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Andre Kertesz - His Life and Work
Andre Kertesz - His Life and Work
95 FPT
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Andre Kertesz
His Life and Work
Edited by Pierre Borhan
Essays by P ierre BOLhan, Laszlo Beke,
Dominique Baque, and Jane Livingston
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
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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.
Al l requests to introduce the photographs of Andre Kertesz mu st be add ressed to: Mi ss ion
du patrimoiue photographiquC'. Association fran<;aisc pour Ia diffu s ion clu patrimoinP
photographique. 19. rue Rcaumur. 75003 Paris, France.
by Pierre Borhan
orn in Budapest on July 2, 1894, to a middle
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trap of photography. But the bird-catcher had his
reasons. " Later, many other photographers recog-
nized Kertesz's influence. Henri Cartier-Bresson,
who happily crossed borders in taking his first shots
f/u , Carl o Rim , Aug ust 6, 1930
(cover ) in France, in Spain, in Italy, and in Mexico at the be-
gimling of the 1930s, would not be the least of them:
"We all owe him a great deal," he said. Would he not
also speak of a "Euclidean spark " in Kertesz? Of
how one co uld be an amateur and a master at the
same time? Josef Koudelka also placed himself in
this line of descent.
17
At the 1929 "International Ausstellung von
Film unci Foto " in Stuttgart, the "French" represen-
tation, selected by Christian Zervos and Gustave
Stotz, was principally composed of foreigners , pre-
dominantly nonacademic photographers: Eugene
Atget, George Hoyningen-Huene, Andre Kertesz,
Germaine Krull, Florence Henri, Man Ray, and Ergy
Landau. These are the very photographers who were
the instigators (along with some others, including
Laszlo Moholy-Nagy, Martin Munk:icsi, Herbert
Bayer, Franvois Kollar, Paul Outerbridge, Albert
H.enger-Patzsch, and Maurice Tabard) of the Nou-
velle Vision, whose shoots would each year spring up
again, from 1930 onward, in the annual issue of Arts
et metiers graphiques-in which almost no room
would be given to art photography.
EXPOSITION
du t2 au 22 Mars
Invitation Ca rd for dtf' l ~ xl tibitiotl or ,\ndrf. Krri PSZ PosiPr for Kertesz's 1-': xhibition
nt tit<' ga ii Pn Att tlalTP du printrntps. at th e ga ll rrv Au Sacre clu printcmps,
Pari s. 19'1.7 Pari s. 1927
drian, and Tristan Tzara), and it was not by chance shown alongside earlier photography. At Julien Levy,
that Paul Derm ee dedicated a poem to Kertesz-he the minimum sale price of each proof was fixed at
too was captivat ed by th e lyrical beauty of these per- twenty dollars.
sonal sta tements. The sam e year, in the German
magazin e Tageschronik df'r K!lnsl (Daily ChronicLe Kertesz 's first book, Enfants (Children, 1933 ),
of Art ), Kertesz was recognized as representing th e was followed the next year by Paris, dedicateJ to his
"m ysticism of the rea l.'' Among th e other exhibi- brothers Imre and Jeno and with a text by Pi erre
t ions, beyo ud those at . "Salon de l'Escalier," "Film Mac Orlan, b y Nos Amies les betes (Our Friends the
uud Foto'" (S tuttga rt, 1929), '' Fotografie der Gegen- Animals) with a text by Jaboune in 1936, and les
wart'' (Essen, 1929), 'Das Lichtbild" (Muni ch, Cathedmles du vin (The Cathedrals of Wine) \Vith a
1930), " Foreign Adverti sin g Photog raphy" (New text by Pierre Hamp in 1937. In 1934 a selection
York. 1930). and "Mod ern European Photography ' of hi s " intuitive and meditative'" photographs of pub-
(Juli en Levy Ca ll ery, New York, 1932), one mu st li c gardens, boulevards., and cafes were used
note Kert esz's pa rti cipation in the seco nd Salon de to illustrate the section on the Parisian years in
I'Araignce, in 1930, whi ch that year Carlo Rim Cyorgy Boloni's biography of Endre Ady. Kertesz 's
made int o an un common, eclectic. memorabl e eve nt. first books, without being of great bibli.opl1ilic impor-
One mu st note as well. Kertesz's presence in the bi g tance in the hi story of publi shing. co nfirm ed hi s rep-
slt ow presented in 1936 at th e Musce des Art s Dcco- Lii ation. Bette r than th e books. th e se lect ions made
ratifs. in whi ch co nt emporary photography wa s for th e slto\\s ensnred liis tliJCotltesta hl e sta turr.
Ameri can photographers did not yet have. li e
kn e'v how to find in realitr a part of hi s und e fin-
able poetry, and he often reil.erai ed. P holog rap h~
must be realistic.' I lis angled shots were naltLrali s-
tic. and they h elped him 10 decode the world. 10
s urprise it, to und erstand il , lo Jove i1 as a wilness.
whet her th ev were shots taken from his window or
from a ti er ~fthe E iffel To\\ er. If for him. as for Al-
bert Renger-Patzsc h. Ot:e If/eft ist Schon (Th e
WorLd is Beaut?Jit!), il wa s not cold , it was nol a
GUTEGELDANLAGE,
SCHMUCK DES TISCHES, terrain reserved for philosophers a nd scientists who
OBERALL WILLKOMMENES simplifi ed it too mu ch b~, elimina ling a greal pari
GESCHENK SIND
of its ri chness., of il s vo luptu ousness . Keri esz. who
Brudunann-Bestecke had no desire to dev il a li ze lh e world. paid a lm ost
<1 805 bc:k~ nntund~ihrt. E.duSilbumit
M.ul.e ~AJJc-r~ l'acn, -vei'SI Ibc:n mit M.ukc no atte ntion to th e rn ac hi11 es. lhe lools. and lh e ap-
.LoltQfnocie". Vonitig in d .. n FJdagc:sds~il.en.
A b b i I clung en :r: u 0 i c n s t c n paratuses of the new techn ology on which some of
P. BROCKMANN&- SOHNE A.... C., H.ErL.BRONN .. N hi s colleagues focused., and he rnad e no solariza -
1ions. photomontages, or photogra ms. For him .
mod ernity lay in vis ion; iI did not res I in th e me-
Publicity for Bru ckmann. 1 929 cha ni cal or in th e soa rin g of indu s lr~, nor in plasli c
inter ventions or labo rato ry opera1ions. Howeve r.
Kertesz had lea rn ed to 111 aster any incliuati on 10 ef-
fu sion. The famou s C/w:, Monclrian pe rfec ll~ re-
Andre Kertesz arrived from Hun gary with a n fl ects the inn er spirit of lh e paini er. Kerl esz 111rn ed
indelible heritage and , according to Nietzsche's for - a vi ew of the studio inl o a ma gisterial personalized
mula, with the "contemplative instincts of hi s Mondrian. slru cl uredlike a painting. sig ned by I he
childhood. " Kertesz was confirmed in France as a ha t. COUJJtersig ned b~' I he a rtifi cial flmver. The por-
22 man more of vision than of spectacle. Contrary to trait of th e painter wilh lh e bias nose., wi1h th e
what was said and wriu.en, he did not use ju st a ny- asy111metrical mu sta che. is a lso of an exemplar~ so-
thing as a subject. His universe was in fact pre- briet~' The extreme ly \olubl e still life taken i11
cisely limited; many aspec ts of the world. many Fern a nd Lege rs studio. Tlt e Fork (mad e spontan e-
facts and events, were of no interest to him as a o usly at th e end of a 111eal ), Meudon, Sa l) Tic Dan -
photographer, and one can safely say that he wa s cer captured at an ep iph anous n1oment. a nd tl1 e
not at all attracted to fa shion, adverti sing, or in - view of the Pont des Arl s I hrongh the clock of 1he
dustrial photography. Despite the dominant arti sti c lnstitut de Fran ce a li es l lh at Kerl esz co uld lellt-
c urrents , Kertesz went neither all the way to ab- porarily forget hi s roman li cism. There, he re fiLL ed
straction nor toward an unbridled surreali sm. If
sometimes he keenly perceived the surreal in th e
real, he kept it subtle. Some of his 'vork conlained
elements of surrealism (in found objects, fortuitou s
encounters, minor incidents, the humorou s traits of
popular culture), but he refused to emphasize
them. I Iis art, respecting the integrity of the m e-
dium of photography, consisted of conjoining his
aptitudes for seizing the soul and for purifying
form s. Tt is that harmonious conjunction that char-
acterized him and made him " very French. " Less
conceptual, less experimental than the Germ an
photographers, Kertesz h ad an elegance and a
" personal touch" that they did not, and a sense of
th e subtext, of the indexical, of mystery, that Pi ct .\londrian. 1926
his s ubj ec ti vit~ throu g h a mo re form a l treatm e nt never tra nsfo rm ed him se lf into a n intellectu al cap a-
of surfaces and volum es; th ere. o ne mu st ce rta inl y bl e of interpreting hi s own ph otog raphs. Such qui -
sec th e influe nce o f Con structivism and C ubi s r,-;. eti sm is conf usiug a t a t irn e of lireworks of all kinds.
Ke rt esz gave proof o f a rti sti c inno vatio n with o ut It is no t sur p risin g eith er tha t th e artists in Paris
be in g eso teri c. For him . do in g documenta ry p ho- \YCre the first to re\'eal an d to a ppreciate hi s ori ginal-
tog ra ph y was 11 01 in contra di c ti on t o hi s bein g a u it y. Th e one they accep ted a mong them selves was
a rti st. Rea lity depend s on tb e tools th a t describ e it n ot onl y a ph otographer in th e fulln ess of his matu-
and o n th e on e wh o m anipula tes th em. Th e la n- rit y, but a co mpa tri ot \vlr o indisput ably push ed his
g uage o f Kertesz is univer sal. 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 )
A c lrroni c ler of the ban a l. of th e qu otidi a n. in t lteir O\\'n creative gesture.
,,here rea lit v a nd fi cti on a rc indi stin g ui sh a bl e,
Kert esz becam e a sing ula r ph otogr a ph er to \v hom Tn 1930 Kertesz tra ,eled to l-1ungar y to see his
the visibJc. in whiclr lh e in visibl e app ear s, is a ppa r- fa mil y again. E liza beth., her cert ainties confirmed,
entl y offered in a ll simpli city: co uld o ne ca pture it jo in ed him in P ari s in 193 1. Aftenvard. she accom-
witlr a 11 eco nom~r of means grea ter th a n his? II is not p a rLied him o ft en in his travels. and he m et less and
1
s urp ri sing tha t his facilit~, hi s ca ndo r. co uld dera il less \Yith his friend s: art ists. wri ter s. journali sts. and
more th a 11 o ne hi st ori an. more th an o11 e criti c. th a t n oted [ig ures in th e press and in publi shin g. For
som etimes a clisturbi11 g aud acity. such as t ha i of the Andre. hi s m a rriage with Rogi Andre ha d been noth-
Disto rtions .. is mixed in ., a nd a ll th e more tha t he in 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
1
the most daring work was for Conde Nast, for Evans, like Kertesz, was con cern ed with the human
William Randolph H earst, for H enry Luce, or for th e co ndition., and like him was as far removed from
government, under the rubric of one or the other of Wes lonian distillation as from Weegee's intimacy
the various programs inaugurated following the cat- \vith drama or accident. The Kerteszian New York is
astrophic stock market crash of 1929. Living at the \vithout hubbub , without citizens who confront and
Hotel Beaux-Arts at 3 07 East 44th Street, Andre jostl e one another, without tension. 25
and Elizabeth were out of their element and sur-
prised by the persistent economic crisis., by the num- The 6rst issue of Life, created b y Luce, a p-
ber of unemployed , by the number of beggars. peared on November 23, 1936. Look and Coronet
Kertesz took far fewer personal photographs than he followed , also conceived on the model of European
had on his arrival in Paris. Discovering the city was magazines: the most a ppealing part was th e illustra-
more trying; h e did not succeed in finding points of tions. Kertesz did not profit from this editorial boon.
reference at once (su ch points make it possible for a He did not want nor was he able to change his way
city to become one's own ), and he got on well with of photographing, nor did he want to accept only of-
very few of those he met. Photographing articles for fers that did not require him to make too many con-
a big publishing house evidently did not excite him. cessions. Intransigent, he did not know how to resign
He forced himself to visualize the crushing city, but himself to submitting to the disobliging editors rea dy
his anxiety was detrimental to his creativity, even to use his photographs in any way they liked . Even
when children and old people were always faithful to Margaret Bourke-White, th e first photographer of
the impromptu meetings he set up in the streets and Life, did not succeed in imposing on the magazin e
the squares. Whereas Berenice Abbott, on her return staff complete respect either for her framing or for
to New York in 1929, concentrated on th e evolving her rights. Look did not hesitate to be sensationa li st.
architecture of the city whose transformation she Am erican editors took many more liberti es with 1he
" docum ented," Kertesz preferred the relationship of shots than would European editors such as Lu cien
the city and certain of its inhabitants: his sense of Vogel or Stefan Lorant, who were espec ia lly ca rr ful
form co ntinued to be enriched by th e impact of emo- of personalization in their editing. Thus can one rx-
tion . lf he invariably avoided making hi s prese nce pl a in the paradox: the illu strated Amrri ca n m aga-
felt through ta king frontal views. he was neverthe- zin es of the new era of journalism did 1101 comprlr
less closer to Walker Evans than to Bereni ce Abbott. with one another for the servi ces of th e pionrer rr -
.\ <'" . York . 1939
32 bidden to publish anything but hi s fa sh_ion pho- t;quare covered in snow, in which a distant sil-
togra phs. The fate of th e Swiss Rob ert Frank, who h ouette, anonymous, solitary, indispensable, was
immigrated in 1050 and was integrat ed despite the "specialty" of the photographer, his signature.
everything, wa s hardly more desirable. It wa s in This shot proved that although routine had weak-
France that Frank's Th e Americans wa s published in en ed his flame, it had not put it out altogether. The
1958; th e American critics were severe when the inner conflict did not subdue him; the pressures of
book wa s publi sh ed in the United States by Grove Conde Nast did not totally "contaminate" him, to
Press. After Kert esz and Elizabeth moved , on Octo- borrow Walker Evans 's express ion. The artist in him
ber 12, 1952, into an apartment on the tvvelfth floor remained vital and motivated, even if, for a long
of a building at Two Fifth Avenue that looked out on time, his artistic intensity was weak er. Since when ?
Washington Square Park, Kert esz observed in all Weston Nae.f2 5 believed it was since 1933, the
seasons the life of the n eighborhood from his win- year of his mother's death and of his marriage to
dows. From th ere (with a telephoto lens) he took his Elizabeth. Others believe it was since 1936, when
bes t shots, in which his architectural sense was mar- he left Paris and his artistic h om e. Ke1tesz was
velously complem ented b y his i1mate capacity for sincere when he accused America of having
COlllplicitous observation. There he exercised unlim- robbed him of his true talent, but wa s he not per-
ited patience, waiting for just what would make the h a ps mi staken? H e would again show eviden ce of
photograph unique, Kerteszian-as he knew how to crea tivity, after en ding his co llaboration with House
ca pture, at just the right mom ent, the flash th at and Carden, in 1962. Then he bega n to reassert
tra rrscend ed sight and released vision, illuminating hi s ind epend ence, regaining his co nfidence through
life. This new apartment and th e sq uare at the foot two success ive large shows and. in 1963, recovering
of lir e building linally offered him a personal anchor. the negatives he left in France in 1936, which
lie renewed hi s acquaintance with th e m as terpi ece he had thou ght were lost forever. America alone can-
during th e wint er o f 195-t thanks to a Wa shington not be blamed.
1. Audre KPrt es::, ,IJagrarors::.agou, intcrvie" \\'ith Janos 22. Elli ot Pa ul. "A \ food from th e Dim Past,'' Saturday Re-
Bodn a r. tieu oJL iterature (\by 19. 19-+5).
:3. Ibid. 2-t . "Mo n Ami Andre Kertesz b)' Brassal. Camera, Ap ril
196:3.
-+. KPrfes::,. Ga ill a rd . page 12.
2.5 . Andre Kertes::, of Paris aiiCI Neu Yo rk, Weston '\ae L
.). 1ludre KPrtes::. .1/apyarors::.agou. op. cil. "The .\l a kin g of an Ameri ca n Photogra ph er."' page 121 .
9. Ibid .. page 8 1.
1:). / ln dre f...'ertes::,. 11w Fm nce: Sa ndra Philli ps. "A ndre
Kert r,z. 1111 louri slc a Pa ris: 192.)-:27 ... page :25. T ht> tex ts
ll\ Sa udra Phillip ~ iu Audre f...'ert es;:;, ma Fm nce a re extrac ts
fro111 "The Ph olographi r \\ .o rk of ,\u d rr Kert esz in Fra nce.
19:2.)- :)6 : ,\ Criti ca l Essm a ud Cata logue .. ilws is: the Cit,
L'ui\'(' r, il\' of i\c,, York . 198;).
17. ;lndre A:ert es::,. 111a Fmn ce: Jea u- C: Ia ude Lemagll\.
,\udrr Kert esz maitre de Ia mes urc... page 108.
18 . Ibid .. pa ge 112.
by Laszlo Bcke
ud re Kertesz sa id a ll his life th a t he was
Fo r Ke rtesz .. co mpos ition impli ed. a bove a ll . position. It was importa nt to me lo do it. '' 6 'Why did
th e ord erin g of form s. a rrd so metim es a lso int eg rat- lt ak e i I? I saw there so mething th a t see med interes t-
ing a tm os ph eri c conditi ons. Ju the ph otog raph e n- iu g and J etern alized il. Ob vio usl~r., I wa ited for th e
titled Th e Su>i11g (1917) ., t\\o chil dren cha tter, form - most fa vora bl e moment. I was there, th ey had 110
ing a light spot in front aga inst t he da rl background idea wh a t I was doin g. cs p eci all~, in 1917-1 pla ye d.
in \Yhich cvc rvthing is cl ctcrrnined b~- I he tracing of I talked lo th em-th e favo ra bl e momenl ani vccl . I
parallels and so me conve rge nt lines . .. , co nsciously took it. And ir1 effect, I sec now tha i from the point
7
took this picture from th e point of view of th e com - of view of co mpositi on, it is rn odcnr .''' In th e ph oto-
graph. only one clement tes tifi es to th e "favo ra bl e
moment : th e little girl liftin g her foo l. In oth er ph o-
togra ph s. th e appropri a te moment is th e key element
of the co mpos iti on. For exampl e. th e train traversin g
th e background in Meudon (1928) or lir e silhouell c
a pproac hin g th e street- th ey a rc signifi cant. Tn hi s
(i rst peri od. th e lea ps b ~- a number of I he fi g ures re-
call th a t Kert esz too k advant age of e ,e r~ occas ion 10
do sport s. In general. e ve r~r thin g th a t lra s lo do with
movem cn 1- leapi ng. poo l scenes. racrs- rspeci a Ih
interes ted him then . It is thu s na tura l that he opt ed.
very earl y. for insta nt a neo us ph otogra phy with or
\Yith out a n a ut oma ti c release mec ha ui srn . No tr again
Soldi er arrd Bull. the sin gul a r rol e of bird s in hi s work: tire~ often o<-
llrrn ga ry. 19 17 c up y th r kr y places in hi ~ fi rld of vision or create cl -
"noble methods" wa s replaced by the produ ct of
"softening" lenses . Appa rentl y Kertesz did not know
the work of the photographers Janos Miilln er or
Gyula Jelfy, who during the Hepubli c of Counsels
had tried to create Tlun ga rian photo-essa?s. We also
do not know if he kn ew Karoly Escher, who was
born in 1890 and who , betwee u the two world wars,
becmne one of the key figures i11 reporting with a so-
cial emphasis and even of politi ca ll y engaged " socio-
photograph?. " At this time, Kertesz wa s already the
mature creator \vho , with hi s lyrical vision and his
,VIv Brotht'r a ,; kan1,;.
original compositions. would inscribe his name in
0Jinaharasz ti , llun gary, 1919
the hi stor~7 of photograph? with the invention of
what is knowu as "literary reportage. '
em ents with narrative valu e. \Vc have understood
rather late that his photographs of birds were not the fn 1912 Kertesz rook his first photographs (a
work of chance. Upon his visit to Budapest in 1984, young neighbor and her family) assisted by his
Kertesz wa nt ed to take a shot of an outdoor statue younger brother. Journal entry, June 21 , 1912: "We
and asked his companion to hold hi s arm out until a tried to make prints from the plate and we suc-
bird appeared in the image. ft didn"'t work, and after ceeded. Tt is captured well. The photo is small, but
a quarter of an hour he gave up 8 sharp enough . I can look at it for a long time and I
am very h appy. " 10 All that followed up until and
Autonomous formal values, degrees of inten- during the war-a bo y asleep beneath his newspa-
sit y of black and white, in stantaneous photog- per, lovers, fri end s playing sports together, soldiers
raphy-Kertesz could not study th ese tn his resting, Gypsy children , a blind musician, onlookers
predecessors. Through their work on facia l expres- in front of a circus tent-consisted of genre scenes
sion , the most important professional photogra- taken with sensitivity, but withou t any trace of social
38 ph ers, masters like Aladar Szekely, Denes H6nai, critique. In 1916 Kertesz parti cipated in the satirical
J6zscf Pecsi, tried to break th e bourgeois photo- magazine Borsszem Janko's competition with a self-
graphic habits of the portraiti sts of the end of the portrait in which he was delousing himself. The fol-
century. As for the amateurs, numerous and \vell or- lowing year he sent a view of peasants arguing and
ga ni zed, they worked to diversify their thematic another of village children leafing through a story-
choices: landscapes, nudes, genre scenes, still lifes. book to the Erdekes Ujsag competition. In 1918
But a ll of them, concerned with making reference to Kertesz photographed "the revolution of the Queen
th e high a rts, were inclined to use the eraser, plat-
inum , bromide, bromoil, and other "noble methods "
to ac hieve "pi ctorial," indistinct and vaporous ef-
fects-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 con-
tribut 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
Margarets a nd the street events of the He public of
Cou nsels, \Yhi ch wa s declared .\!larch 21 , 1919. 11
Thi s does not necessarily mean that he \\as enthu si-
astic: 'I \Yas a leftisi. like eve 1T normal human
bein g. absolutely lefti st. . . . as a high school stu-
dent a socialist. but I was not the activist type-[
was on[~, in sympathy with them-then I sa\\ what
had occurred during the commune. . . . I rea d
and heard t bat my friend s ,,ere executed for noth-
ing. th at is to say for the simpl e pleasure of killin g .
.Vlv friends were inn ocents wh o had never clone
anv harm to anyone. And they were leftists like
me. What happened \vas terrible: co mpulsory
parades. . . I wa s employed at the time. Obvi-
ously. it was ob li gato ry to march; the president of
M~ illother 's Ilands.
the stock exchange office had to march \Vith us. 1 Biidapcst, Hunga rv. 1919
have a photo that [ took on May 1; I re1nember it
well. 12 a n anecdote sho\\s Angelo's influen ce: in 1925,
Kertesz put aside- and would keep all his life-An-
At th e beginnin g of th e 1920s, Kertesz \vas ge lo's photo-essay entitled La Rue de La Pai.'r a
unemployed. Not only did he separate himself more Pest-les 2-f heures de La m e f'aci (Peace Street in
and more from the values and expectations of hi s Pest- Th e 2-f Hours of fa ci S treet ). 15 Angelo, 'vhose
fmnily-a 'proper" job appealed to him less and real nam e was Pal Funk , was the same age as
less-but in finding \\ork hi s Je\\ish origins were Kertesz and was , among the professional photogra-
also a problem .13 l-Ie had once worked a fe\Y \veeks phers, a representative of the 'soft style'' popular
as a beekeeper; as hi s photo-essays were later to tes- between the two world wars. Kertesz, who preferred
tifv. traditional trad es attracted him. Th en he de- sirnplicity and the abso lute absence of artifice, evi-
cided to beco me a professional photograph er. Entry dently could not completely co mply with Angelo's 39
in his notebook , May 23 , 1922: ''Angelo has offered instructions. Kertesz had no real need of a teacher,
to teach me photography. That Twill b ecome a pho- a nd he could discuss photography with a number of
tographer.'' Entry Ma~' 3 0, 1922: 'I notifi ed Angelo fri end s and relati ons. His friend Maximilian Winter-
that I accept hi s offer. H e ha s pushed back the be- stein found himself after the war in the new Czecho-
ginn ing of th e lesson s from September to October, slovakia as a profess ional photographer; Erzsi
" ben h e will have work .'' Entr~' June 19, 1922: 'I Romer, anoth er fri end , at first an amateur, later
went to Pomaz with Angelo to take photographs. ope ned a studio in Budapes t. His co usin H6zs i
E ntry June 23 , 1922: ''Photos cleclicatecl in a nau se- Klopfer regularly ask ed in her letters for advice on
ating style on Angelo 's part. That does not please printing techniques. His friend Sandor B01oss own ed
me.'' Entry July 8, 1922: "At midday. at Angelo's. a valu able camera. Especiall y important to him were
He rese rves a cold welcome, purposely directs th e hi s two broth ers, lmre and Jeno. Jeno emigrated in
co uversa tion in a way to disco urage n1e from pho- 1925 to Buenos Aires, where he continued to take
tography. Vi sibly his own pride is hurt, beca use 1 did photographs. Writing from Argentina, Jeno pre-
1
not accept his advances as he had hoped. T was di cted th e evolution of his brother: ' AJas , I have not
afraid of his celebrity. Later, he warmed up again. " see n any of your rece nt photograph s. Th e Kemslo ck
Entr~- July 11 , 1922: 'At a clairvoyant's. I should S tudio is still in your old s t~le. Th e photo of
not li sten to Angelo; h e is a h~r pocrite , this coex is- Madame Nemes lea ning on her clbmv.. \\'ith th e ot her
ten ce will never succeed. It is on t be traces of an old woman, was conceived in the spirit of Angelo . With
gentl eman tha t I will find my future .. \Ybich \Yill be th e " oman behind the cafe ta ble, you ha , e already
beautiful. I should leave. " Ent ry July 2-t , 1922: I met Pechy. The first truly ori ginal-photo that I sa \~
went to say goodbye to Angelo. J-Ie goes to of yours was Zil:::er and Noe. But it is only an at-
Pari s .. .. " 1-t Kertesz himse lf did not leave for tempt. With the Creek engineer. you begin to be-
Pari s until three more years had passed. F[owevc r., co me Andre Kertesz. For me. the big surprise ca 111C
fro m two photos of C unvor Berg . Th ere., you a rc al- What spiritual baggage did Kertesz take with
ready a di s tin ct charac ter-it is no longer the appa- him to Paris? Baggage similar to t hat of th e average
ra tu s tha t ph otograp hs but th e lens th at d ra ws as perso n. Born in a petit bourgeo is famil y, with a
yo u want it to. Espec ially in th e three -quart er po r- dip lom a from a bu sin ess sch oo l. he thereafter \Yas
trait. I don't eve11 kn ow ho\Y yo u did it. It is not per - c hi e fl~, self-ta ug ht . Though a tru e 'Bucl apestia n'' (at
fccd y clear, but it is a lso neith e r disagreea bly cl ark th e tum of th e century, th e Hun ga ri an capita l was a
nor so ft in desig n: it is stron g in co ntras ts. Th e tech- very dy nami c E uropean m etropoli s with a m etro., a
niqu e is impecca b le. a nd. as fo r d1 e co mpos iti o n. 1 tra m\\a ~' a telep hone system ., and a number of the-
don t recog ni ze yo u. \Vhen \Ye parted. ~o u " ere a ters a nd cafes ) li e often went to the co un t r~ As a
g rop i11 g. un consc ious. with littl e o ri g in alit y a nd lots hi g h sc hool stud ent., everythin g interes ted him . H e
of intuit io n. ll ere I speak only o f portrait s. Appar- a tt end ed sportin g competiti OJJ S (soccer. boxing,
entl y. yo u needed thi s ~car where ~~ o u foug ht to ea rn ru gby ). parti cipated in atlJlcl ics, played th e flute
a li vin g. to b eco me a ut ono mou s a nd consciou s." 16 well. a nd ca mpo eel parodies of popular so ngs . lie
wa s a g reat love r of th e thea ter. rn the gra nd halls
Even if we don 't kn ow a ll th e photog rap hs of Buda pest -Ne mzeti Szinhaz. Magyar Szi'nhaz ,
cited. this leue r t eac hes us mu c h a bout t he ex ige n- Vigsz inh az-be saw plays b~r Bernard Sha w and
c ies o f th e peri od . Kertesz ha d certain!~ ph o- Ma uri ce '\llaete rlin ck and those o f fashion a bl e Hun-
tog ra ph ed th roug ho ut th e war-from Hun ga ry to ga ri a n a uthors s uch as Lajos ll a tvam , Lajos B1r6,
Ga li cia. from Albania to Rum a ni a-but sim ply reg- Dezso Szomorv, a nd Ferenc ll erczeg. Hi s rea d ing tes-
is terin g events did 11 01 co unt as a 1n1 e p erform a nce: tifi ed to th e sa me ec lecticism: Sa nd or Brody. whose
th e tru e photog raph er, the one wh o wo uld co me to nove l Dada is a n exa mpl e of la te- nin eteenth-ce ntury
li ve hi s craft., o ug ht to m ak e a rti sti c renderi ngs. A na llll'a li sm. Ceza Ca rd onvi. a 111ho r of a hi stori cal
littl e tim e still ha d to pass be fore I he pub Iic ,,o Ldcl best-sell er on th e wa r against th e Turks. a nd Istvan
rea li ze that a n ew genre ha d bee n bor11: p hotojo ur- Ba rso nr \Yh ose huntin g stories were very popu la r. lle
na li s m . It \vas in Pari s that Kert esz beca m e a photo- ce rt a inl y rea d Th e Guys ji'Oin Pal S treel b y Feren c
essav ist. Moln a r., a cult book that moved genera l ions of
-tO
children. a nd !/You PIPase, Teache1; by th e sa tiri c- Whe reas ''T IJC C ro up of Eight" we re parti cu-
phi loso phical a uthor Frigyes Karinthy. a novel fo r la rl y und e r th e influ ence of Ceza nne and tl lC Fauves,
hi g h sch ool s tud ents whi ch m ade on e lite ralJ~- la ug h the activ ists., painte rs. and wri I ers gat he red aro u ncl
out lo ud. 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
Jo urna l entry. Ap ril 15 . 1922: Gamine. bv th e politics o f the Comm un e of 19 19. paintin g
Pierre Weber in H elt a is translat ion. lt is th e first posters. for example., and creating th e decorat io ns
Fren ch com edy that J have see n. It pleased me. Of' for 1he J\1a~' 1 parad e. Kassa!< openlv op posed one of
pla\'S for th e th eater. J still cann ot formu late cri- th e communi st directors, Bela Kun., and refused to
tiqu es. ,,hi ch is not the case for objects and works of put hi s art a t th e se rvi ce of th e polit ical en ds o f th e
a rt. In th a t domain. a nd to my g reates t pl eas ure. l proleta rian dictatorshi p . Neve rtheless, a ft e r the fail-
have bee n able to do so for quite a wh il e. J 7 It is from ure of th e Hepublic o f Co un se ls., Kassa k. like o lh er
thi s peri od o nward th a t th e first testim oni es to members of th e gro up. ha d to emigra te. a nd m oved -+1
Kertcszs int e res t in th e fine art s da te. At thi s time. he to Venice. ( Kertesz photographed him with his wife.
bought a reproduction o f' the paintin g llone_pnoon by Jo la tL The elate of thi s magn ifi cent photograph is
Bih a ri a nd ''T rll to Mikl os \'ada szs show (th ese were unknown.) Laszlo .VI o h ol~' -Nag y went. via Vien na . to
t\\"O mediocre painters from that period). More signif- Ge rmany.. wh ere he participa ted a lon g wi 1h m a n~' o f
icant ly. be k ept an iss ue (No. 5) o f' the first year of th e hi s compa tri ot s in th e founding of th e Bauh a us:,
magazine D/s::,[tomiiues::,et (Decorative Arts). dating Lajos Tihany i chose Paris.
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. "a 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 em-
broidered and studied dra\\ing with Almos Jaschik
(another representative of the secession a nd symbo l-
ism). 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 \X'ith \11\' A rti st l' riencb . I h11rgar Y. I 9:2:3
-t2
When, in 1925, Andre-still Andor-Kertesz tion of Duchamp 's 'inji-wnince' theory. Other
arrived in the French capital, he found himself at friend s of Kerteszs should al so be noted: the de-
once in the milieu of the ''Hunga ri a n colony" : he fre- sign er and woman of letters Anna Leszna i., one of
quented the Cafe du Dome, the mee ting place for the pioneers of modern tapestry and model for sev-
Ilon garians in Pa ri s. It is almost impossibl e to re- eral portraits; Noerni Ferenczy; the architects Erno
const ru ct perfectJ, th e li st oft hose with whom he es - Cold finger and Pierre V ag6 , and sculptors Joseph
tabli shed ties during his more liran ten years in Csaky and Etienne Beothy, in whose stud io Kertesz
Pa ri s. 1s but the li st includes ma ny artists: Rudolf photographed the famous Dancer in 1926. Kertesz
Diener-Denes, painter; Vera Braun , painter; Ma rcel reca ll ed his model for this photograph thu s: "She
Vertes. designer; Cyula Zilzer; Id a Thai ; and the wa s call ed Magda Forstner, a very good dancer. She
painters Vilmos Aba-Novak, Bertalan P6r, and Jeno dan ced in Budapest at the Vigao and wa s alrea dy fa-
Barcsay on their wa ~' tlu-ough Pari s in 1927; as well mous when she decided to leave for Pari s, \Yhere \Ye
as Zsigmond Kolos-V ar y, whom Kertesz pho- ran into each ot he r. 'Magda,' l sa id to her, 'come to
tographed behind th e folkloric balconies of the rnar- Beothy's studio tomorrow; I would like to take some
ionet t ist Ceza Blatt rrer and Fererrc Reich ental from photographs of you. ' She came. We talked of eve ry-
Pozso rr y (Bratislava). One of hi s best friend s wa s th e thing and notlring, J asked her if she had a n~' id eas
deaf-mute painter Lajos Tihanyi , of \Yhom he made about the pose. Above all no emba rrassment. A few
tire srrrpri siu g portrait in which thick smok e spiHs minutes after the first photograph, she sa id she had
frorn Tihan~' i 's mouth like ectoplaslll or an illu stra- an id ea. She threw herself on the couch, and r took it
a l once. I saw I ha l it was perfect, th a t the re was no
need for a noth er ta ke. t 9 With her bodv. th e dance r
gave a n in ge ni ous int erpreta ti on o f Bci:ith y"s sculp -
tures. Bci:i thy 's " ifc, Anna. was a lso a fri end of
Kcrt cszs first wife. Rog i An d re (Rozsa Kl ein ). her-
se lf a ph otogra ph er a nd stud ent of Lisette ModeL
.5. !bi d.
1:3. \'ot e th e co mplcxit~ of a na lyzing the stalu s of Jews in 23 . Michel Seup hor cited by Sandra Phillips in Andre
thi s period in llunga rT. On I he one hand. a nti -Semiti sm was., Kerles::, of Paris and New York, op. cit. page :3 1.
from till' lwg inning. one of the key clements of the counter-
revo lution a rv icleolog~ a nd propaganda. For the simple fact 2-. Barbaralce Diamon stein: Am erican Photographers on
dr at. thanks 10 cer1ain particularities of llunga ri a n society, Photography, Hizzoli., New York. 1981.
lir e role of .J ew ish i11tcll ect ua ls was imporl a nl in lhe bour-
grois- cl emor ruli c revolution a nd decisive i11 th e Bolshevik 25. JTungarian Memories, p. xi.
re\'ol uti on. Jews " rrP dcsig11 a1ed as scapegoat ;; a 11d on nu-
IIH'rous occas ions brcamc victims of rcprrss ion a nd auoci-
li rs. Thr rl ow of I lunga ri a n rcfugrrs i1110 detached
lcrritorics-hllndrrcls of 1housa11ds of qualiried prople-only
se rved to agg rava iP the si1u a1 ion. This is what led lo Inc
.. 11urnerous claus us .. law (1920). particularh- prejudi cial to-
ward th e lowe r a 11d rniddl c .J ewi sh bourgeoisie'. a Ia,, enacted
10 limit the uumber of places and toc introduce quotas in
lri glrer ed uca l ion. 011 the other Ir an d., Lire rcp rrse lltat i,es of
tire capital eco r10mic a lly Sllpporlccl the npw regim e despi1c
a nti -Se mili srn. As for Kertesz (hi s family-rnerchanls. small
la ndhold e rs. emp loyees were suspicious of a ll politics.
hul 1hc~ n1ain1 a i11 ed relati ons \\ith certain politicians from
lir e 1920s. such as \lini stc r of Fina11ces Lorantl lcgecliis a nd
1lrr Librral Vilnros \ ' ~zson~ i ) . hr did not speak of I Iri s prob-
lcllr. \'evc rlirf'lrss. lr is nolchook s Icsti fy Io a grru 1 sp nsiI ivi 1,.
i11 1lris rega rd: duri11g tire war II(' 11o1cd tire a nli-Se rniti srn of
011e of hi~ h11ddics., ~ ncl in 1920 lr r rrma rkPd in relation 10
ar1 pmplo~ er. 1 ;,r 11 sP tlwt it i;, lilY Je\\ish side llral disturb;,
lrilll. ..
Esztergom , Jlungan . 19 16
.,.
S6
Buda pest. 19 15
.,..
HO
A z Esl. BlitIupco.
, 1 1920
81
by Dominique Ba qu e
lw photographic oc uvrc of i\ ndre Kert esz re-
One tttu st th en'fo rc. in o rd r r 10 u11cl ers1and Car!' .\ l ottlp a rn assc. 1 9:~ 1
force the t c nd e 11 c ~ of Pa ri s ian Da da ism to place ex - with wooden legs, arc featured . But if effective ly
pe rirn entation in th e vi s ua l a rts be neath th e th e re is a g reat temptation to jo in the Di stortion s to
dorni11ance o f th e lit e ra r~ ge nre. S urrea li sm \vas ini- S urrealism. o ne must keep in mind that. on th e o ne
tial!~ a move me nt of writer s. r11 a n~ of wlrom \Ve rc ba nd, a Distorlion is not. a m anipulated image, a vi-
edu ca ted in th e sch oo l of Va lc n . lf S urrealism ill- s ua l exp erim e nt of the same o rd er a s a photomon-
deed " as a bl e to propose a ,is ua l t.h eo ry. 1hen o ne tage or an overprint. but the simpl e photographic
rnu s t re rn e nrbcr that it was first a poeti c one a nd tra ns lation of a r efl ection in a dist:ortin g mirror. On
came from int e rn a l experience . 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
T he ot lr c r reaso 11 o ne n1u s t prude ntl y ha ndl e b e i11 g an inves tigation of th e tragedy of the de-
referen ces to S u rreali sn1 i11 rclat io n to Kcrt csz comes form ed or, to use a te rm of Geo rges Bat a i li e\ of th e
fro m tb e fac t that-in co11trast to ~1[an Ra ,. a co m- "injonne ('irregular .. ). The, a re a j o~'ous explo-
pa lli o u of Bre to ns on th e road of D a dai s m and th c11 rat ion of th e potentialities of th e female body. closer,
S urrraJism. a nd in co ntras t to Jacqu es-Andre in that se nse, I o I-l enry J\loorcs Reclining N udes than
Boiffard. Bra ssa,. and Rao rd Ubac (who was id eolog- to th e grotesque fa ces of Jacqu es-Andre Boiffard o r
ica llv close to Breton a nd th e .. illu stra tor-pho togra- th e unsettling A./fiche:: I as Poem es. Affiche:: Tos Im -
ph e rs .. of La Recolutiou S urni oliste., Miuotaure., a nd ages (Put up Vour Poems, Pill up Your Im ages ) by
Doctllllellts-Ke rt csz was neve r as ked b , Brrton to Hao uJ Ubac. Tn the sa me wa ~' if the recurrence in
coll a borate. and he was a lso never m e111 ion ed as Ke rtesz.'s photographi c \York of both a .. disqui etin g
be in g c lose to th e gr o up . In K ertesz's refu sa l to be af- stran ge ness .. of th e mannequin s, 9 and the sadi sti c
motif of amputation or deca pitati on. 10 tes tify to a pe rtin ent. Kertesz ),;.new pa inters such as Lege r a nd
visual fanta sticaln ess whi ch \\as certain!~ t; rese nl Lh ote. and he gravitat ed to th e artistic circles of
between the two wars. it is nol imm edi a telY Surreal- .\"l ontparnasse: also. a n11111be r of hi s urban la nd -
ist. Nothing, in Kert esz. can be compared ~o th e ob- sca pes are constructed a round pure geom etri c form s:
sessive erotic experimentati on of 1[ans BeUm er. squares. rectangles., and tria ngles. These land sca pes
ela bora te a space willwul depth, as if flattened ,
Ra th er than hastil~ linking Kertesz to a Sur- ,,hi ch breaks \Yith th e perspeclive system of ,an ish-
rea lism from which h e ass uredly \Yanted to di s- ing Iines inherited from th e Renaissance.
tance himself, one can spea k, along with Edouard
Jaguer, 11 of an acute sense of the circumstantial Emblematic of thi s geo metri cization of th e
magic"' in his photographs, one of the three criteri a urban space is Kcrtcszs photographic treatm ent of
of "convulsive beauty id entifi ed by Breton. 12 C ir- roofs, \YindmYs. and chimn eys in l 'ieu' of rlz e Roofs
cumstantial magic" is directly present in Jl!feudon from 5. m e de rant'eS (1927 ). Paris Jl!onlp am asse
(1928) and S uburban Landscap e (1931) and, in a (1930) .. Tourain e (1929-30). a nd Roofs of Paris
minor way, in Kertesz's photographi c essays, \\'hich (1929). But if Pier Jllondrian 's S tudio (1926)., en-
are attentive to the unexpected detail , the ephemeral tirel~ structured in asce ndin g bands of contrastin g
n1mnent. value. and a m eta phor for ~VIondriane s qu e \\'Ork.
see ms lik e a moYement to the boundaries of Cubi st
If, thus , the relationship to Surrealism re- resea rch for Kertesz. a number of photographs show
mained oblique in Kertesz. th e link to Cubism. as the s ~ s tem ' yieldin g in th e fa ce of the event. th e oc-
Jean-Claude Lemagny pointed out. 13 seem ed more casion. the anecdote. In Ru e l al'in (1925) , the rigo r-
ous geometries of blinds. windows, and guHers is
disturb ed by tb e hum a n prese nce of an old \Yoman
leaning on her b a l co n~. ln Quartier Latin (1926).
the Cubist shapes of roofs a nd chimneys are ordered,
or. more exactl~. disord ered, a round a small private
space, a terrace benea th th e roofs, ;vhose lin es es-
88 cape the geometric mod el: a man seat ed on a ben ch
reading. a silhou etie see n behind a door. a lace cur-
ta in in the " indow. th e intert\\ining of climbing
plants. Else where. it is a pa sser!) ~ \Yho destabili zes
the lines. or a cat " ho run s a \Ya~. So by avoidin g
rigid formal composition. Kertesz captured the in-
lrinsic thrill of life with the photograph.
91
4. Kertesz coJiabora tccl closely with 1;,,_ Lucien Voge l"s illu s-
trated magazin e. a nd witlr A rt el Medecine, Dr. Dcbat"s luxu-
ri o us magazin e. He co ntributed to oth er magazin es. such as
Vogue, Plaisir de Fret/I ce, Voila , a nd Regards.
100
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
Pa ri s, 19.3.3
11 0
Pari s. 1929
111
Pari s. 1931
Lyons, 1931
11 :-i
Tram , c. 1930
11 7
Llntitlcd. 19.'W
li B
1:20
Untitled, c. 1930
12 1
Paris. 1935
I :U
Pa ri s, c. 193 0
1:n
Paris. c. 1930
12-t
Paris, c. 1932
1:31
Pornirs. 1930
1-+1
Untitled, c. 1930
1-t:3
.\1agda Forstner and Etienne Beothy, 1926 Satyric Dan cer, 1926 (variation )
)-tS
1-+7
Foujita. Pa ri s. 1928
16.3
Untitled, 1934
167
Pa ri s. 193 1
171
Legs, 1928
Sain t-Cc rvais-lcs-Bain s. Savo ie, 1929
179
Shadows, 193 1
Avenu e de I"Opcra . Paris. 1929
18-
Paris, c. 1926
183
iVIrucloll. 1928
188
191
..
!ife de ecurile
--
~ --=-
==
==
---
-- t.rE E \)tfENSt
19-+
-- -
- ---
-= -
bAFFICWt~
--- --
-- -
--
1%
by Pierre Borhan
A
ndn~ Kertesz had not produ ced m an y nudes
when , in 1933 , he ag reed to a requ est from
the humor m agazine L e So w-ire, whi ch pub-
lished, among other things , saucy im ages in ord er to
a ttract the good - na tured interes t of a public th at
loved gossip and frivolities. This type of comm iss ion
was unu sual for a ph otogr apher who \vas too se ri -
ous, too refined , a nd too sensitive to use a wom a n a t
her ex pense, or even more so t o m ak e fun of her,
even gently. l-Ie acce pted the proposal of Querelle.,
th e director of the weekl y, 1 bul it didn't occ ur t o
him to m ak e fun o f women ; h e preferred lo work
with th e mod el in fuLl understanding and symp a-
Di sto rl ed Portrait. 1927
thetic co mpli city. Kertesz was n ot acc ustomed lo th e
nude (except for th e figures of his b rothe rs a nd
fri end s lying nak ed in the su n in the Hungari a n sam e genre thro ugh o ut th e co urse of his life: fo r
co untryside-whi ch ar e n ot reall y 'nudes' in th e example, The JV!elancholic ntlip (193 0) and fashi on
artisti c sense of th e term ), but he bad already m ade, and adverti sin g sh ots (nota bl y fo r Vogue in 1938
before 1933 , images of distorted form s, from Th e and for Clamour in 1941 ). Fie never stopped a ppre-
Underwa ter Sw imm er (191 7) to the p ortra it of cia l in g th e extr aor dinary form s th at p eo pl e a nd
Ca rl o Rim stret ched out or enlarged by a dislortin g lhin gs tak e on in cr vst al ball s. mirrors. and other
198
mirror. H e would m ak e other ph otograp hs in th e refl ec ting surfaces. H e eve n made a new series of
di storti ons in 1984, during th e shoo ting of a film on
him by Teri We hn-Dami sc h,2 but fift y years later
thi s series was fa r from equ a lin g th e initial mas ler -
piece. It is true tl1 a l the Distortions of 1933 ma ke
a n oe uvre: their success constitutes a to ur de force
with out precedent.
ative of Kertesz's contemporaries, such as Man Ray, defiance are insc ribed in the hi story of photogra phy.
Laszlo Moholy-Nagy., Raoul Hausmann, and a fe,v Yet the ''visual drunkenness" so successful in making
others, had neither discovered nor dipped into such the Distortions is unique in hi s career as a photogra-
200 a treasure chest before Kertesz did. ph er. Their plasti c quality is a ll th e more extraordi-
nary in that it docs not reduce th eir m~'stery. Kertesz
Kertesz 's genius is also that he placed these left hi s valorization of the eni gma to photography.
startling nudes in suspension., outside the \Vorld and Any a rt that can preserve thi s is th e more magicaL
outside time. Fragments of an obscure totality. each
of these variations was inscrib ed in an invi sible
frame. The photographer had no more i11Lerest in
showing the studio where he produced th e series
than h e did the slid e of the shot. His mode of work-
ing r emained hidd en, like the environment. And
even the margins of the final image were carefully
eliminatecl. 4 Jacques Derricla's observation can be
applied to the Distortions: "There is a frame , but
the frame does not exist." In hi s secret cache, they
are for the most part of a hallucinatory beauty.
201
Glass. Di s tortion. 19-+3
by Ja ne Li vingston
A
ndre Kertesz arrived in New York from Paris
in October 1936, at a moment when an im-
portant era in American photography was
about to commence. H e cam e to America having en-
tered into a professional contract with a photo-
graphic agency call ed Keystone Studios; his mood of
combined apprehension and optimism was shared
by m any of his European confreres. But, as Kertesz Fancy Dress, New York , 1938
ha s often related, his hopes for success were soon
dampened, both because of the restrictions placed
on him by this contract (he felt he had traded away artists and intellectuals were crossing the Atlantic.
his artistic freedom in exchange for a salary), and The surge of creativity that seized New York in th e
\Yhat h e perceived to be his failure to secure either fi- decades of the 1930s, 1940s, and 1950s affected
nancial stability through steady and suffi ciently virtually all the arts. Th e extent to which painting,
prestigious magazine work-or, more important, sculpture, literature, and cntlCism reached a
recognition as an artist. crescendo in Am eri can culture during this period is a
\vell known ph enom enon. It has been only recently,
Yet although during his early years in New however, that th e full flowering of photography in
York Kertesz often experienced both professional this era has been acknowledged.
and creative frustration, and although his Paris
work of the prece ding era has until recently been Ne,v York was th e center not only of the mu-
226 considered superior to his New York work , it can be seum and gallery scene in America, but the capital of
argued that in 1936 he was entering into one of his the magazin e publishing industry. More than any in-
most fertile periods as an arti st. For he left Europe at flu ence of exhibiting venues , with the exception of
a time when some of th e cru cial events in the history th e Museum of Modern Art's photography programs
of modernist style-S urreali sm and Construc- und er Edward Steichen and Bea umont and Nancy
tivism-had run th eir course. A kind of electrical Newhall, certain publishers and magazine editors in
transfer of vanguardi st energy passed from Paris, New York made and broke photographic reputations
Berlin, Prague, and Buda pest to New York at the during this period. Th e three powers in this world-
moment when Kertesz and so many other European Cond e Nast, Willi am Randolph Hearst Publication s,
and H enry Luce-were, de facto, the most influen-
tial forces in the creation of photographic rep uta-
tions. Despite his feeling of exclusion from their
ranks, Kertesz would benefit from all of them . most
lastingly through his seventeen- year association with
Conde Kast's House and Garden.
Two of Kertesz's best known New York surre- Kertesz's strong affinity to some of Millcr:s
ali st im ages are Lost Cloud and Arm and VellLilaLor work is equaled by that to Alvarez Bravo, whose Sur-
( 1937). Th ese photographs arc classic examples of realist work was distinctively "naturalistic ..., and who
the kind of Surrealism exemplified at its best in ce r- also showed at Julien Levy.'s Ne\v York gall ery before
tain \vorks by Man Ray, such as his 299, boulevard Kertesz arrived in 1hc city. Kertesz's New Vork, 1946,
R.aspail (1928 ), and the Surrealist photographers \'.rith its suspended eyeglass and fi sh sign s, relates to
Hoger Parry and Maurice Taba rd. Their poetic such Bravo images as Elephant in the S~y and Optic
qui ckness and dissociati vc humor reside not in any Parable, both made in 1931. Other images strongly
228 forced juxtaposi1ious. nor in the familiar Surrealist reminiscent of Bravo are hi s Disappearing Act
use of coll age or montage techniques, but instead (195 - ) and New York , 1959. Whil e it is diffi cult to
sprin gs from th e photographer's conscious selection im agine that Kertesz would have been uncon sciou s of
of arrestin g subj ects that presented themselves to .\1iller.'s and Bravo's examples, it is a lso likely that
him in passin g. whose strangeness or irony in th e such direct influence as operated among th em also
photographic result derives basically from th e traveled from Kertesz to th em.
his assimilation of American photography. And yet, graphic idea, usually discarding all but one, but
characteristically, they appear in his oeuvre in a sort sometimes apparently accepting different versions of
of sporadic fashion; the photographer was also en- the same subject. They also perfectly represent the 231
gaged in other artistic concerns. idiosyncratic manner in which Kertesz sometimes
summoned his own earlier inventions in the service
During these somewhat later years, Kertesz of new ideas, creating subtle "combines ." Suffi-
was often using large format cameras for his com- cient! y eclectic, Kertesz 's work refers to different
mercial work for House and Garden. For his per- strains of history of photography.
sonal work, he definitely preferred the 24 x 36
format, or even the 6 x 6. Though in some ways one From 1945, when Alexander Liberman
senses a slackening of intensity and singleness of brought Andre Kertesz to House and Garden as one
purpose in the work of the later 1950s, there is also of its resident photographers, until 1962, when he
a new sense of freedom and command of his me- left the magazine, Kertesz achieved far more as an
dium. While using much of his energy for commer- artist than he himself seems ever to have under-
cial work in these years , Kertesz can be said to have stood. He mastered the particularities of several dif-
begun during this period to synthesize many of his ferent camera formats and continued to \vork in a
earlier concerns. The successful Washington Square variety of styles, never abandoning his lifelong alle-
photographs are probably the best known of his giance to an essentially "naturalistic" approach to
work of this time. In them, and in other pictures, a his medium and yet always demonstrating his enor-
sort of combining of the surrealist and the construc- mously sophisticated grasp of the modernist's con-
tivist languages often occurs. Disappearing Act and tributions to the visual arts. Kertesz was
pictures of New York taken in 1959 and 1960 cer- constitutionally incapable of exaggerating his facility
tainly share this characteristic. Kertesz 's occasional in the name of commercial shock appeal or the
return to earlier devices , such as the use of the dis- seductions of mannerism; his photographic accom-
torting mirror, is exemplary of a method he often plishment is both straightforward in its craftsman-
practiced of producing variations on a single photo- ship and marked by a kind of stubborn integrity of
Self-Portrait., J\'ew York , 1961
by Pierre Borhan
etween 1936 and 1963., Kertesz's negatives
than any other photographer, Andre Kertesz discov- Kertesz life was not that of the h ero of a story,
ered and demonstrated the special aesthetic of the ri ch in adventure, rather it is his work that counts.
sm all camera .... In addition to this splendid and How could so many Am eri can connoisseurs ignore
original quality of formal invention, there is in th e him for so lon g? Through indifference, or to punish 277
work of Kertesz another quality less easily analyzed, him for hi s criticism and the antagonistic position he
but surely no less important. It is a sense of the took in regard to them ? H e ind eed had character,
sweetness of life, a free and childlike pleasure in the and he was even some,vha t disdainful of the theo-
b eauty of the world and th e preciousn ess of sight. " reti cians. What is more, he was rancorous. Is it not
On the other hand, Susan Sontag, in On Photogra- the case that because he was not res pected as h e felt
phy, and Janet Malcom, in Diana and Nikon, make he deserved to be when h e arrived in New York,
very few references to Kertesz. thirty or forty years later he paid little attention to
278
One must be fair: not all Americans underesti- From 1970, the year of the Universal Expo in
mated Kertesz. President and Ylrs. Johnson invited Tokyo, onward, the exhibitions followed one another
him to the White House for a reception on June 14, without a break, notably in Stockholm, Budapest,
1965. Ylore than seven pages were dedicated to him Helsinki, London, New York, Paris, Middletown,
in the April 1959 issue of Infinity, with laudatory Boston, Toulouse, and Moorhead, up to 1980, and
text by William Hou seman , executive editor of then in Salford, Jerusalem, Paris, Toronto, Eszter-
House and Garden. In 1967 Cornell Capa selected gom, Norfolk, Cologne, Milan, Lincoln, Budapest,
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 Por-
traits (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
Bradford , Chicago, New York, Santa Fe, Buenos
Aires, Tokyo, Osaka, and even more. Some \vere ac-
companied by a catalogue, others b y a book . Kertesz
was in a mire of curators, critics, and journalists.
The praise became nearly universal-the "Kertesz
touch " was recognized by professionals and ama-
teurs alike.
8. Bordas, Pa ri s, 1986.
16. Cf. "At 90, Andre Kertesz Remains a Poet of the Every-
day," Andy Grundberg, The New York Times, April 28,
1985.
287
ew York, 1964
:)00
~)
Paris. 1983
328
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
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.
- in C errn a n): Fm nA:fitrler 1/lustrierle, Ne ue }ugend, Mode
Chronology uud Kultur. /Ja s lllllslrieri P Blclll , Die Dam e. Miiu c!t euer
Jllustrier/e. U/111 , Berlin er lllustrieri P Zeituug , Neu este
llllls I rie rl P;
Hungary - in En gla nd: Th e Sphere, T!t e S ketch .
.\11n w rou s po rtraits of Mo ndti a n. L ege r. C haga iL Zadkin c.
L11rva l. Cald e r. Bra nr u,; i. Ei sc nsiC'in. De rm er, T zara. etc.
1894
A nd r e Ke rtesz is born July 2 in Budapes t. Hun ga ry.
1927
First s how a t th e ava nt -ga rd e ga ll er)' Au Sacrc du prin -
1908 lenlp s, iu Pa ri s.
!lis fa th er, Lip6t, di es of 1ub er c ulosis.
1912 1928
With a degr ee from t he Academ y of Commerce in Buda pest. Li e bu\'S hi s firsl LC' ica .
Kert esz gets hi s f-ir st job a t the stoc k m a rk et . f lc bu vs hi s f le ma rri es Hozsa Kl ein ., a photog ra ph e r kn o wn tmd e r the
first ca mera (an ICA with 4..5 x 6 em plates) a nd b~g in s lo narn C' o f Hog i Andre . T he\' li ve a t 7.5 , ho11lrva rd J\llo utp a r -
la ke ph otos of street sce nes . na sse . Th ey s plit up two vcars la te r.
1964 199-t
Show a t th e Vlu se urn of Vloclnn Art in 1\'t'\Y York . organizrd lnatrguration on April 9 of thr Kcrtc,;z llorr st' irr Szigrthttse.
by Jolrn SzarkO\\s ki. llrrngar\.
\'o rk / Le ~OIIvrf Ohse rvai Piir/ Delpire. Pari s/ Lo11don:
Bibliography Co nl on Fra srr Caller\'. 1977. 9-t pugrs. -t:) pl1otographs.
C hmn ology.. bibliograpln.
The Concerned Pholographe1: Edited by Cornell Capa. A ndre Kert esz ... C:o nvNsatio n with Pierre Borhan , in
68-91 a nd 184-1 90. ,\lew York: Crossman Publi shers, Jloyo ns Pair: ) photographes. 23-2.). Paris: C rcat is. 1980. 6
1968. 206 pages, 32 photographs. Biography, bibliography. photographs.
Co mm e ntar y b y Andre Kertesz .
Kertesz. Text by Aga lh e Ga ill ard., from Les g ra nd s
356 On Reading, 2nd eel. S ew York: Cross man. 1 97 1n~ec tures . pho10graphes. Pa ri s: Bel f"o nd . 1980 . 16 photographs.
Paris: Le Chene. 1971 . 64 pages, 66 photographs . Second Biog rap hv, bib Iiog rap hv.
edi tio n, 1975 .
Fro111 ill/y /Vine/ow. Introd uction by Peter :'VIacCill. Boslon:
Andre Kertesz: Sixf:y Years of Photography. 1912- 1972. New York Graphi c Society/ Lilli e, Brown .lA mafenetre.
Nicolas Ducrot. New York: C ross ma n Publi shers. 1972/Andre Pa ri s: ll e rschcr, 1981. 72 pages, 5.3 Polaro id photograph s.
Kertesz: Soi.r:ante ans de plwtographie, 19 12-1972. '!e xt,
" Frere voyant,"' by Pa ul Dermee. Pa ri s: Le C hene. 1972. 22-t Andre Kertesz: A l.ij"eti111e of Percrplion. lntrod 11 Ci ion b )'
pages, 235 photograph s. Second ed ition, 1978. Be n Lifso n. i\ lcw York: Abram s. Produced bv Kev Po rter
Boo ks, Toronto, 1982. 2.59 pages, 150 phot~gral)h s .
J'aime Paris: Photographs S ince the Ttvenlies. Nico las C hro nology. Cc r111 a n adapta lion: 111/omente eines Lebens, Art
Ducrol. New York: Crossma n Publishers, Macmillan Co m - S toc k. French ada pial ion: Les litstants de ma vie, Bookkiug
pany of Ca nada. 1974/J 'aime Paris. Paris: Le C hene, 197-t . Intern at ion a l. 1993 .
224 pages, 2 18 photographs.
I /ungarian Me mories. Introduction by I l iIton Krame r.
Andre Kertesz: Washington. Square. N ico las Ducrot. '!ext by Boslo n: ;\few York Grap hi c Socicty/L iul c, Brown , 1982 . 194
Brendan G ill. New York: C rossman Publishers , 1975. 96 pages, 144 phot og rap hs .
pages, 103 p hotog rap hs.
Andre Kertesz. Tcxl by Att ilio Co lombo . Fron1 I Grandi
Distortions. Nicolas Ducrot. Introd uction by Ililton Kra mer. Fotografi. Milan: Fabri, 1 983. Biography, bibliography.
~ew York: Alfred A. Kn opf!Distorsions. Pa.ris: Le C hene,
1976. 200 pages. 126 photographs. Andre Kertesz Magya rorszagon. Publi shed und e r I he direc-
1ion of .fa nos Bodn ar. B11dapest: Fi:if"oto, 1984. 104 pages,
OfNew Vork. . . .\ licola s Ducrol. J\'ew York: Alfred A. 50 photographs. French translation. C hronology.
Kn op f a nd Toronlo: Random Hou se of Canada/Dans New
Vork. Pa ri s: Le Che ne, 1976. 192 pages. 189 photograph s, Andre Kertes=.: Th e Jll/an clzesler Collection. Texts by ll cnri
1 contact print. Ca rti er- Bresso n, ll aro ld Ril ey, Mark ll awo rlh -Boo l:h, Lady
Marina Vaisey, Westo n J. Na~f, Co lin Fo rd , C ha rl es ll arbt;tt.
Andre Kertes=.. Introd ucti o n by Ca role Ki sma ri c, from " lli s- Ma ncheste r, E ng la nd : The Manchester Co ll ection, 1984.
torv of Photography,"' Aperture no. 6 , Aperture In c., New 186 pages, 302 photog raphs. Biog rap hy.
Andre "'er/c;s:::,. l11trodu cti on b1 Da ni r lr f:ia ll e11 an>, C:\P. 1ln dn; "'er/ es:::, o,/ Pans and ,Yeu l'o rk. Trx ts bv Sa ndra S.
Ph o10 poc he 11 0. 17. Pa ri s. 19S.). Second ed it ion. Philli ps. Dav id T1m is. a nd \\'es ton J . .\laef. T he Art IHstitute
1988/Jindre 1\er/ es:::,. :\c11 York: Pa 11th eo 11 Book;; . a nd of Chi cago. T he \ 1ctropolit a n \ 'lu sc urn of Art. :'lew Yo rk .
London: Th a nH's a 11d lln cbo11. 1 C)89. I:).) pages . .)8 :\ell' York a nd Londo n: T ha 111 Ps a nd llu dso n. 1985. 288
ph otog ra ph s. Bi ograph,. bibli ogra pl11. page:,. :300 illu stra ti ons, in cluding 192 photogra plts. Bibli -
og ra ph) ind rx.
Andre 1\erl es:::, Slwshin shu. Ediud Ill Sn;;a n I la rd er a nd
lliroji K1ii JU ta. Tex ts b) ll a lllin ;;o n a 11d Corn ell Ca pa. !l nd,.P "'erles:::,: A Portrait a/ Nine!): To kyo: Pac ifi c Press
To kyo : 11111 11 11 111i ShotPn. 1 <)86. Jiudd 1\ert es:::,, /Jian o/ SP rvice. Int ern a ti onal Cc nt Pr or Pll otogn)ph y. 1985 . 88
fjgf;l 19 1:!- !9S5. :\e11 York : ApcrtiiiT In c. Audd j.,p,:/es:::,, pages, 200 photogra ph s in b lac k a nd \\'hit e, 19 ph otographs
,'J'oi.twtl e-di.t aunees de pl101op:mplu'e. Pa 1is: ll olog ra mm e. i11 co lor.
1987. 206 pages. 1.)2 ph otogra ph , . C: hro nolog1.
" 'er/ es:::, on "'erles:::,: II Self P ort mil. Introdu ction b,- Peter
1ln dn; "'er/es:::,. I S9+-1 9S.5. Ca role Ki snw ri c. [ ssm ln Ada 111 . :\r 11 York: Abbe;ill r Prrss, 1983. 120 pag~s, 9-t
Ll01d l' o111iell c. :\c11 York : Apenure Fo11nda ti on..199:3. 9-t photogra phs. Chronology. Co nnn ent a rv b) And re Ker tesz.
pag.<'o. 13ihl iographY. 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.
Andre 1\er/es:::,, IS 9+-1 9S5- ! 99-f. Tex ts lw Kin eses Ka rok 16-t pagrs. 9-i ph otogra phs. Chronology. com menta ry bv
Vlikl 6s :VIt1 tdos \'. Pi erre Borh a 11. lnt ervie11: ll'ith AndrP . A ndn~ KPrt csz.
Ken rsz. 13Piu H;1ffay. Lajos \llaga;; it z. Pelik a n Ki ad6 eel.
Bud a pes t: .VI ag\' a r Fotografia i Vlt'1 ze 11111 . 199-t. ll1111 garia n !l udre /{er! P.s:::,: 70 photogmphies, 19 1:!- 1966. Peter Ba um ,
a nd Fn' 11 ch editi ons. 190 pages., 12:3 ph otograp hs. Chronol- Lin z., Austri a : Di e Gali eri P, 1986.56 pagrs.
ogv. Bibli og rap hy of Hunga ri a n tex ts.
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,
Edt ibilion C'alalogs Ho nw ). 1986 . 77 pages.
1964 108:3
Nrw Yo rk . Mu seum of Modern Art. 'A ndre Kertesz. .\lil a11 . Padi glio nc d. Ane Co ntcmpo ra11 ea . 'La Poes ia dell a
Ph otogra ph er. Sc rn pli r itii ...
Li11 eo ln . Sheldo n .VI cmori a l Art Ca llrr~ -'A ndre Kert esz:
1971 Forul .a ud Feelin g.''
Stockh olm , Modern a Mu scct.
Bud apest. Magyar "\ r mzcti Caleri a. 198-t
358 Bud apest, Caleri c de \'i gad6.
1972 Brad fo rd . .\a ti ona l .VIu se um of Photograph,, "Film a nd
r lelsinki , Va lokuva lllu scon. Te levision ..,
Londo n, Ph otogra ph er's Ca ll erv.
198.')
1973 Chi r ago. Th e Art In stitute. 'Andre Kr rt rsz of Pa ris a nd
.\ cw York . lla llm a rk Ca ll en. :\e" '''ork ... Also :\e\\' York . Th r IYictropolitan \1u sculn of
.\ew York . Light Ca ll erv. 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. Bu r uos Aires. .\1u sro .\ a ti ona l de Bell as Artes.
Ari es. VIr Rcncontres lnt ern a tiona lcs de Ia Photogra phi c Chi cago, Edwn 111 ll ouk Ca ll en . "Th e New Work,
(J ul v). 1980- 108-t ...
:\cw York. lnt en1 a ti oua l Center of' Ph otography. 'A 11dre
1076
Kert esz: A Portrait a t 1\inetv' (1985 ). Al so Tokyo, Pri11 -
\1iddl r tO\\'II. Co nn ec ti cul. Wesleya n L' ni vcrsity. ten1ps Ginza (108.) ): Osa ka. Printcmps Osa ka (1985 ).
.\ r \\' York . Sr rvi crs C: ulturcls de I'Ambassade de Fra nce.
1986
1f)78 L,o11 s. Fonda ti on 1\ati ona le de Ia Ph otogra phi c,
!'uri s. .\1u srr Nati o11 a l d''Art Mod crn c. Ceutrc Georges 'Di storsion s.,.
l'o111pidou... A11drr Kn tl-sz ...
Li11 z (Austri a ) . .\ eur Ga lcri r . 'Andre Kert esz. 70 Ph olo-
.\ (\\ York . Lig ht Ca ll r rY. grap hi cn 1912-1966.
1l)7l)
L1111lo11 . Snpe11ti11 r Ca ll r n . 1087
-"~r w
York. Int enwt iona l Ce 11 tc r of Ph otograph,, ' A11dr&
ll h tOII. Cnllen of' l' hotog ra pll\. Knt r sz: Di a n ' of Lig ht. 101 2-1985 .. ,
1987-1988 StJJtt ga rl. Interim Theater Pl a tz. ll a ll cl"l~ xpos iti o n.
Pari s. \lu orr .J acquf'man-Andrc. A JI(lrr Knt csz. F ilm und Foto ...
Photo;rra ph c.
19:30
1990 M111ti ch., ' Da s Li chtbild.
B11daprst (llunga r,). Mu scc Ethnogra phiqu e. JJ ommag(' a
13JJ<'IIOS Aires. Prim er Sa lon Ant1 a l de Fotografia.
And rr K!' rt rsz . Al so Prag11r (Czrch H<'Jlllbli c) , II OJJ S!' of
Pltotograph v: a nd Kultura mt Fl'llba ch (Cc rmany ) (199-t). Pari s. Ca lcrie C. L. \1anuel Frcrcs, ' XI'' Sa lon de l'Araignee. '"
Pa ri s. Pa lai s de Tokro. Anclrr K!'rtrsz. n1 a Fra nce . Exhi- Paris(?). l~ x hibition organi zed by thr a ma teur photogra-
bitiOJJ Jn Otlllt !'d b, ti1 c .Vli ss ion clu Pa trinwin c Photo- phers assoc iati on.
graphiqu r (1990 j. ,\l so L\ons. I ~O JJd a ti o n \"at ional c de Ia
Bal e. Cewrrlw mJJ Sf'um. Ccbra uchsge ra t in Frankreich ...
Ph otographir: .\icc . .\tlu scc ci"Art \1 odern c et d'A rt ContPm-
pora in (199 1). Charl eroi (BelgiJJIIl ). Ce ntre ci"Art Co nt em- '\rw York . Th e Art Cent er. Fo 1cign Adverti sing
porai JJ: Barcelona (Spa in ). Pa lau de Ia Virrrina (1992 ). Photograp hY ...
IJjJJblja na (S love ni a ). Modcrn a Ca lerij a: Braga (Portuga l) .
.Vlu seo dos Bi scainhos; Va ndoe uvrrs- lcs- .\ a JIC\'. Centre Cul- 19:3 1
lllrr l (199:3) . Prag ue (Czech Republic). II OJI SC of Photogra- Ba le. ,\ 'cue Sportbautcn.'
plw: C:halon- sur-Sao ne, :vlusre :\icep hore- .\' iepce: Brest,
Pa ri s. Ca leri c d. Art Co ntempora i11.
Ca lcric Lc Quartz (199-t).
l~ ss rn , ' Da s Li chtbild 1931. "
199 1
Ne w York. ll ouk Fri edm a n. 'A11dre Kert esz. th e EarlY 19:32
Yra rs. London. T he Hoval Photograp hi c Soc ictv of Great Brita in.
Exhibition of J'vlod ern Ph otograp lw...
1992
.' \cw York . Juli en Lev ~ CaJJen '. ' :vt odcrn E uropean Ph otog-
Toronto (Ca nada ) . .J a ne Co rkin Ca ll crr 'S tra nge r to Paris ...
rap hv...
Brisba ne (Au stra li a ). Qu ccnsla11d Art Ca ll en , A ndre
.~ e wYork. Broo klyn \!JJJ Se um , ' IJII Crnation a l Photogra-
Kertesz, J~' o nn a nd Feeling ... S\"CIII c\ (Au stra li a). Art Ca ll ery ph ers .. ,
of i\ew So uth Wa les (1992). Auckland (.\ c,, Zea la nd ).
Au ckland City An Gall ery (1992). Bru sse ls, Pa la is des Beaux -A rt s. Jnt crn a ti onalc de la Pho-
tograp hi c. '
1993 :
Mil a n, Ca leri e Photology. 'Andre Kert esz ... 193-t
Pari s, Studio Saint-Jacq ues.
1994 359
Kecskcmet (1-Jungarv ), Mag ~'a r Fotografia i ML1zcum. 'Andre Pari s, Caleri e de Ia Pl eiacle.
Kert esz a nd llunga ry.' Also Stuuga rt. Cent er of Culture Pa ri s. Sall e de l'Associado n Florencc- Bium enthal.
a nd Information for the Hunga ri a n Republi c (1994) .
London. T he Roval Photograp hi c Soc iety of Great Brita in ,
Bud apest, Institut fran c;a is de ll ongrie, ' Di storsions." Also '-The :VIodern Spiri t in Photograp hy a nd Advertising.'
Ari es, Rcnco ntres lnternationa les de Ia Photographic.
Santa \1 oni ca (California) , The .J. Paul Cclly Mu seum , 1935
"Andre Kert esz: A Centennial Tribute. " Pari s, Calerie de Ia Pleiade, Doculll cnts de Ia vie Socia le.
Paris, Pav ili on des Arts, "Andre Kertesz, le Doubl e d ' une Cannes, Pavillon des Escalcs Tran satl a nt iqu es .
Vi e," exhibition organized by th e Mi ss ion du Patrimoin e
Photograp hiqu e, 1994. Al so Tokvo, Metropo litan Mu seum 1936
of Photogra ph y (1995). 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 ...
Selected Group Exhibitions
1937
1928 :\lew York. \1useum of :vl odc rn Art. Photograp hy
Pari s. Co medi c des Champs-Eiysecs ("'Sa lon de I"Escalier" ), 1839-1937.'"
" Premi er Salon lndependant de Ia Photographi c.'
~ew York. Juli en Lcvv Gall ery. '" P ionee rs of Modern French
Bru ssels, Ca leri e I'Epoque. Ph otograp hy. ' . .
Am sterd am and Rotterdam , "Jntcrnati ona le Foto Salon
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. "'' 1967
from .J a nu arv 20 to February 24. CircJd a ted in 1929 a nd '\r w York. Hiversidc .VIu sc um . Thr Co nc r rn ed Ph otogra -
193 1. . . ph er... Al so TokYo. 'VI a tsu\ a (1968-1969). '
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.
1980
Paris. Uf!.icio dPII"Artc, ' Voyons voir: 8 photographcs, in-
tcrvr cws.
1986
Poitif'rs (France ). Muscc Sainte-Croix. La l\ouvelle Pho-
tographic 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.Printernps C in za. '.)"ainrc Ia France." Also Osaka.
:\agoya. I li ros ltirn a. Yamagata (Japan ). Seo ul (Korea ).
Bar-crlona (Spa in ). S~ clnn. Pntlr. Brislwnc (Aust ralia )
(199:3-199-t).
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."
p. n .VIc lancholi c Tu li11. .\ ew York . 1939. p. (>2 .lr ni5 and Rozsi. llungaJY. c. 191.).
List of p. 2il
9 x 12 film .
ll oming Ship . C:e111 ra l Park. 19-t-t. 63
-1. 5 x 6 gla ss pl ate*
Tz iga nr. Eszt ergo m. llungarY. 1916.
6 X 6 fii111. -t ..~ x 6 glass plat e.
Illustrations p. 29 Amt'rican \ 'is('osr Co rp oraj ion,
19-t2-J9-t.S. 9 X 12 fil111.
p. (H Youn g \01abl es. Batorkeszi. l-lu11garv.
1916. -t. o x 6 glass plate.
*: Photog: ruph u11publi shed until now. p. .30 Long Island. c. 19-t.5. 6 x 6 film . \'oungTz igane. Jlu11gmY 1918. -t ..S ' 6
#: .\ ega1i 1r lost befo re 198-t . I' .'] ] Broken Be11ch. \ e11 York . 1962. glass pla te.
2-1 X :36 linn p. 66 Gypsy Chil d ren. Esztergorn. llungary.
Joh11 Sza rk owski . \ew York. 1963. 19 17. -1.5 x 6g:lass pl ate.
L' nl css ot hcr11ise i11di cmNI. 1i1e dim ensions of 2-t .\ :3(> mm . p. 67 Friends. Esztc rg01 11 . Hunga ry. 1917.
d1 c ori ginnln egtui ve arc- gi\T il in em .
p. 3) \ras hi11g1o11 Scl' wre, 195-. -+ .5 x 6 glass pl alc.
2-t X ;)6 Ill Il l.
p. 7 Eli za bed1 ami I. Lagnn an1os. p. 68 Bathing. Dun aha ra szli . lluuga rY. 1919
36 0 1wn Air i\ la>s. Loni e. Ga li cia. 19 1.) . -t ..5 x 6 glass pl ale.
llu11g:a rv. 1920.
-1 .5 X 6 fih11. * L~ n dc rw mr r
-+ .5 x 6 glass plate. p. 69 Sw imm er. Esztergo m.
Esztrrgorn . th r To\\n Ce uter. llu 1 I gar~
p. 3 Sleeping Boy. Budapes1. 1912. -+.5 x 6 llunga n . 1917. -t ..S x 6 glass pl a1r.
1'! 17 . -t ..~ x 6 glass pla1r.
glass pl a1r. p. 70 Dun aharaszli . l lungan . 1919.9 x 12
p. ;: )7 So ldier >n1d 111111. ll11nga ry. 19 l 7.
p. 9 J\ le as a .friger. Ciirz, 191- (photo glass pl ate.
-t ..S x (, glass plate.
taken 011 th e eve of rec,uillncllt ). -+ ..5 x The S"'i11g. llu11ga rv. 19 17. -t .o x 6 p. 71 \1 v Broth er a.s a "'Sc herzo. I htn gmY.
6 glass plate.* glass pl ate. 19 19. 9 x 12 glass plate.
Kalm an Kr ump and Ca lo Dieter. Two p. 72 Self-Portrait witl1 \h Br01 hcr. H11n garv.
\ro unded Com rades. lcszte rgmn. 1915. p . .38 \1 r 13rolhcr as Ica ru s, Dun aharaszt i.
ll;,nga rr. 1919. -1. 5 x 6 glass pl ate. 1919. 4.5 x 6 glass plale.
-1.5 x 6 gla ss pl ate.
Hairc ut al dw Co nval escent llo111e. \epliget. J lu11g<11'1'. 191.3 . -t ..S x 6 P 7.3 .VIe. an1ong Fisherm en. Du1 wharasztj .
gla ss pl ate. lluugmy 1920. -t ..) x 6 glass pl ate ,.
Pad1>i ny. 1917. -.5 x 6 glass plate.*
I' :)9 ,VI r .\1 oth ers I lands. Budapest. Ede Papszt and I. Fokoru , I Iunga rv.
p. 10 Lajos :Vli lhali k witl1 a Ce ll o. Esztergom. 192 1. 4.5 x 6 glass pl ate.*
1916. -t. o x 6 glass pl ate. Jlunga tY. 1919. 6 x 9 glass pl ale.
p. - 0 Eli zabet h, D11n aharasz1i . !Iunga n . p. 7-t Eli zabe th . l lunga rv, 192 1.
p. 11 Ddekes C/s6g, Ju ne 26. 1925 (cove1). 4.5 x 6 glass pl ate .*
9 x 12 glass plate. 1920. 9 x 12 glass pl ate.*
Me, Jeno. and Our .VIol her. Sz ige lbecse. P -+1 ~k Di,ing int o th e S"'irn111i11g Pool. p. 75 Abonv, llunga rv. 192 1.
c. 1923. -t .o x 6 glass plm e.* Budapest. 1917. -t ..S x 6 glass plale.* -+ .5 x 6 glass pl ate.
./eni5. Budapes t. 1917. -+ .5 x 6 glass \Vitl1 \'IY Ar1i s1 Friend s. llun gmY. p. 77 13uclafok. 1-iungarv. 1919.
plate.* 192:3. -t ..S x 6 glass pl ale. -+ .5 x 6 glass plate.
Eli zabeih and I. Buda pest. 192 1. p. -1 2 Tri o. Rackrve. H11nga rv. 192:). -1 .5 x 6 p. 78 Th e Old Acco rdi o11is1. Eszt ergo111.
-1.5 x 6 glass plate. glass pl ale. Llu11 gaJT. 1916. -1 ..5 x 6 glass pl ate.
p. 12 Squ are Joli ve l. Paris. 1927. p. -t.3 Bocskav Pl ace. B11dapcsl. 19 1-1. 9 x 12 p. 79 \Va nd crin Q Vi olini st. A bony. Hun ga ry.
6 x 9 glass pl ate. gla ss pl ale. 192 1. -t ..S\ (, glass plal r ..
p. l .) Cafe du Denne. Pari s. 19:25 -+.5 x 6 B o ~'s R ead i ~1g. Esztcrgo rn. H~ m ga r~' .. Az l:st... Budapest. 1920.
.3 61
p. 30
glass piale. 1915. 4 ..5 x 6 glass pl ale(?). -1 .5 x 6 glass plale.
Se lf- Port mit. Pari s. 1927. p. 44 B11d apes1, 1916. -+ .5 x 6 glass pitll r .* p. 81 Loo ki11g al tlw Circus, Budapest. 1920.
9 x 12 glass pl ate. p. 47 D11n aharasz1i . l lunga 1Y. 1920. -t ..) x (> -1 .5 x 6 gla ss pl ale
Pari s, c. 1926. -1.5 x 6 glass plate.* glass plate. p. 3-t Hu e Sa ini -Denis. Pari s, 19.3 1- 19:3 -t.
p 1-t Two Girl s. Paris. 1926. 9 x 12 glass p. 48 Jeno in 1he Woods of \ epliget. 2-t X .36 IIlii I.
pl ale* Bu dapest. 1913. -t ..) x 6 glass pl ate.*
Child. 19.33. 9 x 12 glass pl ate. p. 8.5 ll ka and Eva Heva i. Pari s. 1927. 9 x 12
p. -+9 Sz ige tbecse. llunga r\'. 19H . glass plate.
p. l o Brassai. Pa ri s. 19.36. 2- x 36 111111.* 9 x 12 glass pl ate.
~1 a uri ce T'aha rcl. 1928 . 9 x 12 glass
Ca re ~l o 111p ar n a sse , 19.3 1.2-t x .36 mm *
pl ate. p. .) 0 Vill age .VIa do11na. Sz ige tbecsc. p. 86 Se rgu6 ~1. Eise11s1ei11 . 1929.
llungarr. 1920 . -+ .5 x 6 glass plate. 9 x 12 glass plal e.
p. 18 Dislorti o11 11 0. 10. 19.33.
9 x 12 glass plate. p. .) 1 Ci:i rz. .J an umY 1sl. 1 9 1 .~. Lu cien \'oge l with llis Fa milv. 1926.
-t .;~ x 6 glass .p late. 9 x 12 glass pl ate.*
p. 19 Clod1 Doll s al Judi th Cri arcl's. Pa ri s.
;~2 Fo rced \'l arch to th r Front , Pola11 cl. p. 37 ~l a rce l Verl es. 1923. 9 x 12 glass
19.3.3 . 9 x 12 glass pl ate.
Legs. lela Rubens1ein Balle1. 1928. 19 15. -! .5 x 6 glass plat e. pl ale'
9 x 12 glass plate. p. .):3 JV! on1ing Pra1T r i11 Front of Co logon . Flea Market. 193.5. 2-1 x 36 mm *
p. :20 Seuphor. c. 19.30. 9 x 12 glass pl ate.* Gali cia. 191o. -+.5 x 6 fi lm . p. 88 Touraine. 193 0. 6.5 x 9 glass pl ale.
\rooden l Jorses. Paris. 1929. p . .S-t Te nder To ur l1. ll11ngan . 1915. -t ..S x 6 p. 89 Quai Vo ll airc. Pari s. 1928 . 9 x 12 glass
2-t X .36 111111 . fi lm . piale.
p. :2 1 Paul Derm re . Prarn poli11i. a11d Seup hor. p. .s.s Eszlrrgo 111. J lu11gluY, 1916. -t .o x 6 Th e Tuil eri es. Pari s. 19.36.
Paris. 1927.9 x 12 gltbs pl ate. glass pl ate(') .# 2-1 X 36 1111!1.
Ca ll c1Y Au Sacre du print emps. Pari s. p. .)6 Ji5ska Frank l a11rl a You11g Girl. p. 90 At the Ani11 wl Markel. Qu ai Sailll -
1927. 9 x 12 glass plate. Eszterg01 11 . ll1111gt11Y, 19 1.S. -t ..~ x 6 ~ li c h e l. Paris. ]():_! 7- 19:!8. 2-t x .36 11u11 .
p. 22 Pict ~ lo11dri a11 . 1926. 9 x 12 glass plate. glass pl ale' p. 91 Slorm ove r Pari s. 19:2.)- 19:2 (>. 9 ' I :2
p.n Cell o S111 ck 192(>. 9 x 12 glass p..)7 i\aegrr B11111. Brii.,.l a. 11umani a. 1'! 13. glass plat r.
plate (?)# +.5 x 6 glass pl a 1r .:\ p. t):2 Art et ,1/edeci11e. Otwlwr ]9:l l .
p. 2-t Eli za hr lh and a Fri end. ~l o ntm a rt re . p. :)9 Bmlapes l. 191-t . 9 x 12 gla pl ate. Bois de B o ul o ~u c. 19:!9. 9 x 1:! gla"
Pari s. 1'J:3 1. 2-t x :36 111111 * p. 60 .l eno Somm er. Budapesl. 1913. -+ ..5 , (> pl ate '
p. 2.~ Eleva ted Trai n Pl atfonn . th e Bo\\'e ry. glass pl alc.>.- p.IJ:l Chwnps-!C h sr ts. 1'!:29.
19:37. 2-t X ;)6 111111 . . Jeuo aurlll o11k a. Budapesl. 19 17. :2-t X ;j(> 111111 .
p 26 \e" York . ]9:39. 2-t x :36 mm . -+ ..) x (l glass plalf' _:\ p. ') -+ Pl ace du (:; u''"'" "- Pari.,. IIJ:! il- I<J :! <J.
.\ r" York ll arbo r. 1 C);J<J. 9 x 1:2 film . p. (> 1 Bu da pt'S I. 19 1.). -t ..) x 6 ~ la ss pl at<. 9 x I:! g: la" pi al<'.
p. 97 T he Se ine from the Po m Sa int-.\liehel. p. 139 Hue des \'er111 , . Pa ri o. 192 6. p. 180 On a rt iPr La tin . Pa ri >. 192'). 9 x I :2
1925. -t.5 x 6 glaso pl a te. 9 x 12 g la" plat r. gla!'l:-. plat r.
p. 98 Fi shermen behind :\o tre- Da mc. Pa ri s. p. 1-tO P o mi es. 19:10. 9 x 12 g itb s plate.* p. 18 1 C: ro" road >. Blois. 19:3 0. b ..) x 9 )!la ss
1925. 9 x 12 g lass p late. p. HI Ba bino. Pa rio. c. 19:10. 2-t x :)6 111111 .* pJ ,ne.
p. 99 On th e Ba nk s. behind \ 01 re- Da me, p . 1-+2 L' ntitled . e. 19:30. 2-t x :)6 111111. * fl. lfl 2 S lt adows. 19'3 1. (>. .) x 9 gla" pl a te.
Paris. 1925-1926. 9 x 12 glass pl a tr . p . 1-+3 Bobino. l'ari s. JI);J:z . 2-t x :36 tnn1. p. Jfl:l ,\, rn~t r dr !'Opera . Pari >. 192').
p. 100 The Sein e fro m Lady Yi endl 's :Z-t X ;J6 11n11 .
p. 1-t-t Magda Fo rst ner. 1926. 9 x 12 gla ss
Apa rtment. Pari s. 1929. plate. p. 18-t Pari s. c. I 'J:Z6. 6.5 x 9 gla " plat e.
9 x 12 glass pl a te. ~lagd n Fo ts tn r r and Etie nn e Beo thv. p. 18.) Th r ll o rsr-Team . 1'J:25. 6.5 x 1) g la,s
p. 101 Bro ken Cl ass. Pari s. 1929. 1926.9 ' 1:2 g la ss plate . plat e.
9 x 12 gla ss pl a te. S<li\Ti c Da nce r. 1926 (\'a riati o n). p. 186 Children Pl a1ing. c. 1930. 2-t x :)6 tntn .
p. 102 S ta irs a t .\1ontmartre. Pa ri s. 9 x .12 glass pl a te.
p. 137 .\ leudo n. 1928. 2-t x :36 111111 .
1925- 1927. 9 x 12 glass p la te. p . 1-+3 Sat \Ti e Da nce r. 11)26. 9 x 12 g lass
I' 188 Bo nl rva rd cleo !twa lides. Pa ri s. 1926.
p. I 03 Qu a i ci"Orsa \'. Pa ris, 1926. pla te. 9 x 12 g laso pl a te.
6 ..) x 9 gla ss pl a te. p . 1-+7 Lajos Tih a n\'i . Pmis. 1926. 6.5 "' 9 p. l fl<') On 1he Tr rrace of a Ca fe . Pa ri s. 1928.
p. 10-t Th e Tra mps Siesta See n fro m the g lass plat e. I) x 1:2 g lass plate.
P o nt- a u-C hange. Pa ri s. 1927. 9 x 12 p . 1-t8 :\ormir Fr rr ncz1. Pa ri s. 1926. 8 ' I O."i p. 100 On 1hr Bo ulenmls. P ari s. 1926- 1929.
gla ss p la te. glass pl a te. .
9 x 12 glass plat e.
p. 105 !\ca r the Pont de Crenelle, Pa tis. 1927. p. 1-+9 L' ntitled. c. 11)28. 9 x 12 glass pl ate. p. 19 1 On the Bo uiela rds. Pa ri s, 193-t .
6.5 x 9 glass plate. p 150 Edwin Hoss ka n1 , Pa ri s. 1928. 9 x 12 2-t X :}6 111111 .
p . 107 Th e Pont des Arts See n 1hro ng h 1he glass plat e. p. 192 Shadow Paint er. 1926. 6."i x 9 glass
C lock of the Jn stitut de Fran ce. Paris. p. 151 Paul Anna's I la nds. 1923. 9 x 12 gla ss pl a te .
1929-1932. 6. 5 x 9 g lass pl a te. plat e. p. 19:) Bo ul eva rd d r Ia .VI a delein e. Pa ris. 1927.
p . 108 Shadow. The Eiffel To wer. Pa ri s. 1929. p. 1')2 .l ean Luryal. 1929. 9 x 12 glass plate. 9 x 12 glass pl a te.
9 x 12 glass pl a te.
p. 153 Helba 1-lua ra. 19:3 1. 1) " 12 g la ss p. 19-t Fa ubourg Sa int-Germa in . Paris. 19:36.
p. 109 Paris, 1933 . 24 x 36 mrn . pl ate* 6 ..5 x 9 glass pl a te.
p . 110 Pa ris. 1929. 24 x 36 nun . p. 155 C hez :\l o ndria n. Paris, 1926. 9 x 12 p. 1% L' nt itl cd. c. 1930. :2-t x 36 111111 .*
p . 111 Ru e du Cotentin. Pa ris. 193 1. 6.5 x 9 g lass pl a te. p. 193 Ca rl o Him . Di stortio n. 1929- 1930.
g lass pl a te. p . 156 lntitlrd. Pa ris, 1928.9 x 12 glass pla te. 9 x 12 fi lm .*
p. 11 2 Pa ri s. 193 1. 24 x 36 rnm .* p . 1.)7 ~1i ss Jo hn so n. Pa ri s. 1927. 9 x 12 gla ss Di sto rt ed Po rtra it. 1927. 9 x 12 glass
p . 11 3 Lvo ns, 1931. 6.5 x 9 g lass pl a te. pl a te. pl a te.
p. 11 5 .\1 o ntpa rn asse, P a ri s, 1928. p. 158 An Studio. c. 1923. -+.5 x 6 glass plate. p. 200 Di sto rti o n no. 9 1, 1933 .9 x 12 glass
24 x 36 mm. p. 159 ~1ad ant e E hrcnbo urg. Pa ris. c. l 929. plat e.
p. 116 Tra m, c. 1930. 6. 5 x 9 glass plate. * 9 x 12 gla ss pl a te. p. 20 I C la ss. Di stortion. 19-t3. 9 x 12 r,Jm.
p . 117 Untitled , C . 19.3 0. 24 X 36 lllm . p. 161 Hot el des Ten asscs. Pa ris, c. 1926. C lock, Di stortion , 1938 . 8 x 10.5 filn1.
p . 11 8 A Winter Ylo rning at the Ca fe du 9 x 12 gla ss pl a te . " Catnel," c. 1939 (adverti sing stu (lv ).
362 Do me. Pari s. 1928. 24 x 36 rnm . p. 162 Foujita, Paris, 1928.9 x 12 glass pla te.*
9 , 12 r,Jm .*
p . 11 9 Istvan Ra jk in a Bi stro in Momm a rt re, p. 20.'3 Di sto rt ion no. 68. 1933. 9 x 12 glass
p. 163 Colette. Pa ris. 193 0. 9 x 12 glass pl a te.
Paris. 193 1. 24 x 36 rnm . pl a te.
p. 164 Qu arrier La tin. Pa ris, 1926. 9 x 12
p . 120 Cntitled. c. 1930. 24 x 36 mm . p. 204 Disto rti on no. 167. 1933.9 x 12 glass
glass pla te.
pla te.
p. 121 Pa ri s, 1935 . 2-t x 36 mm .* p. 165 C lavton Ba tes, 1928-1 929. 9 x 12 glass
p. 205 Disto rti on no. 91. 19.33 (varia tion ).
p . 122 Pa ri s, c. 1930. 24 x .36 mm .* plate.*
9 x 12 g lass plate.
p. 123 P a ri s, c . 1930. 24 x 36 mm. * p. 166 Untitled. 193-t. 24 x 36 mm .*
p. 206 Distortion no. 126. 1933 . 9 x 12 glass
p. 124 Ern est, c. 1930. 9 x 12 glass pla te. p. 167 The Ferenc Hoth Qu a rt et, Pa ri s. 1926. pl a te.
p. 125 School Girl , c. 1933 . 9 x 12 glass plat e. 13 x 18 glass pl a te .
p. 207 Disto rtio n no. 60. 1933. 9 x 12 glass
p. 126 Lilv of the Valley Vendor, C ha mps- p. 168 Elizabeth a nd I. 193 1. 9 x 12 gla ss pl a tr.
E h;sees. 1928. plate (full fra me) .
p. 208 Di sto rt io n no. 140, 1933 . 9 x 12 g la ss
2-t. x 36 nun. E lizabeth a nd I, 193 1.9 x 12 glass
pl a te.
plate.
p . 127 Care 'vl ontpa rnassc, Pa ri s, 193 1. p. 209 Disto rtio n no. 80. 1933. 9 x 12 glass
24 x 36 mm. p. 169 Elizabeth a nd I. 193 1. 9 x 12 glass
pl ate.
pla te.
p . 128 S upporters of the French 'Fro nt p. 211 Disto rt ion no. -t6. 1933. 9 x 12 g lass
Pop ulaire ... Paris. 193-t . 24 x 36 mm .* p. 170 Paris. 193 1. 2-t x :36 mm .*
pl a te.
p . 121) Pa ri s. c. 1932. 24 x 36 mm . p. 171 Ossip Zadkine. 1926. 9 x 12 glass
p. 212 Distortion no. 6. 193.3. 9 x 12 glass pl a te.
plate.
p . 131 Tlw Vert-C al am Carden in Winter. p. 213 Distorti on no. 6. 1933 (variatio n).
Pa ri s. 1929. 24 x 36 tntn . p. 172 Andre Lhotc. 1927-1928. 9 x 12 glass
9 x 12 glass plate.
plate.*
p . 132 Pare de Sceaux. Pa ri s. 1926. p. 2 14 Di sto rti on no. 93. 1933 . 9 x 12 glass
9 x 12 glass pl a te. p. 173 A Corn er in Fern a nd Leger's S tudio,
pl a te.
1927.9 x 12 glass pla te.
p. n :J Jardin du Luxembourg. Di sto rti on no. 7. 1933 . 9 x 12 g la ss
Paris. 1925. 9 x 12 gla ss plat e . p. 17-t Ylo nclria n 's C lasses a nd Pipe, Pari s, plate.
1926. 9 x 12 gla ss plat e.
I' 1:3-t Wooden llorse. c. 1926. p. 21.5 Di sto rt io n no. 102. 193'3. 9 x 12
9 x 12 glass plat e.* p. 175 The Fo rk , Pari s. 1928. 9 x 12 glass glass plat e.
pl a te.
I' I :):) l. r s Tuile ries. Pa ri s. 1928-193 0. p . 216 Di sto rt io n no. -+9. 19:33. 9 x 12
:Z-t X :36 nun . p. 177 Legs. 1928. 6..5 x I) g lass pl a te. glass pl a te .
I' J:F Behind the llote l de Vill e. Pa ris. 1925. p. 178 Sa int -Cerm is-les-Ba ins. Savoie. 1929. p. 217 Di sto rtio n no. 147. 1933. 9 x 12
<) x 12 glaso plat e . 2-t X :36 111111 . g lass pl a te.
p . J:JS ,\ Bi, tro in tlw Qu a rti er La tin. 1927. p . 179 Pierre :Viae Orla n. 1927. 9 x 12 glass p . 218 Di sto rtio n no. 96, 1933 . 9 x 12
-t ..) x 6 glass pl a te. pl a te. g lass pl a te.
p. :tJ!) Di, IOrl ion no. -tO. 19.33. 9 x 12 p. 260 Se\Y York . c. 1960. :2-t x .'36 nnn * p. 303 Washington Sq uare. 1966.
~ l ass pla te. p. :26 1 Detroit. 19.57. 2-t x :36 mn 1. 2-t x 36 mm (?) .'
p. 220 Di01o ni on no. J-t J.. 19.3.3. 9 X 12 p. 262 .\ew York .. 19-t:>. 9 x 12 fih n* p. 30-t .\ew York . 1966. 24 x 36 mm.*
glas!i pl ate. p. 263 Washingto n Square. 195-t. 2-t ' 36 m1n . p. 305 .\cw York. 1966. 2-t x 36 111111 (?).'
p. 22 1 Di 01o ni on no. 6 1. 19.'rl. 9x 12 p. 26-t The Sofa. Willi amsburg. Virgini a. p. 307 .\rw York , 1965. 2-t x 36 mm *
gla ss pl alr. 195 1. 9 x 12 film . p. 308 .Vl ausoleum Meiji . Tokyo, 1968.
I' :222 Dislorli on no. 82. 1933. 9 X 12 p. 265 Co rridor, .\'cw York . 1917. 6 x 6 film . 24 X :36 lllm .
glass pla te. p. 309 Hain y Day. To kyo, 1968. 24 x 36 mm .
p. 266 .\e" York . 1959. 2-t x 36 1111n .*
p. 22:3 Dislorli on no. 76. 1933. 9 X 12 p. 3 10 llowa rr!Beach. New York . 1969.
glass platr. p. 267 La nding Pigeon. ,'\cw Yo rk , 1960.
2-t X 36 mm. 24 X 36 ll\111.
p. :226 \rw York. JQ56. 2-t X 36 llllll . p. 311 Sixlh Ave nue . .\ew Yo rk, 1973.
Fa nC\' Dress. \cw York , 1938. p. 268 .\e''" York. 196 1. 2-t x 36 111 111*
p. 269 Park Aw nue. .\ew York. 1959. 24 x :36 mm .
:2-t X :)6 n1n1.
2-t X 36 llllll . p. 3 12 .\ew York. 1965. 24 x 36 mm *
p. :228 Cripp led \X'o mnn. \cw York . 19.36.
:2-t X :36 nnn . p. 270 .\ ew York. 195-t. 2-t x :36 mm * p. 31.3 S1rce1 Singer. .\cw York, 1969.
p. 27 1 \ew York. 19-t7. 2-t x :36 11 11 11 (?).' 2-t x 36 mrn.
p. 229 Disa ppea ring Act. \ew York. 1955.
() x 6 film (1).' p. 27-t The Fcncl ing of Ken cszs Fre11ch a11d p. :31-t ~ew York. 1969. 24 x 36 mm .
An nonk. \cw York. 19-t 1. 6 x 6 filn1. llunga ri an Archi ves. Dece mber -1. p . .'315 New York. 1969. 24 x 36 mm .
p. 2:30 New York . 1937. 24 X 36 nnn .* 1963. 2-t X 36 llllll . p. 316 Win1 er Carden, .\'ew York. 1970.
Was hing10 n Squ are, 1952. 6 x 6 film . Self-Portra it wili1 Mv Ylas ks. l\cw 2-t X :36 mm (?).'
York. 197(J . 24 x :36. Inlll.
p. :2:3 1 \ rw York . 1937 . 2-t x 36 mrn . p. 317 New York . 1965. 24 x 36 mm .
p. 275 New Yo rk. c. 1')78. 2-t , :36 n11n * p. 3 18 Washi11 g10 n Squ are. 1970.
p. 2:32 Se lf- Por1rai1. Sew York. 196 1.
2-t X :36 n1n1. p. 276 New Yo rk. 1975. 2-t x 36 111111. 2-t X 36 111111 (?).'
p. :2;3:3 .\ ew York. 19-t-t . 6 x 6 fi lm . p. 277 Circus. .\ew York, 1969. 24 x :36 111n1. p. 319 WashingtOn Squa re. 1969.
\Vas l1ington Sq uare. 197 1. 2-t x 36 2-t X .'36 n1111.
p. :2:35 Crippled Woman. \ ew York. 1936.
2-t X :36 mm. p. 320 \l ar1 iniqn e. 1972 (variation).
p. 278 .\ cw York . April H . 1977 (coni act 2-t X :36 n1111 .
p. :2:36 .\rw York . 1937. 2-t x 36 mm. sheet). 2-t x 36 1nm.
p. :237 Ba llc1. \ew York. 1938. 9 x 12 mm. p. 32 1 The Balcony. \1 artin iqu e. Janu arv 1,
p. 279 .\'ew Yo rk . c. 196.3. 2-t x 36 nnn . 1972. 2-t X :36 111 \ll.
p. 2:38 \l inw Combev. New York . 19-tO. Paris. 1983. 2-t x :36 111111.
9 x (2 film . p. 322 Flowers for Eli zabeth. .\cw York . 1976.
p. 280 Scul pture, Japan. 1968. 24 x 3() mm . 2-t X :36 mm .
p. 2:39 Los1 Clo ud. New York. 1937.
p. 28 1 Pari s. 198-t. 2-t x 36 111111 . p. 323 .\cw Yo rk , 1972. 2-t x 36 mm.
2-t X :36 111m . Pari s. 198-t. 2-t x 36 IIlli I.
p. 2-t O Cr nlral Pa rk . 1937. 24 x 36 mm .* p. 324 World Trade Towe rs. New York. 1975.
p. 283 The E mpire Sta te Building. 1967. 2-t X 36 n1111 .
p. 2-tl La ke Pl acid. 1954. 24 x 36 rnm * 24 X 36 nnn .
p. 325 In the S1reet, :\ew York . 1977.
p. 2-t 2 Armonk. Sew York. 1941.6 x 6 fi lrn . p. 28-t On the Hoa d. ncar Bndapcsl. 198-t . 2-t ' 36 ll\111 .
p. 2-t:3 Theodo re Fri ed. S ew York, 196 1. 24 X 36 mm . 36.)
p 327 Paris. 1983. 24 x 36 mm .
2-t X :36 mm. p. 287 .. Bu Y... Long Island. c. 1963.
p. 328 Fl oods. Pari s. 1982. 2-t x 36 mm .
p. 2-t5 Poughkeepsie. Sew York. 1937. 2-t X 36 m iT\.
2-t X :J6 mm. p. 288 .\ew York. c. 1963. 2-t x :36 n1111 .* p. 329 Paris. 1982. 2-t x 36 mm.
p. 2-t6 \ew York. 19.38. 2-t X 36 \ll\n .* p. 289 \rater Tower. New York . c. 196.'3. p. 330 Paris. 198 1. 2-t x :36 111111 .
p. 2-t7 \ew York. 19.38. 2-t x 36 mm . 2-t X 36 nn11. p. 331 Paris. 198-t . 2-t x 36 mm .
p. 2-t8 Ann and \'entil ator. New Yo rk . 19.37 p. 290 .\ew York. c. 196:3. 2-t x :36 111111 * p. 3.32 Paris. 1984. 2-t x 36 mm.
(full fra me). 2-t x :3b rnm . p. 29 1 T homas Jefferson. L' ti ca, \cw York. p. 333 Pari s. 198-t . 2-t x 36 mm.
p. 2-t9 Ann and \'cn til ator. \ ew York . 1937. C. 1963. 24 X :36 \IIIli . p. 337 c. 1935. 2-t x 36 mm. Kodac hrome*
2-t X 36 nnn . p. 292 New York . c. 1963. 2-t x 36 111 n1. p. 338 c. 1960. 2-t x :36 mn1. Kodac hrome*
p. 250 New York . 1939 . 2-t x 36 nnn . p. 293 Le Pont des Art s. Pari s, 196.'3. p. 339 c. 1965. 2-t x 36 mm . Kodac hrome*
p. 25 1 Children in P! a,ground wilh Sprin kler. 2-t X 36 llllll . p. 3-tO c. 1960. :2-t ' :36 111111. Kodac hrome*
\ew York . 1939. 2-t X 36 !Tinl. p. 29-t Th e Banks after lb in . Pari s. 1963. p. :3-t 1 196:3. 2-t x :36 n11n . Kodac hr01n e*
p. 2.)2 \ '. Dn ,-. \ew York . 19-t5. 6 x 6 fil m.* 2-t X 36 111111 .
p. 3-t2 1963. 2-t x 36 n1n1. Kodac hrome.*
p. 2.):3 \ew York. 19-t 7. 6 x 6 film * p. 295 T he Banks. Paris. 1963. 24 x :36 111111.
p. 3-t3 c. 196S. 2-t x :36 mm . Kodachro me.*
p. 2.)-t \ew Yo rk . 1952. 6 x 6 film * p. 296 Th e Tuileries in A111111111 1. Pa ri s. .1 963.
2-t X .36 111m . p. 3-t-t !963. 2-t x :36 111 \ll . Kodac hrome.*
p. 2.).) Fire Escape. \cw York. 19-t9. p..3-t5 1970. :2-t x :36 n1111. Ek1achrome*
2-t X :36 n111 1. p. 297 An Afternoo n a1 li1e T11 ilcries. Paris.
1963. 2-t X 36 mm. p. 3-t7 195(). 2-t x :36 111111 . Kodachrome*
p. :2.)6 .\ ew York. 19-t 6. 6 x 6 film .
p. 299 .\ew York. 196-t . 2-t x :36 1111 11. p. 3-t8 198-t. 2-t x :36 111111 . Kodachrome*
p. 2:)7 Stai rs. Hailing. ShadmYS. and Woman.
\rw York. 1951. 2-t x 36 mm . p. 300 .\e" York . 196.'3. 2-t x :36 n11 n. p. 3-t9 196:3. 2-t x :36 11111 1. Kodac hrome*
p. 2:>8 .\e" York . 1951. 2-t x 36 nun . p. :30 1 :vl acDouga l All ey. .\cw York. 1965 . p. :350 198-t . 2-t x :l(J 111111. Kodac hrome.*
p. 2:)9 Ove rii cn d Crosswa lk with Cloc k. \ cw 2-t X 36 mill . p. :35 1 c. 1982. :2-t x :)(, 11 !1 11 . [ kw r hroiiil'.
York . 19-t7. 6 x 6 film . p. :302 Sheridan ScJlwrr, 1966. 2-t x .'3(J nnn. p ..35:2 198 1. :2-t x :3(J 111111 . Kodachm111 r.*
Be11jallli11. \X'ahrr. 13 C: rra 1i,. 23 1
Index Beoth,. lstv;i" ( l ~ 1ie1111e ). H. -+ 2. -+3. 8.3.
11-f
C: ro11e r. Ted. 227. 228. 220
Cs:lk1. .l ooepli. 1-t. -t2. 8.)
Berg. C umor. -tO C:uhiolll. 3(). ilH
(Pag<' 11111nbers i11 italic rPfn to illllslra - Besnyo. l~ va. -t::) CZ11 111pr. IIIII'('. -t I
tioll s.) Bihliotllt''l"" :\a1io11ail' (Pa1is ). :3 1. 27-t.
:).').') Dada. 12
Aha-1\ovak . Vilnws. -t I. -t 2 Bljiu; 13 /Jodo (Brfl<k). -tO
Abbott. Berenice. 12. 16. 25. 3-t, 36. 13ihari . -t I /Jo111e. /Jie. I R. :).)-+
229. 2:)0 Bing. ll ,c. I 6 Davidso11 .. Brlll'l'. 27. 2S::l
Adam s. An sel. 2.')0 Birds. 2?9 .. 280 /Jay o.l fJaris, 29. :30. 11-:, :3.').)
Ack Endre. 10. 12. 21. -+3 Biro. Lajos. -tO de C: l1irico. C:io rgio. 12
Agloa , \l ehemed F. 26. 23 Bischof. \X'<'rlll'r. 279 Dcr111re. Pa11l. 2 1. 1 I. :28. 89. :3.)-t
Aigner. Lucien , 12. -t::3 Bla1t11cr. Crza. -+ 2 Dc,.,ida. Jacque, . 200
Alhi11 -C11i ll ot. Laure. H . 13 Blu"w"fc.ld. l ~ rwi11 . 26. 2X:3 /Jiologue ll'ith P/l()tograph,L: 2il l
Allll asv. Paul. 12 Boccio11i. Lh11her1o. 199 Diener-Drill's. H11dolf. -+2
Alva rez Bravo. ,\tlanucl. 20. 223 Bodcli11gl011. Je11 111'. 273 Dieter. Calo. 9
A111ericmw. 279. 230 Bodnii1. .l ii11os, 26 /Jistortious. 9. I S. 13- 19. :23. 2-t. -+3. 3?.
Auwricr111s, The. :32 Boiffard . .Jacq, cs-A 11drr. 37 19?-20 I. 19S-:.!:!3, :279. :230. 23 1.
A11dn\ Hogi (Hosza Kki11 ). 15 .. 16. 2:3. -t:). Bolo11i. Cyii rf!" 2 1. -t:3 :21):). :).)-+
3-t. :)'i-t Bomss. Sii nd or. :39 /Jf.s::itomii,,es~et (/Jecomtil'e Arts) , -t I
Audri> dw1s les iilles, 23 1 Borss~e111 Jauk6 . .'33, 3:)-t 'Dix. I"<'S.. (til < gro 11p of te11 ). il6
;ludri> 1\erti>s~ (Apc nure l11 c. ). 279 Boucher.. Pierre. 3-t DoesiH11g. TIHo , .,, ~, 8.5
Audre l:ert es~ (lwa nallli Slo ote 11 ). 232 Bourke- \~ ' hi1 c . .VIwf!;llet. 2:) DoiSII ('a ll . nolll'l'l. 16. 2-t. 3-t
Audre f.:ert es~: uw Frauce. 232 Bmi, . :\larcel. 1.) Do111ela. C:rsar. 8-t-8.3
.. A,drr KPnrsz of Pa ri > a11d i\cw York .. Bralldt. Bill. I 0. 20 lrr11 e Drori Craph ies (Lo, Angeles) .
(Chi cago. 193:) ). 2?9. 232. :3.).) Brassal (Cnda ll a l:lsz). 12. 1 ::;. 15. 16. 13. 280
A11gc lo (Pal Funk )..')9 3 1. -t3. 3-t. 35. 8?. 9 1.227. 3:)-t Drt ik ol. Frw n isek. 276
A111wles. Les. 13. 35-t Braun. \ 'era. -t2 Ducl1a111p . .\hun l. -+2. 8-t
Arago n. l>ou is. 13. 15 Bresso11 , Hobert. 275 D11cos d11 ll a11 ron.. Louis. 100
Archipcnk o. Alek sanclr P.. 3:) Breto11 .. A11drr. t:l. 2-t. 30-87. 83. 90 Ducrot. ;\ icola s. :31 . 280
An11a . Paul. 1-t. -+3. 15 1 Brodmi11h. All'x<')'- 12. 26. 29, :226. 227. Du111as. :\'ora, 10. 3-t. 35-t
Arp . .l ea 11 , 12. 199 2:30. 23:). ;J.').)
Art aud 'lhl111ique a./Color Plwtop:rapln; Br{Hk. Sii 11dor. -t O l~ lm 11b 0 11rg. i\1ada111r. /59
The, 23:3 Bu rroll's. La~.,.~- I 0 .. l ~ i g ht .. group. -t I. 3.3
:)6-t ;lrt et !11edeciue. 17. 18. 91. :3:)-t BuiLL _\'arg re. 57"' l ~ i s e ll , lelcdt. Alfred. 28
Art/omm. 2?.5 l ~ i s e n oll'ill. Sl'rgri \1. . S6. 3S-t
Art l11 stiiLIIe of Ch icago. :30. 279. :3.):) Ca ld er. Alexa11dcr. H . 199. ::).)-+ l~ i , 11 cr. .\l a ri e-.l eanne. :28
Arts et 111PtiPrS [!;r<lfJhiques. I?. 13. 199 Ca 1111'ra. l 6. :) 1 l ~ l11 a rd . Paul. 2-t. 233
As10r. Brooke. 30 Camr ron. Julia i\ largarrL 2? .~ 1:1(/auts (Chi/dreo). 15. 21. 35-t
Ag<t. E11gi- ne. 13. H . 15. 16. 17. 28. 90. C:apa. C:o l'll l' ll. 279 Err/ekes ljS<ip:. 12. 33 . .':)5 -t
275 C:apa. Hobert. I0. 12. -+:3. 8-t. 270 l ~ rn;,t. \l ax. 12. 2-t
Atl :.111t a Callt>n of Pl1otogra pll\. 230 CaJTO. Fra11cis. I:>. 13. :35-t l ~s c h cr. Kii ro h, :33
A"f!"-'tin, J. J.. 29 Cart icr-Bres.,.lll. lle11ri . I0. 16. 17, 8-t. 90. l ~ l'all s . \X'a lk n. 2.). 23. 30. ::):2. 2::Jo. :23::)
Au Sa<W d11 pri11t P111ps (P:11is). 20. 1 I . -t:). 223. 27.). 2S:l. 23-t
36. 89. % -+ C'atMdm/es du l'iu. les (The C'at/,edmls o/ "l'a 111ih of ,\huL Tlw .. (.\lell' York. 1955 ).
Avrdon. Hi charcl. 28. 27.) 1/iue) . :21 ::)1
Ce11tr1' Georges Po11q>idou (Paris ), 279. Fmgw. IJcJII-Pa ul. 2-t
Baco11. Fra11cis. 18. 199 :).).) Fal'lll Secu rit ,. Ad111ini stration. :227
Balla. Giacomo. 199 Ccza n11 e. Paul. -t I Faro\'a. A n11 a. 27?
Balogh. Huclolf'. .33 Chaga ll. .\ l an. 2-t . :3.)-t Fat11e. [lie. 20
Bara11n. ,\im c-Paul. 13. 198. / 99 Cha ne!. Coco. 20 Fa111er. Lo11i". :~ 1 . 2:27. 228. 229. 23:3
B'"'~'"" .lena. -+2 Chap lin . Charl ie. 2:3 Fcl1rr. l ~ lll c l ic. 12. -t3. 8-t
B:111~s . .\l a 11ri cP. 19 C:hri,l ies [a" (:\c11 \'o1k ). 230 Fei11i11ger. A11drea s. 28. 283
B:lrso,,. Is,,.,;,. -t O Ciba ci ii'O III ('. 23:3 Feb. Flore111. 13
Barillf'S. Hola11d. 2?7 Cocl!'ciiL .l ca 11 . 18 FI'('('III'Z~ ' i\()(~ llli . -+2. /4S
13art6k. Brla. 10 Cole11e. Sid o11i e-C:a hri ell l'. 13. 16.'3. :3:)-t Fil111 tllld Pl1 o1o l"eag ue. 227
Ball's. Cla v10 11. 165 Co lo111h. Dc11i sr. 16 "l'i l111 u11d Fo10 .. (S1c1111 ga rt. 1929 ). 1?. 2 1.
('olor (.\e11 York. 193-t ). 21n-8-t 311. :3:>-t
B:"cr. llrri JI'n. 17 ('o111plete fJfwtU[!,HifJI!e~: The, 23 Fiol e1 (A111 stcrdam ). 280
BBC: Tehi-.ioll. 23 1 "Co nccmcd Photograplll'r. Tlw .. (:\ell' Fi,.l1er. Ag11rta , 20
13<:11111'. ,\1 11a lwm . 2'9 \ ~ rk . 1908 ). 27~ 230 "Foreig11 ,\,kel'li,illg Ph olOf! lap lll.. (\ell'
lka iOII . C:!T il. 26 Coo per. Tl1o111a-.. 2il l Yod,. 19:30 ). 2 1
lk lfo 111 l. 2il l .lane Co rkill Ca ll f'l'l' (Toro111 0). 230 Fiir, lllcr. ~ l awla. 1-t. -+2. /44
ll!- 111111'1'. ll :ll h. 8-t. 3il. 2 7 (1 Comuet. 2.). 27. 28. :).)~, Fortuue. 23
Fotogmfie der Cegenwar( (Essen. 1920). /lu11p;aria11 illelllories, 10. 11. -+-+. :2S:2. 353 Lartigrre, .lacqrws-IIenri. 13. 1.5. 31. 274
21. 86 lln sscrl. Edmrrnd. 89-90 Langlrlin. Clarence .lohn. 229
Foujita. 86. 90. 16:2 1/us::,adik S::a::,ad (T!N'IItieth reutlll) ), 11 Laure11cin , :VIarie. 18
Fm11ce <I table, La. 18 ICA canrcra , 8-9 Lauren s. llenri. 199
Frank. Hobert. :32, 27.'5. 28.) .. In rage of Frwdonr (:\lew York. 19-t I). l ~ rge r. Frrnand , 20. 22. 2-t. 85. 86. 88.
Frank. Tamiis. 28 :30. 35.5 173. :3.)-t
Fnrrrkl. .lr!ska . .?6 lll{illit) ; 279 Le GraY. Gu stave. 275
Freed. Leorrard. 27') Cllltrausigeallt, 19 Leica camera , 14. 89. 9.5. 276. 3.54
Frcelcrrrn Plrotognrplrers Crrild. 281 lwanami Shoten , 282 Leiter.. Saul. 229
Fried. Tivadar (Theodore ). 85. 2-13 lzis. 12. 1G Lemagrw. .lean-Claude. 19. 20, 88. 277
FrizoL. .\1 iclrel. 10 Lesznai. Anna. -+2, 85
Fro111 Jlltllilldou , 266. :276. 281. :3.:)5 .laboune (Jean Nohain ). 15, 21. :3.5-t Levinstein. Leon. 227, 229. 283
f.G-t .. grorrp. 29 .laguer. Edouard. 88 Levi -Strauss. Claude, 2-t
Fvler. Wolfgang. 29 J'ai111 e Paris, 279. 280 Levitt. Helen. 227-230. 283
Jancs6. ,\1ikl6s. 27-t Levv. Julien. 21. 30, 227.228
Gaillard . Agathc 280. 281 .lasclrik. Alnros. -+ 1 Llrot e. Andre. 1-t, 86. 88. 172
Carai. Alexandre .. 2-t Jefferson. Thomas. 291 Lilwrrnan. Alexander, 18. 29, 31. 226.
Ccirdonyi. Ccza. -tO .Tclfy. Crula, 38 2:)1. 283
Cartenlaube. /Jie :36 John son , Lady Bird. 279 'Lichtbilcl. Das .. (Munich., 1930). 21
Ccniaux. Pmrl. 90 .Johnson. Lyndon 13 . 279 L1{e, 2.5-27. -+3. 226, 277
George. \Valdemar. 18 .Johnson , Mi ss. 90, !57 Lifson. Ben. 281
J. Paul Ceuv Mu scunr. 280 .Iones, Bet tina. 19 Lil!ht Callery (New York ). 280
Gibson. Halph . 16. 27 .l6zsef. Auila. -+3 Linlrof chamber. 18, 199
Cicle. Andr-6. 28.) Livingston. Jane. 283
Gilman Paper Conrpanr, 280 Karger. Ceorgc., 27 Loeb. Pierre. 12
Gingrich. Arnold. 27, 28 Karimhy. Frigyes. -tO Look, 2.5. 27, 355
ClauJow: 198 Karolvi. Madarne, -t'l Looking at Photographs, 276-77
Cocrtz 'Tf'ttax carncra, 8 Ka sin e. i\'adia. 18. 198 Loos. Adolf. 20
Goldfinger. Erno, -+2 Ka ssuk. Lajos, 10. -t1 Loranl. Stefan. 18. 2.5, 43
Conri>P\'. Mirnv. :288 Kern stock , Karolv. -t1 Simon Lowin sky Callery (San Frarrcisco ).
Crwnfi~ld. Lo.i s. 10 Krrn stock Studio, 39 280
Crossman. Sid , 227. 230. 28.) Kertesz. Elizabeth (Salamon or S al)~) Luce, 1-fenrv., 25. 226
Grove Press. :32 (wife ). 7, 9. 10. II , 12, 15. 16. 20, 2.3. Ludclington family. 25
Crundlwrg. Andv. 28-t 2-t. :2-J, 25. 28. 31. 32. -10. 41. 7-J, 9.3 , Lur<;at. Jean , 1-t. 86, 152, 354
Cucgan. Bertrand. 199 168,169, 27-t. 276, 278, 279.281- Lvaute\~, Marshal. 19, 3.5-t
Cuys.fimn P1il Street, ThP, -tO--t 1 282.283. 28-t. 354, 35.5 L~~nes ..George Platt, 28 365
KPrtesz, Ernesztin (mother ). 8. 10. 11, 12.
llalsman. Philippe. 12 1.5. 23, 39, 3.54 !Vfa (TodaJ ) . 11
llal stecl Callerr (Birmingham ). 280 Kertesz, lrnre (brother). 8. 10. 12, 21 , 39 .. MA ,. group , 85
llarnp. Pi erre, 21 Kertesz, Jeno (brother ). 8. 9, 10. 11. 12, .\1cCullin , Don , 10
[ larbutt , Charles. 283 21. 31 , 88, .39. 4S \tac Orlan. Pierre, 18. 21. 91 , .179, 3.54
I larder, Sn san. 280. 28.3-84, 355 Kertesz, Lip6t (father). 8, 35-t :VIaeterlinck, Maurice. 18, 40. 354
llatp er :s /Ja::aw; 26. 28. 226, 3.5.5 Keystone, 23 .. 2-t. 26, 35.5 \'lagnurn. 280
llatvany. Lajos. 40 Kl ~e. Paul. 12 Maiakovski , Vladimir V.. 20
Hau smann , Raoul , 200 Kl eirr , R6sza. See Andre, Rogi Mainbocher. 30
C. Ha)' llawkin s Callen ( Los Angeles) . Kl ein , William. 229 Mal colm. Jan et. 277
280 Klopfer, R6zsi. 39 Manu el brothers. 13
llearst, William Handolplr , 25, 226 Knight. John Adam. 28 Mapplethorpe, Hobert. 277
llenri , Florence, 12. 17, 85 Koch. Edward. 279 Marai. Sandor, 43
ll erczeg, Ferenc. -tO Kodachrome. 283 , 337-352 Marville. Charles, 13. 16
Hill , David Octaviu s, 28 Kollar. Fran<;oi s, 12. 17, 18, 29. 8-t, 354 Ma sclet. Daniel. 13
llill , Paul. 281 Kolos- Viiry, Zsigmond, 14, 42 Masson , Andre. 12
1-line, Lewi s, 28, 283 Korda , Alexander, 43 Matin, Le, 12
lloffmann, Lip6t (uncle ), 8. 12 Korda. Vincent, 43 Mati sse. Henri. 14., 20. 282
lli:ilderlin , Friedrich , 12 K6s, Kiirolv, 41 Mati sse, Pi erre. 24
lloll ender, Alex , 281 Koudelka . .Josef, 17 Matta. 2-t
l-lont, Fcrcn c, -+3 Kovacs, Margit. 8.5 Mauroi s. Andre. 18
llorst. Horst P.. 12, 20, 26, 276, 283 Kramer. llilton , 10, 44 Merk el. Anne-Marie. 93
llortlr y, Miklos. 12 Krull. Germaine, 12, 16. 17, 18. 84. 86, Metropolitan Mu seum of Art (i\'ew York ).,
llouk. Edwynn. 280 90.91 , 354 279. 280. 355
llollse and Carden , 28-32. 29, 229-231. Krump , Kalman, 9 .\1ikl6s. ]utka. -+3
279.355 Kun , Bela. -+ 1 ,.\1ilha lik. Lajos. 10
llou seman. William , 279 Mili. Cjon. 283
l-loyningen-Hucne, George. 12, 17, 20 Landau. Erg)', 12. 16. 17, 43. 84 Miller, Lee. 20. 228
1-Iuara, Hclba, 153 Landscapes. 279, 280 ..\1iller, Wick. 26
Minica 111 Photograph) ; 28 Pacr/\lcCill Ca lle n . 280 Sa la rn on , Elizabrt l1. See Kertesz. El izabc tlt
Miro. Ju an. 12 Paouillac. Jacquelin e. 274 Sa lonr on , Erich. 19
Model. Liselle. 12, 43. 227 . 228, 23 0, Pa psz t. Ede. 73 Sa lon de I'A ra ignf.e (Paris. 19:30 ). 21,
283 Paris-11 /aga::;ine, 21. :35-t 86
:\1odern Age Stud io (i\ew Yo rk ). 31 Parkinson. :'\onn a n. 283 Sa lon de I'Esca li er (Paris. 19:28). 1-t. :2 1.
.. Mode rn Eu ropea n Photography'- (New PatT\'. Hoger, 18. 228 86
York. 1932) , 21. 354 Pass uth. Krisztinn , :~6 Sa ly. l ~ li zabct h . See Kntcsz. l: li zabctlr
Moholy-Nagy. Lasz lo. 12. 17, 27, 40, 41 , Paul. l ~ lli ot. 29 Sa nd er. Augusl. 1.)
43. 44. 85, 88. 200.226-227.276 Pccs i (Phln) . .lozscf. 38. 39 Sc ha ll. Hoger. 28
Molnar, Ferenc. -t O Penn. Irvin g. 1.5. 28. 275. 28:3 Seuphot. l\li chcl. 1-t. 20. :20. :2 1, 86
Monde, Le, 274 Pcrsc. Sai nt -John (Marie Leger ). 2-t Se,nt our. David. 12. 279
Mondrian. Piet. 14, 20-2 1, 22. 22, 30. 43, Phillips. Sa ndra. 12. 279, 282 Shaw. Geo rge Benlllrd, -tO
85. 86. 1 7~. 275.284.354 Photographer, Ca ll erv (London ). Siqu cims. David Alfam. :20
Moore, ll enrv. 19. 87, 199 280 Siskind. Aamn. :2:3 1
Moreau , Gustave, 14 Photo Leag ue, 227 Si.lty !'ears o_( fJ/wtographJ; :279, 280
Mostra Bicnnale lnt crnaz ion a lr della Photo-Secession. 10 Sli,,inskv. .I nn, 20
Fo tog rafia (Ve ni ce. 1963). 30, 355 Pi casso. Pablo. 10. 12, 19. 199 Srnitl1. l ~ ugcne. '2.7
MLillncr. Ja nos. 38 .. Pioneers of Modern Frenc h Photograplw .. So nun er. F rederick. 229
Jl !iillcftener !llllstrierte PressP, 18, 43. 35 -t (i\ew York . 19:37) . .'30 So rnniCr. .lcno. 60. 6:2
Munkacsi, Mart in . 17. 26, 28. 43. 85, 227 Plaisir de France, 18. 354 So 11t ag. Susa n. 277
Musee d'Art Moderne de Ia Vi ll e de Pari s. P:\1 Ca llen (;\lew York ). 30. :355 So ugrz, Emman uc l. 1.'3. 18. 8-t ..)5 -t
36 Polaroid .. 281. 28:3. :3;)5 So upa ul 1. Philippe. 18
Mu see des Arts Dccoratifs (Pa ris). 21 Pollack. Peter. 276 So1u-ire. Le. 18. 19. 87, 198. :).)-+
Mu scc Folkwang ci' Esscn. 86 Pomii-s., 140 StcidHu , Edwa rd . 26. 28. 29. :3 1, 226
Mu sec Natio na l d'Art Modern c (Paris ). Popular Photograph); 283 Stci ucr. Andre. 8-t
279 Por. Be rt a lan. -+2 Sti<'glit z. Alfred. 1:3. 20. 2-t . :28. 92.
Muse um of Modern An (MoMA ) (New Porter. Co le..31 227
York ). 24. 30, 31, 226. 230 280. 3.55 Portmits. 279, 280 Stotz, Gustav. 17
Pra mpolini . Enrico. :2 1 St rand. Paul, 20. 28
Nachtwcv. James. 10 Prince. Erney. 2:3. 2-t. 26, 27 St rvker. HO\. 227
Nada r (Caspard-Fclix Tournachon ), 13. 14 Public Broadcastin g Service. 28 1 Sudek. Josc.f. 276
Naef, Wes ton. 32 , 282 Puyo. Co nsta nl. 276 Surren li snr. 86-88
Nagy. lmre, 41 Szabo. Istva n Soko ropri tkai. 4:3
:\fast. Co nd e, 2.5. 28. 29, 30. 31 ..32, 226, Sza rk owski. John , 10..31. 3 / , 276
Querrllc. 18. 198
227.280.355 Szekely, Alad<1r. :33
366 Nationa l Ca ller ~ of Victoria (Me lbourn e).
Querscllllitt, Det; 18
Szo nt orY. Dezso. -t O
280 Szo uvi. 1st van , 41
Nemes. Yladamc..39 Rajk. Istvan , 119
Neuesle 11/ustrierte, 18. 354 Ra,-. Ma n. 12. 16. 17, 18. 8-t. 85, 86. 87, Tabard. ~I aur i ce .. 15, 16, 17.18. 8-t. 228.
New Bauhaus American Sc hoo l of Design .200. 228, 275, 276. 35-t 276
(C iti cago). 27, 43 . 227 Regards, 18 Tageschronik der Ku11st (/Jai()' Chrouicle o_l
Newhal l. Beaumont. 24. 226. 230. 276 Reich ental. Ferenc, 42 Art). 21
Newha ll. Nancy. 226 Hencontres lnrernat iona les de Ia Te ri ade. 10. 199
New Vork Post, 28 Photographic a Ari es (1975). Tha i. Id a. 20, -+ 2. -t3
New York Schoo l. 228, 229, 230, 283 279 Tihanyi , Lajos. 12, 1-t. 41, 42. 85, 93.
Ne111 Vork Ti111es, 284 Henr-.la cq ues, 16. 24 147
:\e,. Hos ie. -+3 Rengcr-Patzsc h. Albert. 17. 22. 91 To11 11 a11d Countt:): 26. 28, :355
,\ 'ietzsc hc. Friedri ch. 22 Hevai , Eva , 85. 55 .. Trava il ~ gm up. 11
Noa ill cs. Comtessc de, 18 Heva i, llk a, 4.'l. 55 Travis., David. 282
i\'ojima . Ya sz uo. 276 Him. Car lo. 18. 21, 198 Tzam. Tristan. 21, :~.54
Nos A111ies les betes (Our Friends the Hivera. Diego. 20
Aui111als), 21 Hiversidc Mu se um (New York ). 280 Ubac. Haou l. 87
0.'ouvellc Objectivit c. 91 Rockefeller, Winthrop, 30 U/1/J, 18, 3.')4
:\ouvcllc Photographic. 91 Rodtchenko. Alexander. 20 Un ive rsa l Expo (1970). 279
:\oll\cll e Vision. 17, 88. 90 Homer. Erzsi. 39 lJnivcrs it v of Long Isla nd. 30
.\ 'ovo tn\. Emi l. -+ 1 Ronai. Denes. 38
Ayuga/ (West), 11 Bonis. Will y. 16, 24 Yadasz. Vliklos. 41
Hosrnb hnu. Walter. 227 Vago. Pierre. 42
O(Xe/1' !rHk. 279. 280 Rosska rn . Edwin. 150 \'al{ry Paul. 87
Ois<'aux. 279. 280 Hiiss ltr. .laros lav. 12 l (m ity Fait; 227
011 lleodillg, '2.79 Hoth . Ftnnc. -t:3 l'anhh 18
Orozm . .losf. Cltnlf'IIH'. 20 Ftnnc Hot h Quartet. 16 7 Yerackhatz. '1/ajinskaya. 19. 198
Outtrhrirlgt. l'at d. '17. '2.76 Houiii P. And rf.. 277 Yen. Lo ui s. 90
Oztnfanl. Atn f. df.t. ll.) .. Hudlt'. th e .. ll6 \'ert es. \'larcel. -+1. -+ 2. S7
VidaL .kan. 19 Warde ll. J3enha , 20 Yll a ( Kamilla Koffl er ). 16, 43. 84
Vigneau. Andre.. 8-t \rcber. Pierre. -+ 1
Vi sco nti . Luchino. :20 \\'eegee. 2.). 228. 229. 283 Zndk in c. Ossip . H. 2-. 30. 86, 171 , 3.54
\ 'ision Callen ( Bost<m ). 280 Wrl nl -Damich, Tcri , 198. 281 Zenos. Ch ri st ian , 17
\'i sua I Books. 280 \Veiner. Dan. 279 Zilzer. CI'Lda. 12, 14. -+1. -+2. 8.5
\ 'ogc l. l ~ n c i en. 18. 2.5. S6. 3.5 -t \X'eston. Edward. 20. 2.5, 28. 2:30 Zil::era11d Noe. 39
I (,g,w, 18. 26. 28. 198. 3.)-t ..'Fi.i \~' l1itP , Nliuor. 229 Zuber. Rene. 8-t. 3.54
l 'oilil , 18 Stephen \\'hire Ga ll ery (Los Angeles) . 280
l o\ol/s roir, 28 1 Winterstein. Maxim ili an , :39
l i1, / 6,17. 17. 18. 23. 3.5 -t \Vol s., Alfred. 8-t. 8.5
\ \ darem .. l nl n ..38 World War L 8-10. 12. 33-
367
Pierre Borhan is the head of the Mission du
Patrimoine Photographique, which hou ses the
collection of Andre Kertesz's correspondence
and photographic negatives. He resides in
France.
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