt hy a revie\\"n who may cpiOtC'
brief passages in a review.
Introduction
35
A Plwtographerfi-om Birth
by Laszlo Beke
Contents
83
Distortions (1933)
197
225
A MutuaL Misunderstanding
by Jane Livingston
335
Acknowledgments
353
Chrono logy
354
Bibliography
356
Exhibitions
358
List of Illustrations
361
Index
364
Introduction
The Double of a Life
by Pierre Borhan
tographing the peasants, the Gypsies, the landscapes of the puszta, the Hungarian plains. One of
his first photogr aphs, taken in 1912, is that of a
young man asleep in a restaurant, and already the
diagonals in composition, the rhythmic balance of
form s, the tonalities, the sense of a certain familiarity, a legibility, were present. Such success would
not have been th e sign of a vocation if it had not
been followed by more than seventy years of a delicately clear-sighted , concise, unique photography
and a dozen masterpieces . Kertesz's compl eted
body of work sugges ts a relurn to these Hun garian
origin s. With hindsight, the purchase of lh e ICA
carn e ra looks like a determin ed choice., one opposed to th e wi shes of hi s fa mil y, the choi ce of a
young man promi sed to a banking or bu sin ess cateer, of a young man who did not evolve in an artistic milieu but who , rapidly, would learn everything
on hi s own , from lhe techniqu e of shootin g lo the
craft of making prints. " It is the bes t edu ca tion ..'' 4
Trying, making a mistake, trying again-hi s intentionality, quickly fulfilled by lcchnical mastery,
was that of on e who has an inn ate se nse of vi sual
se lec tion.
wilh
came~as.
\1 e as a Jager.
Go rz. 1914
(Ph oto taken on the eve
of rec ruitm ent )
Ka lm a n Krurnp a nd Ga lo Di cie r.
Two \X'ound cd Comra des.
l ~s zlr rgo m. 19 1:)
ll aircrll al iiH'
C:onntltsl'l' lll ll orll l'.
i><l rilill\\ .
]I) 17
10
adventure of men who each lived it individuall y without fe eling happi er or unhappi er th ere than rl srwhcrc, \\Tithout being heroes or victims. Kertesz did
not ca re for war myth s, for individual exmnp lcs of
courage and sacrifi ce, and did not concern him se lf
with th e spectacu lar chara cter of fighting , killing,
and des truction. Many photograph ers, who were not
them se lves soldiers, would late r, in the course of wars
to coru c, take photograph s of such atrocities-some
in orde r to make a living, others for political or moral
rea so ns. To the example of Kertesz, Larry Burrows,
Don McGullin , and James Nachtwey will be the
collnl cr-examples. In Paris Kert esz will help Hobert
Capa a nd will eve n say to Lois Crcc nJield 6 that Capa
\va s hi s " littl e child ," photographed the war as if the
State was effaced by I hose who defend ed it, and as if
it s abs urdity were swept away by the humanity the
m en broug ht to it. It was obviou s, in the co urse of
these cru cia l years. I hat Kertesz was never interested
in hi story, nor in th e events that s haped it, nor even
in th e "great meu " -that he would never be a photojournalist, not even in the manner of Bill Brandt in
London in the 193 0s, or of H en ri Cart ier-Bresso n in
lndi a , in 19-+7, upon the death of Gandhi . Ke rt esz
did 11 01 think to testify to the world , or to address a
them e. During th e war, Kertesz s howed e,rid encc o f
an immutabl e frat ernity which nothing cou ld di sturb, and he had a lready shown him self to be hos tile
to grandiloquence. " What 1 fe el, l do,"" he repeated
man y lintes. The human scale would always remain
his sca le of reference, beyond any co ncern \~ith icl eolog~' As Tlilton Kramer recaJlecl in hi s introdu cto ry
text to flungarian Jllelllories. 7 John Szarko wski
showed himself to be perspi caciou s when he said th a t
it wa s "not the epi c but the lyri c I ruth" that motivated Kertesz, dr at Kertesz retained. Th e photographs taken by Kertesz during th e war arc th ose
of a perso na l journal composed of images, not those
of a report for th e press. They con ta in nothin g so rdid
a nd nothin g grandiose. lle wa s ingenuous , whi ch wa s
innat e.
All of Kert esz's Hungarian photog raph s a re a
clrrouical of hi s life: tir e affective clement is prirnordial in thrm . Are th ose lovers, e rnbraci ng agai nst tir e
rri g lrt , facing the Danube in 1920., not he a nd E lizaIJCtlr ( I li s brothers. th e hand s of hi s mother-the
tlrrcad is autobiographicaL Th e sig ned prese nce of
the arti ~ l. berond tlr a t of the amateur., soon i111poscd
itself in Pari s., wh ere it became in co nt estab le. But Iri s
wav of ~eei u g the world . of digg ing into his ow n ex-
Lajos J\Jilhalik
" ith a Ce ll o,
l ~ sz t r rgo rn . 1 CJ 16
loldekl!s
( eovr r)
11
l ~ liwlwth
Budapest,
alllll ,
1 9~
12
Square Jolivet,
Paris. 1927
Paris. c. 1926
1-t
C hild , 19:3:3
15
16
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The need for photographs for illustration, reporting, fashion, and publicity increased rapidly despite the economic crisis; magazines su ch as fit
(1928) and Art et Medecine (1930) were created.
Kertesz gladly divided his time bet>veen his commissioned work and his strictly personal photography,
17
18
Di ;, IOrt io11 11 0 .
10. 19:3:3
Oa th IJolls o f
Judith C riarc/:5,
Puris. 1933
19
20
J-()~
IT l(J ::'Iii
Fre re voynn t
PBOTOBEBTESZ
EXPOSITION
du t2 au 22 Mars
f\0
Sf\CRE DO
PRINTEMPS
5, Rue du Chercbe-Midl
21
GUTEGELDANLAGE,
SCHMUCK DES TISCHES,
OBERALL WILLKOMMENES
GESCHENK
SIND
Brudunann-Bestecke
<1 805 bc:k~ nntund~ihrt.
E.duSilbumit
A b b i I clung en :r: u 0 i c n s t c n
22
Pi ct .\londrian. 1926
never tra nsfo rm ed him se lf into a n intellectu al cap abl e of interpreting hi s own ph otog raphs. Such qui eti sm is conf usiug a t a t irn e of lireworks of all kinds.
It is no t sur p risin g eith er tha t th e artists in Paris
\YCre the first to re\'eal an d to a ppreciate hi s ori ginalit y. Th e one they accep ted a mong them selves was
n ot onl y a ph otographer in th e fulln ess of his maturit y, but a co mpa tri ot \vlr o indisput ably push ed his
ow11 limits: th ey int egrated him so mu ch the more as
bi s photogr ap hy he lped th em (at least some of th em )
in t lteir O\\'n creative gesture.
Tn 1930 Kertesz tra ,eled to l-1ungar y to see his
fa mil y again. E liza beth., her cert ainties confirmed,
jo in ed him in P ari s in 193 1. Aftenvard. she accomp a rLied him o ft en in his travels. and he m et less and
less \Yith his friend s: art ists. wri ter s. journali sts. and
n oted [ig ures in th e press and in publi shin g. For
Andre. hi s m a rriage with Rogi Andre ha d been nothin g but a fo il~' 1-:l e m arri ed E lizab et h on Jun e 17 ,
1933. th e year of the death in Budap est of hi s
beloved mother, Em esztin. and the year of the ri se of
T-Titler in Germa n y. of th e start of th e gro wing .\'az i
pe ril , and of the decline of Kertesz 's publicati on in
Ge rman nev,spap e rs. P olitical a nx iety was thus
add ed progress ively to the diminution of com missions: Ke rtesz was less i n dem a nd b y magazines who
we re loo kin g for m ore and m ore topical subj ec t ma tter. In 1935 lit published t he article "The Heel Army
at Work .'' and in 1936 .. Th e Defen se of th e Republic
in Spain .' Th e S lav isk r affair was on ever yo ne's
lip s. Kertesz was so mewhat out. of step with thi s na tiona li st context. hi s ph otogra phic essar s too ne utra l
fo r th e parti san s of eith er sid e. Kertesz learn ed too
la te of th e favo rabl e respo nse b~' t he French authoriti es to hi s r equ es t fo r n a turali zation : h e h a d ju st decid ed to accept Ern ey Prin ces offer to \YOrk for the
Ke ~ston e age n c ~7 in Ne" York . ''A so rt of sabba tical
yea r... E lizabe th ha d ag reed, and the step s \vere
ta ken. They emb arked on th e SS Washington for
~!Janha tt a n just. as Char li e C ha plin 's Mo dem Times
a ppeared on 1h e bi g screen . Th ey pl anned to r eturn
to Pa ri s wi t hin a year or t\\o. a nd Kertesz left mos t
of his negati ves in F ran ce.
1
Ce ll o Stu ck
1()2()
[n Fran ce. Kertesz 's pl easure matched hi s a m bit ion. Tle \Yas blessed in P ari s " ith a p rescience in
rega rd to hi s destin~- as a ph otogra ph er and to hi s
developm ent. whiclr ab a nd o uecl him as soon as he
left for .\e"' York . llc Ji,ecl th ere irr n os talg ia fo r
Mo rrtp a rn asse . fo r the qu a ~s of th e Se irr e a rrd th e
23
24
25
.~('\\ '
25. 1938. iss ue., publi s hed ph o tos b~' him in an articl e entitl ed '" A Fire ma n Goes to Schoo l. .,. crediting
th e m t.o E r11 cy Prin ce. This ap propriati o n of co urse
sh ocked him . Coro nel, whi ch p ubli sh ed photogr ap hs
in full p ages, without c ha ng in g their meanin g by
cropping th e m. would have co nstit.utcd a poss ib le
ou tl e t. for Kcrt.esz. but Coro nel did not co mmission
pbotographc rs. In 1937 Arnold Ging ri c h wrote in a n
editorial t.h a t. he was mo re and Ill ore co nvinced th a t.
"t he best photog raph s ta lk for th em selves. sp ea kin g
in a langua ge of their own. ' It was unfo rtun ate th a t.
G in g ri ch found his ' best p ho tog rap h s in alrcad~r
cxi st.ing arc hi ves. and did not have t. hc m taken by a
pro fessional lookin g fo r payrn c nt. In th e course of
the sam e yea r. as a n i nd ep e ndc n l. Kertesz produ ced
Poughkeepsie, a view o[ th e Ba uhau s styl e sta ti o n.
A nn and I entiLalo1; in spired b ~ S urrea li s m. and Lost
CLoud, Cibsoniau b e fo re Gibso n . Also in 1937. th e
ne w Bauhau s school., tiJC New Bauhau s Am e ri ca n
School of Design. direc ted b~r Laszlo MohoJy-Nagy,
ope ned its doors in C hi cago. On .June 8. 19+. Mohol y-Nagy wrote t.o Ke rtesz to invite him to t each
ph o tography startin g t.h e followin g Sep tember. an
offer t.hat ho nored him but whi ch h e dec lin ed. be in g
u o more a th eoretic ia n than a pedagog ue. ln a n~'
case , in 1937. Kertesz the un c lassifi a bl c. as des iro us
as he \\'aS to get out o f t.he pro fession a l miasma in
" hich he lang uish ed , did not. nwvc in a ny fi e ld.
28
llornirrg Slrip ..
ll ~cs
~nminl! ruruil~
29
:3 0
York . 11)(>:1
32
bidden to publish anything but hi s fa sh_ion photogra phs. The fate of th e Swiss Rob ert Frank, who
immigrated in 1050 and was integrat ed despite
everything, wa s hardly more desirable. It wa s in
France that Frank's Th e Americans wa s published in
1958; th e American critics were severe when the
book wa s publi sh ed in the United States by Grove
Press. After Kert esz and Elizabeth moved , on October 12, 1952, into an apartment on the tvvelfth floor
of a building at Two Fifth Avenue that looked out on
Washington Square Park, Kert esz observed in all
seasons the life of the n eighborhood from his windows. From th ere (with a telephoto lens) he took his
bes t shots, in which his architectural sense was marvelously complem ented b y his i1mate capacity for
COlllplicitous observation. There he exercised unlimited patience, waiting for just what would make the
photograph unique, Kerteszian-as he knew how to
ca pture, at just the right mom ent, the flash th at
tra rrscend ed sight and released vision, illuminating
life. This new apartment and th e sq uare at the foot
of lir e building linally offered him a personal anchor.
lie renewed hi s acquaintance with th e m as terpi ece
during th e wint er o f 195-t thanks to a Wa shington
t;quare covered in snow, in which a distant silh ouette, anonymous, solitary, indispensable, was
the "specialty" of the photographer, his signature.
This shot proved that although routine had weaken ed his flame, it had not put it out altogether. The
inner conflict did not subdue him; the pressures of
Conde Nast did not totally "contaminate" him, to
borrow Walker Evans 's express ion. The artist in him
remained vital and motivated, even if, for a long
time, his artistic intensity was weak er. Since when ?
Weston Nae.f2 5 believed it was since 1933, the
year of his mother's death and of his marriage to
Elizabeth. Others believe it was since 1936, when
he left Paris and his artistic h om e. Ke1tesz was
sincere when he accused America of having
robbed him of his true talent, but wa s he not perh a ps mi staken? H e would again show eviden ce of
crea tivity, after en ding his co llaboration with House
and Carden, in 1962. Then he bega n to reassert
hi s ind epend ence, regaining his co nfidence through
two success ive large shows and. in 1963, recovering
the negatives he left in France in 1936, which
he had thou ght were lost forever. America alone cannot be blamed.
22. Elli ot Pa ul. "A \ food from th e Dim Past,'' Saturday Retieu oJL iterature (\by 19. 19-+5).
2. Ibid.
:3. Ibid.
18 . Ibid .. pa ge 112.
19. f...'ert es::.. Ga illard . pagP .)8.
:20. lul el'\iew \\'iil1 Ja nos Bodn a r.
2 1. 1/wpPr s /3a::,a w : '\o. :269-t. "5 ::30-The Curl a in Fall s...
" ii11 1hirt ee u pholographs bv And re Kcrlcsz.
(1894-1925)
A Pho tographer from Birth
by Laszlo Bcke
:)6
Kertesz sp ok e ueith e r Fre nch nor E n gli sh co rrec tl y. It was in Hun ga ri a n th at he expressed hirn se lf
c lea rest (at tim es e ve n s ho win g evid e nce o f a lite ra ry
ex igen cy). 1-J e e nj oyed reco untin g a necdo tes a nd
wo uld re la t e t he same event o ver a nd ove r. F ro m tir e
. he wo uld sa, lo
' beg inning of [m y] caree r.
Kri sztin a P ass ulh (art hi sto ri a n, wh o " as fo r a whil e
a c ura to r a t th e .Vlusre d ' Art :vl ode rn e de Ia Vill e de
Pa ri s a nd is nO\Y c lta ir.of th e a rt hi sto ry de pa rtm e nt
a l th e Univers i t~' o f Bud a pes t ): " m y interes t in p hotog ra ph y began in 1899. I was b a re l~ s ix years o ld. I
lr a d go ne to Szigetbecse, to m y un c le's. Oue d ay I
f' lirnbecl up to the a tti c. wh e re I bega n 10 nu11ur age
I!
a ro und , and T fo un d o ld magazines. lik e die Carl enlaube, with lots o f ph o togra ph s. . . ln s tin c ti ve l~' I
fe lL the desire 10 La ke ph o tos o ne day. L ate r T dec id ed , wh en l ha clrrro r1 ev. I ha l J wo uld buy a ca me ra
Meanwhil e.
a nd I wo uld do wh a t I wa 111 ed 10 .
" he n so me thin g he ld rn y a 11 e111i ou . 1 would hold o n
lo th e m emor~', sa ~ i11 g to rn~ self: OK. lat e r. wh c11 I
have a came ra ., I will ta ke a p ic ture of it. . ln stin cti\'e lv I began to co mpose: I lea rn ed to pe rce ive th e
mo me nt . . . up until th e d a ~ ,,h en I took Sleeping
Bar. " ho was o ne o f my a nnv b ud clies. l Tn a no th e r
inter view h e reca ll ed: .. 1 IIIU SI have b een six ~ ca rs
o ld when I di sco ve red i11 m y a u11t's a ttic o ld ne wspa per s and illu stra ted rn agaz in es. I eve n re ru e rnbc r
th e Iit le o f o ne o f th ese newsp ap e rs: die Carlenlaube . . . . T re111 e rnbe r c lea rl y th a t. even by th a t
lim e. I ha d the fee lin g th a i o ne da , I too wo ul d
rn a ybe do so me thin g like thi s.
Then I pe rce i\'ed th e eve nts a ro und me in a spo nta neo us o r reOec ti vc rn a nner. sa ~ in g 10 myself that late r. " hc11 I
ha d a ca me ra . I wo uld ta ke thi s a nd tl1a1 a nd ., a lrn os t
ill SI inct i vel~. r co rn pose d ph o tog ra ph s.
T lw
c ho ice of th e len g th o f ll w pose. th e compos iti o 11 , llw
lll Otli Clll o f th e s ho t we re I rulv in m v nature. But I
lra ill ecl m\sc lf' thi s " a v. a lso. ob vio uslv. with o ut
38
Autonomous formal values, degrees of intensit y of black and white, in stantaneous photography-Kertesz could not study th ese tn his
predecessors. Through their work on facia l expression , the most important professional photograph ers, masters like Aladar Szekely, Denes H6nai,
J6zscf Pecsi, tried to break th e bourgeois photographic habits of the portraiti sts of the end of the
century. As for the amateurs, numerous and \vell orga ni zed, they worked to diversify their thematic
choices: landscapes, nudes, genre scenes, still lifes.
But a ll of them, concerned with making reference to
th e high a rts, were inclined to use the eraser, platinum , bromide, bromoil, and other "noble methods "
to ac hieve "pi ctorial," indistinct and vaporous effects-which Kertesz rejected from the beginning.
This antagonism persisted into the 1920s: Kertesz
would have taken a silver medal in the competition
of th e National Association of Amateur Hungarian
Photographers in 1922 if he had been willing to
show photographs prepared with bromoil. Because
he refu sed, he received only a simpl e nomination.9 A
tendency close to Kertesz's own was represented by
cer tain photographers of the First World War, such
as Rudolf Balogh , hi s eld er b y fifteen years, and I van
Vyd a rcny, hi s elder by seven years. Both contribut ed , between th e t\vo world wars, to th e c reation
of a '" Magya r style " : sun-fillrd I lun garian land~ capc s. villa gr scrnes in which tl1e pictoriali sm of
39
fro m two photos of C unvor Berg . Th ere., you a rc already a di s tin ct charac ter-it is no longer the appara tu s tha t ph otograp hs but th e lens th at d ra ws as
yo u want it to. Espec ially in th e three -quart er po rtrait. I don't eve11 kn ow ho\Y yo u did it. It is not per fccd y clear, but it is a lso neith e r disagreea bly cl ark
nor so ft in desig n: it is stron g in co ntras ts. Th e techniqu e is impecca b le. a nd. as fo r d1 e co mpos iti o n. 1
don t recog ni ze yo u. \Vhen \Ye parted. ~o u " ere
g rop i11 g. un consc ious. with littl e o ri g in alit y a nd lots
of intuit io n. ll ere I speak only o f portrait s. Apparentl y. yo u needed thi s ~car where ~~ o u foug ht to ea rn
a li vin g. to b eco me a ut ono mou s a nd consciou s." 16
Even if we don 't kn ow a ll th e photog rap hs
cited. this leue r t eac hes us mu c h a bout t he ex ige nc ies o f th e peri od . Kertesz ha d certain!~ ph otog ra ph ed th roug ho ut th e war-from Hun ga ry to
Ga li cia. from Albania to Rum a ni a-but sim ply regis terin g events did 11 01 co unt as a 1n1 e p erform a nce:
th e tru e photog raph er, the one wh o wo uld co me to
li ve hi s craft., o ug ht to m ak e a rti sti c renderi ngs. A
littl e tim e still ha d to pass be fore I he pub Iic ,,o Ldcl
rea li ze that a n ew genre ha d bee n bor11: p hotojo urna li s m . It \vas in Pari s that Kert esz beca m e a photoessav ist.
-tO
~:': Ii za b e th .
\J r. Di,irr g irrt o dw
Swirnirrg Pool.
Buclaprsl. I 917
children. a nd !/You PIPase, Teache1; by th e sa tiri cphi loso phical a uthor Frigyes Karinthy. a novel fo r
hi g h sch ool s tud ents whi ch m ade on e lite ralJ~- la ug h
out lo ud.
Jo urna l entry. Ap ril 15 . 1922: Gamine. bv
Pierre Weber in H elt a is translat ion. lt is th e first
Fren ch com edy that J have see n. It pleased me. Of'
pla\'S for th e th eater. J still cann ot formu late critiqu es. ,,hi ch is not the case for objects and works of
a rt. In th a t domain. a nd to my g reates t pl eas ure. l
have bee n able to do so for quite a wh il e. J 7 It is from
thi s peri od o nward th a t th e first testim oni es to
Kertcszs int e res t in th e fine art s da te. At thi s time. he
bought a reproduction o f' the paintin g llone_pnoon by
Bih a ri a nd ''T rll to Mikl os \'ada szs show (th ese were
t\\"O mediocre painters from that period). More significant ly. be k ept an iss ue (No. 5) o f' the first year of th e
magazine D/s::,[tomiiues::,et (Decorative Arts). dating
fro m 19 1-., wlti ch prese nted the works of Ka rol~' Kos.,
all author of a g reat var iety of creative works. Koss
prin c ip allitera r~- work. the epic poem Th e Death of
Attda (19 09 ). was also kept by Kertesz among hi s
treas ures. Kos des ign ed and constru cted bu iIdings in
a new style.
Ia Hungari an ," based on th e popu la r
art of Tran sylvania. In the early 1920s, Kertesz often
wenL to the decorative arts museum and to its library
with Erzsi Saly (Elizabeth ), hi s future wife, who embroidered and studied dra\\ing with Almos Jaschik
(another representative of the secession a nd symbo lism). To get an idea of the importan ce of thi s wom a n
in Kertesz's life., we h ave only to examine t he double
(self-) portrait tak en in 193 1. There we see Elizabeth
with h er face audaciou sly cut in two, her lover's
(Kertesz's) right hand resting on her should er. In
Hungar y, many of his friend s were arti s ts: the pain ter
What strikes one. in thi s s mall li st. is the absence of rep resentatives from th e Hun ga ri an ava lltga rde. str i e tJ~- speaking. Kert esz ce r1 a i11ly kn ew
oth er arti sts-his b rot her's lett er. cited above . i nd icates that he photog raphed 1 he studio of Karolr
Ke rn s tock. th e hea d of the g roup of pa intrrs .. The
C ro up of E ig ht .. -bu l he had to wait until Pari s to
wo rk with llu ngarian progress ives.
Whe reas ''T IJC C ro up of Eight" we re parti cula rl y und e r th e influ ence of Ceza nne and tl lC Fauves,
the activ ists., painte rs. and wri I ers gat he red aro u ncl
Lajos Kassa k m oved toward Co nstru e! ivism a nd
Da da ism. Ma ny amo 11 g them participated ac tive ly in
th e politics o f the Comm un e of 19 19. paintin g
posters. for example., and creating th e decorat io ns
for 1he J\1a~' 1 parad e. Kassa!< openlv op posed one of
th e communi st directors, Bela Kun., and refused to
put hi s art a t th e se rvi ce of th e polit ical en ds o f th e
proleta rian dictatorshi p . Neve rtheless, a ft e r the failure of th e Hepublic o f Co un se ls., Kassa k. like o lh er
members of th e gro up. ha d to emigra te. a nd m oved
to Venice. ( Kertesz photographed him with his wife.
Jo la tL The elate of thi s magn ifi cent photograph is
unknown.) Laszlo .VI o h ol~' -Nag y went. via Vien na . to
Ge rmany.. wh ere he participa ted a lon g wi 1h m a n~' o f
hi s compa tri ot s in th e founding of th e Bauh a us:,
Lajos Tihany i chose Paris.
"a
-+1
-t2
Trio, Hac kcve, llunga ry, 1923
It is diffic ult to enume ra te a ll the ph otograp hers of Hun garian ori gin who lived in or passed
through Paris, or were in correspond ence with
Kertesz. 21 T he most importa nt were Brassal (Cy ul a
I-lalasz) , Robert Capa (Endre Fri edmann ), Lu.cicn
Aigner, E meric Feher, and- in a larger senseStefan Lorant, the editor of i'Vfiinchener lllllslrierte
an d other illustrated m agazin es. A number of Hungarian wo men were successful photograp hers in
Paris as well: Ergy Landau, llka Revai, Jutka Miklos, Yll a, Eva Besn yo, Rosie Ney, and even Madame
Karolyi, " th e red Co untess," wife of the exiled president of th e Republic, who wanted to open a joint
studio with Kcrt esz. 22
A separate place should be reserved fo r Laszlo
Moh oly-Nagy, whose aud acious tilt shots and unusual framin gs arc not unrelated to certain photograph s b y Kertesz. Kertesz 's interest in distorting
mirrors, automobile headli ghts , a nd the crystal balls
of cla irvoyants \vas nol unrelated to the interes ts of
the m embers of th e Bauha us. One sh ould also note
th at th e seri es ''Distortions" had a parall el in Hungary: th e cari catu re of Istvan So koropatk ai Szabo
mad e in 1926 by Martin Munkacsi. Mo h oly-Nagy
som etimes sa id of Kertesz that of the two of t hem ,
Kertesz was the tru e photog rapher. They had much
respect" for each other- to th e poin t th a t in 1944
Mo holy-Nagy tried to persuade Kertesz to beco me a
professor at th e New Bauh a us in Chicago.
Th e foll owing observation conce rn s not Moholy-Nagy but an oth er Co nstru cti vist. th e pa inter
Piet Mondri a n, and attests to th e su b ll e iro ny of
Kertesz 's ph otograp hs: In t he masterp iece entitled
C!tez Mo ndrian (1926) , we see a tulip in a vase , b ut
whoeve r kn ows Mondrian 's work kn ow tha i the
tulip is only an art ifi cial fl ower pa inted wbite.:n A
compl ete sum r11ar y of Mo nclrian 's rela ti onslti p witlr
wom en is co ndensed in thi s radi a ntly pure p hotograph .
Your p hotog ra phs speak loo rmr clr . a rr edi tor of l4e magaz in e orr ce sa id to Kerl {sz . \\ 'e o rrl~
need d oc urrr c' nl a r~r ph otos. Our editm \\Till's t lw
4.3
Bodn{ll.
-+4
-+ . Ib id .
.5. !bi d.
6. I fungarian Memories, page 190.
7. Pass uth .. op. cit.
8. Borbely Ka roly, Tz nap Andre Kertesz tarsasagciban
(Ten Days in th e Co mpany of Andre Kertesz) in : !1 ndn;
Kert esz Magyarorsuigo n, op. cit. page 5 .
arorrncl th e C:or11rl ~11ihaly K6ro1Yi~ radical ho11rgeois and social clcm ona ls., laking power. AfiPr th e declara1io11 of llw
llu11ga ria11 Hepublic. Karol~ i became its preside111. Tbough
lhP Il l' \\. go,enun enl ccrla inh tried to carry on a dialogue
with thP nalio11al minoriti es lo sufrguard thr territorial in lrgrit~ of th e co u111 ry. it coulclnol slop lhr aclva ncr of Czech
a 11d Hum a ni a n a rmi es, supporl rd lw the i\llia11ce. The pro Alliance a11d paciri st orientation of il s morT rx1c rnul poli1ics
proving i11effccliw. the presid r 111 of the Hcpublic. more and
nr ore embaliiC'cl. gave 1he seal of power over lo the social
democrats fu sed with the comrnu11 ists on !\larch 21. 1919.
The Hcp ubli r of Counsel s was proclaim('(!. a11d a ne" revolution of the Bol shevik type bega11. As for K6. ro l~ i , a ft er hi s
deci sion he chose exil e (Kertesz ran into him i11 Paris and
wok his photograph on seve ra l occasions) . T he kr~ rigurc of
dr c ne" regime became the communist Bela Kun. comm issioner of the people in cha rge of external politics. The Llungaria n ' commune'' lasted 133 days. until Augu st 1, 1919.
On Augusl 4., 1919. the Rumania11 annv ent e red BudapPSI.
While the different governm ents were succeedi ng each other
in the cap ital. the repression of counterrevo luti ona ries was
being directed by Admira l Il orthy. " ho had himself dPclared
regent of L-Lungarv on Ylarch 1. 1920. Three monl hs l ater~ on
Jun e -. the treaty of Trianon was signed. a de jure confirmation of what was a lready de facto : two third s of llungarv's
territory \\as taken from it. a nd one out of three llungarians
found himself outside his count ry of origiu.
1 .). S::.in !t a::.i Elet, from .Janu a ry -Ito 10, 1925. page H. Cifl
of Kertesz (Mission du Palrirnoinc Pholograplriqne).
47
-+8
-+ 9
.) 0
Sl
52.
.)-t
.).)
Esztergom , Jlungan . 19 16
.,.
S6
S7
Budapest, 1914
61
Buda pest. 19 15
.,..
.....
Tzigan r.
l~ sz t r rgo rn .
HungmY. 19 16
6-+
llun ga r~
1916
65
66
70
71
7)
7.)
77
79
.....
HO
A z Esl. BlitIupco.
, 1 1920
81
(1925-1936)
Paris, Kertesz:
Elective Affinities
by Dominique Ba qu e
'1\,.
lw photographic oc uvrc of i\ ndre Kert esz resists a 11 a lys rs a nd fru strates C'O IIIIII Cnt a r y Beca usc it is ncvc r syste ma ti c. it sec rn s to ba ve
bec11 wrought h a phaz a rd!~' 011 a clrau ce CII CO llllt c r o r
occas ion. Beca nse it is a lways in tir e ma rg in of fo rrn a ! current s. it co mes 11cith cr out of S11rrca li st cxpcrinH'nta1 io11 , lik e th e wo rk of .VI ciiJ H a ~ 11 o r from
Co nstr11 cti vis11r. lik e th e work of Ge rm a in e Krull. It
is no 11r o rc co mpa rab le to th e geo11r etri cized work of
a ll enri Ca rti er-Brcsso 11 than to tir e dc:cla redlnllna nism of a Robcrt Do isnea 11 .
DonlC'I a \H IS link ed \\itlt .VIottdriatt and \'an Doesburg. Florence lien ri \\o rk r d in Berlin wi lit the
sc ulpt o r i\ rc ltipenko ::llld in Fra nce frequented. lik e
Wol s. tlt e i\cadrnt ic Mode m e of Lrgn a nd Amr drc
Ozcnfwtl. Tlw cx lrr mel~, diversifi ed a rti sti c activity
of Matt H a ~ (pa intin g. sc ulptitt g. plt ologra plt y. cin etna ) ac-c ttrat e l~ cltarac lni zedtlt e a rti sti c tnultidi sc iplittarily of tlte period aiiCI ti lC' "tltro\\in g open .. of
di sc iplitt rs.
One tttu st th en'fo rc. in o rd r r 10 u11cl ers1and
Kerl rsz's positi on i11 P a ri sian pltotograpll\ a nd. in a
widn co 11I C'x l. lit e French ndlure of tlt e 19:30s. utt d r rs l ~uiCI ce rlai11 [JOiul s. If Kerl rsz did not c lt oose
Berli11 and Cer lltall\'. a s did Brassa,. 1 1 ~8sz l 6 Moholy Nag , . :z wtd JVIa rtin.!VIuttlclcsi (;.til of llu11 ga ri a n m:ig ill )., il " a .~ becau se 11ta11~ of Iti s alrrad~ esta blished
fonnal a 11d id eo log ica l posi1i o11 s., fo r th r most pari
i11lt cri1 ed fro111 lltutga ri a n c ullutc. \\'Otdd in a ll likclii iOo d II C' \'l'r lt ave fo und a ll\' ec lt o i11 th a i g rea t fo~' e r
of C'l'ea li OII-\\'hi eh wa s rirsl ill We im a r a nd tiJen in
Dessa u a 11d 13rrlin-tlte Ba ult a tt s. Br i\\Te n ~llohok
i\a~/ s expe ri111 ent a l resea rdt fou11d cd on a ri g id tltcorc l ica I bas is a 11cl Kerl rsz\ a vowed res pect for
poptd a r tradition a nd cull11ra l lt c ril age , lllC'rr co uld
o11ly lt av<' ber n in co mp a tibilit y. II see tn s clear in this
se 11se 11t a 1 Kcrlrsz chose Pa ri s fo r il s opc1111ess a ll(l
a hsr 11 ce of dog mati sm as ntu clt as for the forceful
prese tiCT of llun ga ri a n imtni g ra 111 s (pa i111 ers. \\Tilers. pltotographrrs) in Mo 11tpa r11 asse. But if Kcrt rsz
wa s link ed by f riendship to Istva n Beothy. Jose ph
Csakr, Tivadar Fried. Ma rg it Kovnn;. Ann a Lesznai.
1 9:~ 1
.....
85
1<):2<)
86
L ucien \'ogc l
"ith
t ee nth ce ntury. whose clcscripti o rr s h e ca ll ed photograp hi c.' Aft e r having asked Jacq ues -Andre BoiJfa rcl
to illu s trate Nac(ja , Breton reg is tered cli sappoilltme llt : the s ites photograp hed see med to hirn
de nud ed of a ll mag ic. a nd th e illustra tion .r.dis illus io11i11g. On th e ot he r ha nd. he foresaw that future
hook s ,,mdd 11 0 lo nge r be acco mpanied by clrmvin gs
hut bY photog ra ph s. a 11 cl h e salut ed th e work clon e
b~ Brassa[ a nd .\l a n Hay in !'A m our Fou. Bre ton firs t
co 11 ce ivecl a 11d th e n d e p l o ~e d S urrealism in his \\Titill g a 11d onl~ later bro ug ht th e visual a rts into tir e
fold. S urrea li s m . in tlri s respect quite di stin ct fro m
the Centr a l E:uropean avant- ga rcl c. se rved to re inforce the t c nd e 11 c ~ of Pa ri s ian Da da ism to place ex pe rirn entation in th e vi s ua l a rts be neath th e
dorni11ance o f th e lit e ra r~ ge nre. S urrea li sm \vas initial!~ a move me nt of writer s. r11 a n~ of wlrom \Ve rc
edu ca ted in th e sch oo l of Va lc n . lf S urrealism illdeed " as a bl e to propose a ,is ua l t.h eo ry. 1hen o ne
rnu s t re rn e nrbcr that it was first a poeti c one a nd
came from int e rn a l experience .
T he ot lr c r reaso 11 o ne n1u s t prude ntl y ha ndl e
referen ces to S u rreali sn1 i11 rclat io n to Kcrt csz comes
fro m tb e fac t that-in co11trast to ~1[an Ra ,. a co mpa lli o u of Bre to ns on th e road of D a dai s m and th c11
S urrraJism. a nd in co ntras t to Jacqu es-Andre
Boiffard. Bra ssa,. and Rao rd Ubac (who was id eologica llv close to Breton a nd th e .. illu stra tor-pho tograph e rs .. of La Recolutiou S urni oliste., Miuotaure., a nd
Doctllllellts-Ke rt csz was neve r as ked b , Brrton to
coll a borate. and he was a lso never m e111 ion ed as
be in g c lose to th e gr o up . In K ertesz's refu sa l to be af-
87
Certainly, one co uld arg ue the oppos ite a nd
point to th e Distortions and th e numerous photog rap hs in which manncquins. th eir h eads c ut off or
with wooden legs, arc featured . But if effective ly
th e re is a g reat temptation to jo in the Di stortion s to
S urrealism. o ne must keep in mind that. on th e o ne
ba nd, a Distorlion is not. a m anipulated image, a vis ua l exp erim e nt of the same o rd er a s a photomontage or an overprint. but the simpl e photographic
tra ns lation of a r efl ection in a dist:ortin g mirror. On
th e o th er h a nd . the se ri es Di s tortions, co rn missio11 cd
b, th e m agazin e Le Sourire. do not lay claim to
b e i11 g an inves tigation of th e tragedy of the deform ed or, to use a te rm of Geo rges Bat a i li e\ of th e
"injonne ('irregular .. ). The, a re a j o~'ous explorat ion of th e potentialities of th e female body. closer,
in that se nse, I o I-l enry J\loorcs Reclining N udes than
to th e grotesque fa ces of Jacqu es-Andre Boiffard o r
th e unsettling A./fiche:: I
Poem es. Affiche:: Tos Im ages (Put up Vour Poems, Pill up Your Im ages ) by
Hao uJ Ubac. Tn the sa me wa ~' if the recurrence in
Ke rtesz.'s photographi c \York of both a .. disqui etin g
stran ge ness .. of th e mannequin s, 9 and the sadi sti c
1
as
If, thus , the relationship to Surrealism remained oblique in Kertesz. th e link to Cubism. as
Jean-Claude Lemagny pointed out. 13 seem ed more
88
cedin g space. For him, m ea ning would not come unless one was grounded in th e world (from which
a rose hi s rejection of photographi c abs1raction ) and
sim11lt a nco usly at a di stan ce from it (from which
ca me hi s frequent but a lways calc ul ated use of the
t iIt shot ). Bcing at the window was a lso, as Paul Derm ec sugges ted on the occas ion o f' the show devoted
to Ke rtesz a t the gall ery Au Sacrc du Printemps, his
a ttempt tore-endorse the Rimbauclian mythology of
th e virginal vision. the clairvo~ ant vision:
.. Ke rtesz. the eyes of' a child for whom
each look is the first..''
89
90
...
AI lite Anim a l .\l a rkc t.
Q tt a i Sa int -.\li clt c l.
Pa ri s. 1927-19:28
points: th e E ificl Towe r, th e Seine. th e publi c gardens. To describe th ese t hings is to be closer to
th e rea lit~' of what th e c it~ offers that is co ntingent,
a nodyn e, inesse ntial: it is to hig hli g ht the rnundane. Kertrszian phenom enology 'vas suspiciou s o f
a rtifice a nd had liulc 10 do with th e cultural and formative imperatives of th e Nouvell e Obj ectivite. ln
Ge rmany. Albert Hcngcr-Patzsch on th e one hand
and th e Bauh a us photograp her s on th e other exalted th e bea ut y of th e indu s trial objec t and made
serial im ages (of big indu st ry, of photography ). Jn
Fran ce., Germaine Krull publish ed MetaL, 18 and th e
.\Touvcllc Photographi c s hared in th e moderni st
enthusias rn. Ke rtesz. however. beca me preoccupi ed
with n on industrial , cra ft ed objects th a t told a sto ry
and wer e often metaphors for th eir owner.'s life:
Mondrian 's GLasses and Pip e (1926 ). Ropes (1928 ),
and ch a irs in a gard en. Often capturing the object s
in appare nt di sorder. as though they had been left
91
SOMMAIRE
!RT
El.,."M~OE_~ ~ N~
"' -
......................
~#0:f
0:N
careless !~,
92
on a table. on a she lf. in a co rn e r o f a stu dio , Kertesz took up-beyond th e Co nstru ctivi s t
'composit ion of objec ts-th c pictorial tradition of
still life: minimali st in the famou s Fork (1928) ,
so ber. a lmost auste re. in Bowl with Bits of S ugar
(1928). The still life is deployed and made more
complex in the dispersion and di so rd er o f objec ts
that characterize StiLL L?/e in Adys Room (1928). Art
becom es the basis of a possible Gction in A Poe111 of
Ac!y (1927-28) , but it is espcciall~' so in MaiL Waiting al lh e Cafe du Dome, in which the let ters pil ed
up behind a vit rinc beneath a lumin ous g lobe see m
at once to bec kon and to withdraw. in a 11 allego ry
of love.
In a gene ra l way., and in contrast to ob.ject ivi st
photography. to which Kertesz is too often co lis ign ed , 19 he did not trea t th e objec t" as a play o f
lin es and form s. Though for him., the object co uld
be an~r thing. it was n ever in sig nifica nt. Whereas the
object did not interest an objec tivi st inso far as it
was pure and unburdened of any hi story o r context,
and caught in a formal network, for Kertesz the thing
wa s conlinn ecl as alrcad~r hum an. It wa s bound ttp
with a story, charged with affect, still marked by the
lingers that handled it. waiting for the gest ure that
would give it meaning- a half-empty glass. an open
book. wrinkled sheets. The object photograplrccl by
Kertesz was not a pretext for th e ce leb rati on o f Modem Ti11tcs but rathe r the ba s is of th e only ques ti o n
th at Kertrsz felt wa s worth ask in g: how can one in terp ret tire \Yorld in vis ual term s? That is to say., how
ra n o ne g ive ""vi s ua l eq ui va le nts. to usc an esse nti a l
<oruept of Alfred Stieglitzs_:w of the c ity., o f peopl e.
oft It in g<'
The an swer rni g ltt lw di sco rlC'c rtin g in ib s irn plicity: through tltc s in g ul a rit\ of photograph~ - That
is to s a~ th e '""v isual eq ttivalcnt s arc ac hi eve d
tlrrou g lr th e usc of ntlues., fro nr deep bla('k to ptll'l'St
white. passi ng through the i11tinit c ra n ge of gra ~ s. If
there is littl e s ta rk bl ack a nd whit e in Kert rsz. a ll tlt e
s hades of gra~ a re present. There. perh a ps. li es tltc
very tn canin g of Ke rt rsz''s ph o tographic work: to
photograph the world is to love g rar pass io na te lY.
C ray is no t a co lo r: it is all ('O iors assc ntblccl in o ne:
Sttbtlc. s 11 ave. retilt cd-g rav is the g rain o f' the world.
Cra .\' is tl1e esse nce of tlte \\'Oriel : it sa .,s th at there is
o nl~ a s ingle photograpbi(' s ubj ect. and to this sin g le
a nd uniqne s ubject cvn~tltin g is a pretext. a n O('('as ion. a questi o n of face s., o f rive rs. of cities. The Halcon) at i\1/artiniqu e (1972)-a ptii'C co ntp os ition of
s urfaces a nd va lu es-is tlt c apex of thi s quest for
g ray wit ic h was. without a doubt. Ke rt rszs ra iso n
d' etre.
In thi s r es pect Ke rt rsz " as radi ('a ll y. absolute ly., a pltotographer-11ot a n art is t us in g pltot ograp lt~r a s a n accessor~', lmt a photographer full~'
co nsc io us of the poss ibiliti es of hi s rneditlltt. Ke rt rsz
cledicatccl him se lf to photography as hi s o nly pa ss ion . without ever in scrib in g in hi s images a ny regret
o r year11ing for o th e r tn ccl ia: -- Jam very lu ck~-w lt at
I have a lwa~7 S wanted was to exp ress lll~1 scH., a nd
when I take photographs, I do that. I was born " itb
a sen se of photography. J understood immediately. l
immccliatcly had th e couvic ti o u tltat photography is
photograph~- that it has nothing to do with a nvt ltin g
c lse. " 2 1 H e is talkin g a ho ut the pl eas ure of th e
9-t
95
97
98
C)<)
....
100
10 1
102
10:~
10-
10:)
107
Tli r Po11t cl r s Art s Seen through th e C lock of the ln stitut de Fra nce , P a ris, 1929-1932
108
109
Pa ri s, 19.3.3
11 0
Pari s. 1929
111
11 2
Pari s. 1931
Lyons, 1931
11 :-i
116
Tram , c. 1930
11 7
Llntitlcd. 19.'W
li B
11 9
~
.....
1:20
Untitled, c. 1930
12 1
Paris. 1935
I :U
Pa ri s, c. 193 0
1:n
Paris. c. 1930
12-t
126
127
128
19:3-t
129
Paris, c. 1932
1:31
l TZ
J:n
134
133
IV
138
139
1-+0
Pornirs. 1930
1-+1
1-+2
Untitled, c. 1930
1-t:3
1-H
)-tS
1-+7
1-t8
1-t9
1.)0
151
15.'3
1.).)
156
].)?
1.")8
1.59
161
162
Foujita. Pa ri s. 1928
16.3
16-t
16S
166
Untitled, 1934
167
168
169
170
Pa ri s. 193 1
171
172
17-t
17.)
177
Legs, 1928
179
180
181
182
Shadows, 193 1
18-
Paris, c. 1926
183
186
187
iVIrucloll. 1928
188
189
190
.,
,' :;.~
'
\
,.
,.
~ ';
-
191
192
()
193
..
!ife
de
ecurile
-'=------:.
-==
r--------.. ~
~ --=-
19-+
==
-----=
- ----- --- --
t.rE E
\)tfENSt
bAFFICWt~
1%
Distortions
(1933)
Playing Without Cheating
by Pierre Borhan
198
ndn~
199
i3l'\OIHI. ..
200
1. Quc rcll c. afra id Kert es z would r efu se, had as ked Mar cel
Vertes to ca ll him. Vertcs. an artist of llun ga ria n origin.
worked for Le Sow ire. Ke rt esz acce pted 1he proposal witho ut h es itati o n.
201
Glass. Di s tortion. 19-+3
203
Di stor t io n
11 0.
68. 1 9.'3.3
20-t
20.5
206
126. 19:3:3
207
208
:209
21 1
D isl o rli o JJ
11 0.
6. 1933 ( va ri a ti on )
2 1-t
2 1S
Di stort ion
11 0.
10:2. 19.)3
:216
2 17
:2 18
1 19
Di storti on
11 0.
-tO. 1933
2:20
22 1
22.3
(1936-1962)
A Mutual Misunderstanding
by Ja ne Li vingston
226
~e w
York. 1956
227
228
viewfinder's angle of attack. Perhaps the two photographers whose own Surrealist vision most closely
parallels the intermittent Surrealism in Kertesz.'s
New York-period photographs are Lee Miller and
Manuel Alvarez Bravo. In respect to the former, one
is strongly reminded of some of her Parisian
cityscape photographs of the late 1920s and early
193 0s, which rely for their Surrealist content primarily on skewed angles of vi sion and play heavily
upon exaggeratedly dramatic effects of light and
shadow. Such Kertesz photographs as som e of those
taken in New York in 1937 and 1944 a nd Stairs,
Railing, Shadows and Woman (1951 ) are deeply
akin to both Miller's ea rlv Paris Surrealist work and
the late r Surreali sm she expressed in som e of her
1940-41 London photographs published in her
book, Grim Glmy : Pictures of Britain Under Fire
(Scribners, New York and London, 1946 ).
Two of Kertesz's best known New York surreali st im ages are Lost Cloud and Arm and VellLilaLor
( 1937). Th ese photographs arc classic examples of
the kind of Surrealism exemplified at its best in ce rtain \vorks by Man Ray, such as his 299, boulevard
R.aspail (1928 ), and the Surrealist photographers
Hoger Parry and Maurice Taba rd. Their poetic
qui ckness and dissociati vc humor reside not in any
forced juxtaposi1ious. nor in the familiar Surrealist
use of coll age or montage techniques, but instead
sprin gs from th e photographer's conscious selection
of arrestin g subj ects that presented themselves to
him in passin g. whose strangeness or irony in th e
photographic result derives basically from th e
229
230
1ion
231
232
vision. If the sh eer multiplicity of subjects, compositions , and technical approaches he commanded tend
to dissipate one's sense of a single hallmark style,
nevertheless, a great Kertesz , whether depicting a
city park or a bowl of walnuts, can never be mistaken for the work of anyone else.
2.3.3
235
238
239
:2 -+0
2-1
2-+2
ew York, 1961
2 -t.)
2-t6
2-+8
2-t9
:2:)1
252
253
1~ew
York, 1947
25-t
2 .) .)
256
2S7
:2:)8
:2.)<)
260
Detroit, 195 7
262
263
26-t
26:-i
267
268
no
27 1
(1963-1985)
The Double of a Life, Continued:
In the Firmament of Photography
by Pierre Borhan
274
When his show was presented at the Bibliotheque Nationale in 1963, Kertesz was surprised to
receive a m essage from the '' trustee" of the photos,
who had learn ed of the homage paid to the photographer through an article in the newspaper Le
Monde. Their meeting was an emotional one, and
Kertesz recovered his precious goods. From then on,
his France was no longer reduced to a chosen few
views, as it had been since 1936. His work would no
longer be tragically thin. Thanks to this recovery,
.\ r "
Yo r~ .
c. I l)7g
275
276
1\ cw York, 1975
than any other photographer, Andre Kertesz discovered and demonstrated the special aesthetic of the
sm all camera .... In addition to this splendid and
original quality of formal invention, there is in th e
work of Kertesz another quality less easily analyzed,
but surely no less important. It is a sense of the
sweetness of life, a free and childlike pleasure in the
b eauty of the world and th e preciousn ess of sight. "
On the other hand, Susan Sontag, in On Photography, and Janet Malcom, in Diana and Nikon, make
very few references to Kertesz.
Without a doubt, it was in France that he was
recognized with the least hesitation and almost without exception. Roland Barthes himself, in La Chambre CLaire, 7 cites him as often as he does Robert
Ma pplethorpe and comments on particular photograph s tha t h e lik es. such as Em est (P aris, 1931).
fie reminds u s that the editors a t L~/e refu sed these
ph otog raphs b y Kertesz beca use th ey "spoke too
mu ch," and concludes : "In th e end Photography is
subversive, not when it frig ht ens, repulses., or even
sti gma tizes, but \vhen it is though~fid..,. And in UJ-fistoire de Ia Photographie. 8 edit ed by Jean- Claude
Lcrn agny and Andre RouilJe. Ke rt esz constitutes on e
of th e pill a rs of the chapter Photographi c. Ar1 c1
Modc rnite (191 0-1930).
Washington
197 1
S qllaiT .
277
278
including congratulatory letters, letters from admirers, and copies of some of the letters h e sent. Finally,
what is important is that, independent of national
con siderations, the work exists in its totality, with
the exception of plates broken in Hungary during
th e war and in F ranee wh en they were transferred
from Paris to Casteljaloux. and it can be considered
in all its fullness .
One must be fair: not all Americans underestimated Kertesz. President and Ylrs. Johnson invited
him to the White House for a reception on June 14,
1965. Ylore than seven pages were dedicated to him
in the April 1959 issue of Infinity, with laudatory
text by William Hou seman , executive editor of
House and Garden. In 1967 Cornell Capa selected
him, along with Werner Bi schof, David Seymour,
Robert Capa, Dan Weiner, and Leonard Freed, for
The Concerned Photogmplw; and all the books of
the 1970s were publi sh ed in the United States as
well as in France: On Reading (197 1).9 Sixty Years
of PhotographJ (1972), 10 which received the :"Jadar
prize in 1973 , J 'aime Paris (1974 ).,11 0./New York
(1976) , 12 Distortions (1976). 13 Andre Kertesz in the
co llection Histot y ofPhotographJ; as 'vell as the four
volumes Americana, Birds. Landscap es, and Portraits (1979).H The first university student to do an
in-depth study of Kertesz was an Am erican , Sandra
Phillips;15 to thi s day. no one has devoted so much to
Paris. 198.'3
279
Pari s, 1984
viewers such as Paul Hill and T homas Cooper (Dialogue with Photography, Thames and Hudson,
1979) and m yself (Voyons voit; Creatis, 1980). In
1980 Belfond published Kertesz by Agathe Gaillard.
One of the last books published in his lifetime, From
Mj, Window (1981 ) is particularly moving, because
th e Polaroids reproduced there were taken at home
" in memory of Elizabeth," with knickknack s and famili a r objects. among whi ch is a glass figurin e
(bought at Brentano's) that is without a douJJt th e
symbol of the woman in his life. A ray of love traverses a tran sparent heart . At eighty-five Kertesz
was still a lrue photographer, who appreciated the
pleas ure that photography gave him . His Polaroids
are without artifice, of a confo unding delicacy. They
are the "Equivalents" of an artist par excellence
who, when he captures a littl e truth., wants it at the
same time to be his ow11 motif and light. His oeuvre
co mpleted, it can be confirm ed that Kertesz had
never been disconnected from hi origins or from his
Magyar sensibility, and that li ght bad been for him
more than a "good friend ." It had been a generous
accomplice always ready to sh a re the sacred passion
of life. When , in 1952, Andre and Elizabeth moved
to Two Fifth Avenue to the apartment they would
occupy until the end of th eir lives, they bought a
Steinway piano. It was on thi s piano that, thirty
years later, were k ept the Polaroids that time will efface, as it effaces n early everything, but they were
P a ri ~ .
198-t
281
282
Hungarian Memories
(1982 )
ANDRE KERTESZ
283
28-t
" In 1he F'irmamenl of Photograph y" is an expression used by llrnri Cartier-Bresso n in a leu er to Andre
Kcrl esz (197.2).
1. Sotably in Nude: The01_y, Lu slrum Press, 1979.
2. I Larry N. Abrams, New York, 1977.
3. Natio na l Ca llery of Art a nd the Art Institute of Chicago,
1989.
-t. The Mu seum of Modern Arl , New York, 1989 .
285
287
288
289
290
:291
292
293
2Y-t
295
296
297
299
ew York, 1964
:)00
301
~)
:302
.30.3
:3 0-t
:)Q.')
:308
.~09
:3 10
311
312
31-
315
316
317
318
:) 19
321
322
323
32-t
327
Paris. 1983
328
329
Paris. 1982
3.'3 0
Pari s, 1981
.331
Paris, 1984
Paris. 198-
Paris, 1984
The Color
Photographs
c . 1%S
C.
J 960
!'.
J<J().')
:) \.()
c.
1960
342
1963
343
~ 14
Jl)(d
347
1956
:348
198-t
196.'3
198-t
:\51
c.
198:2
:~ .)2
198 1
Ac kn owl r dgnH'nl s
l would lik e 10 dwnk :\oc l Bo urcier for hi s tirc' lrss.
pe rsp icac ious. a nd eage r co ll a bora ti on in the prepa rati on
of' th e \YOrk. Dorniniqu P .\l r riga rd for her und ersta ndin g
' a nd sensiti,ity in regard lo the grap hi c des ign.
'1\on Le .\ Ia rlrc for hi s excellent pri 111 s. and
J\la rt in e \l a rq urs a nd Cla udin e Civili se for 1heir
acc urate typing.
Cill cs Mora for hi s co nfid ence and esse ntial s upp ort.
Patri ck Roegie rs for hi s ge ne rou s initi a tive a t th e ori gin of
th e mee tin g with Gill es .\1 ora. a nd Do minqu e Baqu c. Ja ne
Li,ings ton. a nd Lasz lo Beke for th eir enri chin g studi es .
P. B.
Chronology
Hungary
1894
A nd r e Ke rtesz is born July 2 in Budapes t. Hun ga ry.
1927
1908
1912
With a degr ee from t he Academ y of Commerce in Buda pest.
Kert esz gets hi s f-ir st job a t the stoc k m a rk et . f lc bu vs hi s
first ca mera (an ICA with 4..5 x 6 em plates) a nd b~g in s lo
la ke ph otos of street sce nes .
1914- 191 8
Hccruited into th e Aus tro -Hun ga ri a n armv, he is wo unded
in 19 1.5 . As a n a m a te ur he pbotograph s th e d a il y life of the
soldi e rs. Som e of th e n egatives a r e des troyed during th e
I lun ga ri a n revolution.
191 6
For hi s self- porlrail h e is paid a fee de te rmined by th e
maga zin e 13orss::.em -]ank6.
191 7
A dozen of bi s ph ot og ra ph s a r e r eproduced as post ca rd s. H e
pubLi sh es th ese photog ra ph s in 1he m agazine Erdekes-Ui sag.
191 8-1925
:).5-t
France
1925
I IP a rrives in P a ri s in Se pt emb e r a nd find s a pl ace in Mon t pa rn assc. li e frequ e nt s thr lil r rar) a nd a rti sti c circles of th e
a va nt -gardc a nd beg in s to ph o tog ra ph hi s Hunga ri an
fri e nds , arti s ts studi os . sl rre1 sce nes. cafes. a nd the gard ens
of' P a ri s .
1926
ll r nw Pis Bra ssai.
lie lll O\ CS to .5 , ru e d r Va nvrs. \Yh c re he \Yill re m a in ttnlil
1923.
1926-1936
ll r ,,o rk s as a n ind rpe nd cllt ph ot og ra ph e r fo r th e f'oll o \\'in g
1n agaz1nr-s:
1928
Li e bu\'S hi s firsl LC' ica .
f le ma rri es Hozsa Kl ein ., a photog ra ph e r kn o wn tmd e r the
narn C' o f Hog i Andre . T he\' li ve a t 7.5 , ho11lrva rd J\llo utp a r na sse . Th ey s plit up two vcars la te r.
1928-1935
l-Ie is o ne of th e prin cipal ro nlrihlll o rs to the .VI agaz in e /~ 1 ,
directed b,, Lu cie n \ 'ogel.
Most imp~ rt a nt phot o ~cssm-s : In 19 2 8 : g lass blo \\'cr s, ,\'la r sh al L ya utC)', la ud sca pes in Ba r- le-Du c: in 1 929 : Britla nr.
marione ttes. Fre nc h Acti on ; in 1 9.3 0: the Abbe, of Ia
Grand e Trappe, '\1 cr cha nts o f th e future" : in i 9.3 1: 'Th e
c hildre n's cl a y'' : in 19.32: 1-l os pi rrs in Bea unc: itt1 9.3.3 : th e
L a tin Qua rter.
1-li s photogr a ph s a p pear o n a n11mb cr of m agaz in e co ve rs.
1929
H e pa rti cipa tes in th e ex hibiti o n Film uu d Foto in St uttga rt.
Th e St aa tli c he Mu seum Kun slbibliothek iu Berlin a nd th e
Ki:inig-Alb crt Museum in Z wi c ka u buy his phot og raph s.
1930- 1936
li e wo rk s with Sou gcz. Ko llar, Brassai'. KrulL Z ub e r. Sc hall ,
Ma n Hay. i\o ra Dum as o n the magazin e Art et Meclecine,
directed b,- Doc to r Deba l. His maiu pl10to-cssms n o ta bl~
illustra te arti cles b1 Fra ncis Car co. Col ette. a nd Pi e rre Mac
Orla n .
193 1
\!l o ves to .32 bi s. n w d11 Co lcrttin. where he will li ve until
19.36 .
1932
T hirt)-fi,c o f hi s ph o tog ra ph s a r c in clud ed in th e s ho\Y
"Modem E urop ea n Ph olog raphv' a t th e .Juli en Lc vv ga ll ery
in .\el\' York.
1933
Ke rtesz m a tTi cs Eliza beth Sa h' (Sa la m o n).
Th e publi ca ti o n o f hi s firsl boo k. Enj'a nts (Children ). ,,ith a
lcxl b)- .l a boun e. li e produ ces th e seri es of Di sto rtion s fo r
I he tn agaz in c l~e Sourire. I li s moth e r di es.
193-
P11hli ca 1i o n of Paris ''" p ar Andre Kerl es::; (Paris as Seen
Andre KPrt rSs::; ) ,,ith a tex t b, Pi e rre :Vi ae Orlan.
uy
196.5-1976
United States
1936
Andre Kcrte s?: leaves for ~cw York to lionor a contract ,,ith
1hP KPvstorlc a gene\\ which he car ree ls tir e following ~ ear.
1937
Firs t onr-man s hO\\ in 1\e,, York. at tir e PM Callery Tlw beginning of' Iri s conlrihrrlion ilS an irrckperrd e rrt plrot~graplrer
to 1IrupPr's /3a::;rwt ~ I ague, Toll'// Olld Coul/lt); T!te AllleriCU/1
Collier~-
Cora/lei, Look.
19-t 1
Considered ilrr enenr\ alien b,- law becau se of hi s rwtionaJil\'. lw is forbidden t~ publi s h. for sevem l \cars. Elizabeth
s tarts a pe rhrme brr siness.
Tire Mu se urn of Ylocl enr Art is tire first Anwrican m1r sc urn to
hrr~ il photogmph bv Andre Ke rte sz for tir e s lro,, ' lmagr of'
Freedom.
19-4
lie be co me s an Arnericiln c itizen.
19-+5
Prrhlical ion of /Jar o,j'Paris, co nceived b\ Alcxe\
Bmdovitch.
.
19-6
1975
lie is a g rre s l of' honor at th e International Congress of
Plrotog raplw in Aries. Frorn then untill984 , h e will make
frcqtrcrrt trip s to Francr.
1977
Elizalwt h dirs on October 21.
1977-1984
.\'urncro us honors arc accorded him , notab ly in conjunction
\\'ith tlrr s hm\ S drcli ca trd to him thmughout the world:
Pari s. Centre Ceorgcs-Pornpidou. 1977: Universitv of SalfonL 1980:. Jeru sa le m , Is rae l Mu se um , 1980: Pari s, Agathc
Gaillard ga llrrv, 1980 and 1981: Norfolk. C lrrvslc r Musr um , 1982: 1\ew York , S usa n [larde r Callery, 1982; Bradford. 1'\liJliorwl Museum of Photograph y, " Film and
Te levi s ion ,'' 1984.
1979-1981
1948
1949
liP s ig ns iln exclrrsive contract with Conde Nast in 1\ew
York. for whom he take s photograph s pri rnarily of inlrrior
architecture.
1950 (circa )
M1 Wind01r.
1982
ln Paris he rece ives the French nat ional Grand Prix in
photography.
Hi s book H!lngarian Memories is publi shed.
1983
1952
1962
li e dec ides to cancel his co ntrac t with Conde 1\ast and
devote lrimself to hi s own work.
International Period
1963
li e partic ipates in the fourth 'Moslra Bien11ale ln! ernazionale della Fotogra:fia '' (Bienni a l Int e rnational
1984
On .\1arc h 3 0 , Andre Kertesz s ig ns the deed of g ift to the
French S tate (the .\1ini s try of Cttlt rrre) of the whol e of hi s
nega tives and corr es pond e n ce. lie mak es a la st trip to
BudapPst for th e Spring Festival.
1985
Presentation of the show '" AnclrP Kertesz of Pari s and New
York at th e Art In s titute of Chicago aud at thr 'VIetropolitan ,\ 1u seum of Art in l\'r,, York.
Artdrc Kerte sz die s on September 28 in hi s New York hom e.
1987
The arrival in Paris of all tlw neg ativrs and the ar'Cirives
that constitute Andre Ke rtesz's g ift. Tire Frerrch Assoc iation
for the diffusion of the photographic patrirnon\ (VIirti s lr) of
Cultrrre) is chilrged witlr consnving turd di strihrrting thr
Kertt::S7: archives.
1964
199-t
355
Bibliography
Publications
pages., 48 photograph s.
photographs.
pholograph s.
Day of Paris. Edited by George Dav is. Sew York: J. J. Aug ustin Publi shers, 1945. 148 pages. 102 pholograph s.
Andre Kertesz. lntrocl ucl ion by Anna Farova. Adap ted for
the Ameri can edition by Robert Soga lyn. New York: Pa ragrap hi c Books. 1966 . 100 pages. 73 phot.ographs.
pholographs.
1 97 1n~ec tures .
Andre Kertes=.. Introd ucti o n by Ca role Ki sma ri c, from " lli storv of Photography,"' Aperture no. 6 , Aperture In c., New
1ln dn; "'er/ es:::, o,/ Pans and ,Yeu l'o rk. Trx ts bv Sa ndra S.
Philli ps. Dav id T1m is. a nd \\'es ton J . .\laef. T he Art IHstitute
of Chi cago. T he \ 1ctropolit a n \ 'lu sc urn of Art. :'lew Yo rk .
:\ell' York a nd Londo n: T ha 111 Ps a nd llu dso n. 1985. 288
page:,. :300 illu stra ti ons, in cluding 192 photogra plts. Bibli og ra ph) ind rx.
!l nd,.P "'erles:::,: A Portrait a/ Nine!): To kyo: Pac ifi c Press
SP rvice. Int ern a ti onal Cc nt Pr or Pll otogn)ph y. 1985 . 88
pages, 200 photogra ph s in b lac k a nd \\'hit e, 19 ph otographs
i11 co lor.
" 'er/ es:::, on "'erles:::,: II Self P ort mil. Introdu ction b,- Peter
Ada 111 . :\r 11 York: Abbe;ill r Prrss, 1983. 120 pag~s, 9-t
photogra phs. Chronology. Co nnn ent a rv b) And re Ker tesz.
L n autoritm llo: Andre 1\erl es:::,. Introd uction by Peter
Ada m. Text b1 Ca rl o Bert elli . l 1dine. lt a h: Art .&. 1989.
16-t pagrs. 9-i ph otogra phs. Chronology. com menta ry bv
A ndn~ KPrt csz.
!l udre /{er! P.s:::,: 70 photogmphies, 19 1:!- 1966. Peter Ba um ,
Lin z., Austri a : Di e Gali eri P, 1986.56 pagrs.
OmarJ;a;io ad Andre Kerth::,, I S9+- 19S5. Academic de
Fra n~~ a Home. \ 'ili a .\1 ed icis (B uda pes t. Pari s, 1\ew Yo rk,
Ho nw ). 1986 . 77 pages.
Jl ndrf> 1\erles:::, p!totographe. Tex ts by HenP llu)ghe a nd
Jea n- Pa ul Scar pitt a. Pa ri s: ln stitnt de Fra nce. Muscc
.l acqu PII Wrt -A nd re, 1987. 166 pages, 1.'3.5 photogr apb s.
Chronology. bibli ogra ph y.
Th eodore Fried and Andre 1\erl es:::,: An t'nduring FriendslnjJ.
lntrod11 Cti on b,- Fra nklin Hicl dm a n. Ne w Yo rk : Allison Ca lhi es. 1987. 30 pagrs.
.% 7
!l ndd Kerth::,. ma FtWICP. Texts b1 Pi erre Bonh omm e. Sa nd ra Phillips. Jean-C la ude Le m ag n ~. .VIi chel Frizot. Pari s:
Coed it ion of ti1 P \ 1inistcre de Ia Culture/ La ~l a nufac ture ,
1990 . 278 pagPs. 2-+3 ph otograph s. Chronolog) bibliogra p hv. l ~ x hib i ti o n s . Andre 1\er/es:::, in Paris: Fotographien
19:!5- 1936. \ 1uni r h: Sc hirlll crll\1 ose l. 1992.
S tmnger to Paris. lntrod 11 Ct ion b) Hobert E nright. eel.
Toront o. Ca 1wda: Ja nr Corkin Caii Prv, 1992 . 98 pages, 40
ph otog ra ph s.
Paris. Tex ts bv Cla ud io Ma rra. a nd Bettin a Hh r in1s, Pd .
.'v lil a n: Ph otologv. 1993. 90 pages. -+2 ph otograp hs.
Exhibitions
1980
l1 11i ve rsit\ of' Sa lford.
S olo ExhibiLions
1927
Pa ri s. Ca lerie A11 Saerr du printemps.
198 '1
Pa ri s, Ca lcri c Aga t hr Gaill a rd.
1962
Ne w York , Long Isla nd Uni ve rsitv.
1963
Pa ri s, Bibli oth equ e J\ a t iona le, ' Andre Kertesz,
Ph otogra phi es .. ,
Fot og ra ~ a.
1964
Nrw Yo rk . Mu seum of Modern Art. 'A ndre Kertesz.
Ph otogra ph er.
1971
Stockh olm , Modern a Mu scct.
F o t o g ra ~ c n
108:3
.\lil a11 . Padi glio nc d. Ane Co ntcmpo ra11 ea . 'La Poes ia dell a
Sc rn pli r itii ...
Li11 eo ln . Sheldo n .VI cmori a l Art
Forul .a ud Feelin g.''
Ca llrr~
198-t
Bud apest, Caleri c de \'i gad6.
1972
r lelsinki , Va lokuva lllu scon.
358
198.')
Chi r ago. Th e Art In stitute. 'Andre Kr rt rsz of Pa ris a nd
:\e" '''ork ... Also :\e\\' York . Th r IYictropolitan \1u sculn of
Art ( 1985 ): Pari s. Pa la is de Tokyo ( 1986 ) .
Sa 11t a Fe, 1-;: rnrsto Maya ns Gall crv. " Di a ry with Light.
1975
Pa ri s. Ca lcri e Aga th e Gaill a rd.
Ari es. VIr Rcncontres lnt ern a tiona lcs de Ia Photogra phi c
(J ul v).
1076
\1iddl r tO\\'II. Co nn ec ti cul. Wesleya n L' ni vcrsity.
:\cw York. lnt en1 a ti oua l Center of' Ph otography. 'A 11dre
Kert esz: A Portrait a t 1\inetv' (1985 ). Al so Tokyo, Pri11 ten1ps Ginza (108.) ): Osa ka. Printcmps Osa ka (1985 ).
!'uri s. .\1u srr Nati o11 a l d''Art Mod crn c. Ceutrc Georges
l'o111pidou... A11drr Kn tl-sz ...
.\ (\\ York . Lig ht Ca ll r rY.
1l)7l)
L1111lo11 . Snpe11ti11 r Ca ll r n .
ll h tOII. Cnllen of' l' hotog ra pll\.
1986
L,o11 s. Fonda ti on 1\ati ona le de Ia Ph otogra phi c,
'Di storsion s.,.
Li11 z (Austri a ) . .\ eur Ga lcri r . 'Andre Kert esz. 70 Ph olograp hi cn 1912-1966.
1087
-"~r w
1987-1988
Pari s. \lu orr .J acquf'man-Andrc. A JI(lrr Knt csz.
Photo;rra ph c.
19:30
1990
19:3 1
Ba le. ,\ 'cue Sportbautcn.'
Pa ri s. Ca leri c d. Art Co ntempora i11.
l~ ss rn ,
199 1
Ne w York. ll ouk Fri edm a n. 'A11dre Kert esz. th e EarlY
Yra rs.
1992
Toronto (Ca nada ) . .J a ne Co rkin Ca ll crr 'S tra nge r to Paris ...
Brisba ne (Au stra li a ). Qu ccnsla11d Art Ca ll en , A ndre
Kertesz, J~' o nn a nd Feeling ... S\"CIII c\ (Au stra li a). Art Ca ll ery
of i\ew So uth Wa les (1992). Auckland (.\ c,, Zea la nd ).
Au ckland City An Gall ery (1992).
19:32
London. T he Hoval Photograp hi c Soc ictv of Great Brita in.
Exhibition of J'vlod ern Ph otograp lw...
.' \cw York . Juli en
rap hv...
Lev ~
.~ e w
Bru sse ls, Pa la is des Beaux -A rt s. Jnt crn a ti onalc de la Photograp hi c. '
1993 :
Mil a n, Ca leri e Photology. 'Andre Kert esz ...
193-t
Pari s, Studio Saint-Jacq ues.
1994
Kecskcmet (1-Jungarv ), Mag ~'a r Fotografia i ML1zcum. 'Andre
Kert esz a nd llunga ry.' Also Stuuga rt. Cent er of Culture
a nd Information for the Hunga ri a n Republi c (1994) .
Bud apest, Institut fran c;a is de ll ongrie, ' Di storsions." Also
Ari es, Rcnco ntres lnternationa les de Ia Photographic.
1935
Paris, Pav ili on des Arts, "Andre Kertesz, le Doubl e d ' une
Vi e," exhibition organized by th e Mi ss ion du Patrimoin e
Photograp hiqu e, 1994. Al so Tokvo, Metropo litan Mu seum
of Photogra ph y (1995).
1936
Pari s, Mu see des Arts Deco ratifs, 'Exposition ln te rnation a le
de Ia Ph otograp hic Contemporai nc. ,.
Pari s. Calerie Leleu. 'La Photographic Vivante ...
1937
1928
Pari s. Co medi c des Champs-Eiysecs ("'Sa lon de I"Escalier" ),
" Premi er Salon lndependant de Ia Photographi c.'
1839-1937.'"
~ew
1928.'"
19-t 1
New York , Mu se um of Modern Art. [m age of Freedom ...
1929
Essen. Folkwang Museum., ' Fotogra fi c cler Cegenwart. "''
from .J a nu arv 20 to February 24. CircJd a ted in 1929 a nd
193 1.
1967
'\r w York. Hiversidc .VIu sc um . Thr Co nc r rn ed Ph otogra ph er... Al so TokYo. 'VI a tsu\ a (1968-1969).
'
359
1970
Tokyo. Pavilion of the L;nited States, Expositi on Un i\'l'rsell e
elf' Tok,o.
1976
Ch icago, Art Institute of Chicago. 'Photographs frorn tire
Juli en Levy Collcct iou ."
1977
Ka ssr l. Documenta 6.
1978
,VIoorhead (Minnesota ). Plain s Art Museum. Svmpathctic
l~ xplorat ions. Kertcsz/llarbutt.
London. llayward Gallcrv, ' :\ell<' Sach lichkeit and German
Hf'alisnr of titc Twent ies.".-
1980
Paris. Uf!.icio dPII"Artc, ' Voyons voir: 8 photographcs, intcrvr cws.
1986
Poitif'rs (France ). Muscc Sainte-Croix. La l\ouvelle Photographic en France." Also Aries (1986) a nd Carcassonne
( 1987 ).
1989
London. Ro~a l Acadenw of Art s. L' Art de Ia Photographic:
18:39-1989.'"
Pari s. :VIusrr Nationa l d' Art Vlodernf'. Cent re Georges
Pompido11. 'LJnvent ion cl"11n Art.
Paris. Ce ntre \ /at ional de Ia Photographie. Palais de Tokyo.
lli stoire de Voir"' (1989-1990).
360
1990
Pari s. I ta ll du Jo11rnal Le Jllo11de. .\1ontparnassc \ 'u par Ir s
Grands Photograpltes."
1992
Tok~ o.
1 C)lJ2-1993
Hrrlin. Herlinischcn Galcrie. ,\'lusrtllll of ,\'lodern Art.
Sp n11r g in die Ze it. ..
199:3
.\ l cx ico CitY. Hufino Tamavo .\lu scum . .\1exico Through
For<'ig" E~_.es." Al so .\l ollt~r<'l. a11d Los Ange les (199-t ).
199-t
ll ousto 11. Sewa ll Ga ll ery. Fou r .\'la strr Photographers:
Br-anl. Dois11cau. Er\\it.l., a11d Kntrsz."
List of
Illustrations
p. n
p. 2il
p. 29
p. .30
I' .'] ]
p. 7
p. 3
p. 9
p. 10
p. 11
p. 12
p. l .)
p 1-t
p. l o
p. 18
p. 19
p. :20
p. :2 1
p.
22
p.n
p. 2-t
p. 2.~
p 26
p. 3)
36
p. (>2
p. (H
19-t2-J9-t.S. 9 X 12 fil111.
Long Island. c. 19-t.5. 6 x 6 film .
Broken Be11ch. \ e11 York . 1962.
2-1 X :36 linn
Joh11 Sza rk owski . \ew York. 1963.
2-t .\ :3(> mm .
\ras hi11g1o11 Scl' wre, 195-.
2-t X ;)6 Ill Il l.
0 1wn Air i\ la>s. Loni e. Ga li cia. 19 1.) .
-1 .5 X 6 fih11. *
Esztrrgorn . th r To\\n Ce uter. llu 1 I gar~
1'! 17 . -t ..~ x 6 glass pla1r.
p. ;: )7
p . .38
I' :)9
p. - 0
P -+1
p. -1 2
p.
-t.3
p. 44
p. 47
p. 48
p. -+9
p. .) 0
p. .) 1
;~2
p. .):3
p . .S-t
p. .s.s
p. .)6
p..)7
p.
:)9
p. 60
63
p. 66
p. 67
p. 68
p. 69
p. 70
p. 71
p. 72
P 7.3
p. 7-t
p. 75
p.
77
p. 78
p. 79
p. 30
p. 81
p. 3-t
p. 8.5
p. 86
p. 37
p. 88
p. 89
p. 90
p. 91
p. t):2
p.IJ:l
p. (> 1
p. ') -+
.3 61
p. 97
362
p. 123
p. 124
p. 125
p. 126
P a ri s, c . 1930. 24 x 36 mm. *
p . 121) Pa ri s. c. 1932. 24 x 36 mm .
n :J
Jardin du Luxembourg.
Paris. 1925. 9 x 12 gla ss plat e .
plate.
plate.*
p. 173 A Corn er in Fern a nd Leger's S tudio,
1927.9 x 12 glass pla te.
12
glas!i pl ate.
p.
p.
p.
p.
p.
260
:26 1
262
263
26-t
p. 265
p. 266
p. 267
p. 268
p. 269
p. 270
p. 27 1
p. 27-t
p. 275
p. 276
p. 277
36.)
:)6-t
Index
Be11jallli11. \X'ahrr. 13
Beoth,. lstv;i" ( l ~ 1ie1111e ). H. -+ 2. -+3. 8.3.
Aha-1\ovak . Vilnws. -t I. -t 2
Abbott. Berenice. 12. 16. 25. 3-t, 36.
229. 2:)0
Adam s. An sel. 2.')0
Ack Endre. 10. 12. 21. -+3
Agloa , \l ehemed F. 26. 23
Aigner. Lucien , 12. -t::3
Alhi11 -C11i ll ot. Laure. H . 13
Allll asv. Paul. 12
Alva rez Bravo. ,\tlanucl. 20. 223
A111ericmw. 279. 230
Auwricr111s, The. :32
A11dn\ Hogi (Hosza Kki11 ). 15 .. 16. 2:3. -t:).
3-t. :)'i-t
Audri> dw1s les iilles, 23 1
;ludri> 1\erti>s~ (Apc nure l11 c. ). 279
Audre l:ert es~ (lwa nallli Slo ote 11 ). 232
Audre f.:ert es~: uw Frauce. 232
.. A,drr KPnrsz of Pa ri > a11d i\cw York ..
(Chi cago. 193:) ). 2?9. 232. :3.).)
A11gc lo (Pal Funk )..')9
A111wles. Les. 13. 35-t
Arago n. l>ou is. 13. 15
Archipcnk o. Alek sanclr P.. 3:)
An11a . Paul. 1-t. -+3. 15 1
Arp . .l ea 11 , 12. 199
Art aud 'lhl111ique a./Color Plwtop:rapln;
The, 23:3
;lrt et !11edeciue. 17. 18. 91. :3:)-t
Art/omm. 2?.5
Art l11 stiiLIIe of Ch icago. :30. 279. :3.):)
Arts et 111PtiPrS [!;r<lfJhiques. I?. 13. 199
As10r. Brooke. 30
Ag<t. E11gi- ne. 13. H . 15. 16. 17. 28. 90.
275
Atl :.111t a Callt>n of Pl1otogra pll\. 230
A"f!"-'tin, J. J.. 29
Au Sa<W d11 pri11t P111ps (P:11is). 20. 1 I . -t:).
36. 89. % -+
Avrdon. Hi charcl. 28. 27.)
Baco11. Fra11cis. 18. 199
Balla. Giacomo. 199
Balogh. Huclolf'. .33
Bara11n. ,\im c-Paul. 13. 198. / 99
B'"'~'"" .lena. -+2
B:111~s . .\l a 11ri cP. 19
B:lrso,,. Is,,.,;,. -t O
Barillf'S. Hola11d. 2?7
13art6k. Brla. 10
Ball's. Cla v10 11. 165
B:"cr. llrri JI'n. 17
BBC: Tehi-.ioll. 23 1
13<:11111'. ,\1 11a lwm . 2'9
lka iOII . C:!T il. 26
lk lfo 111 l. 2il l
ll!- 111111'1'. ll :ll h. 8-t. 3il. 2 7 (1
11-f
:).').')
Bljiu; 13
13ihari . -t I
Bing. ll ,c. I 6
Birds. 2?9 .. 280
Biro. Lajos. -tO
Bischof. \X'<'rlll'r. 279
Bla1t11cr. Crza. -+ 2
Blu"w"fc.ld. l ~ rwi11 . 26. 2X:3
Boccio11i. Lh11her1o. 199
Bodcli11gl011. Je11 111'. 273
Bodnii1. .l ii11os, 26
Boiffard . .Jacq, cs-A 11drr. 37
Bolo11i. Cyii rf!" 2 1. -t:3
Bomss. Sii nd or. :39
Borss~e111 Jauk6 . .'33, 3:)-t
Boucher.. Pierre. 3-t
Bourke- \~ ' hi1 c . .VIwf!;llet. 2:)
Bmi, . :\larcel. 1.)
Bralldt. Bill. I 0. 20
Brassal (Cnda ll a l:lsz). 12. 1 ::;. 15. 16. 13.
3 1. -t3. 3-t. 35. 8?. 9 1.227. 3:)-t
Braun. \ 'era. -t2
Bresso11 , Hobert. 275
Breto11 .. A11drr. t:l. 2-t. 30-87. 83. 90
Brodmi11h. All'x<')'- 12. 26. 29, :226. 227.
2:30. 23:). ;J.').)
Br{Hk. Sii 11dor. -t O
Bu rroll's. La~.,.~- I 0
BuiLL _\'arg re. 57"'
Ca ld er. Alexa11dcr. H . 199. ::).)-+
Ca 1111'ra. l 6. :) 1
Camr ron. Julia i\ largarrL 2? .~
C: rra 1i,. 23 1
C: ro11e r. Ted. 227. 228. 220
Cs:lk1. .l ooepli. 1-t. -t2. 8.)
C:uhiolll. 3(). ilH
CZ11 111pr. IIIII'('. -t I
Dada. 12
/Jodo (Brfl<k). -tO
/Jo111e. /Jie. I R. :).)-+
Davidso11 .. Brlll'l'. 27. 2S::l
/Jay o.l fJaris, 29. :30. 11-:, :3.').)
de C: l1irico. C:io rgio. 12
Dcr111re. Pa11l. 2 1. 1 I. :28. 89. :3.)-t
Dc,.,ida. Jacque, . 200
/Jiologue ll'ith P/l()tograph,L: 2il l
Diener-Drill's. H11dolf. -+2
Dieter. Calo. 9
/Jistortious. 9. I S. 13- 19. :23. 2-t. -+3. 3?.
19?-20 I. 19S-:.!:!3, :279. :230. 23 1.
:21):). :).)-+
/Jf.s::itomii,,es~et (/Jecomtil'e Arts) , -t I
'Dix. I"<'S.. (til < gro 11p of te11 ). il6
DoesiH11g. TIHo , .,, ~, 8.5
DoiSII ('a ll . nolll'l'l. 16. 2-t. 3-t
Do111ela. C:rsar. 8-t-8.3
lrr11 e Drori Craph ies (Lo, Angeles) .
280
Drt ik ol. Frw n isek. 276
Ducl1a111p . .\hun l. -+2. 8-t
D11cos d11 ll a11 ron.. Louis. 100
Ducrot. ;\ icola s. :31 . 280
Du111as. :\'ora, 10. 3-t. 35-t
l~ lm 11b 0 11rg.
i\1ada111r. /59
.. l ~ i g ht .. group. -t I. 3.3
l ~ i s e ll , lelcdt. Alfred. 28
l ~ i s e n oll'ill. Sl'rgri \1. . S6. 3S-t
l~ i , 11 cr. .\l a ri e-.l eanne. :28
l ~ l11 a rd . Paul. 2-t. 233
1:1(/auts (Chi/dreo). 15. 21. 35-t
Err/ekes ljS<ip:. 12. 33 . .':)5 -t
l ~ rn;,t. \l ax. 12. 2-t
l ~s c h cr. Kii ro h, :33
l ~ l'all s . \X'a lk n. 2.). 23. 30. ::):2. 2::Jo. :23::)
"l'a 111ih of ,\huL Tlw .. (.\lell' York. 1955 ).
::)1
Fmgw. IJcJII-Pa ul. 2-t
Fal'lll Secu rit ,. Ad111ini stration. :227
Faro\'a. A n11 a. 27?
Fat11e. [lie. 20
Fa111er. Lo11i". :~ 1 . 2:27. 228. 229. 23:3
Fcl1rr. l ~ lll c l ic. 12. -t3. 8-t
Fei11i11ger. A11drea s. 28. 283
Feb. Flore111. 13
FI'('('III'Z~ ' i\()(~ llli . -+2. /4S
Fil111 tllld Pl1 o1o l"eag ue. 227
"l'i l111 u11d Fo10 .. (S1c1111 ga rt. 1929 ). 1?. 2 1.
311. :3:>-t
Fiol e1 (A111 stcrdam ). 280
Fi,.l1er. Ag11rta , 20
"Foreig11 ,\,kel'li,illg Ph olOf! lap lll.. (\ell'
Yod,. 19:30 ). 2 1
Fiir, lllcr. ~ l awla. 1-t. -+2. /44
Fortuue. 23
21. 86
Foujita. 86. 90. 16:2
Fm11ce <I table, La. 18
Frank. Hobert. :32, 27.'5. 28.)
Frank. Tamiis. 28
Fnrrrkl. .lr!ska . .?6
Freed. Leorrard. 27')
Frcelcrrrn Plrotognrplrers Crrild. 281
Fried. Tivadar (Theodore ). 85. 2-13
FrizoL. .\1 iclrel. 10
Fro111 Jlltllilldou , 266. :276. 281. :3.:)5
f.G-t .. grorrp. 29
Fvler. Wolfgang. 29
:30. 35.5
lll{illit) ; 279
Cllltrausigeallt, 19
lwanami Shoten , 282
lzis. 12. 1G
2:)1. 283
'Lichtbilcl. Das .. (Munich., 1930). 21
L1{e, 2.5-27. -+3. 226, 277
Lifson. Ben. 281
Lil!ht Callery (New York ). 280
Linlrof chamber. 18, 199
Livingston. Jane. 283
Loeb. Pierre. 12
Look, 2.5. 27, 355
Looking at Photographs, 276-77
Loos. Adolf. 20
Loranl. Stefan. 18. 2.5, 43
Simon Lowin sky Callery (San Frarrcisco ).
280
Luce, 1-fenrv., 25. 226
Ludclington family. 25
Lur<;at. Jean , 1-t. 86, 152, 354
Lvaute\~, Marshal. 19, 3.5-t
L~~nes ..George Platt, 28
280
llearst, William Handolplr , 25, 226
llenri , Florence, 12. 17, 85
ll erczeg, Ferenc. -tO
Hill , David Octaviu s, 28
llill , Paul. 281
1-line, Lewi s, 28, 283
lloffmann, Lip6t (uncle ), 8. 12
lli:ilderlin , Friedrich , 12
lloll ender, Alex , 281
l-lont, Fcrcn c, -+3
llorst. Horst P.. 12, 20, 26, 276, 283
llortlr y, Miklos. 12
llouk. Edwynn. 280
llollse and Carden , 28-32. 29, 229-231.
279.355
llou seman. William , 279
l-loyningen-Hucne, George. 12, 17, 20
1-Iuara, Hclba, 153
90.91 , 354
Krump , Kalman, 9
Kun , Bela. -+ 1
Landau. Erg)', 12. 16. 17, 43. 84
Landscapes. 279, 280
!Vfa (TodaJ ) . 11
.. MA ,. group , 85
.\1cCullin , Don , 10
\tac Orlan. Pierre, 18. 21. 91 , .179, 3.54
:VIaeterlinck, Maurice. 18, 40. 354
\'lagnurn. 280
Maiakovski , Vladimir V.. 20
Mainbocher. 30
Mal colm. Jan et. 277
Manu el brothers. 13
Mapplethorpe, Hobert. 277
Marai. Sandor, 43
Marville. Charles, 13. 16
Ma sclet. Daniel. 13
Masson , Andre. 12
Matin, Le, 12
Mati sse. Henri. 14., 20. 282
Mati sse, Pi erre. 24
Matta. 2-t
Mauroi s. Andre. 18
Merk el. Anne-Marie. 93
Metropolitan Mu seum of Art (i\'ew York ).,
365
366
Nachtwcv. James. 10
Nada r (Caspard-Fclix Tournachon ), 13. 14
Naef, Wes ton. 32 , 282
Nagy. lmre, 41
:\fast. Co nd e, 2.5. 28. 29, 30. 31 ..32, 226,
227.280.355
Nationa l Ca ller ~ of Victoria (Me lbourn e).
280
Nemes. Yladamc..39
Neuesle 11/ustrierte, 18. 354
New Bauhaus American Sc hoo l of Design
(C iti cago). 27, 43 . 227
Newhal l. Beaumont. 24. 226. 230. 276
Newha ll. Nancy. 226
New Vork Post, 28
New York Schoo l. 228, 229, 230, 283
Ne111 Vork Ti111es, 284
:\e,. Hos ie. -+3
,\ 'ietzsc hc. Friedri ch. 22
Noa ill cs. Comtessc de, 18
i\'ojima . Ya sz uo. 276
Nos A111ies les betes (Our Friends the
Aui111als), 21
0.'ouvellc Objectivit c. 91
:\ouvcllc Photographic. 91
:\oll\cll e Vision. 17, 88. 90
.\ 'ovo tn\. Emi l. -+ 1
Ayuga/ (West), 11
VidaL .kan. 19
Vigneau. Andre.. 8-t
Vi sco nti . Luchino. :20
\ 'ision Callen ( Bost<m ). 280
\'i sua I Books. 280
\ 'ogc l. l ~ n c i en. 18. 2.5. S6. 3.5 -t
I (,g,w, 18. 26. 28. 198. 3.)-t ..'Fi.i
l 'oilil , 18
l o\ol/s roir, 28 1
l i1, / 6,17. 17. 18. 23. 3.5 -t
\ \ darem .. l nl n ..38
367
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