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Pl lOTOCHAPI lY $29.

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Andre Kertesz
His Life and Work

Edited hy Pierre Borhan


Essays by Pierre Borl1an. Laszlo Beke ,
Dominique Baque, and Jane Livingston

··Kertesz was above all a consistemly fine photogra­


pher.··
-,Ve11• !'ork Times Hook Re1•iew

·'This beau1ifully printed book ...ireats us to some


of 1hc 111ost deservedly famous ·trcn scenes. portraits.
and landscapes ever produced by a single ur1is1.·'
- E11tertai11111eul fl'eek(r

Tl1is important monograph is the first paperback


10 present a complete overview of the work of
I lungaria11 photographer Andre Kcricsz (189-t-1985).
one of the nndispu1ed masters of n1odern pl1otograplw.
Original!,• published in hardcovrr formal in 199-+.
ii is now in an affordable paperback edition. Author
Pierre 13orlian covers three esse11iial periods of
Kenesz·s work: I l11ngruy (1912-1925). Frnn•·c
(1925-19:36). and the United SLa1cs (1936-1985).
.
,\full sec1iun is devoted to his famous . clislortions·'
and anotlwr lo his color works. l�ach scctio11 is
prefaced lw a critical text \\Tittcn by an international
specialist. This stunning book is a work of reference
and a valuable source of infonnalion, bnt it is also a
dramalic and lnxurious 1rib11te to one of 1hc masters
of twenliclh-ccntury pholography.

'·I !is photographs-from the i11ti111ate views of


Washington Squarc. . . tO an unexpectedly homey image
of 1he World Tracie Ce111er seen 1hrough a rain­
·panglecl windo\\'-abound with a forgiving lyTicism ..,
-/led/ Street Jo11mal

··Pierre Borhan·s lex! delineales all 1hc ups and clowns


of Kcrlesz·s career wilh depth and precision. I lowever.
the eloque11ce of il1c photographs altests most clearly
.
lo 1he exlraordinarv legacy of !heir creator.,
-Ccunem & Darkroom

.. Andre Ker/es::, is Lhe first comprehensive look at the


photographer's spare and striking images of I lungary.
France, and New York.··
-Conde i\'ost Tram/er

.. Andre Kertesz offers an irnpressi,·e look back at


Kertesz·s eight-decade career. "'hich began in I lun garv
before and dwfog the First World War. ,.
-lf'asliington Post Book World

3:)0 duo1our and 15 color phowgraphs


060029-+5
Andre Kertesz
His Life and fVork
Pirrrr Borlia11

Andre Kertesz
His Life and Work

Essays by

Pierre Borhan
Lar,zl6 Bekc
Dominique Baque
Janr Livingston

i\ l31ilri11cli Prc'sh Book


J,ittlr. Bro,,·11 a11d Co11qm11,·
Bohto11 :\1·w York Lo11do11
'lht copp-ight © 199-t by E d i t io11s du Seu i l
Phot ographo copp-ighl © 199-t I n- t h e 1 1 1i11is!Crc de ln Cul i u n· (.\FDPP). Fra 1 1ce
l�11glish translation copnight © 199-t IJ\- Linlr, Rrmrn a11d Cor11pam- ( l 1 1c.)

,\II rights reserved . \o parl of llris book 1 1 1ay be rcprodu«cd i11 a 1 1 v form o r I)\· all\­
rlectro11ic or 1 11ccl 1 m 1 iea l 1 1 1('c 1 1 1s. i nrl11d i 1 1 g inl'orrna t ion st orage rn1d r<·t rif'n1l sysrrrns.
"..-ill1out pen11i��io11 i 1 1 wri 1 i 1 1p; from tltr publ ibher. except h� a n·,�irwrr \\'ho mny q110IC'
brief passagrs in a rf'vicw.

First l�di1ion. 199-t


Firot Paperback P ri 1 1 t i 1 1 g. :WOO

Artistic coordi11atio11: \oi'I Bo1 1 rcirr

Pict11re research: \lorl Bourcirr. Eric Pav i l lo11. aud Br11110 \"rre)Tkr11

Graphic design: Dor11 iniq1rr , \ lerigard/ l 1 1 1e11si1r

lllack-011d-11•hite prints: Yvo11 Lr ,\larlec

Co/or prints: Publ i 1 11od Pholo

lletouching: Elisabeth Boissrrie. Cad 1rri 1 1 r Cla isr

'/)w1slatio11ji·o111 the French: Sheila Glaser

All rrq1 1rsts to i 1 1 t roducr t he phot ogra phs of Andre l\crteoz must hr addr·rssrd to: � l iooion
du patri 1 1 1oi11e plio1ogrnphiq11r. t\:,socialion f'rnn\aisr pour la d i l'f1 1sio11 du pa t rimoi11r
photograph iqnc. 1 9 . rue Hra111 1 1 u r. 7.:>003 Paris, Franee.

ISB\ 0-8212-26-18- 7 (ph) I ISB.\ 0-8212-21-10-X (he)


Libn1 1·) of Congrros Catalog Card \ u mber 9-t-72.�9-t

R 1 1 l fi neh Press is a 1 1 impri 1 1 1 and t rademark of Lit de. Brown and Con 1pa1w ( l 1 1c.)

l'lll\TED I \ IT·\L\
Introduction 7
The /Jo11ble of a Life
b,· Pirrrr Borltan

The I lungarian Period (1894-1925) 35


A P!totogmp!ter.fi·o111 Birth
by L::bzl6 Bckc

Contents The French Period (1925-1936) 83


Paris. Kertis::.: Electi1•e ,tj(inities
h)· Domi n i q u e Baqur

Distortions (1933) 197


Playing II i't!toul Cheating
br Pierre Borhan

The American Period (1936-1962) 225


A Mutual illisunderstanding
b )· Jane L i v i ngston

The lnternational Period (1963-1985) 273


The Double of a Life, Continued: Jn the
Fim1ament of Photography
by P ierre Borhan

The Color Photographs 335

Acknowledgments 353

Chronolog)' 354

Bibliography 356

Exhibitions 358

List of 111ustra1 ions 361

Index 36'+
Introduction

The Double of a Life

by Pierre Borhan
orn i n Buda pcsl on July 2, '1894, to a m i d d l e

B cla s fa m i l y, A ndor Kertesz, ca l led Bandj by


t hose close to h i m , wou ld have had a trouble­
frec adolescence if ltis father, Lip6t, had not djed of
t u berculosis i n 1908, leaving h i s mod1er, Erneszt i n,
w i l h three chi l d ren (besides Andor there were Jmre,
born i n 1890, and Jeno, born i n 1897). For1 LL1 rn l·ely,
E rneszt i n's brother. Lip6t Hoffmann, took care o f
t h e m as a father wo u Jd, a n d watched o v e r t he i r up­
bri nging (though w i t h o u t forc i n g them to strictly ob­
serve Jewish I racl i t ions ) , th e i r ed ucation, a n c l t he i r
Sleeping Boy. Budapest, 1912
en t ry i n t o a d u l t l i fe. h w a s he w h o h a d Anclor h i red
a l t he stock exchange i n 1912. at the encl o f his busi­
nes stu d i es. The young m a n had as UtLle ta t e for
L l 1 i s career as he had had for schoo l . Photographers
are ra rely good at school wor k . To his cl asses, to the t ographing t b e peasants. the Gypsies. tbe l a n d­
o ffice. Andor prefcrn:d I he cl h n ogra1 hie mu eurn. scape of the plls::Ja. t h e Hungarian p l a i ns. One of
the parks. the s u b u rbs of Budapest To t he u rban h i s first photographs, take n i n 1912. is that of a

8
st reet l ights. he preferred a ru ra l m a rgi n a l i t v. Even vou ng m a n a s l eep i n a restaura n t. an d a l read,· t h e
as a c h i l d h e l i ked lo "keep pigs w i t h I h e boys and d iago n a l s i n com posi t io n , t h e rh v t h m i c b a l a n ce of
gee e with t h e gi rl s'' 1 in S z i g et h ec e and t o fish a n d fo rm s , t he to n a l i lies . t h e sense o f a cert a i n familiar­
bathe i n t he Dan u be n e a r the propertv of h i s 1111cl e i ty. a legi b i l ity, were prese n t . S u ch success wou l d
and h i s a u nt. "·It i s t here t h a t I became fa m i l i a r with not h a ve been lhe s i gn o f a VOCa I i o n i f i t bad not
cou n l ry l i fc." 2 I n Szigctbecse. al a verv you ng age, been followed by more than seventy years of a deli­
h e saw his first i l l ust rated magazines, and he was i n ­ cately c l e a r-si g h t ed, concise, u n i q ue p h o t ography
s tantly taken b y t h e pictures. There i s noth i n g l i k e a and a dozen m a s t e rp i eces. K c rt esz's com p l e t ed
sudden a t t raction lo shape or reshape a l i fe. a n d a t body of work s ugges t s a retu rn to these I l u nga rian
t ha t moment, v o u n g Andor becan1e a photographer. origi n . With h i n dsight, the p u rchase o f 1 hc ICA
'·11 was. I t h i n k . t he moment of 111ak i n g a deci sion_ .. :3 camera looks l i k e a d e l en n i ncd choicr. one op­
Jn a n y case. it was I he morncn1 of revelation. of t he posed to 1 he w i s hes or h i s fa m i l y, t he choice of a
f i rs1 a n d defin i1ivc evidence: fron1 t hen on. st i l l with­ you ng m a n p ro m i sed 10 a ban k i ng or busi ness ca-
oul a camera. he saw everyth i n g with the eye o f t h e 1'ecr, of a young man who did not evolve i n an arl is-
f u 1u re p hotograp h e r. Kertesz d i d not enter i n t o pho- 1 ic n1i l i e u but who. rap i d l y, wou l d learn rvrr,·t l1ing
1ograp l w by acci den t . nor by ckfa u l i (beca use o f o n his own, from 1hc tec h n i q u e or s l ioot i 11g to the
fa i l i ng in pai n t i ng o r another a rt ist ic dom a i n ) . I le craft o f m a k i ng p r i n t s . ·'· I t i s the best ed11cai i on .''�
.
entered i nto i1 d i rectlv. natural l v. Try i n g. m a k i n g a llliSt a k e, l r y i n g aga i n-his i n t e n ­
t i on a l i t y. quickly fu l fi l led by 1rcl1nical niastrrv,
011cc he had 1 nacle a l i t t l e m o ney. A n d o r was t h a t of onr who has an i1rnale srnsr of v i s u a l
b o u g h 1 h i mse l f a n I C A -t . 5 x 6 ·111 glass-pl a1e c a m ­ selec t i o n .
f'ra (10 w h i c h he \\'Oti l d soon a d d u Goertz Tcnax­
which \\'Ottl d be s1olcn from him i n Pa ris in 1hc Ot her recJ'll i ts d i d 1101 leavr for '"ar i n 191-t
L11xe111ho11rg Gunlr·ns ) and spe n l his free limr pho- wiilt ca1nci;as. And it was nol IJ,· acciden1 il1a1 A n dor
t o 1 h i� false cqu i l i briu 1 n . I t was t lwn, in D u n a h a ­
rasz1 i i n 1919. I ha1 hr phologra phed h i s brot hrr
Jeno i n m i d - leap and 1 hc re f l ect ion o f h i s face i n i l 1r
"·a t r r. I l is brot her a l;,o danced l i kr· a fa u n for h i 1 n .
a n d K e n rsz ou t l i ned h i s ra d i a n t s i l l 1ouet 1 r- l i k e a
C reek a t h l r 1 r's-on t l 11· horizon. 13iit h i s job k rpl
h i l l l fro 1 1 1 dcdica 1 i n g h i 1 1 1s1· l f t o h is passion. a n d l 1r
s u ffcrrd. I le t ried to abandon office work in favor of
bcckcrping a n d agr ic 1 1 l t 1 1 ra l work bul h a d to giVC"
up. t hr cou n t ry being wracked by pol i t ical u p heava l :
\Ir a., a ··Jager:· t he com n 1 1 1 n ist. s di;,t u rbrd h i s p l a ns . I l e d i d spend
Corz. 19 1-t five "· ecb one s u 1rnncr i n A bony. 0 1 1 1 i n iill' co1 1 1 1 1 rv
(Pho10 1nkc11 011 the eve
along t he Tisza, a n d t hey remai ned a 1 1 1 a rvrlo110
of rC'rruit me111)
memor�': w h i l e t he bees buzzed. h is fu l l - t i 1 1 1c pho­
t ogra p h y s u b merged rvcry1 h i ng rise. In memory o f
chose a l ig h t . eas i l y handled camera. ''"hich he used A bony is Tlie Wandering Violinist (" I 921 ) . The co 1 1 n ­
1 h roughout t he fight ing, photograph i ng l ife in t he t 1 T soj o u rn ended .. Andor rf't u rncd L o t he excha nge.
t renchc . ·· J was t wenty years o l d wh n I went ro t he and. u nsat isfied, he d rea1 n cd of !rav i n g I l u ngary­
front . I believe that my cam e ra very 1 1 1 uc l 1 helped me a d ream given u p. blocked by f i lia l love for hio
lo s u rv i ve. I t oo k photos i n Poland, on t he Russian mot l ier.
fro n t . . . _-·3
Desp i t e t h e death t h roes of t he brea k 1 1 p of
He did t he same when. wounded i n 1915. h is t h e empi re. desp i 1 e h i s p rofessional disappo i n 1 n 1r n t s.
left hand remporaril y u1111sable. he was n ursed in a t he photographs K e rt esz t oo k in Budapest and i 1 1 i l 1P
m i l irary hospiral and conva]('sced first i n B udapes1 s u rro u n d i n g co m 1 1 rvoide nea r t he D a n u be i n Szigct­
and t he n i n Esztrrgo1 1 1 . A n 1ong the photograp h s bccsc and Esztcrgon1.. t he la 11c lscapes and grn r('
taken d u ring t h is period is t ha t o f t he swi m mer u n ­ scenrs such as t hose o f h is brot hers and friend;, ( i n ­
C)
derwater ( t he o n l y 0111' n'nw i n i ng o f a s m a l l series c l u d i n g t hose of h i s beloved. E l izabr t h Sak. who abo
that was dest royed). w h id1. for K r n esz h i mself. pre­ \YOrkcd at t he stock mark r t ). arc marked no more by
fig u re d rhe '"Disto r t ions" o f 19;t�. Phot ographs o n l v u ff ring t han t hey arr b y rebe l l i o n . It is as i f hi;, 1 1;,c
appear r o t hose w h o a rc rnpn blc of t a k i ng t he m . of 1 hc ca 1 1 1era c a l m cl a l l di sat isfact ion. all s u ffrring.
Once peace was rccst ahlislwd. A ndor rcw rned. a l l des i re for insu rrec t i o n . W het her righ 1 i ng in A l ba ­
against h is own wishes, t o t h r s t oek exchange. t o his n i a or H u m a n i a . A ndor d i d n o t v i e w t he war as a
rou t i ne. and con t i n urd t o take photographs d u ri n g monst rosit �-. nor as a deter11 1 i 1 1 i ng h ist oric rpisodr in
his le i s u re t i me. w i t h o u t rea l l y beco m i ng accus t o n 1 ed 1 hc dPs1 i 1 1 .\· of h is co1 1 nl1Y.
. b u t ra t her as a eolkctivr

l\;\1111a11 l\ru 1 1 1 p a11cl Calo Dicier. I lairrnl al i lu·


T"·o \rou11d1•d C:ornrndco. Cot I\ al1•-..n •111 I lo11u•.
t·::-iz1rr�rn11. 19 1:) l':lrl 1;l 1 11. l!J 1:
advr111ure of 111en who each lived it i11di,riduall)' with­
out i'rPli11g happiPr or unhappier tlwrr 1 hn11 else­
where, \\'itl1011t bring heroes or viri i111s. f\rnrsz did
not rnre for war 1111rths, for i11dividual exa111plrs of
co11rnge and sacrifice, and did not concern himself
with the spectacular charnctrr of rigl11ing .. killing.
and drstrnctio11. \1a11y photographers, who W('I"(' not
thrmsrlvrs soldiers. \\·01tld later, i11 the course of wars
to co111e, take photographs of sud1 atroci1.irs-so111e
i11 order 10 111ake a living, others for political or moral
reasons. To 1hr cxa111ple of K('l"trsz, Larry Bu1To\\·s,
Don McCullin, ai1d James Nachtwcy will be the l,ajos .\lillialik

co1111icr-exa111ples. 111 P:iris Kertrsz \\'ill help Robert wiil1 a C:Plln.


l�,zt<'rgo111. IC) 16
Capa a11d will even Sa)' to Lois Creenfield6 that Capa
.
was his ···little child, . photographed the war as if the
State was rffaced hy those who defended it, and as if pe1·ie1ll"c, was alread)· \"C'IY pcrso1rnl in a11 agr "·he11
its absurdity "·ere swept away b,- the hu1na11it\' thr ''"Ital /\11dor hi111sclf called 1he academic '·salo11 pho­
..
111e11 brought to it. It was obvious, in tbc course of t0graph reigned and \\·hen mos1 photographs "·ere
thesr crucial vcars. that Kenrsz was 11r,·er i111crest!'d clwractcrized Ii�· ·'s"·re1c11cd 1nanneris111s."· If he of­
in history, nor in the ev!'1lls that shaped it. nor !'ven fered proof of swrellless. he avoided the pathetic.
in the '·grcnt 1nen'" -1ha1 he would never be a pl1010- a11d above <ill hr did not take leave of realil\·. 011e
journalist, 11ot Pv!'11 in 1hc nian11er of Bill Bra11d1 i11 could r,·en sm· tha1 he "·as ig11ora11t of pictorialism
London in the 1 930s, or of l lenri Cartier-l3resso11 in and ils niporo11s effects. In fact. he did kno"· of it.
lndin. i11 19-t7, upo11 the dentl1 of Cnndhi. Kertesz hut he rejected it. Even the prospect of an honorary
did 1101 thi11k to testifv lo the world, or 10 address a medal did not 111ake hi111 agree to make brornoil
the1nc. During the w<ir. Kcrlt;sz showed evidence of prinls. '·One has hi selJ lodged in his belk ·· said Pi­
1111 i11111111table fraternity "·hich 1101hing could dis­ casso to Teriade: tlw dogmas embraced br the parri­

10 t 11rb. a11d he had already sltow11 hi111self to be hostile sans of the Photo-Secession ,, ·ere not espoused b,­
to grn11diloquencc. "What I feel, I do. "' hr rrpea1rd Kertcsz.
n11111v 1i111es. The human scale would alw:iys r!'main
his scale of refcrc11cr. bero11d anv ro11cern wi1h idrol­ Andor was, no11etl1elcss. far from being t111c11l­
og,·. As I lilton Kn1111rr recalled i11 his introducto1"1" tured: he was infused "·ith I lungarian values and
t �� t 10 l /1111goria11 .l le111ories.7 John Szarko\\·s k i was e1nbarki11g on an education thar alreach- consti­
showed hi1nself to lw pC'rspirnrio11s whru he said that l11tecl a fo1111dation for so111eone who wanted 10 in­
it "·a '·not the epic b111 1lte kric truth"' tl1a1 1no1i­ scribe himself" in thr fascinating world of expression.
''a1ed Kertesz. that �crtesz rr1ai11cd. The pl10- Kertesz ,,·as. fro1n tltr bcgi1111ing, marked b,· the aPs­
tographs 1akc11 hv 1-.:enrsz d11ring tl11' war arr those tl1ctic and i11spirrd h1· the themes of ··111111gariau
of a personal journal ro111poscd or i111ngcs. nol those realis1n,·· which clc,·ated 1.he reprc entatio11 of popu­
of a rrporl for tl1r press. The\' conlain nothing sordid lar life. of peasant life in particular. and national
and noil1i11g grandiose. I le was i11grnuous, which was tradition ··t11rnugh pastoral or folkloric scenes.'"8
i11nn1e. Docs11'1 '·Kertesz·· rnean '·gardener,"' as \lichel Frizot
pointed out? It was no1 so 11111ch the urban land­
,\II of Ker1c;;z's I lungarian photographs arr a scapes of Budapest that i111erested him as those of
<"imllliral of" his life: lite affective rle1nent is pri111or­ the 111illc11ial eanh. It was thr people of 1he soil \\'ho
dial i11 tll('nl. Arr those lovrrs. c111hracing againsl ill(' rnovcd him the 111ost and of who Ill he made por­
11igl11. facing 1l1c Danulw in 1 920. not he and [liza­ trails-not the r111plo)·ees of tl1e stock exc·hange or
lieth!' I lis hrothrr:L the hands of his 1nothcr-tl1e thr pcrso11ali1,· of 1hr cit,·. not e,·r11 Endre Adv.
tl1rcad is autobiographical. The signed presence of "·hosr poet1Y he loved. or Bela Bur16k. sensitive like
illl' 11r1is1. hcyond tl1:i1 of the a1nate11r, soon i111posed Kcrtr:;z to tl1c resonances of 1\lag)·ar folklore. 1 lis
ii.-elf i11 l1a1·is. " ·hrrr it hcca1nr inrnntrstablc. Bui his 1astcs did not, however. kerp Kertesz from hcro111ing
".", . of s<·eing the world. of digging i1110 his ow11 ex- fa111iliar himself" "·itl1 \�·rs1crn culture. rsprcialh·
lol-dek1•s l j.wi[!. .111111' �6. I<)�:) \Ir . .11'110. a11tl 011r \lod1rr.
(cO\CI") Szig<'iiwcsr, c. ·19:n

Vn,11d1 rnlt11r('. th rough his r('adi11g or such hooks


and 111agazi1H's as I lus::.adik 8::.o:;ad ('lire11tiet/i C'e11-
t111y). ,Vy11gat (II 'est). and ,I/a ( Today). hrndrd 11,·
Lajos Kassfik. /\1 1hr sa111r 1i111r. hr hrrnmc aware of
11
a school of photograplw that was wl'll drveloped i11
France. wl1en' thr salons and asso('iatio11s wrre well
attr11drd., :111d whrrc large 11atio11al and i11trrnatio11al
l'Xhihitio11s wrrr organized, S11rh as the 011(' i11 1910
1hat pn'se11tcd 111ore tl1an two tho11sa11d p ri11ts9 and
i11 which twelve co1111trics parti('ipatrd. 111 Paris
Kc rtrsz l'stahlishrd hirnsC'lr still mort\ i11 terms of
fonn, as a11 innovator, but. in trrn1s of lw('kgro1111d. �Ir. k110. lludapeol.
1917
hr \\'as a co11srrvativr ddi11itivrly attarhC'd to the an­
crstral val11cs or his country. 111 the 1980s I would
scr him with u:ars in his C\'C'S. !raring through and
co111111enting on l /1111garia11 Me111ories. I lis attach­
ment to nature, to the eartl1 and to those who farm
it. was sensual and emotional rather tl1a11 political. It
was not because Kertesz photograplwd prasa11ts
rather than poor people or beggars, tlwl he nwdr
clai111s. I le did not dramatize their suffcri11g; he
trratcd them with compas ion. as a b rothrr. /\11dor
Krrtrsz showrd sympaLl1y. not revolutionary fervor,
:.111d hr 11rVC'r changed. even in the most sombrr
hours or his ;'\cw York lifr. The operators of the
gro11p �Trnvail"' had aims filled with demands: not l·:lizalit'iil a11d I.
KPrtrsz. I IP i11trgratcd social rralitirs without ha- ll1ulap1''I. J<J�1
ranguing the crowd or inciting it lo aggression: he political situation deteriorated. By 1925 his mother
never made photographs with a mes sage. He was could no longer hold him. finallv ad111it1i11g 1ha1
suspicious of a l l pol i 1 iciza1 ion: "We i11habi1 the earth Ando1:s de 1iny would neces sita t e their separation
poe1icalh-"-what lfolderLin il1ought. also goes for and his removal to a cily of libertv. of intellectual cf­
Ke1·1csz. f'ervescence. of creative rivaln·-10 Paris. a honwland
f'or rhosc wlio no longer had one. Paris, capital of the
In I lu11gan" Kerlcsz alread\' Sa\\' some of his ans., attracted ever)·one: frorn George Jloyningen­
phoLOgraphs reproduced i11 1nagazi11cs. 1101ablv i11 l l11ene lo Philippe 1 lalsman, from Ger111aine Krnll 10
Ere/ekes l/sag ( l he iosue of Marel1 25. 19 17 .. and the Alexcv Brodovitch., from David Sermour 10 Horst P.
cover of the iss11e of .lune 26., 1925). \\'hirh ac­ l lors1 . from Lisene .\ 1odel to Jaroslav Hossler. from
corded an i m port a n t place to illustratio11s and Florence Henri 10 lzis. frnrn Berenice Abbott to Man
whicl1 covc1·cd local lifc (from the navigatio n of the Hav., and oilier artists. pai111ers. sculplors. \\'riters,
Danube LO tl1e biograpl1Y of A d)' ) as ,,·elJ as [11ro­ filmmakers. musicians. Lucien Aigner ru1cl Paul Al­
pea11 Clllilll'al aetivilies. Sa11clra Phillips is c o1Tecl i n mas�-. other I lungarians, also chose Paris. whereas
writi11g thal in 1900. l\\'C111y-onc 11c,vspapcrs were Laszlo Moholy-Sag)' op1cd f'or Vienna and then
published each day i11 Budapest. Assuredly. Kerlcsz Berlin. During tbis per i od. Dadn and the Sul'l'ealisls
found some or his poinls of reference in the press: ii were rlying in 1l1e face of ac cept ed beliefs. axioms,
was one of his sources of i11spiratio11. along with cer­ and a1·1i·tic values. Pierre Loeb, in 1925. cxhibi1ed
tain pocms. certain pain1ings by Lajos Tilianyi and Picasso. Klee. de Chirico, Arp. Ernst. ,\tliro. and
Cnila Zilzcr. a11d Ilic ar1islic se11sibilitv of �
l liza­ Masson. Is it irnporta111 tl1a1 the upheaval of' the cre­
bcil1. who made hcau1iful cmbroiclerico. 13111 B11- dos of eivilizalio11 aud Ihe explo.raliou of tlie subcon­
dapes1· "·as not e nough for Kert6sz. who ,,·as ready scious do not rcall)' inlercs1 Kertesz as a
10 change lang11agcs a11d 10 co11fro111 his O\\TI ·"mys­ photographer? Bui ii is impor1 an 1 Llia1 artisls. as a
tical rec1i1uclc·,· io w i l h thc ideas a11cl mc111ali1ics group and separately, be sti111ula1ed. inspired. aud
which had already confronted one another in able to dedicate themselves Lo creating. In Jam1ary
France. Andor lef1 for Paris in Seprember of 1925., 1926. the 11ewspaper Le !'Vlatin published a series of
leaving hi s 111oil1cr. hnre. Jeno. and l�Iizabc1 Ii. who twelve ar1iclcs entitled "Paris: I lospital of' the
..
would join him as soon as he had established him­ World . Let no one be mistaken: this "hospital'" took
self'. He had saved 1nonev in order to be able to live in not the dy i ng bul rather young people who had
for 011e or l wo \ ' Par; i11 Frn11cc a1Hl 10 begin lo make uoil1iug 10 losP and everythi11g Lo gai n. The xeno­
Iii1nself k1JO\\'l I. Jc110. his )'OU 11ger brother. left phobes were onl of luck.
shoril)' af1erward for Argen1ina. Also in 1925. his
u11cle Lipol I lof'f'111a1111 died. Coi11g 10 Pn1·is was.. fo1· Tl1c pholographcrs who came lo Paris in the
Kertes z ., Llie equivalent of a declaration of' intent: it 1920s would not all stay indcfini1ely; New York soon
would soo11 evolve into a declaration of love. To attracled s ome of the specialists in fa shion and ad-
o lwy onPoelf so111eli111es requi1·ps force of will­
wl1ich J\ndor Kerlcsz had. Coodbve lo ro111ine;
hello. life: A11dor had confidence in hi1rnwlf'.

The dis man t li11g of the A11stTo-llu11garian em­


pire was less of n de1 Prmi1 1 ing fac101· for K erlesz in
making 1hc decisiou 10 emigrate tJ1an ii \Vas for olh­
ers-F ra rn;:ois Kollar (who became Czecl1oslova­
kian) or E1neric Feher (who bcca111e Yugoslavian),
for example. or evr11 perhnps Brassa·1· (wlio became
Rumaniau). The clianges to the borders did not
change Ker1esz.'s na1ionali1y. The I lungarians goi ng
i nto exile were so numerous t ha l Ad111iml Miklos
llorthv. an anti-Semite, inaugurated a dictatorship.
Ergy Landau left in 1923. Hoben Capa in ·t 93 1. Square .Jolivc1.
Kertesz wru1lcd to leave Budapest even before IJ1e Paris. 1927
pa i n 1 ers a 1 1 d poc1,,. 1 101 1 0 photographers. I n 1 925.
t he ·t i l l -I i ' ing E ugrne A 1 ge1 w a s fa r fro 1 1 1 being rec­
ognized a> a 1 nas1 C'r. and only Jacq11e�, -l lenri Lar­
t igue'. wlto did no1 k no"· I to\\' u n i q 1 1c hi:. obse:,,,ion
was. looked f'ro1 1 1 1 i 1 1 1 e t o 1 i 1 1 1 e al t he photograph:.
t hat he had been t a k i ng s i 1 1ce t he begi n n i ng of 1 he
..
cc1 1 1 1 1 rv in order 10 "pre,,erve l t i s an1aze1ncn l . 1 1 1 1 h e
f i rs! ,·cars of l l 1e 1 920s. SOl l le Parisia1 1 st udios. such
as t l tat or 1 hr .\'lan uel brol hers. COJ 1 l i 1 1 ued LO pract ice
t he art of pon ra i t u re \\' i t hout q uc,,t ioni 11g 1 hC' a1•s-
1 het ic t radit ion appreciated by t lte bourgeoisie: pic-
1 orialism \\'ab not dead. and \'OL111g F rench peoplr
began 1 0 make t l tc1m,C'lvc,, k nO\YJJ. such a" E n 1 -
1 1 1anuel Sougez and D a n i e l .\ l ascle 1 . But t he,· "·crC'
not rcvo l u 1 io1 1arie:. who wished to consign t l 1C' C'xper­
ime11t or .\'la1·v i l l r or Nadar t o obli vion or t o C U I
Ca fC: du D61 1 1r. Paris. 192.) t helll u p i 1 1 1 0 l i t t le pircrs. Cer1 a i 1 1 paint er" and w ri 1 -
ers c01 1 ' d well ask l l 1emsclvcs i f i 1 wa· nol ncces:.arv
..
verus1 1 1g pho1 ographv. and a second world war to ·'b u rn die Louv 1·r . l i 1 1 t t he Andre B1·rton of pho­
broke out short l\' t hereafter. 1 11 a k ing rnorc dcpar- t ography "·0 1 1 ' d 1 101 be 1:rencl 1 . Forl unate h·. i l 1e a r­
1 1 1 res 1 1 ecrssa n·. especially t o t l tr L '1 1 i 1 rd S t a l es. B u i rival of f'o rcignrn, 1 ) 1 1 1 a 1 1 end lo l l 1c a 1 1 1bien1
t he foreigners. i n c l u d i ng t hose w l to d i d est ablish hcri nc1 ici;,1 1 1 and a l lo\\'ed for a vivif,·i 1 1g 0 1 w 1 1 i 1 1g. a
1 hen 1:.t-lves permanen t l v i n Paris. l i ved long enough a l u 1 a 1Y explosion. I i is sig1 1 i f ican1 t ha1 i 1 1 1 9:28 i n
in A 1 gct 's c i t �· 10 pan i ipate ac1 i vcly, feverish ly. i 1 1 i ts
l i fe and to celebra1e 1 he avant -garde. 1 1 1 what 01 her
era was t here so m uch evidence of crea1 i v i t y i11 so
shor1 a l i me? It was. t ha n k to cos1 11opol i 1 ani:in1. I
t l te blcndincr of c u l t u res. ideas. a 1 1 d i 1 nagi natio1 1s. 1:J

t hat the a n isl ic expansion i n genr m l . and t ltr pho1 0-


grapl t ic c xpa11sion in part icular, wen' a l ilr 10 l a ke
placr and make Paris t he c i 1 y of 1 nodcr1 1 i 1 y par rx­
cel lr1 1rr. And i t is there , where '· t he a lgebra is i11 1 hc
1 rces.·' as A racron says in Fire ofJoJ : t hat 1 h c photog­
raphers were l i k e pai nters: if son 1 e joi ned ,cl iools. or
1 1 1ovc 1 1 1 e n l s. others d ist i nguished 1 he 1 1 1 sckrs 1 l t ro11glt
cxce:.siwl\' origi nal persona l i 1 ies a11d a readiness lO
Sel l"-Por1 rai 1 . Pario. 19:2?
rrsis1 l lwsc who refused to j u dgr 1 hr 1 1 1 as such.
Kenr z was. b\'. i nst i nct. b,-. n a t u re. one of 1 he lal l er:
leaving B1 1dapest a l lowed l t i 1 1 1 lo expand and lO a f­
f i rm h i 1 1 1 ;,r l f w i 1 h dc1erm i 1 1 a t ion. Even i f. for h i n t .
1 1 1odr rn i t )' d i d n o t consti 1 u t e a \'alur i n and of i 1 or l f.
l te was at case w i l l 1 ·· the new spi ri1 ,'· provided he
co1 1 l d prcsrrvc l t is 1 11as1ery of whal l te apprccia1rd
and t he rec 1 i 1 1 1 dr of his gaze.

The photographers who. l i k e Krr16sz. estab­


l ished t hcn1srlves i n Paris a rou 1 1 d 1 925 "·ere not a 1 -
1 racted b v a school or a glorious pho1ographic f igure.
A l fred St iegl i 1 z was i n New York: t he Bauhau , i 1 1
Wei m a r, t he 1 1 i n Dcssau. The c i 1 y where 1 he birth o f
pho1ography was announced owed i 1 s a rt ist ry lO Pari;,. c. 19:26
1 ogrn p l wd i l 1 ro 1 1g l t a "·i o dm". s l t oo 1 i 1 1 g do\\· 1 1 1\·ard: i l l '
p l t o t ogra plwd r oo f',. , l tado"·' · d rra 1 1 t ) 1 1< ir · 1 u rna I
w 1 1 h i n 1 1 1 ·e,. "· i i l 1 0 1 1 1 ! l ie \ l o 1 1 l i 1 1 Houge or p ro , 1 i 1 1 1 1 < 's.
\\' i i l 10 1 1 1 .\ l 1) 1 > H' Bijo11 or n·wlrr, . 1 1<· "'"' 1101.
l to"·!'\'(' t" 1 1 n l w p p ,·: l ie k i ll'\\' h o \\' t o f i n d I i i, f'rie 1 H I,.
I l 1 1 1 1ga r i a 1 1 ' a n d 1 1 r 1 i s 1 s. i 1 1 t l w Ca f'1'. d11 Do 1 > H' . a l i i H' i r
l i o n l ( 's. i n i i 1 r i r , 1 1 1 d ioo. i 1 1 t l H' i r 1 1 1odr,1 a p; 1 r1 1 1 l ('t 1 t s .
o r a l t l l ( ' I li\ 1 r l des T\·1n 1sse,. I l e k n!'\\' i l l<' ,rn l p 1 01·
l s f \'11 1 1 Beiii i 1 \ ( i i was a t l 1 i s I H H I S<' t l t a t i l w p l 10 1 0-
gra p l 1So t 1 ·ri1 · /)n111·er \\'LIS 1 n a d!'. \\' i t l t t l w d i: l l 'l t 1 i 1 1g
I l u nga ria 1 > d t l l l('f•r \ lagda lciirs1 1 1e 1'. in a 1 1 1 0 1 1 11'1 1 1 of'
good 1 1 1 1 1 1 1 0 1· and l a 1 1g l t 1 1 • r) . .losC'pl t C :,iik \· (wl toor rn ­

b i , 1 ,n d p t u n · I l l' 1 1 1 1 1 d i a p preria l !'< I ) . C 1 1 i la Z i lz1•r


("·Ito ! ta d l i1 · p 1 1 a l'rir·1 1 d in I l 1 1 1 1ga n· a 1 1 d "·l t o 1 1 1
1': 1 · r1 !>,z wou l d < · 1 1< ·0 1 1 n t r·r aga i n i l l .\ 1'\\' Y o rk ) . Kolr h­
Two C i rl o . Pario. 1 92(J
\ ':l n . t l 1e dea l'- 1 1 1 1 1 1 e 1 n 1 i 1 1 t r 1 · i ,ajo' Ti l t a m· i . a n d Pa u l
1\ rn 1 a . .\ l i c l l l ' I Sr 1 1 p l tor. ,\ 1 1 d r!> l . l w t ! ' . .le a 1 1 L 1 1 1'\.'H I .
1 l tr f i r,, 1 i n drp<·1 1dc1 1 1 balo11 o f' p l 1 0 1 ogra p l "" l i lC O"ip Z n d k i l lr. a n d Pir1 \ , lo1 1d ria 1 1 . " \� ' ! t a t at 1 ra t · f ,
..
"Salon dr l ' [srn l i e r, a pa rl f'ro 1 1 1 l i 1r l 10 1 1 1agrs 1 0 l t i 1 n l o t l tr 1 1 1 i , at 0 1 H ·1· l l ie i r < 1 udaci t .1 . t l 1 r i r l ica o t .\'.
i\'adm a n d A 1 gr 1 . l "a t n'l' A l h i n -C 1 1 i l lo1 """ l i 1e on l )' : rn d 1 l t e i r \\'Ork . . I le rrvrrt'd i l l < ' a rl 1 1 1 i d i l 1r·
F rr 1 1 c l t a rl i s 1 ai11011g 1 l tr srvr 1 1 ron·ig1 1rrs rrprr­ id1•a l i s l l > of' t l tost' wl10 prnc1 icrd l wl i i i11 all t l 1 e i r
..
" ' 1 1 1 f•d. i 1 l( ' l u d i 1 1g K e n t(sz . fon n s . t :1 1 1 1 l f J:{O l\: r rt fsz rn 1 1g l t 1 C :a l drr pl tl \·i 1 1g r i r­
c o s w i l i t a b i t o f' \\·i re. c o t - u p \\'OOd. rtt hbcr. a 1 1 d
..
" \X ' l t a 1 a rr ,·0 1 1 look i 1 1g for i i 1e1 1 � C 1 1 s 1 a vr clot l 1 . i\f'd i 1 1 1a 1 ized 1 0 Pari,. he co 1 1 l d l l\· i i H' l l "·a ndrr
1\ l o rea u a s k ed I l r 1 1 ri .\ l a l i,,sr 0 1 1 r e lm . "·I t o a 1 1 swrred. i i \\' i t l t o 1 1 1 hl' i l lg a ,·i o i t or. record i n g i i w a 1 i i 1 n a t io 1 1 of'
"So1 1 1r i i 1 i 1 1 g "·h i c l 1 i s 1 10 1 i 1 1 i i 1 r Lo1 1 \ ' l'r . h 1 1 1 "·h i c l t is t l 1e 't rrrl s i n ! t i s 1 nus1 l i ,·rh' phot ogra p h , . i 1 1 "·l t i c l 1
l i 1rrr " -a 1 1 d l tr poi n 1 rd io l i 1r l n t rgr' 0 1 1 i l 1r S r i 1 1 r . s i g l l ' 1 1 l l d p<bt rn; a n d ot her u rba l l f'u rn i s l t i 1 1gs i l ia 1

1 -t K c r l P><z. l i k r \ l < l l issr. "·a 1 1 1 r d 1 0 d ra w f' ro1 1 1 ! t i s o"·n l'0 1 n p l P t ( • t l te ,1 ·1·1 H ' a re i 1 1 sC ' l'ibcd. 13�· i l l< ' rl toicr o f I i i ,
r x p r ri r l l < 'c. 10 havr ! t i s ow 1 1 1 1 1ri l 1 od so l i 1 a 1 t l tr s 1 1 hjec1 s, l i i s f'ra 1 l l i 1 1g. a n d h i s capaci l \· 1 0 co1 1 ,·e1· l t i,
w l t o lr w o 1 d d a 1 1 1 0 1 < 1 1 l 1 0 1 1 1ore i i 1 a 1 1 i i i< ' s 1 1 1 1 1 o f' i f s perccpt i u 1 i s . l 1 i s sr1 i 1 i 1 nrn 1 s in all t l t c i 1 · p o r i t )" 1". c r1 !>sz
p a r l ii . I l e co1 1 l d srr Paris 0 1 1 1 \- "·i i i 1 ! t is own i 1 1 1 rrior ga\'C' to r 1 1 n a 1 r • 1 1 r pho1 ogra p l 1y so1 l lr o f' i 1 0 1 ioblrst
l igl 1 1 . 1 1 clta rt 1c1 rrist ics. '" i t ltou1 m a k i 1 >g a rl phologra p l t y of'
i i . ;\ot 1 1 1 i h- d i d I H' frcl close to i l l<' " 1 1 1 1 1 1 1 of ' t l tr sl 1l·1·1s
..
T l t r f i rs t p l t o 1 ogra p l ts 1 a k r 1 1 I n· i \ 1 1 d rr 1". r r1 csz of' 1 1 1odr,t 1 > H'il 1 h . t � i i 1r i 1 i s i gn i f i rn 1 1 1 workrr. t l te
i 1 1 Paris ( 1 1 0"· l i e ""'" " A 1 1 d r!> " a 1 1 d wo 1 d c l rr1 1 1 a i 1 1 so) 1 nai i 1 1 a l labore r. t l tr id lrr. b u t l i e d i d 1 1 0 1 l w 1 n "· t l 1r·1 1 1 .
"·e n· t ho,c of' a 1 ou ri s 1 w l to. dq Jar1 i 1 1 g f'r o 1 1 1 .\ 1 01 1 1 pa r- t rn noform t h r 1 n . o r i 1 1 1 rgra t c i i ie 1 l l i n t o a l \' j lOIOg)' of'
1 1 <"'<' "·! terr hr st m·rd. l rn \'!'led f'r o 1 1 1 \ u 1 rr-Dai 1 1 r 1 0
i i i< ' l·: i ffcl ' l ( l \\'Cr. rro1 1 1 I i i< ' Pia('(' d r l a Co1 1< ·ordr 1 0
\ l o1 1 1 1 1 1a r 1 rr. w i i l 10 u 1 a l lo"·i ng h i 1 1 1 ,r l r 1 0 I H' owr­
""·rd l l\ i i i< ' g rn n d iosr 1 1 10 1 1 1 1 1 1 1e 1 1 1 a l i 1 )· o f' a c i t ,·
i 1 1 1 p rrg1 1 a 1 e d \\' i l i 1 l t isI OIY. T I H '\' HI'(' 1 1 to,r or a prde,;-
1 ri;1 1 1 w l to look, f'or 1 1 1cla 1 1! ' i to l i ! ' al 1 1 1ospl tcre. "·I to
d a l l i <'' Oil 1 hr ha n b o r r i te S e i 1 1 r . i11 1 i tr gardens of'
i l l< ' T1 1 i l r · ri<·s. in 1 h r ' q 1 1 a rcs \\'l tere I I( ' l i n do somr
1·01 1 q H t 1 1 \ . T l 1 a 1 K c r1 rsz 1 1 s<·d n 1 1 1 H · rns "·i i i 1 p l a t e s
1 1 1 1 1 i l i < J2a. "·1 1 < • 1 1 l w bougl 1 1 ! t is f i rs! Lei!'a ( "· i 1 h a n
l·: l 1 1 w r .-> .) 1 1 1 1 1 1 l r 1 1 s ) . a n d a r1 e nrn rd. i, l tt t re l \- 1 101 icrd:
I i i., ol1oh \\'f'I'<' 1 1 a 1 1 1 ra l . rea l i , f it '. a n d poel i!'. " I 10ok
1 1 l 1 01 < h w i i i 1 ! 1 1<· Lcica I H' f'ore i i 1 < • i 1 1 \T 1 1 1 irn 1 of' i i 1e
..
I . 1 · i n 1 . I I < ' "·0 1 i l d "". l a 1 r r. 1 � 1". r r 1 1�,z 1 1 1 r1 1 !'d 0 1 1 1 to he
'"l i 1 a n . " i i i 1 a 1 1 a f'f i 1 1 i 1 ' 1 0 ,ol i 1 1 1 n· j H 'op l < ' . I I C ' pho- Child. J < >:B
a sociological n a f u rc. I Ir was c,·i dcn 1 h' closer 1 0
Eugr 1 1e A 1 gr 1 i l w 1 1 to i\ ugus1 Sa 1 1 der or 1 0 l 1Y i 1 1g
Pc 1 n 1 . L i k e l\ l a rcrl 13ovi s., K r r1 rsz"s a rf i n i 1 irs 10ok l i i 1 1 1
t o I l ic flea 1 1 1 n rkrts., e i rn 1 ses . f"a i rs . a n d s1 ree1 pcrf"or­
\ l a 11ric� Ta l i a rd. 1 928
n i a 1 1cc·s. 130\'ih. "·ho a rri\'ed f"ro 1 1 1 .\ ict'. d i sco,·ercd a 1 1
i 1 1 1 i m a 1 e. n i g h 1 1 i 1 1 1 c Paris 1 l i a 1 l i a d 1 1ot l 1 i 1 1g 10 d o wi1 h
Francis Carco's t easing one. a n d a daYt i 1 n r. pop u l a r O t l lC'r objec t s in Kcrl rsz · s l en s : c h i l d re n . Was
Paris whose ga i e l )' re f lec1 rd a t e n uous m i x t ure of joy l ie mo"cd lw t he i r sponta ne i 1 y ? A m 1 1scd b y t l 1r i r
and sadness. These lcisu rr act i v i t ic and e n l crt a i n ­ ga mes? Wou l d h e h a ve l i ked l o h a \ ' e some of
ment s were n a t u ra l l y L l 1ose o f K e rt esz. more s o t ha n his own ? D i d h e m iss h i s own c h i l d hood? I IP had
t he I heater (he d i d n o t master the French language recc nt l)' m a rried Rosa K le i n ( Rogi A n d re ) . a n d "·o u l d
a n d never spok e i t perfect l y ) , horse races, a u t o races, be u n t i l h i s dea t l 1 as secret i ve a bo u 1 1 l i i s short - l i ved
1 .�
a n d fashionable sports ( tennis., sk i i ng., ya c h t i ng) t h a t m a r r i age as he was about h is lack of p a 1 e rn i l )'· I f
La rt i g ue ap pre ciated , or the ba l ls and cabarets that any l i fe can be red uced o n l y 1 0 i t se l f, i t i s not for a l l
are conducive t o strong emot i ons and forb i d de n plea­ t ha t t ranspare n t . K e rl csz's ccrl a i n l y t roub led c 1 1 10-
sures. which Brassa1 appreciated. More than t h e o the r t iona J l i fe bet ween 1 925 a n d 1 93 1 w o u l d rem a i n
p hot ographe rs. Kertesz had incontestable, fam i l i a l s h rouded. 1 1rver t o b e e l u c i d a t e d . He \\'O u l d a l ways
l inks "·i th l e Paysan de Paris ( The Peasant of avoid spra k i ng o f i i-perhaps in order not 1 0 l 1 1 1 rt
Paris), \\Tit te n i n 1 925 b y Louis Aragon. whose hero E l izabet h . I n a n y case, h is p ho t ogra p h s of c h i l d ren
moved aboul from a cafe to a park 10 a p u b l i c gar­ "·ere t l ia l n 1 uch r n o rc rem a r k a b l e i 1 1 t l 1 a 1 he a voi ded
den. and "·ho responded to t he qur 1 ions that carica t ure a l t ogcl hcr: he 1nadr of t l 1 rm nc i t l lf'r
l ia 1 n 1 1 cd h i 1 1 1 : · · . . t he k nowledge 1 ha t co 1 1 1 cs from adorable angels nor l i 1 t le d e 1 1 1ons. nor did he l ry 1 0
reason . ca n i1 he opposed for one i nst: 1 1 1 1 10 scmo r)' a n a lyzr t hem psycl 1ologica l l )· a 1 1 )· 1 r 1 0 rc t ha n h e d i d
k now ledge? W ' it h o u l a d o u b l \'u lga r people "·l io o n k a d 1 1 l 1 s . I l is f i rs! book. E11/a11ts ( 1 93 3 ) . "'as dedica 1 r c l
ref"rr t o t bc second k i n d a n d d ispa rage 1 l ir f i rst ac­ l o l hc m c1 1 10r)· of h i :; mot l ier a nd to �l
l izabet h . I n
cou n t for t he d is d a i n i n t o w h i c h . l i t t l e b,· l i 1 t lc , a l l 1 0 t l r n l a ffecl i n g ,,·ork . J a bo 1 1 nr
h i s prefa t o n· l ex t
.
t ha 1 con ies fro 1 n 1 he senses h as l"a l le n . B u i when t he (kan Noha i n ) said 1 h a t K c r l t;sz 's c h i l d 1-c·n c01 d d 1 1ot
n 1os1 k nowlcc lgeahk of 1 1 1en ha,·c t a u g h t 1 1 1e t l 1 a t help b 1 1 t 1 1 1ove i l 1r v i rwrr.
l ig h t is a ,, i b ra t ion a n d h a v e r a l cu l a 1 e d i l 1e lengi 1 1
o f a wave. w h a t c\'er t he fruits o f t l1 e i r rrason a b l r I n Pa 1·is, l\:enesz rP 1 1 1 a i ncd u 1 1 a ss u 1 1 1 i ng. 111
l a bors. i l 1ry w i l l no1 h a ve t a k e n i n t o acco1 1 1 1 1 w h a l I l 1 1 nga r)· l ie h a d lmTd pcasa 1 1 1 s. C \'psi<"s. c l i i l d rrn .
n i a 1 t crs t o n 1r i n l igh1 . w h a t Ill )' C'\'('S t each me a bo 1 1 1 a n d h is fa 1 1 1 i h·: i n Vrancc hr lo\'ed t l 1 c s 1 1-er1 peop l<'.
i i . "'hat rna kt•s m e d i ffr 1·ent fro 1 1 1 a b l i n d 1 1 1 a n . a n d t he h u 1 1 1 s. l h c c h i l c l rr n ., l 1 i s r 1 1 1 igrr ro1 1 1 p a 1 rio"' .
\\·hat i s m a t e r i a l f"or a 1 1 1 i rncle a n d not t l w objrcl of" a ri ists a 1 1 d a rt i sans. "·i t ho 1 1 1 1 wrd of a nen lou•s n ho 1 1 1
reason . t l 1r n 1 . 1\ n c l hr 10\·rc l Paris-,;o 1 1 1 1 1 c l i 1 h a 1 l w a c l 1 it'\Td
prrfert visual encou111ers without difficultv and was
ablr to find what he was looking for. perhaps "·ith­
out k11owing it: traces and p rojections of himself. in
t hr 1nost p ropitious city for his art. Paris was a leg­
r11dary cit�·· certainly. and one wltcrr the e x p rrssion
of r111ot ion was well establisl1rd. Paris. city of the
heart. Paris moved Ke rtesz, and K c1tc z n1ade Paris
l1is own. The adoption was 1nu L 1J al, and nothing
wo u l d dest roy it, especiallv when l�lizabrtl1. des p i te
the opposition of her family. camr in 19;3 ·1 to find
thr man of her life a11Cl renew their love. The,· would
nr,·er again be apart. Ke rtesz would remain one of
1 he g reat photographers of Paris along wit It Charles
.\larvillr. E u gi-11e Atget. B rassa·i. I lenri Carticr­
Bn';, 011. lzis. Wilk Ronis. Hobert Doisneau. Renc­
Jacq11es. and Ralph Cibso11. I le wo1ilcl prove to be.
more tlia11 in I l u n gary. at oner a photographer of his
A T T E H T I O H A U V l lt A G l!: t

tirnr and timeless. Du ring this French period. the :::-=:.::-=:


::: ::�=-::=: ::.
-;-�-=-�-=:::=--�=
NUMt!.RO SPECIAL ou SALON 1>t: L'AUTOMOBILE
svn1biosis in K c rtcsz·s work of n1odcrni1y, realism.
lit
··.
and l1111na11iot subjectivitv f11nctio11cd at its best. l l e
I i1.
Octobrr :3. 1 9:28
wa:, 11ot a11 in1peccabh- rnasterf1il trcl111ician, nor the
(cowr)
111osl daring:. he was the poet. of a new practice. a

co1 1 1bined. sensitive expression of place a11cl of the


,,rlL truk 111odcst but p rofo11nd. I !is first pho­
tograph; taken in l-lnnga1y ha I held his life rogrther.
l� xile changed him little: he rc1nai11ed an an1at<' u r i11
his ;,o ul. I le also loved France for that: e1·e11 if he

16
rn11;,1. in order to live. take comrnissio11s a11d orders.
hr felt i11drprnden1 . Although he k1ww a few pho­
tograpltrrs. such as .\lauricc Taha1·d. Bcrc11icc Ab­
bott, and G ermaine K rull, although he sornetinies
got 1 ogctl1cr w i t h Ma11 Ray. he spent 1nore 1 i1nr "·ith
artist;, and artisans. H is pl1otographrr colleagues did
not socialize much amo11g thc111sclves and of1e11 ltid
t i l C'ir discoveries rrorn each other. lbc Bing and
Denise Colomb ( "·ho pliowgrapltc I postwar art ists
11p 11111il the end of the 1 960s) testified LO .\ I an R m··s
ref 1 1 hal 1 0 tell them ho"· a solarizatio11 was made.
For11111a1elr 1 lie absence of a true photographic
co1111111111i1 v did not keep ce rtain practitioners from
l1u l'i11g ·· · s 1 11dC11 t s . ·· E rg1· Landan. for example,
t<111gl t t her compat riots 1'\ n rn D u mas and Ylla. and
Krr1 C-sz passed on his k no\\ l 1ow t o Brassui and Rogi
i\11drr. Rrassa·i himself rcpc 1 pd in his homage in the
Cu111em. in A p ril 196:3 : ·· J \H IS not �·ct a
111a gaz i1H•
photograpl1cr. and I did 1101 el'en dream of photogra­
pl11·. "·hicl1 I k 11r\1· nothing of and Cl'Cn perhaps dis­
d a i 11C'd at t l t r ti1ne. " · lwn. to\\·ard 1926. I 111r1 Andre
l-: 1 · r 1 f.., z. ,\ c l l f 'crf1d mrrting. . . bccau,c it \\·as
rrn111 looki11g al hi;, photon ai1d liotening l o him talk / 11 . Sep1t•111IH'r :J. 1 9:30
alH 111t tl11'111 tl1;1t I \\·01ilc l discol'er how ·t 11i, 111achin- (hark CO\Tr)
YIJ

l l1. Press card. 193.5

ery w i 1 h o 1 1 t a 1 1 1 i n d or a sou l . · t h is · t ec h n ical fac t . '


h � d en riched 1 he 1 1 1ran of e x press io n a t t he en· ice
of m a n k i n d . i\.ly p re j u d ice were over. l fe l l i n t o t he
t rap of p hoto o- ra p hy. B u t I he b i rd -cat cher had h i s
��T-C£ I. MOMl"llE LE -LUI GltOI DU fl'lONOI!: ?

�-==:.:.:� ��:=.:?;-:::.�.£�--= ==-�"= reason s . "' L a t er, m a n y ot J1er photogra p he rs recog­


n ized K e rt.esz's i n f l uence. Henri Cart ier- B resso1 1 ,

I ii. Carlo Hi1 1 1 . A11f(11>I 6. 1930


who happ i l y crossed b o rd e rs i 1 1 t a k i ng h is fast s h o 1 s ...
...

( cover) i n France, in Spai n, i n Italy, a n d i n Mexico at t he be­


ginning of t lie 1 930s, wou l d not be t h e least of t hem :
'"We a l l owe h i m a great dea l , " he s a i d . Wou l d he not
a lso speak of a "Eucl i dean spark" i11 Kertesz? Of
how one cou l d be a n a m a t e u r and a master at the
same t i m ? J osef Koudelka a lso p l a ced h i mse l f in
r h .is l i ne of desce n t .

17
Ai t he 1 929 " I n t ernat i o n a l A usst c l l u n g vo1 1
F i l m u nd Foto" in S 1 1 1 t 1 ga r1 , t he ·' Fren c h ·' represen ­
tation, selected b y C h rist ian Zervos ai1d C 1 1s t a ve
Stotz, was p r i n c i pa l l y co m posed of foreign ers, pre­
dominai 1 t J y nonaca d e m ic phot ographers : Eugene
Atget, George I l oy n i ngen - H uene, A n d n-; K e rt esz,
Germaine K ru l l , Florence I l e n r i . Mau Ha�>, and Ergv
Landa u . These arc t he verv photographers who \Ye rc
t he inst igators ( a long w i t h some oth er . i nc l u d i n g
Laszlo Moho l y - .\' agy, i\ l a rt i n i\ l u n k ii csi , I l c rben
Bayer. Frarn;ois K o l l a r, Paul O ut e rbri dge, A l bert
Renge r- Pat zs c h . and l a 1 1 rice Tabard) of 1 he Nou­
velle Vision, whose shoots wou ld each year spring 1 1 p
aga i n , from 1 930 onward, i n t he a n n u a l issue of Aris
el meliers grapliiq11es-i n which a l most no roo 1 1 1
wou l d b e g i ven 1 0 a rt p h o togra p h v.

The need for p h o t ographs f o r i l l us t ra t ion. re­


port i ng. fashion. and p u b l i c i t y i ncreased ra p i d l y c ir ­
spite I h e eco n o m i c crisis; magazi nes s u c h as / /1
( 1 928) and Art el Medecine ( 1 930) \Ye rc crea t ed .
Kert esz g l a d l v d i ,· i c led h i s t i me between h i s com m i s­
/ 11. ,\ larch I:!. l <J:JO sioned "·ork and h is st ric1 k pr rsona l phot ogra p h 1·.
that which al lowed hin1 to l'<'\'Cal l1i1 nsrlr si1H'ereh­ a good and rff'relive rappon with Stefan l ,ora11 t .
a n d to reveal what he chosr or I he \\·ori e l. I Jr \\'US wlto pla,·ec l a n rnjor rolr i11 C c rn 1 a n \' i 1 1 t he 1· ,·ol u­
ru nong the pltotographic illustrators a11cl repo rt ffs or tio11 or i l1e ilh1otrated p re,,s. ,\ l;,o of I l 1 1 1 1garian
the 1 920s "·ho were present al r l w iJ1ception of the orig i n . Lora111 111odc rnizecl i('( l l lf Jgrapll \' i11 n dr­
new ill11sl ratrd n1agazines. "·l1ost' photograpltic risi,·e wa�'· wa11ti11g it to be tt:3 i11fo n n ati\'<' as ii "·a:,
cssavs corrcspo11dcd t o a new way or disc11ssing rcal­ r111 rrtai11i11g.
ilv. who did not p retend to an i1npartial L ruth. Their
part icularitv rc,idcd i n tlteir apt ituclc ror choo,ing Lucien \ 'ogrl's I i1 . of which A l exa11drr Librr-
rrag1nl'nts and det ails to wlticl1 tl1r p re,·io11s g1·11- 111a11 wa;, thr artistic dirrcwr. took r i te ru1n •nt cul­
erations were blind. ror fi11di11g 11c"· signs 1rncl S\'1n­ tu ral. politirn l. a11d ,;ocial cli111a1r i1 110 account I J,·
bols in u rban life, significant o f its evolutio11. and in illust rati ng ii lavislth-. The s t d ije< ·ls add rPssec l I n·
t heir success in imposing tl1r111. Tl1l' strc11gtl1 of Kcr1C-sz in I ii \\Trr cx1n·11l{'ly vu rird. fro111 1'01·esb i11
K e rtesz. Tabard. Roger Pa ff\'. K ru l l . Kollar. and Paris 10 editor Carlo Hi111 of·c11 i11 a di,, 1 orti11g 1 1 1irro1-.
B rassa ·i ina ugurated a new 1m·1holog)-. whicl1 was fro1 1 1 life in the Abb!'v of t he C ra11dr Trappe to bl 0\\'11-
q u ic k l )' adopted by Flort'nt Fels. Walder n ar Ceorge. glus;, work ( n•por1i11g do11r in Duum). f'rom 130111·­
Philippe Soupault. Pierre Mac 01fan. a11d Walter gognc ( vincvarcls. ('il \'C'S. tl1r· ltospir ·ps or Bcau 1 w ) I O
Benjamin. Colcl l c. J\ larie Laurencin, and the C :om1r1"e de
..
\'
, oailles. I Ii:, l 111111or wa;, 111os1 1101 1Jblc i11 tl1P por­
..
When he worked ror the Frcnclt o r Ccrn1a11 trnit he 1nadr of' \ lis,, Fra11cc. in "·lticl1 t l 1e feu 1 11re,,-
press, not only d i d Kcr1esz make a living. but. 1 n outl1. cars. f')'(';,-ar!' rearranged pho1ograplticaliY
curious and with an open mind. ltc of1e11 roun d a11d whiclt was e111itled T ltf' T'ri11111pli of Fe111i11i11e
human i n terest in his reporti ng destined f o r the l:Jerw(i: What lie brough1 to tl1c heau1if 1 1 I n1011thiY
public at large. such as a piece on the l ns t i tul de 111aguzi11e f l r/ r/ :l ledecine ( 1 9:30-:36) was Pl'irnic: re­
France. or another on 1 he 'olon ial Expos i t ion of ports 011 thr Savoie. the llf' de F rance. CorsinL c u 1d
1 93 1 . V ii, Art el Medeci11e, and La Fra nce ct Lyons: and portraits uf .\la11ricc Mac1rrli11ck as wf'll as
table were good outlets for him. as were the Mii11- people of a so1rn•wlta1 morf' cpltc1urral celf'hri t y. .ka11
ceh11er ll/11slrierte Presse. VI-fl 1, Neneste ll/11strirrte. Cocteau. Fra11ci;, Ca rco. A11c ln:: .\ fa11 rois. and several
18 Die Da11te. a n d Der Quersc/111in A11d if Kenrsz col­ 1nc111bcrs or the Acadc1 n ir Fra11.;aisc signed t l1f' I E' X I !:> .
l aborated w e l l with L ucien \'ogel. he also had i \ 11drc K ertesz. Ccrnia i 1 te Krnll. Fra111;-ois Kollar. !V ian
Ra)', E111111a1111f'I Sougez. and l,m1rc i\ l b i11-C11illot
sig11cd t lw photographs. Eacl 1 i ·sue of the 1m1gazi11e
was dcdicalcd 10 tlic medicill rorps and co11;;ccra1ed
prima rily to a province.

L 1m i l his drpart ure l'ro 1 1 1 Paris i11 1 9:::16,


Kertesz also worked o r collaborated witl1 / 'og11r
(fashio n ) .P!aisir de Fra11cr ( houses a n d castles. i n ­
terior drsig n ) ,l 'oilc't . Regards, /es A 1111alrs. l a' rietes.
B(fi11: a n d others. 11 was for /_,e Sourire 1ha1 llf' did
his series of distortions (about two l1l l 11dred) in
1 9.'3 3. M ade 011 9 x 1 2 cm glass pla1es wi1h a Li11l1of
camera. al thr rrquest of Querrllr. who c li rrc1cd 1hat
.. .
distracti ng wcckl)'· that girlie magazin e . . the Dis­
l orl io n s, published in tl1e issue of 1\ l a rch 2 .. 1 933,
were accompa n ird bv a l f'xt by A i me- Paul Bara11cv:
Fe11etre 01werle s11r /'an-de/it ( JJ!indow Open onto
tlte Beyond) . It "·as enough for Kertesz. in order to
sec l wyoml. 10 usr distor1 i 11g 111irrors from an a 1 1rnsP-
11wnt park a11d 1wo models. So111e of the Distortion s
were reprod 1 1ced i11 issue No. : 3 7 o f A rts el 111etif'l's
l ) j , 1 or1 i o r 1 11<J. 1 0. 1 9:3:) gmpliiqlles Seplc111ber 1 .5 . 1 9.' 33). but 110 one cou l d
p l t o 1 0;, ao l ie "·i;,hrd a ft e r t hr ,· h a d ber1 1 p u b l i , l trd .
Sornt' p h o 1 0-r;,,m s "·r n· . rnorro,·cr. abri dged i11
ol'Ycral 1 1 1 a ga z i 1 1rs. s u c l t a > t h e one dour i 1 1 1 918 0 1 1
� l a r, l t a l l xa 1 1 1 cy i 1 1 h i s ( ' l t a 1 e a 1 1 Thore1· o r t l tc onr 0 1 1
;
1 h r l a 1 1 dsc I J H'S �f ,\ l a 1 1 ri('<' Ba rre;, i n t l ;r \'osgrs . 1 h

T l i r fact of work i 1 1g 0 1 1 co1 1 1 1 n is s i o 1 1 d i d 1 10 1


k('rp l\: r rt r;,z l'ron 1 sa,·i 1 1 g 1 0 .lr a 1 1 V i d a l : " I t1 1 1 1 . . . a 1 1
a n 1 n 1 r u 1'. a 1 1 d I i 1 1 1 r 1 1 d 1 0 re 1 1 1 a i n a 1 1 a 1 m 1 1 r 1 1 r f'or t l te
rrst of' m1 l i fe . . . . T l t e p h otogra p h gr t s i t s br1 1 1 1 1 y
fro 1 1 1 t l tr v<· n· t rn t l 1 " i t l 1 "· l t iclt i t i s s t a 1 1 1 p('d. T l t is is
ClotIi Oo/I,, 11 t
w l l \· I g u a rd 1 1 1 y sc l f aga i 1 i, 1 a m· k i n d o f' profrsoiumt l
Jmlit/1 (,'ri"r<t:<.
I Ti c k r n· or ,· i rt uos i t y. (J;/111m11sigeo111. April
l'11ris. 1 9.J:J
I . 1 9:30 ) . I t ,ee 1 1 1 , t l 1 a 1 f'or l\: c rt rsz t l te profros i o n a l
p l t o t ogra p l trr wa:; '01 1 1 ro 1 1 c w h o u s e d a n i f i cC' 1 0
gur"' i l 1e 1 1 t l 1 a i 1 \ ir,· "· 0 1 i l d 1 a kr i l 1 e i r p l a('f' i 1 1 i l w 1 1 1 a s k t l t i 1 1g,,. 1 0 t w i st t l te fac t s . t o t ri c k proplr. a t
J i i ,I O I') of p l i o 1 ogra p l n . . \ hook projecl w i t l t f i f1 ,· o l ' letbl a n i " i n i l l )" I I P k 1 1C'\\', t l 10 1 1 g l 1 . 1 l i a 1 S O l l l C U l l l H ­
i l 1r 1 1 1 wa, p 1 1 h l i , l iC'd. 1 1 1 n•ga rc l 1 0 i l w D i s i o r1 io1b. I C ' l l l 'S "·pre I C'( ' l t 1 1 ica l l ' i rt 1 10,;os. t l ta t nt l 1rrs 1 1 src l
l\: c rl r,;z "·o u l c l ro1 1 f i d P : "01 1l' rn 1 1 � i 'T w l t < 1 1 r x p l a m 1 - 1 rirkerv. a 1 1 d i l 1 a 1 so1 1 1 C ' p ro l'ess i o n a l s wnr l to1 1r,;1
1 i u 1 i o 0 1 1 r "·i,l tr, o f ' 1 \ i is work: a l l I l " 1 1 1 :-, ; 1 ,· i s 1 h a 1 a n d lo)·a l 1 0 n ·a l i l ) : a l\ l a n ic h e i s 1 v i e " - po i 1 1 i n•as­
.
1 1 1 a J... i 1 1µ; i l 1l ' 1 t l \\·a� ,·f · r�· e .x c i t i ng. ,·rr�· n 1 1 1 1 1 s i 1 1g. ·· i ."i ;, 1 1 red l t i 1 1 1 . T\ 1 1 1 ;, t l trrr is no poi n t ei t l trr i 1 1 agrrr i 1 1g
Tit!' def'o n 1 1 a 1 i o 1 1 , givr t l 1 e i l l t b i o 1 1 of l )( ' i 1 1g a p a l a f 'r w i t h h i 1 1 1 or i 1 1 ( ' O l l i rot i n g h is poi n t or virw. Thr pri 1 1 -
uf 1 1 1 i rror,. in w l t if ' l i t l tr c·o1 1 1 orl 1'< I n · f k( ' 1 i o 1 b of ( ' i p l r a d n1 1 1 1 age of l t io po:, i t ion was t l ta 1 it lrft
i'i aj i 1 h k m· a \ 'i·ra c k l t a t z and .'\ a d i ; 1 !-: < h i l l<'. \'! " l ' i l a h l r l\: r rt r;,z a t I H'a<·t' w i t l t l t i 1 1 1 sr l f. o n t he pat l t t ha t l t a d
a 1 1a 1 1 1orpl tmwo. l'on f'ro1 1 t 1 l tc >pr1 · 1 a t or w i t l t w h i 1 1 1 s i ­ i m posed i be l f 0 1 1 h i 1 1 1 a n d f'ro 1 1 1 w h ic l t l i e wou l d 1 101
ni l p<'r< 'r p t i o 1 1" of rca l i n-. T\ ir,· a rl' a 1 1 da c i o 1 1 s i 1 1 t i ll' k 1 10"· ho"· 1 0 drpa rt w i 1 ho1 1 1 f're l i ng l i k C ' a l i r rct i (' .
l i \ )( ' l ' l i l'' i l w,· 1 a k r i 1 1 regard 1 0 1 1 1 1 a 1 0 1 1 1 1 a 1 1 d bra 1 1 1 1· Evc· 1 1 1 h c Dist ort ion;, a rr not 111a11ip1dat io11s but.
a 1 1 r l 10 a p l t o 1 ogn 1 p l t ic I H' r i t agr t l 1 a 1 \\ ' ;lS ru 1 l trr poor ra t her. p u re a n d s i m p le re f l pc t ions . suggr·s 1 i 1 1 g t ha t 19
i 1 1 l 'a 1 1 1 <1 't if ' l ' l r n u · 1 1 l o . Le So11rire a l so p 1 i l • l i s l ted p l 1 0 1 ogra p l t y i 1 1 i t , p 1 1 r i t y c a n I Jp scl f-S 1 1 ff il'il'1 1 l .
..
i l l( ' o<'ri<·, " i '"l't i,l te,, ( d o l l , i 1 1 c l t i ff'o 1 1 poot·d prnvoc­
a t i , rh ) i l 1 u 1 i , a 1 t0 1 1 1 a l o 1 1 0 in l\: e r1 r:;z's "·ork. "·l 1 i d 1 l\: crt r"z ""'° f i rs ! a 1 1 obsrn·cr w l to rr 1 1 1 a i 1 1ed < t i
i s fo1· i i 1 r 1 1 1 001 part w i th o uI J H' IY C 1·si I I'. N r i I l i l'I' a d i s t a 1 H·e a 1 1 < I . a,; kn 1 1 - C l a u dr l ,r 1 1 1 :. ig1 1 )' t•1 1 1 p l ta ..;ize"
..
/l 'l'Oll''< f l l l ' 1 1 01· o l bt · r 1 w . l l w D i :; 1 o r1 i o 1 1 ' an" ra 1 h rr. i 1 1 I i i , trxt · · ,\ 1 1 d rr K P rt rsz. ,\ l a s t r r of' 1\ lodera 1 i o 1 1 .
jorn1h 1 1 1 H I t·<·,1 a 1 ic f i g l l l'r" at p l m . I f' i l H· bot h gri- "Thr c l i , t a l l( '(' l\: r rt rsz t a kPs is rcrt a i 1 1 l y t ha l o f '
1 mm·s. if i 1 i , , 1 re 1 c l ir c l . k no1 1 cd . d i oj o i 1 1 1 ed . i i' i t
'P l'l'< H I, 0 1 1 1 ,ofi l )·· i f i i i s r,·ioccra t c r l . 1 1 1 1 1 1 i l a 1 l'd. i t io
1 101 I H ·<·au,t· of , 1 d'f 'rri ng. a, in t l tc f i r,1 C rn c i f i ., i o 1 1 '
pa i 1 1 1 l'd I n· 1:ra n c i s Bal'Oll i n t l tr oa l l ll' \ C HI'. l\: e r1 6,,z
l tad 1 1 0 n·aoo 1 1 1 0 hr l torri f i rd. rxa ,prrn 1 ed . or rr­
p u l -,rd . \o 1 n rt a p l t,·, i f ' a l a n x irt )· g 1 1 a "·rc l at l t i 1 1 1 . I J c
\ i , · rc l l rn p p i h- i n � l o1 1 1 pa rn asse. It is t l 1r worb of' P i ­
cw,so a n d .\ loorr 1 0 w l 1 i c l t 1 l t c D i , 1 ort i o 1 1 s a re do:.rst .

l\: C'rt r"z ;,o\ c l l 'cw pri 1 1 t s : 1 1 1 1 1 ,L'1 1 1 1 1 s a n d col l r('­


t ors ra 1·C ' h· bo11gl t 1 p l to 1 ogra p l t y and t l te e m of opec ·­
u l a 1 io1 1 l t ad 1 101 yr! arri ved . But l i e eao i l ) pl aet'd I i i :,
pil't 1 1 n•-; w i l I t C ' d i t o rs- i 1 1 -c h i r f a n d a rt i;,I ic d i rPt'I OI'>.
"· i t l 1 w h o1 1 1 l 1 i o re l a 1 i o 1 1 , h i ps wrrr n 1 o rr l'Oopr ra t i ,·r
1 ha 1 1 n rn fl ic 1 - ri d dr 1 1 . \r h c n l ie col la l wra 1 cd "·i t l 1 t h('
pre"' · l\: rr1 r,,z ""1s nr,·cr on ;,a l a 1 Y : l ie 1 1 :.1 1 a l l )·
"'t J l-kPd "·i i l 1o u 1 a ('Ol l t ract a nd l 'O t i l d reuse I i i ,, f ,"1!" Ida H1 1be 1 101t·i11 Bal l"1 . I 'l:.!H
\\'a rdr l l . w l r oo1· l ro< h· \\ · a s f i n 1 1 a 1 1 d n 1 1 1sclrd ( 1 9'.2 7 ) :
a 1 1 d l f o d r . . l rr n k o 1 1 1adr .\ la'ia k O\ o k i r i ll' ') 1 1 1hol of
n·, o l u 1 io1 1 a l a l l 11 ·,·r l ,. Ii \\·a, t o Pa 1 1 I S 1 ra 1 1 d and
.\ l a n u P I 1\ h·a rez 13ra\ ' C J 1 h a 1 K P r t (.,z ''""' 1 · l o,1·s1 .
S 1 ra n d p l r o 1 ographed Caspc. Colorado. : 1 1 r d \p"·
.\ I Px i < ·o "· i i l r r l 1 c sa r 1 1c sou l w i r l r w l r i c l r K ni P'z p l ro-
1 ogra p l 1rd r l rc 8avoir. Corsirn, or To ura i r w . '" i r l 1 R!'­
I H '<Ta as l r i o l�l izabcr l r : a 1 1 d ! I r r pcasa 1 1 1 s f i s l 1 e r r 1 1 1 ' n .
.
a 1 1 d worker' \\'Cl'!' as s i r n p l )' 1 1oblc f 'or Krrl r"-: "" for
Si rn 1 1d . J\' ei r l rC ' r l ook Ir is a rl isl f'rie1 1 ds ( S 1 i egl i 1 z or
\ l ondri a n ) f'or ,;a('rrd 1 1 1 0 1 1s1 ers . ,\ n d i 1 1 I CJ:29 K er1 roz
a 1 1 d .\ l rn rez Bra\"ll a l ls\\·rred each < Jl l r er b� r a d 1
p l ro 1 ogra p l r i 1 1g \\"Ood e 1 1 l ror"r" l r r 1 d d lcd 0 1 1 a ,IPigh.
S l rop "·i 1 1d < J\\·s. po,r rrs. sig1 1s. s l r adows o f' l ree 1 n 1 1 1 k s
a 1 1 d fo l i age. ba l u s1 rades, p u b l ic slc<'prrs . pa i 1 1 i cd
1 1 rt 1 1 1 1 wq u i r 1s. passrr ·sb)·, st reet c l r i l d rr 1 1 . st nr y dogs.
wo1 1 r < ' 1 1 \ grsr u rrs l i k e sig11s 10 drea n 1 ers: t i re st1 1 1 1e
t h i 1 1 gs n 1 1 1 g l 1 1 r l re a l l r 1 1 1 io n of' bor l r r l re I l r 1 1 1cra r ia 1 1
'

a 1 1 d r 1 1r M e x i n 1 1 1 . '" l ro J r ; 1 d s i rn i l a r a ffccl i o 1 1 s a r d rC'­
l a 1 cd s 1 y lPs. 11 \\'HS a lso t i re g rn 1 1 d rra o f' r l 1 r .\ lr x i rn n
Scu l ' l ior, c. f 9:l0
r n 1 r ra l i s1 pa i l l l !'rs R i vC'ra. Orozco . n 1 1 d S i q 1 1 e i ros. 1 1 1
Fra 1 1ce . I lr 1 1 ri J\ l a r isse a n d FPr r 1 a 1 1 d Leger "·en· r l rr
i l rr srrr a n d 1 1 0 1 of i l 1r voyr 1 1 r_ ·· r 7 1 1 1 a l mosl a l l 1 1 1 a sr rrs of 1 1 1 1 1 ra l a rl .
rasrs I rr forwen t a n y exc l r a 1 1ge w i 1 h 1 hose w l ro1 1 1 be
p l r o 1 ogra p he d . I le d i d 1 1ot srek 10 srl re r n a t i zr or svs­ /\ s m u c h a s p u b l iear ion 1 1 1 t he press, i i "·ns
l r r m r t ize l i re world, to provr i l ia ! I I r is world c � n ­ s l ro\\ ' s a n d books 1 ha 1 1 1 1ade K e r t esz k 1 10\m. In
fon nrd t o h is v is i o n . I l is sce i 1 1g d o 1 1 b led I r i s v i s i o n : ·1 927. t i re )'f'a r of' l i re p u b l iea l io n of /_,"/-.,'.�pril des
20 i i fou 1 1 d t he soul i n fo n n . i 1 1 1 1 1 a 1 1 r 1" This seeino-
"
.fom1es (Spiril o.f For111s) lw E l ie Fa u re, Ja 1 1 S l i v i 1 1s k )
was t o 1 a l , t h us equa l l y p l ro r ogra p l r il' . .!r a n - C l a ude o rga 1 1 izcd r hc f i rs! so lo show ( i l r i r1 y -011e pl ro-
Lr r 1 1 ag1 1 y saw t h is pcrfrr r l y : '· I n h is a pt i 1 1 1de for 1 ogrn p l rs prese1 1 1 cd \\' i t h I d a T l r a l ·s a b s 1 ra('I i o 1 1 s ) of'
a d a p 1 i 1 1g lo a l l forrns of a p pcara n cr, w i t h o u t cvrr l hc OllP w l ro 0 1 1 1 l r is occas ion Pa u l Dcn1 1fr d u bbrd
..
pol l u 1 i ng t l r c m e i t h e r w i r l r ovnly perso n a l i n l cn - "" h ro 1 l r er scrr. The cvrn i ng o f t he ope 1 1 i 1 1g al l i re
1 ions, or w i l h borrowed arsl h e t ics, K e r t esz is t ru l y ga l lery J \ u Sacre du p ri 1 1 1 c m ps, "· works of r l w 1 1ew
' I l o r no p l r o t ogra p h i c 1 1 s . ' T h i s was ; i l so re f l ec t ed i 1 1 s p i ri 1 "' was a id i 1 1 va rious l:rnguagcs ( 1 10 1 a b l y in l i re
I r i s s u p reme fac u l t y o f ser i ng aecord i n g l o t i r e gray prcsc 1 1cc of t\l l ic h c l Scup hor. J\ dol f Loos. Piel M o n -
snr l e lo w h ic h a l l p l r o t ogn1 p l ry rel r r rns. No m o rr
r l ia n 1 l r a t of a n y a r l i s t , h is u n i vrrse was n o r t he rea l ,
l rn l I I r is u n i verse n r i t her opposrd 1 1or i 1 1 1 posed i t se l f
0 1 1 1 l rr rra l . I t w a s 1 hc perfect 1 ra n s l a t i o 1 1 i n t he l a n ­
gnagc o f p h ot ogra p h ic grays. ,- 1 8

I n t he period d u ri n g w h i c h E rich Salomon


p l r ol ognr p l wd ( most of1en e l a 1 1 dest i ne l y ) pol i l ica l
f ig1 1 rcs as t hey spoke, Ceorgr I loy1 1 i 1 1gen - l l uene h a d
/\ g11r 1 a Fischer, Bett i n a Jones, a 1 1 d L r r M i l ler pose i n
hra c l r wra r; I lorst went frorn Coco Chanel to
l ,ucl r i no Viscon t i ; Bi l l Bra n d l brgan h i s magist eria l
col l r1·1 i o n of a n i s t port ra i l s w i 1 l r a 1 1 i n t cn sr E:i:ra
Pou 1 1 d ( 1 928); Edward Wrs t o n rst n b l i s l red h i r 1 1 sr l f
as t hr m a s t e r o f t he 1 1 1 1 de, work i 1 1g 1 101 0 1 1 l y w i l l r I r is
son N e i l ( 1 925) b u t a lso w i t l r i l rr d a nrrr Bert h a \X'oodcn I lurses, Paris. 1 9:29
P H O I O K E l\1 i:.sz F'rCre voyant
1 ·: x 1 • o i...; 1 T 1 0 � PBOTO·KEBTESZ

EXPOSITION
du 12 au 22 Mars

A U SAC RE O U P R I N T EMPS
5 , Rue du Cherche-Mldl

l r l \ i 1 1-1 1 i o 1 1 C11rd f'or 1 l w l�.\ l 1 i b i 1 i o 1 1 or .-\ 1 1 d n-;: 1-\ P rl {��z l 'ool e r for K ertesio l': x l i i b i t ion
al t l w :D. d l < ' r� \ 1 1 Sat' I'(' d 1 1 p r i 1 J l (' l l l l ':-. a t t l ir gn l lr1T A11 Sacre d11 pri n 1 r 1 1 1 ps.
Pa ri:-i. J <J'.27 Paris. 1 927

PaulDcn11fr. C a l le n· A 1 1 Sa<Tc 21
Prampo l i n i . and Scuphor. d 1 1 p r i 1 1 1 r 1 1 1po.
Paris, 1 927 Paris. 1 9'!.7

cl rian, and Tri s t a n Tza ra ) . a n d i t was not by chance shown a longside earlier p h otography. At J u l ien Lev )',
t h a l P a u l Dennee ded i c a t ed a poem t o Kert esz-he tl1e minimum sale price of each p roof was fixed a t
too was c a p t i va t ed bv 1 + 1e l rriral bea u t y of t hese per­ t we n t y d o llars.
sonal s t a t cm e n l s . T I H· same yea r, i 1 1 l he G erm a n
maga z i n e TagPschronik der K1111sl (Daily Chronicle Kertesz's first book., En/ants ( Children, 1 933),
of Art). K e rl e sz was recogn ized as re pre sen l i ng t he was fol l o we d t he n e xt y e a r by Paris, ded icated t o h i s
" 1 nys t i cis n 1 of i l l (' rea l . '' A n 1ong i l 1r ot hrr r x h i b i ­ b ro t h e rs l m re and Jeno a n d wi t h a text by Pierre
t ions. beyond t l 1osr a t ··Sa l o 1 1 c k l ' Esc.:a l i c r,'· ·"Fi l 1 1 1 Mac O rl a n , by Nos A mies Les betes ( Our Friends the
u n d Foio" ( S t u t l ga rt , 1 929). · · Foi ogra f i e d e r Cegen­ Animals) w i t h a t e x t by Jaboune in 1 936. a n d /es
\Wt rl ·· ( Esse n . 1 929), ··Das L i r l 1 1 b i l d � ( .\ 1 u n i c h , C 'atMdrales du oin ( The Cathedrals of W ine) w i t l 1 a
1 930). "· F ore ign A d v ert isi ng P l 101 ogra p h v ·' (New 1 r x t by Pie rre H a m p in 1 937. I n 1 934 n selec t i o n
Yor k .1 9:30). a nd ··Modern l�u ropra n Photogra p h ,· " of' h is •· i n LU i t i vc a n d mcd i i at i vc' · p h o t ographs of p u b ­
( J u l ien Lrw Ca l lery. New York, 1 93:2). one 1 1 1 1 1 01 l ic ga rd e ns , boul evards, and cafes we re ust'd
n o t e Krrt l- sz' s pa rl i r i pa t i o n i n t he second S o l o n de to i l l ust rat e t he sect ion 011
t he Pa r isia n years i n
l ' J\ ra ignrc , in 1 930., wh ich t h n1 yrnr Carlo H i m Cvi:irgy Bi:ili:ini·s biographv o f E n c l rc Adv. K r rt esz · s
n rn c lc i n l o a n u m · o m m o n , eclect ic. n w n 1orable e ve n I . f i n; t books. wi t h o u t b e i n g of great b i b l ioph i l ic i 1 1 1 por ­
O nr m u st n o t e as we l l . K e rl rsz · s presence i n t he big t a 1 1ce i 1 1 t he h i st o n' of p u b l ish i ng. conf i rm e d h i s rcp-

sho"' p rr sr n t r d i 1 1 1 9:36 a t t l 1 r M 1 1sfr des Arts Drco­ 1 i i e1 t ion . 13ct t <' r t ha 1 1 t i ll' hooks. t l l f ' scl!'c l i o 1 1 s 1 1 1a d1'

ra t i f, . i11 "·h i c l t conl en 1 porar�· phot ogra p l l\· \\'HS fo r t h e ;.,hows c 1 1 s u rrd his 1 1 1 K0 1 1 t r1>t a l i k s t a t 1 m • .
i\ 1 1 1 e r i c a n p h o t ogra p h e rs d i d n o t 1·c 1 have. I le
k new h o w t o r i n d i n n:a l i t 1· a pa rt o f h i b 1 1 ndd i 1 1 -
.
a b l c poet rr. a n d he o ft e n rc i t e ra 1 ed . . P h o t ogra p h y
..
1 1 1 1 1 s t be rea l i s t i c . I l i s a nglrd s h o t s were 1 1 a 1 1 1 ra l i :­
t i c, a n d t h C')" h e l ped l 1 i 1 1 1 to decode t h e "·o rld. t o
· u rp rise i t . t o u n ders t a n d i t . t o love i t as a w i t 1 1ess.
whet h e r t hey were s h o t s t a ke n from his w i 1 1dow or
frorn a t ie r �f t h e E i ffel To"'cr. If for l i i 1 1 1 . as for A l ­
bert Hengcr- Pat zscl 1 . Die /l eft ist Scho11 ( The
World is Bewli!fit!). it \\'HS 1 101 c o l d . i t \\'as 1 1 0 1 a
CUTE C ELDANLACE,
SCHMUCK DES TISCHES. t e rra i n reserwd for p h i losophers a 1 1 d sci n 1 i s t s \\' h o
O B E R. A L L W I L L K O M M E N E S s i m p l i fied i t too 1 n uch b�· e l i m i na t i ng a great part
CESCHENK S I N O
o r i t s rich nrss. of i t s \'Oh 1 p t 1 1 0 1 1snrs Ker l rsz. \Y hO
Bruckmann-Bestecke had no des i re to devi t a l ize t h e world. paid a l 1 1 1ust
Se l 1 l 80Sb.Lo
,.,.
, ,
.,
,,
u.
.... .1in- &1wSilbn-nut
M.wlc .A.lier" l'ai�nt·Y<nolbcn ""' M.arh no a t t en t ion to t l te n 1 a c h i 1 1cs. t h e t ools. and t h e a p ­
'
.Lok.mori"tC". Vorr.otlfl " ikn r.m,:ad.Jlc:n.
A h b , / d " n gf " 11. " D ' c 11 1 1 c n p a rat uses of t he ne"' t < 'r l 1 1 1olog\' on " ' h i c h so1 1 1 c of
P. IUl.UCll..M.ANN a, SOlrNE A.C.• U.EU.&RONl" a. N h i s co l l eagues focused. a11d h e rnade no solariza­
t io 1 1 s . photomont ages. or p h o 1 ogra 1 1 1 s . For l i i 1 1 1 .
mode rn i t y Im· i n l'ision: i t d i d 1 10 1 rrst i 1 1 t i ll' 1 1 u• ­
Puhlici1v for Bruckman11. 1 929 c l i a 1 1 i ca l or i n t he soa ri 1 1g of i ndusl lY, nor i n p l a s t i c
i n t erven t i ons or la bo ra t o n· opera t i o 1 1 s . I l o"·eve r.
K r rt rsz h a d lea rned 10 1 1 1 a s t r r a n y i n c - l i 1 1 a 1 ion lo l'f­
f11:io1 1 . The fa 1 1 10 1 1 s Che::. ,l /011ciria11 prrfC'ct l y rC'­
A n dre Kertesz a rri ved fro n 1 l l u ngarv w i t h an flec t s t he i n ne r s p i r i l o f t he pa i n t er. Kert esz t 1 1 1"1 1ed
i n d e l i b l e h e r i t age a n d ., accord i ng to J\ ie t zsche's ror­ a view of t i ll' st u d i o i n t o 1 1 1 1 1agist e r i a l prrso 1 1 a l izrd
mula, with t h e "co n t e m p l a t i ve i n st i nc t s or h i s M o 1 1 c l ri a 1 1 . st rnct u red l i k e a p a i n t i ng. s ignrd b 1· t he
c h i l d hood . .'' Ker1esz w a con f i r1 1 1cd i n Fra nce as a h a t . cou 1 1 t e rsig1 1ed b)' t I 1c a rl i f i c i a l flo"·pr. Thr por­
m a n more of v i s i o 1 1 t ha n of ·ped acl e . Cont rary t o t ra i t o f t l te pa i 1 1 t r r 11·i t l 1 t he b i a s 1 1 0,e. "·i t h i l 1e
w h a t w a s s a i d a n d wri t �e n . he d i d n o t u s e j ust a n y ­ CIS)'l l l l l lCt ricaJ l l l l l 5 t a c h r . is a l !?O of an e s e n 1 p l a 1Y SO­
.. ..
t h i ng a s a s ubjeer . I l i s u n i ve rse w a s i n fac1 p re­ b riet \'.
. The c.� 1 re 1 n c l \'
. vo l u b l e s t i l l l i fe t a k e n i 1 1
cisely l i m i t ed : many aspects o f t he wo rl d . 1 1 1 a 1 1 1· Fern a n c l Lrger·� st 1 1d in. 7 'lw Fork ( 1 nadr spnn 1 a 1 1 r­
fac t s a n d eve n t s . were of no i n t e rest to h i m a a o u s l )· a t 1he rncl o r a 1 1 1ra l ) . . l leuc/011. Sat.1 ·ric /Ja11-

phot ograp her, a n d one cai 1 sa fck s a v t h a t he was r·er ca p t u red a t nn r p i p h a 1 1 o u s 1 1 101 1 1en t . a 1 1 d t h e
not at a l l a t t racted to fa s h io n , a d ve n i s i 1 1g, or i n ­ vie"· of' 1 hr Pon I c ks J\ r t s t It rough t l ic r l ork of t l i c
d u s t rial p h o t ographv. Des p i t e t he do 1 n i n a n t a r t ist ic l 1 1 s t i l u t de France a t t est t h a t Kcrt fsz cou ld t e 1 1 1 -
c u rre n t s , K e rtesz wen t nei t her a l l t he wa�· to ab­ po rn ri l y forget h i s ro 1 1 1 a 1 1 1 i c i s 1 1 1 . Tl lf'rc. he n· f i ned
s t ract ion nor t ow a rd a 1 1 u n brid led s u rrea l i s n 1 . I f
somet i mes he keenly percci1·ed t h e su rrea l i n t he
rea l , he kept i t s u l.J t l e . Some of h i s work conia i ned
c l e m e n t s o f s u rrca l i s 1 n ( i 1 1 fo u n d objects. fort u i t ou s
cnco u n 1 ers, m i n o r i nc i d e n t s . t he h u morous t ra i t s o f
popular cultw·e), but he refused t o emph asize
t he m . I l is a rt . respec t i ng t he i n t egri t y o f t he 1 1 1e­
d i u m of p h o t ogra p h y, con s i s t ed of conjoi n i ng h i s
a p t i t u des for seiz i ng t he s o u l a n d for p u r i fy i ng
fon n . I t is t h a t h a rm o n i o u s conju nct ion r h a t c h a r­
acterized h i n 1 a n d 1 1 1adc h i m "very French . '' Less
conce p t u a l , Jess cxperi 1 1 1 e 1 1 t a l t ha n t he Cerman
p h o t ograp he rs, K e rt esz h a d a n e legance and a
'·perso n a l t o u ch., t ha t t hey d i d not, a n d a sense of
t he s u b text, o f t he i n dcx i c a l , of rnvstery., t ha t l'ic1 � lo11dria11. I 'J'.26
h i s s u bj rc l i v i t ,· t l 1 ro 1 1 g h H n 1 o re fo rr u a l l rca t rn r n t 1 1 <·vN 1 ra 1 1 s forr ned h i 1 1 1sr l f i n t o an i n t e l lect u a l capa­
o f s u r foccs a n d ,·oh 1 1 n es : t l t rre. 0 1 1 e m u st cerl a i n k ble of i 1 1 t c r p rr 1 i 1 1 g h i s own p h o 1 ogra p l t s . S u c l t q u i ­
ocr t h e i n f 1 1 1c n cc o f Const ruct i ,· i s 1 1 1 a n d C : u b i s n ; . et i s m is eon fu s i ng a t a t i 1 1 1c of f i reworks of a l l k i nds.
K e rt esz g a w · p roof o f a r t i s t i c i 1 1 1 1o w 1 t i on ,,·i t ho u 1 11 i;; 1 10 1 s u rp ri s i n g < ' i l her i l 1 a l tl 1 c a rl i s t s i n Paris
l w i 1 1g <'SO I C ' ri c . F o r l t i 1 1 1 . d o i 1 1 g doc u n 1C'1 1 t a ry p h o ­ "·c 1-e i l lC' f i rsl 1 0 rc, ·ca l a 1 1 d 10 a p p rec i a t e h i s origi n a l ­
t og rn p l w was 1 10 1 i n con 1 ra d i c 1 i o 1 1 1 0 h i s be i ng a 1 1 i i \'. T h e o n e 1 he,· acce p 1 rd a rn o n g t l 1emsekes ''"as
a rl iol . Hea l i t Y d r pc 1 1 d s o n 1 hr l oo l s 1 h a t drsc r i bc i i 1 10 1 onlv a p l t o 1 ogra p h e r in t l 1e fu l l ness of h i s 1 1 1 a t u ­
a n d 0 1 1 1 1 t r 0 1 1r w h o 1 1 rn n i p 1 i l a 1 rs i l 1 e 1 n . T h r l a n ­ ri l )'· b u 1 a co 1 1 1 p a 1 riol wl 10 i n d i s p u 1 a b l v pus hed h is
guagr o f Knl rsz i s u n i vrrsa l . O\rn l i n 1 i 1 s : t l 1 e�· i n 1 cgra 1 ed h i m so 1 n u c h t h e more as
l t is p h o l ogra p l "· h e l ped t l tem ( a t least some of t h em)
J \ c l t ro n i c l r r o f 1 h e b a n a l . o f 1 h r q 1 1 0 L i d i a 1 1 . i n t l 1 e i r o w 1 1 rrc<l l ivc gcs t 1 1 rc .
"·l ine rea l i l \' aml fiction an• i 1 1 d i ;; t i 1 1g u i;,ha b le.,
K c rt r;,z I H'ca rnc a si 1 1g u l a r p h o 1 ogra p l 1 e r 1 0 ,,·hon 1 I n 19.) 0 K erl rsz l ra Ye l e c l t o I h 1 nga 1Y t o s e c h is
1 1 1 <' ,·is i b l c. i 1 1 "·l 1 i d 1 i l w i 1 1 v i s i l J l f' a p pears., is i. 1ppar­ fa 1 1 1 i l �· <.1ga i 1 1 . E l iz;i bct l 1 . l ie r ce1t 1 1 i 1 1 1 ics co n f i rr ued.
< ' l l t l)· offered in n i l si m pl i ci l \·: cou l d one cap 1 u rc i t joi ned him i n P a r i s i n 193 1 . A ft e iward. she accom­
"· i t h a 1 1 cco1 1 o n l \· of m e a n ;; great Cl' tl 1 a 1 1 h i s ( 1 1 is 1 10 1 pa 1 1 ied l t i 1 1 1 of1 c n i n h i s t ravels , and he met lcs and
s 1 1 rpri,, i 1 1 g 1 h a 1 l 1 i s faci l i h-. h i s n 1 1 1 dor. cou l d dera i l lrs;, \\' i t l 1 l t i s f"i·irn ds: a r t is 1 s. \\Ti l e rs. j o u rn a l i s t s . a n d
1 n o rc 1 h a 1 1 one l 1 i s 1 o ria 1 1 . 1 1 1 o rr t l ia n 0 1 1c c r i 1 ir. 1 h a 1 n o t e d f i g u res i n 1 hc p ress a n d i 1 1 p u b l i s h i n g . For
oon w t i rnes a d i ,,t u rb i 1 1 g a u d a c i t y. such a s i l 1 a 1 of 1 he A n c l d . h i s 1 1 1 a rriagc "-i t h Hogi A n d re had been not h ­
D i ,; 1 or1 io1 1s. is 1 1 1 i ,ed i 1 1 . a 1 1 d a l l 1 hc 1 1 1 o rr 1 l 1 a t he i 1 1g 1 > 1 1 1 a fol l r I l e m a rried E l i za bet l 1 on .l u 1 1 c 17.
19.) 3. t i 1c ,.NI r of I he dea t h in Bu dapest of h is
hrloved n 1 ot l 1c r. E rn csz 1 i 1 1 . a 1 1 d t he yea r of t h e rise of
I l i t l e r i n Ge n 1 1a 1 1 y. o f t he s t. a rt of t hr gro"·i ng .\ a z i
per i l . a n d of t l 1e decl i ne of Knt. esz's p u b l ica t ion i n
Gerr n a n nc,,·spapers. Pol i t ic a l a n x i ety was t h us
ad ded progrrssivE·h- t o 1 he d i m i n u t ion o f com m i s ­
s i o n s : K e rt esz w a s l ess i n c le1 1 1a 1 1d l w magazi ne� who
were look i n g for m o re a 1 1 d more t op ic a l s 1 1 bjcc1 m a t ­
t e r. 1 1 1 1 9.) .) I ii p 1 1 h l is hcd t he a r t icle '"The H e d A rm �·
al Wo rk . , a n d in 19:36 ··The Defense of i hc Hep u b l i c
i 1 1 S p a i n . · · The S1 m· isk )· a ffa i r ''"as on evervone ·s
l i ps. Kcr1 6sz was so1 new l t a 1 01 1 1 of s 1 c p w i t h 1 h is n a -
1 i ona l is1 con 1 ex 1 . l t i:, p h ot ogra p h ic cssavs 1 00 n e u t ra l
for t h e part i s a n s o f e i t h e r side. KC'rlesz learned wo
l n 1 c of 1 l t c favora b l e response b,· the F re n c h a u t hori­
t ies 1 0 Iii;, rcq 1 1es1 for n a t 1 1 ra l i zat i o 1 1 : he h a d j u st de­
cided to accept E rne\· P r i nce · s offer l o "·ork for dir
K c,·st o 1 1 r agency in .\e"· York . .. A sort of sabba t i c a l
vea r. E l iza bcl h h a d agreed, a n d t he s 1 cps "·ere
t a k e n . Th e,· e m b a rked on l hc SS Washi11gto11 for
.\i la n h a l l a n j u ;, t as C h a r l ie C h a p l i n's ,Vfodem Times
a ppeared on 1 h e b ig snee n . They p l a n ned to rc1 u rn
1 0 P a r i s "· i t l 1 i n a vear or 1 "·0. a n d K c r1 6sz l e fl 1 nos1
of his nrgati ,·rs i n Fra 1 1cr .

I n Fra nce. K c r t 6sz ·s p l e as 1 1 rc 1 1 1 a t c l 1ed h is a n 1 -


b i t io1 1 . I l e ""'" blc:,scd i 1 1 Paris w i t h a p rr,cience i n
rega rd l o h is des 1 i 1 1 �· as a p h o t ogrn p h r r a n d 1 0 h i s
de,·r l o p 1 n cn t . "·h i c l t a ba 1 1 do 1 1 r d h i 1 1 1 as ,oon <b he
C :cl lo S1 1 1 c h . l c f1 for .\r"· f o r k . I le l i w·d i l 1 c rc i n 1 1o s i a lgia fo1·
l 'l2(> l- l o 1 1 1 pa r 1 1 a"'e. for 1 h c q u a�-,, of I l ic Se i 1 1 r a n d l l H'
lovers. for Kot rc-Dame an d pi ge ons. The apo l i t ical ''· melodra m a t ic cou 1 l l rv. ·' Note t ha t t h e majori i \· of
person who left Europe in 1 936 unclcr pressure d i e exi les who came from Fra n ce d u r i n g t h e war
probab]�, spared h i mse l f vexat ions. d1ou gh he wo1i ld eve11tnallv ret· u rn e d , whereas t hose who came from
k now 01 hers, less violen l . but st i l l sorelv n y i n g for a Germany. Aust ria. a n d Cc1 1 t ra l E 1 1 rop<' rcma i1 1ed i n
photographer attached to his passions. I t '"as di ffer­ A merica perma11e11t ly. Chaga l l . Z a d k i ue. Matta.
ent pen u ry t h a t he wou l d suffer in t h e U n i ted Sa i n t -J oh n Perse, a n d LPv i -St rauss d i d n o t l t c s i t aL c
States-lack of a n a rt is t ic commu n i t y-an d one t hat t o ret urn, once t l 1r war was over. to t he " a ffec t i o n a t e
would keep h i m from fuJ fi1Lng his own need for po­ s tTeets"' dear to Leon-Paul Far·g u c. t he neighbor­
e1T�'· N ew York, despite i ts parks, smal l squares., hoods dea r to Rene-Jacq ues. to Doisnea u . ro R o 1 1 i s .
va g ra n t s, was not a ma g i cal, fascin a t i ng c i t y for wbcre t h e n igh t , a c c o rd i ng 1 0 E l u ard, p romise d
Kertesz. He l acked friends t here and was denied fre­ '"con fi ding looks to t h e daw n . " Pe rhaps because he
quent and varied tender photogra ph i c responses. destested being co n si d ered an e11e111y d uri 1 1 g t hr war,
Too isola t ed with E l izabet h, he was not a b l e t o adapt Kertesz was one of t he few who came from France l o
to the c i t y of b usiness, nor to discover many poi1 1 t s ask for A merican cit izenship.
o n w h i ch t o fn: hi s romanticism. Kertesz h a d had
hope o f fi n d i ng new oudets, his professional Life hav­ Shortly aft er Kertesz's arri val. Beaumont
in g become more difficul t for him in Paris. A l exan­ Newhall, the director of the department of phot ogra­
dre Garai and Erney Prince had given h i m hope of a ph y at t he Museum of Modern Art. '"ho was prepar­
rev i v a l of i n sp ira t ion and subst a n t ial financial suc­ ing t he show •' Photography 1 839- 1 937;' a sk e d l 1 i m
cess, which shimmered before h i m . But hope did not for some prints. Kertesz proposed the Distort ions.
last. Other "Artists in Exile," to borrow the t itle of a NewhaJJ wanted to reframe one of them so t hat t he
show organized bv P ie rre Mat isse, a l so ha d d i fficu l t y pu bi c h a i r coulcln"'t be seen. For t he photographer.
in adapt ing t o t h e international center o f the avant­ "cutting the woman's sex" was to m u t i late her. and
ga r d e , which New York was becoming. i'vfax Ernst also to mutilate Lhe pict me. Nevertheless, he ac­
alluded to t he absence o f cafe l i fe, to i solation, and cepted, ru1d the Distortion was shown; but he was dis­
to sol i t u de. Andre Breton t h rew h imself feverishly at illusioned, vexe d, and he never forgave NcwhaJJ.
the l i n gui s t i c barrier and lost h i s power, even his "This was my Wel come to America . ··, He was aga i n
a.urn , in this metropoli s t h at was deaf to h i s d ictates affe ct ed when Alfred St i eg l itz react·ed without e n t h u ­
24
and i11different to h i s m agnetism . Some isolated siasm to a group of D i s tortions, ru1d when a n edit or
t hemselves far fr·om New York . Fernand Leger was declined to p ub lish tl1em . Thus commenced, from t he
one of the rare ones who was stim u l ated by t h i s b egi n1 1i ng of h is stay in New York, t h e '"absolute
n·aged y " to which he wou l d unceasingly a llude u n t i l
hi s death. 1 9 The q uest i on ,vi]l rem a i n unru1swered:
was Kertesz from the outset m.isw1derstood and re­
j e ct ed in the United States, or did he refuse to accept
certain mles that were in force t o the point of exclud ­
ing himself from the professional milieu of photogra­
phy? The book Distortions was not pub lis h ed u11 t i J
1 976. Kertesz had no better success in pu JJl i s hillg a
book on New York, wh ich he had completed in 1 939,
and was be,vildered when Erney Prince, his boss at
Keystone, asked him to work in the studio rather than
assigning him re po rt i ng as had been t heir prior agree­
ment: "Da y s , weeks, months passed, ru1d they conti11-
ued to make me do commercial work , which I cared
noth i ng about. "20 He went from one clisil lusio n ment
to ru10tl1er witl10ut b ei 1 1g able lo ret w·n to Paris, first
for lack of money, tl1 en because of tlie war.

E l i zabet I t a 1 1d a Fric11d. A t the t ime of Kerl csz's arrival i11 New


.Vlo111 1 n a r1 re. Paris., 1931 York, very few photographers were i n depe nd ent;
IC:levmed Tra i n Pia! form. t he Bowen-. 1 937

1 he most da ri ng work was for Conde N as t , for Eva 1 1s. l i ke Kerl esz, was concerned \vi l h the h u m a n
Wil l i a m Ra 1 1dol p h l lcarsL for l lenry Luce, or for t he co1 1di1 i o n . a n d l i k e h i m wa s as far re m ov ed from
governmen t , under t h e rubric of one or the ot h e r o f Wcs t o n i a n d ist i L l a t i on as from Weegee··s i n t i 1 1 1 acy
t h e various progra m s in a ugu ra t ed fo l l ow i ng t h e cal ­ w i t h d rama or acci d c nl . The Ker1eszian New York i ·

asu·ophic stock market crash of 1 929. L i vi n g at t he wi 1 hour h u bbub. w i 1 hou t cit izens who co11 front a n d
Ho t e l BealLx-Arts at 307 E ast 44th S t reet, A n d re j osl le o n e a n o t h e r, w i t h o u t tension . 2.5
and Elizabe t h were o u t of their element and s u r­
prised by the per istent economic crisis, by the num­ The f i rst issue of Life, c rea t ed by Luce. ap­
ber of unemployed, by the number of beggars. peare d on November 23, 1 936. Look and Coronet
Kertesz took far fewer personal photographs than he followed, a l so conceived on t he model o f E urope a n
had on his arrival in Pasis. Discovering the city was m a gazi nes: t he m ost a pp e ali 1 1 g part was t he i J lust ra ­
more t rying; he did not succeed in finding points of tions. Kertesz d i d not p rofit from this e d i t o rial boo1 1 .
reference at once (s uch points make it possible for a He di d not wan t nor was h e a b le to c h ange I r i s way
c i ty to become one's own ) , and he got on well with of photograph i ng . n o r did he wa nt to accept onlv of­
very few of those he met. Photographing articles for fers that djd not requ i re him to make too m an y con­
a big publishing house evidently did not excite h i m . cessions. lntransigent, he di d not k n ow how t o resign
H e forced himself t o visualize the crushing city, b u t himself to submit t i n g t o the disob l iging ed i to rs ready
h i s anxiety wa detrimental t o his creativity, even to use his phot ographs in any way they l i ked. Even
when c h ildren and old people were always faithful to Margaret Bourke-White, the first photographer o f
the i mpromp t u meetings he set up i n the streets and Life, did n o t su ccee d i n i m posing o n t h e magaz i 1 1r
t he squares. W hereas Berenice Abbott, on her return staff co m p l e te respect e i t h e r for her fra m i ng or for
to New York in ·1 929, concenn·ated on the evolving h e r righ ts . Look did not h esi t at e to be sen s a r i ona l is l .
ar c hi t ec1 me o f 1 he c i ty whose n·ansform ation she A merican e d i t o rs t ook many m o re l i ber1 ies "· i 1 h t he
· · c Jocu me 1 1 ted. · · K e r1 esz preferred 1 he rel at ionsh i p of shots 1 han wou J d E uropean edit ors such as Lucien
t he c i 1 y and cert a i n of i t s i n ha b i t a n ts: h i sense of Voge l or S t e fa n Lora n t . who were es p ec ia l l y careful
form con t i n ued to be e n rich e d by t he i mp a c t of emo­ o f per son a l izat ion in t h eir edi t i 1 1g. Thus can one ex­
rio 1 1 . If he i n variably avoided m a k i 1 1g h i p rescn ·e p l a i n t h e paradox: t he i l l ust ra 1 ed A 1 1 1 rrican n 1 aga­
feh t h rough r a k i n g fro n t a l views. he was neve rthe­ z i 1 1C's o f t hr new era of j o u rn a l is m did not rn 1 1 1 1 w l l '
less closer t o Wa l k e r Evan than l o Be ren i ce A bbo1 1 . wi i l 1 0 1 1c a 1 1o t h c r for 1 he scrvicrs of 1 he p i o 1 w1 · r r<'-
:\P\\ \ nr-k . l 'H<)

n·1 1 1 h·. come lo l i ve i 1 1 1 l 1eir c i 1 .1·. It was i 1 1 t h is co1 1 t 1· x l


1 ha 1 t hr . . l� u ro pcn1 1 o l d 1 1 1astrr ··· or phot ogr::tph1·, as
K ffl Csz ::i l read)· was. fo1 1 n d h i msC' l r b rra k i 11g I i i:-,
1·01 1 t r<ll ' t . S 1 1 1 bbor11. hr e1 tco1 1 1 1 t c1-rd srrio 1 1 s d i rric1 1 l ­
t ies i 1 1 f i n d i n g h i s p lace o n 1 he o t l lC'r side or t l 1e i \ 1 -
l a 1 1 1 ic. T l 1 e rrust ra l io11> hega 1 1 . 1 3 1 1 1 h e d i d 1 101 l w1 1d .
110r d i d he refra i n rro 1 1 1 d i,da i 1 1 i 1 1g t l 1r pho1ogra­
p l w rs-e v c 1 1 t ho,e lllO't so11gh1 a ft e r b )· t l 1e p reso-
11·hosc t ec h n i q u e l i e co11si dcrrd 1 1 1 1 1 t e and i 1 1 a c kq111 1 t r
for 1·xprrss i 1 1g <·1-c1 1 t he least sr1 1 sa t io 1 1 .

;\ ft L'I . l�rne)· Pri nce 's depnrl u 1·r fro n 1 K e1·s1 0 1 1 e


1 1 1 t l l(' spri 1 1g of 1 9:.P., Kerlrsz l wga 1 1 t o look for
.. \('\\" \ u r k I l a rbc)I'. J C):J<)
11·ork elsewhcn•: S t u d i o pho1ogrnph1· docs 1 10 1 s n i t
1 1 H·. I l e needed l o find ot h e r 0 1 1 t le1 ;, . I t 1n1 s t hen d i d 1101 haw· 1 hr par1 i c 1 d ; J r 1 a l c 1 1 i of t hose 11·hu "hone
t ha l 1\ lcxcy B rodo1·i 1 cl 1 . 1 1 n i s 1 ir d i reclor of l lwpe1<� i n t ha t domai n ( l i k r h i ' ro11 1 pa t riot ,\ l a rt i n .\ l u 1 1 k a ·,i.
/Ja::.aar si nce ·1 0:3-+ . ,ough t h i 1 1 1 out a n d a,ked l 1 i 1 1 1 t hat 1 1 1 as1er or d is 1 i 1 1guii,l 1ed gaie1 1·) a n d t h a l he
1 0 p l 101ograph i n Saks 17i ft l 1 i\ve1 1 1 1e depa r1 1 1 1e1 1 1 ll'o u l d ncl'er havr i t . I low to rind E 1wi 1 1 Bl 1 1 1 1 1c1 1 frld.
,I on• a ft er cloo i 1 1g. The ; J rt icle was p 1 1 bl ishrd i n A p r i l I l o rst P. I lor:it . 01· Cecil l3ca t o 1 1 1l'hr11 o n e IOl ' Cd 11ci-
.
1 9:37 w i l l 1 t l 1e t i t le ..,) ::30-Thr C 1 l l'l a i n Fa l b . . � 1 1 h e r a r t i f i c i a l dTec l s 1 1or art l'u l sop h i s 1 ica 1 i o 1 1 . 1 1c i ­
T h i s s 1 1ccrss fu l p l 1 u 1 orssuy rc1·ralcd t he h i dden t H' - t l 1cr pagea1 1 t ry 1 1or gla 1 1 1 ou r!' Brod01·i1cl 1 1rns pa 1·1 i a l
1 i 1·i 1 ics of a giga n t ic. l 1 i l ' rn rd 1 i ra l socic1 1·. Kert r'z t o slmt l i ng rfTccls: Kcrtrsz "s f i rst rn11ce r1 1 . howrl'cr.
1 1 :; c • d h i s capac i t ies of obH'rva l i o 1 1 a;, 11·c l l a;; h i s a p 1 i ­ 1n1 ' 1 1oi origi 1 1 a l i t Y at a 1 11· rnst . A n d he had othrr
t 1 1dr for s1· 1 1 t l wsizi 1 1g a co1 1 1 plcx s u bject i 1 1 a n L'bSt1 1· t l 1 ri l l s t ha n i l 1osr of.. 1 1 1 1drr t hr f i res o f i l l usion. pcr­
1 1 11 1 1 11·11, co1 1 1 prcl H · 1 1 , i b l e l o c1·< · n·o 1 1c n 1 1 d i n w l 1 ic h f'o rn 1 i ng t l 1c fea t s of l�d11·11rd S1Picl 1e11 i 1 1 t he 1 hra t c r
i l H ' co1 1 1 p a 1 1 1· pn·,ide1 1 1 11·as i 1 1cl u drd a l onf! 11·i t l 1 a of rlcga n cc . Kert esz. a st ra 1 1grr 1 0 t he :,a lo11s or h igh
c lra 1 1 i 1 1g l a c l r TIH' >w 1 1 1r 1·ca r. Broc lol'itch hud h i m »ociety. h i red a 1 1 agc1 1 1 . \X ' ick .\ l i l ler. 11·ho fou n d rdi­
p l 1 0 1 ogrn p ! t t ! tc c l 1 i l d r< ' 1 1 of t l 1r 11·ra l t h )· l ,1 1 dd i 1 1g1011 ton, a i 1 d ot h e r c l i c1 1 t s for h i n t . L 1/e 1 l t 1 1 s i n l' i l cd h i m
fa 1 1 1 i h - i11 I l a1·erford. K ertrsz rn 1 1 1 plrtrd t l w aosi!,!1 1 - 1 0 d o i i piece O i l i l w ri1·cr' H l l f l qw.11·5 of' ,\ l a 1 t l ta l l a l l
..
1 1 H ' l t t w i t l 1 ! t i s i 1 1 1 1 1 1 1 1 1 ahle 1 w 1 ir1 1ce a n d ! t i s i 1 1 1 1a t r 1 l it 1 t Kert esz c a l le d . .T h e T11gboa 1 . c1·c 1 1 t l 1011gl1 i t
' c " h i ' o f t I ll' 1 1a L i ff aI . I le· <HTl'pl cd ot h e r cu1 1 1 1 1 1 issio110. i n c l u ded. bcrnnd s i 1 1 1 ph- packets a 1 1 d t l w he1 1 1 l i ng o f
1 1 1 1 1 n l 1h - l 'ro1 1 1 To11·11 011d Co111111:1 : e;,sc1 1 1 ia l h- for rca­ ca rgo . ;11 1 port a<'t i l ' i l il'S a n d a l l l 1•p1·s of nuf't .
.-.1 1 1 1 s of , 1 1 1Yi1·a l . a 1 1d t i n " p rod1wed work t ha 1 i 1 1 - Kcrtrsz i 1 1 l'cst rd h i 1 11sclf in t h i s rrportagc: hr 1rn 1 1 1 cd
. - l 1 1 d .. d f H Jr l rn i t s o f pcrso11a l i t i1·, a l t he l trart o f l l l C ' ret1dcrs who ll'l'I'(' 1 "1·d l o 1 1 1 on· d rn 1 1 1 a 1 i c s 1 1 bjec1s
1 ·< 11 1 1 1 · 1 1 1 1 >< m 1 1 '\' l i f'r. I I i , , i t 1 1111 i o 1 1 i 1 1 1pro1-cc l . .\ lc h c 1 1 1cd to apprrc i a t e t l 1r su h t le1 1· of l t i, co1 1 t ri l J 1 1 t i o 1 1 . a n d ltr
1:. \!.! 1 1< 1 . nrt i -.1 i c d i rector of l (1g11e. a"ig1 1ed l 1 i 1 1 1 d i d 1101 hrsi t a t c 10 1 1,r t l 1r 1n: · l l - k 1 1ow11 1 1 1cdi 1 1 1 1 1 of
f 'n , f 1 i < 1 1 1 p l 1 0 1 ugra ph, i 1 1 1 < 1:)8. h 1 1 1 K1·r1rsz k 1 1c11· I ll' Li/e l o arhirl'e h i , f'1 H k I le used <1 d i rif! i h lc t n , l tont
t l t c port and thr embarkation point;, f'ron t abovr. 25. 1 938. is;uc, puhli"hcd photos lw him i 1 1 a11 ar­
..
a11d CYC'n innncrsrd L timsrlf' i n tl1r lwlk of' a lioal. I le ticle entitled '·A Firc1 1 1 a1 1 Goes 10 School. crediting
insisted on sering evcrvtl ting f'ro111 f'ar away and u p l r 1 1 rv Pri11cc. This approp1·ia1io11 of' eoursr
tl1e 1 1 1 t o �
closl'. f'rom ou1sidr and inside. a s ltr 11t·,·rr h a d in sl10chd l t i1 1 1 . Coro11et. ,vhicl1 p11bli:,hed pltotograpl t s
Fra1wc. I le rr 1 1 1 ai1 1ed a 1 1 i 1 1 L crp1 ·r1 (•r. a sc11sitivc 11a r­ i 1 1 full pages. "·ithout cha1 1 gi1 1g their 1 1 1 ea 1 1i1 1g h r
ra1or. watching to 1nak1' s1irc nothing escaped him. cropping tl1e111. 1vo1ild l t a v e co 1 1sti1 1 1 1 rd a pos i h l r
I Ir did 11ot 11·a111 to co11tc111 hi111scl f' witlt 1 1 1 r rc i1 1 1 pn's­ 0 111lct f'or K ! ' l'l rsz. b 1 1 1 Coro11et d i d n o t co1 n n 1 i s s i o 1 1
sio11" l te 11·an1cd lo rna;,tcr his :.ubjecL the watcr­ photographers . In 1 937 Arnold Gingrich wrote in an
f'ro111. rn 1 d lo lake ltis placr i11 lhr lt isiory or edit orial tltat he was 1 1 1 o rc and 11101·e co11vi11ced that
docu1ne11tan· photograpliv : lte \V<tntrd l 1 i s i 1 1 1 t1 ges t o " t h e best pltotogrnphs talk for 1 lte1 1 1 s clv e s . spraking
appear i 1 1 Life. I l e missrd no1hi1 1 g . not tlw h u 1 1 1 a i 1 in a language of d 1c i r owu . .. It 11·as unf'ort unate t hat
asprct. nor tl1P eco110111ic aspect. nor tlte architrc- Gingrich f'o11nd his "ltr't pltotographs· · i 1 1 already
1 1 1 ra l a;,pcL·t-b111 h i s essay would st ill nrver be puh­ rxi s1i1 1 g archives. and did 1 101 h a ve t l 1e 1 n taken b)· n

l i,ltcd in L ife. Tlte n1agazine · s refusal d e 1 1 1oral ized profe;,sional looking f'or paymrnt . In the eonrse of
l t i 1 1 1 even rn orc because he "·as rrproacl 1ed l'or ·· sav­ thr sa111e n·ar. as an i 1 1 dcpe1 1 de 1 1 1 . K e rt c. z p rod11 c cd
·
ing 1 00 1 1 1uc l1 · i 1 1 his plt o1ograplts. a reproach t l1al Po11p;likeepsie, a virw of' tl1e Bau l t au" stvle station.
he 1111 derstood as a criticism of' his co11d11ct . and A r111 a11d I e11tilator. i11spired b,· Surrealism. and Lost
11·hich hr 1wver f'orgot. I le also told hi1 1 1 self' i l ia t t h r Clu11d. Gihsonian hr f'orc Gihso1 1 . Also i 1 1 ·1 937. till'
A 111nirn 1 1 111 ·11·s editors wanted 1101 hi11g h11t u11cc­ new l 3a 1 d 1 a 1 1 s sclt ool. tltc :'\ew l3aul1a1L J\ rnrrican
do1al. i11decd tri,•ial. photograplt s 11·itlto111 a so1il. Scl1ool of' Drsign. directed b)· Laszlo ,\foholv- .\/ agy.
''°rll 111ade but depri,· rd of' the s111allest assu111 p1io11. opr 1 1 rd i t s doors in Chicago. 0 1 1 J u 1 1c 3. 1 9++. ;\ . J o­
To pl1 01 ograpl1 n;, with ;,tro11 g a n d co1 1cr1 1 1 ra 1rd pr r­ hol)·-.'\agy wrote to K r rt coz 10 invite' him 10 teacl1
sonalities .. tlte,· prrf'e rred those '"Ito t ook hundreds pl101ograpll\ · starling the follo1ving S ep i c rnbc 1·. a 1 1
of' ;,ltots and let editor;, rltoose f'ro 1 1 1 tltr lot . 0Yc rlr offrr that ho11orrd hint b 1 1 t 11·l1icl 1 h e declined. bring
meta1 >l1orical photograplts 1 1 1 1 c lc r1 1 1 i 1 1cd 1 ltrir u1111u­ 1 1 0 1 1 1 orr a tl1eorCLicia11 1ha 1 1 n pedagogue . I n a 1 t )'
aJ Jccd approaclte:;. 11·hcrcas for K e rt esz. e,·c1Yt l 1 i n g easf', in 1 9:37. Kert esz L i te unclassilfable. as desirous
\HIS :,11htlr. f'ragilc. transilon-. O n the s 1 i l >jrc1 or tl t r as hr was 10 get O l l i ol' t i t profe ·sio11al t l l i a I l l a i n
p l totographrr, w l t o bc 1 1 1 l o the orr lc1·;, o f rditors and whiclt lte la11guished, d i d 1 1 0 1 1 1 1ovc i 1 1 a11v rirld .
directors. he latrr coi 1fidcd 10 J £i 1 1 0 s Bodn61·: ·· Among
t lte excrptions . Eugc11e Smith is re111arkable : hr plto-
1 ograpltrd in 1 1 1 v ot)·lc. I Ir ;,incerrh- a d 1 1 1 i u rd Lo rnc
1lta1 I had infl11Cncrd his career. I Ir worked f'or Life
.
and 11aluralh· tl1c,· th1·rw him out. . S11 1 i th°>
, confl icts
11·i1l t Lijr were f'or K crtrsz additional confirrnalio11 of'
his Cl'rlaintir:,. K e n r;,z l1ad his 011-1 1 point of' view
j w,1 as S1 1 1 ith a 1 1 d Davidson ltad tlteirs. and. s111b­
bor1 1 . l1 P never gaw· up. I low could lte give u p t ry i ng
to u 1 1derstn 1 1 d a1 1 d Lo 111ake l t i 1 1 1self' u11de1·stood
tl1rougl1 photograpltv whrn it 11·as his base la11-
guage f l�vc11 111orc- so beeausc si11('C leaving I lu1 1gary
K N t csz ltnd ltad diff icult,- expressing himself' 1·rr­
bal1Y: he spoke Engli;,h 1 1 0 better t i t an ltc spoke
Fre11Cl1. and ltc did 1 1 0 1 l1a,·e LO 1 1 1 a k c tlte effo rt in his
don1rs1ic lif'r: hr l i ved with a l l t 1 1 1garia n . Pltot ogra­
p l n· 11·as f'or l t i 1 1 1 1 1 1o n ' 1 h a 1 1 a ,risual language-it
was 1he 1 T H'a11s of' co1nmunica1ion par rxcellerwe.
and saving no 1 1 1 o re with i t or tltrough ii. 11·as lo be
complet.c·lv silrnt . For K e1·1rsz. pho1ograplt 1' a11d life
wcrr alwavs i11 1 rinsicall)· con11ec1cd. I le 11·as defiui-
1.ivclv µ ers uaded to cease working 11·ith the illus­ .\ l rl a 1 1 c l i o l i e Tu l i p.
trated pop1ilar magazines 1vhen Look, in its October '\rw York, J <J:39
a rt is1 ic or joLmia l i s L i c . He worked i 1 1 t he f'ol l ow i n g I ague and ! louse and Cr11-de11 hr1 "·"rn I <J:l6 and
years for /-louse and Carden, / ol glle, a n d To11•11 and 1 9-tO. l� v e n such pho1ograpl l('r;, as Hogn S l ' i 1 a l l a11d
Cow1l1y, wh i l e a lso drawi ng on his a rc h i ves for CcorgP K a rger \\'err i n c l u dPd. t hough 1 he1· were far
Coronel a nd carrying o u t com m i ssions for va riou fro 1 1 1 n ms t c n; of' i l w gcme. F i 1 1 a l l y. as carriers of
c l i enls. Lu 1 939 Melancholic 'fo/ip- re l lcc t ed i11 a I h 1 n ga r i a n passpor10. hP illld l•: l i za 1 Je i l 1 wpre l '01 1sid­
m i rror-s u m marized, eloquen t l y a n d lo per f'cc t i o n , ered s u s pec t a n d f'orh i d d c n 1 0 p l 1o t ograp h a rn· t h i 1 1 g
t he s l a t e of h i s so u l . T h e p o l i tical s i t·Liat ion i n E u rope t ha t had 1 0 do w i t h nat ional srrn r i 1 y. K e rt r"'- t ook
con t in ued lo i mpede K e rt esz's ret u rn : t h u s he had t o t he i 1 1j u 1 1 c 1 io 1 1 l i t e ra l l v. I IP wa 1 1 tcd prob l e 1 1 1 0 " ' i 1 h t he
force h i mself i f n o t l o A merica n i ze at least Lo f i n d h is a u t l 1orit i es Pv<'ll IPss. no\\' t ha t l�l izabet h had sta ned
cues in Manhat t a n, where he had i ns t a l led h i ms e l f' i n a p ro f i t a ble cos1 11ct ics busi ness. C :os m i a Laborat o­
Greenwich Vi l l age. B u t h e encount ered n e w d i scom ­ ries, wit I i a H 1 1 nga ri a 1 1 f'riPnd, Fra n k Ta 1 1 1a:;. ( l� l i za­
fit u res: i n 1ovember 1 940 ( t he year of photographer bet l t left h e r share o f t he co1 n pa 1 1 1· 1 0 Ta l l' l a s i 1 1 hrr
Lew i s ll i ne's dea t h ) , . Coronet pu J ) l j s hed a spec i a l will of December 20. ·1 97 1 . ) For t h ree w a rb Kert esz
porLfolio of ils '·most memorable phot ographs"-in worked for no magazines, and his photographs were
whid1 none of K e n esz's work a ppe are d . Kertesz d1en rarely rep ro d u ce d in t he press. H e s u rvi ved, com­
made t h e de c ision to keep his d i sta nce and t·o term i ­ p l ete ly ind epe nde n t . J o h n Adam Knigh t . bo,1·cver.
n a t e a l l rela t ion w i t h Arnold G i ngrich, Coronet's asserted in t h e New York Post on Oemember .3 1 .
e d i t or. In J u ne 1 94 1 , an e n t i rn issue o f Vogue wa s 1 9-±2, in regard to die forty-filth i ssue of The Co111-
dedicalecl to t he a rt of phot ography in honor of plete Photographe1: in which there •.vas a ph oL O ­
Conde Nast . Kertesz was absent from the roster of graph by Kertesz: "The day Kert esz arrived was a
s i x t een photogra ph e rs sel ect e d , eve n t h o u gh his pho­ great day for American photography, an even great e r
t ogra p hs bad i l l u s t rated more than t hirty articles i n cl a y than is at present recog1lized b)- erutors, critics.
and museum curators. Having no aptitude for self­
p ro m otion, he [Kertesz] is onl y discovered slowly.
Nevertheless, it is almost certain that, in the years t o
come, h i s w o r k w i l l be a s ap p rec i a ted a n d admired
as t h a t of H i l l . A t gec, Sti eg li t z . Steichen. Weston,
28 Strand, and H i ne. ,. There cou l d be no more lauda­
t o ry pronouncement. and it gave passing comfort to
Kertesz, a w i t ness to the s 1 1 ccess of George Platt
Lynes, Martin M u n k a csi , A n d reas Feininger, Alred
Eisenstaedt, and ot hers. Kenesz wa s fi n all y natmal­
ized o n F eb ru ary 3. 1 9-+4, a ft e r E l i zabed 1 . wh o had
become an American c i t izen on t he 20th of Ja nu a ry.
From· dien on , he a t t em p t ed once a ga i n LO fi nd a
p l ace i n t h e press, 1 10 r n a 1 t er l tow arduous t he com ­
pet i t i o n between die photogra p hers a l ready on t he
markel, such as Walker Evans. I rv i ng Penn, a n d
H i c h a rd Avedon . A l t h o u g h he received a few COJl'l­
missions from Fortune, he wa s not i ncl ude<l i 1 1 t he
gen e a l og i ca l tree of' phot ographers created b y M . F
Agha ( w h o had l e ft Vogue) a n d reproduced in t he
No v em b e r 1 9-t-t issue of l latper's Ba::.aar-sixty­
t h ree names a n d no1 h i s ! K ert es z was not among
t h e s e peers, t hese i n novators, t hese t rue and st rong
p e rso n a l i ti es . But Ma rie-Jeanne E i sner had good rra­
so1 1 to w r i t e in Minicam Photography i 1 1 1 94-t:
· · K e rt es z is not a m a n o f t he pas t . i n s p i t e of' l t i s h is­
wrical i m po n a n c e. I le is one of 0 1 1 r great phot ogra­
I l o 1 1 1 i 1 1)( � l i i p . p h e rs., st ill i n onr m i d s t. , ver�' m uch a l i w . YN,
c :1 ·1 1 1 ra l l 'a r k . I Q-+-1 s t n .lll gC 'I )' p n o11g h ., K e r t e sz i s s o m e t h i n g of a · forgot -
.
'
-
·
... .

· ..
=
·
: : : : :::::: :.. ·, . ·., . photographer used 1 his book t o rem i n d h i msel f of
.. \ ·:-:-::
. .
·..- : ..-.... ....
: -
� .. .. ..:
·=.=.......

,,., -
' "' . good memories of old friends and t o prescm h imself
-:- �·-··:
-- · ·- -. t o t he decision 1 n::i kcrs in t he world of publishing. A t
- - -� : · ·- - · tt\ ,,'-,'
:
: - � .. ' t he bcgi n 1 1 i 1 1g of 1 9-+6. t he n e w art ist ic d i rector of
: l lo11se a11d Garde11. A lexander Liberman, offered
��=%% �m� .-----�
= ·-
• ., • a
-= - : " •. ..,,..,,.,. ,.
�·'. ! J.�
h i n 1 an exc l usive cont ract, w h ic h Kertesz accepted,
readv to lead a double photographic l i fe wit hout 1 ry­
- =:·- /\ . '
-:- -- : .. - h.
. i ng t o reconcile t he l wo polarit ies. Tbc pay was sat is­
-
"' ><"\'SI" . '. farl orv (a 1 1 1 i n i n 1 u n 1 i ncome of $ 1 0,000 a year), an I
- -.. •.�
t:"'fS· I
& ' f CI ii was well cst abl ished t hat a l l negat i ves woul d be re­
- -. t u rned to t heir a u l hur si�x mont hs after t he fu· t publi­
..., cat ion of t he corresponding photographs. Th is
America n V iscose Corpora t io11, I CJ-t2- 1 CJ-t5
.� <'On l ract s t ra i 1 1ed Kerirsz's principles: il gave away
. h is edit ori a l freedom and red uced the potent ial for
l c-n 1nan · here in A merica. This is regrc-1 1 ablc, and i t ot her i l l ustrat ion photographs. Kertesz was req u i red
·
.
is an 1 1 nj us1 irl'. W hat ever t he reasons. l r t us red is­ to provide Conde Nast \vi t h t he n umber of pho­
..
cover Kcr1 csz-i 1 w i l l be wort hwliilr . Kertesz. h u - t0graphs rcq uc tcd by t he cdj t ors. ru1 d t hey had t . O
1 rn rn io1 ica l l y and a rt ist ically closer 1 0 St iegl i t z a 1 1 c l comply w i t h t he guidelines determined b y ! louse a11d
..
Stricl ie11 t han l o t l ic " f.64 group and t he f lowers o f Garden. C i vcn t l ie 1 )'])C of magazine i t was, t he diver­
I h r 1 1ew gene rat ion. w a s decidedly u nable t o assert s i t y of subject s was i nevit ably reduced. On t he ot her
h imself: he rel in q u ished noth i ng LO anvonc. b u t ad­ hand, Ke1·te z gai ned t he opport u n i t-y to 1 ravel and t o
l l l i t t cd 1 ha1 lie was no longer a s l a r. I le l l l i ssed H 1in­ enter i l 1e hon1es of important fam i l ies a n d celebrit ies.
gar�· and France. / 10111i11g Ship is a11 emot ional, In 1 948 he was sent t o G reat Bri t a i n to photograph
mel nphoric landscape: \\• i l l t he h usba 1 1 d and w i fe re­ old cou n t -ry homes. and he passed t h rough Budapest
t u rn to E u rope? I le felt a l i u le 1 00 old and asked and Paris. For f i fteen rears, l-lo11se and Garden mo­
h i mself i f Pari l iad forgot ten him: be ides, Cosm ia nopolized h i n 1 : as t he profes ional that he was (wh ich
L::i boratories was a pro perous business. I l i s pho­ did not d isplease his amateur side), he applied him­
tographs were once aga i n t hose of a man w i t hdrawn sel f t o photographing gardens, i n teriors. furni 1 11 rc. 29
i 1 1 1 0 h i 1 nsclf, when Wol fgang Fyler, 1 he arl isl ic d i rec­ and decorat ive objcc l s w i t h t he grcal PSI carP, and
tor of l /011se and Garden. gave l i i m a comm i ssion t h us worked tcadily. I I i sense of l ight a l l ied i tsel f ef­
for t he Christ m as issue, which i1ia1 1gu ra1 ·cl a long f icaciously l o hjs appreciat ion of space. More I han
col labora t ion. t h ree t housand of l iis shots were reprod uced i n t he
magazine between 1 9-+5 and 1 962-a considcrablP
I n 1 9-+5 Kertesz produced a large pho1oessay
on t he factories of die text ile resea rch depart menL of
t he A merican Viscose Corporal ion. The companv
publ ished a11 abunda n t l y i l l us t rated brochure w i t h
t he I hot0graphs, which recalled t hose of L a France
'namille by Frnnvois Kollar. Hope was reborn for
Kertesz. especi al l y w i t h t he p u b l icat ion of Day o f
Paris, laid out by Alexey Brodovitch and pnblishcd
by J. J. A ugusr i n . I l l ustrated w i l h pliolographs ex­
t racted from a small elect ion made when l ie left
Paris, t h is book, accordi ng l o E l l iot Pa1 1 I , '· represents
not P::iris, t he pol i t ical capi t a l of France, 1 1ot Paris at
work . or Paris at play. . . . The figure t hat arrest his
[Krr1rsz's] cyr a rr wal k i ng. No one is doing anyt h i ng
1 1 �1:� 1 1 \IJ \l\lltrr.. llOl "ii·. '\o.:l
uscf1 1 I . t here arc no l::irgc cro\\'ds. ··22 The poi nt of - 11nn1w11li•f' ;.1.....� r...,. . _rr.1.. in� fott11h

''iew. t he critiC' remarked. is l hal of a to11rist. who


wat ches I he French appreciat i ng l i fe w i t ho 1 1 t sha 1 1 1r. I louse a11d Gorden.
..
Kcrl rsz's observat ion is .. p 1 1 rcly phi losophic . Tlie October 1 937 {roq·r)
onh- as snn bols. Tl1c d i fference J a ,· in L he di;,lai 1Ce.
l i k e t i l ! ' d i s l a nc<· I H' t \\·een r('S J H'<'l a i 1 d Ion·. D 1 1 ri 1 1g
I hr years spent a t / louse a11d Carden. Kcrlrsz · ,, pl'r­
som1 l works were rrlaL iveh· n i n · . Tlw p l 1otograpl 1c1·
had 1 1 0 r inanciaJ \\'Orrirs. a n d hr did S l lC('C't'd i 1 1 gi ,·i 1 1g
mea n i ng l o eacl 1 i 1 1 1agc: i 1 1 c J l l d J l ishers of' I hl' 1 11aga­
zinr and t he 0\\'1 1ers of t he apa n 1 1 1e1ns t ha i i l l ' p l 1 0 -
1 ograpl ted "·err sa t is f i d ( a s 1 1 1 urh "-i t l 1 his \\'a\ ' of
looking a t a rc h i 1 ccl 1 1 rr n;, w i t h t he war11 1 t l 1 l1r
brought 1 0 t he i 1 1 1 criors ·oncei,·ed 1 11orr of1 rn t l rn 1 1
nol I J\· professional c l econ1 1 o r;, ) : b 1 1 1 l i e 1 1rvrr rn 1 n 1 1 1·d
I h i s co1n i ni,, sioncd "·ork ao parl of h is oel 1 1Te. in co1 1 -

1 rast 1 0 t hr work he h a d done p rr,·io11sh- i n Paris. 1 1('

resent ed 1 1 1<' loss nf' his phologrnphic i 1 1d i,·i d 1 1 a l i t )'·


I le "·as d isorient ed., as srw·ra l of h is personal pho-
1 ograpl1s of t he 1 i 1 1 1e i 1 1 d i ni 1 e. f'ro 1 1 1 The Uo11 oll(/ tlie
Sl10do1r ( I 9-t2) to lfroke11 He11c/1 ( 1 962) ;md !Jisap­
peori11g Act ( 1 9:):) ) . I If· 1n 1 s pcrfrct h- co1 1scious t l 1 a 1
a l t hough JI(' ren w i 1 1 l 'd fa i t l 1 fu l t o his craf1 . hr of1 c 1 1
lacked i l 1r 1 nos1 a rt is1 ir dfrc1-i l 1 c 1 1 1agic b)· w l 1 i c h n
l �o 1 1g bland. C'. 19-t.)
phot ograph bec1 1 1 1 1 e:, a rl . \fhrn a "·a rm t h of prr,on­
a l i t ,· c i rrn l a 1 ed i 1 1 a house, i(e1tr;z rc11 i t . fo1 1 1 1 c l i t
.
n ur 1 1 br1· \\'hen compared Lo L hosc of h is col lragurs c 1 1 1 crrc l i n 1 0 a rel al io11ship "·i 1 h i i . a n d \\ ' W, a hie t o
u nder con t rnct t o o t h e r publ icai ions. From t he begi 1 1 - producr a 1 n i raclr. 1 3 1 1 1 i 1 1 a n i 1 1 t t•1·ior designe1:s 1·00 1 1 1 .
1 1 i n g Kerl csz had a rep u 1 a 1 ion a i Conde .\ast for 1 1 1a­ h e cou l d cxrrcior o n l r h i s vis11t1I i 1 1 1 rl l igrnce. h i s l c1 · l 1 -
n iacal p rcoccupalion \\·i t h det a i l a n d for h i s dr1nu nds 1 1 ical lrno\\·-ho\\'. I le d i d 1 101 cl 11rngr i 1 1 a profo 1 1 1 1 c l
in relat ion to l igl 1 1 i ng a n d 1 hc placemern o f objcc l s . ,,rnse: he ac lap1 rd. a n d i 1 1 i l 1c l o 1 1 g ru 1 1 . it "·as h a rd 1 0
:30 Brooke A s 1 or. w l 1 0 l a t e r con r i rmrd t h i s. worked of1 r 1 1 l i l'e "·i 1 h : h is ,;c1 1 1 i 1 1 1c 1 1 1 a l i 1 '· \\·as 1 1 0 l onger a l l o"·rd 1 0
\\' i t h h i m . pat ien t l ,· e n d u ri ng h i , moods and appreci ­ C ' l l l c r I i i, photographs .
at ing t he perfcct ioniom 1 ha 1 \\'O u l d have i rri t nl rd so
mam· o l hers. In hrr a u t ob i ograpl 1 \' Ao1 01· poi l l l rd out 1 1 1 Drce 1 1 1 l w r 1 9T? i(ertr;,z l i a d h i s f i rs t .\ c \\'
1 h a t Kencsz ··rejoiced i n "·ha1cver h i s ca1 1 1cra eo1 i l d York ,,J 10\\ '. i n P.1 / 1 1 1 agazi 1 1 r ·, ga l k· 1y I n .\ l n rc l 1 . I H'
e a 1 c l 1 . " K r rt Psz. l 1r1T a s clse\\'hcrc. h a d t he taste a n d had a l ready pan i('ipaicd. a l o 1 1 g "·i 1 h fiw· ot l 1r r
t hr l a l e n l t o rnha ncc 1 l 1c ohjerts. Thns. fro 1 n 1 9-t6. p ho1 ographers., i n ·· Photogra ph;· 1 839- 1 9:3T at I h r
I /011se and CwdPll (al t hr l lf 'ar t of i l 1r CondP \ast .\ l 1 1se1 1 1 1 1 or .\ lodcrn t\ rt . ll ' h\' I'(' '· · A 1 1 1rrica 1 1 P h o ­
group) 1 1 101 1opol ized h i 1 1 1 . a 1 1 d his prof1·ssiona l i s 1 n t ogrnphs"' 1 1\· \\'a l k r r l�l'ans "·0 1 i l d hr ,; 1 10\\·1 1 i n
nrvrr "·ra kened . T h r photographer. who l 1ad · · 1 1 0 1 9:38. 131 1 1 P \ I g n l lr1y "·as a s o l o sho"· n1·t·o1 1 1 pan icd
rral f'ricnd·· �:l i n t h r c i t �· a n d "· ho was assured ly 1 1ot I "· a cat a logue. 1 1 1 t he sa 1 1 1r �-e a r. J.-:.rnfsz p a rt i c i ­
a s i n s p i red " ' " \cw York as hr 'ms b,· Paris, \\'O u l d pa t ed i11 · · Pioneers of ,\ lor lcrn Frr nch Ph o 1 og ra p l i v · ·
l a t r r C01 1 1 p l a i n of h a v i n g \\'aslt··d 1 n 1 1ch 1 i 1 1 1r a n d cn­ at J n l i en Lei·,· ; 1 1 1 d . i 1 1 1 9-t I . i 1 1 ·· J i nage of Frrcdo1 1 1 . ··
rrgY. I le con t i n urd t o m a s t e r p r rspect i w . t o p l a v anol hrr group sho"· ai .\ l o . \ I A . \\' here hr \\·a;, p l aced
"· i t l 1 a ngles a n d c li agnonals. lo prac t ice i mp ro,•i ng a a m o n g 1 1 10 s l h- a nrn t r u rs. a fact t h at d i d 1 101 c l isplcase
context a n d ridding h i n 1sel f' of e1 1Cu 1 1 1 be r i 1 1 g c leu1 i ls. h i 1 1 1 . I le l w c l a s o l o sho\\' at t l 1r A n l noi i l u t c of
b u t h e w a s shoot i ng al Wi 1 1 t l irop Hockef'c llcr· s a nd a l Cl 1 icago in 1 9-t(J t ha l t'On,,islrd of i l 1 i r1 1·-si x p ho­
I he fashion designer 1'v l a i n bochr1:s-ra t h e r L ha n a t t ographs . t he n rnjori l )· o f "·l 1 ic h \\'Cre 1 ak c 1 1 fro 1 1 1
Za d k i nr's a n d .\' londrian ·s. I l e st i l l appreciated 1 he Vay of Paris. l�vc 1 1 1 ho1 1gh l hc reviC\YS i 1 1 t he p ress
books., set in a row or p laced on i l 1e rornPr of a t a ble. \\Trc fc"·, t l 1r slJO\\' "·as a d iscr e 1 r i 1 1s1 i 1 1 1 1 io 1 1 a l rrcog-
t h a t n 1 o i ·e 1ban anrt h i 1 1g personal ized a p l ace., b 1 n 1 1 i 1 io n . I le h a d 10 wa i t 1 1 1 1 1 i l 1 962 t o >CC h i s p h o-
t l lC'\' \\'('/"(' n o longrr 1 ho:e o r l 1 i s f'rir 1 1 r ls. i m b 1 1ecl w i 1 h 1 ogra p h s sho\\'n i n p 1 1 b l ic aga i n . al t h e L 'n i ,·rrsi 1 ,· o f
personal a rfrc t ion. t ha t h e t ook c a re t o p l ace i n t l w Lo1 1g b l a 1 1 d . a n d 1 hr n i 1 1 1 96: ) . a t t he I \ . .\ lost ra B i ­
p i c t u rc . The,· "·ere L l 1osr of u n k no"·n a uthors. used r nnale l n tcrnazionalr d e l l a Fot ografia i n \'rn icc.
i 1 1 1 rrior, a 1 1 c l t l 11 · ol ijc·. - 1 , t l 1a 1 t l 1 i' l u ., u riou;, 1 1 1aga z i 1 1r
p u b l i , h c d . 13 1 1 1 . I n· n'.,ig1 1 i 1 1g l i i m-,rl f. t l it' 1 rur K c ri r'z
( '( Jl l l d 1 H 1 lo1 1ger f i 1 1 d l i i n hc l f a n d c n d<'d 1 wrl ia p;, I I\
no longer ('\Tll l oo k i ng . .

1 1 1 j l )(J-t .lul 1 1 1 Sza rlrnw;,ki . t l 1r 1 1< '". n 1 rn t or a l


i\ l o.\ I,\ . w l io l 1 a c l j 1 1ol i n t ru c l 1 u- c d .lacq 1 lC's-l l c 1 1 ri l ,a r­
t igue ( l iorn i n t l w oU l l H' )'Ca r "' K r rt {-:,z) to .\ 1 1 1 ( ' ri ­
C'<l l 1 ' . prc,< ' 1 1 1 ( '< 1 . i 1 1 1 1 1 r1 1 . a " ' l o 0 1 10 "· of K c rt r,z·,
\\·ork tllT01 1 1 p n 1 1 i rd hy a f ' ; 1 t a logur f'01 1 1 u i 1 1 i 1 1g � i x 1 y ­
fo1 1 r pho1ogr: q i l is . K c rtroz·s rrdiscon'1Y ".",, fol l o\\Td
r:.1 p i d h I I\· :wrnla de,. a 1 1 d t l ic b a l e of col l (Tt i l i l r pri 1 1 1 ,
progn ''" i ''( · I � i 1 H 'l'l'a,rd. t l1a11b abo 10 :\ i cob,
Ducro t . w h o ,e n·rc l a ' a n ilgr 1 1 1 . l·'ro 1 1 1 1 l ir 1 1 0 1 1 .
K r rt P,z prcpa n·c l I i i , boob "·i L 1 1 t l ie advice a n d l w l p
of E l i za l w t l 1 . 1 1 1 1 1 i l l ie r drat l i i n 1 977 a fl <' r l o 1 1 g , 1 1 f­
"·l ine I I( ' 1Tcei q·d a go l d 1 1 1eda l . at t l l( ' B i h l iot l 1i·q 1 H' fcri 1 1g i 1 1 1 l irt(·d h�· eawer. 111 1 962. ;,l 1ort k a f 1 e r
\ a 1 i o 1 1 a l<· i 1 1 Pari, . a 1 1 d at .\ l odrrn ,\ ge S 1 1 1 d i o i 1 1 hrea k i 1 1g I i i ' r o1 1 1 ra c 1 r l l l d r('covcri 1 1 g rro 1 1 1 a n opera-
\ ( · \\· \ 'urk . T l 1 1 " t h r a l 1 1 10"1 co 1 1 1 p le 1 c · i 1 1 d i ffc · rr 1 1 1 T 1 i on . K r ri p,,z l i a d go 1 w lo A rge 1 1 1 i n a 10 :;ec· I i i:.
l a , t < · c l f i r1 r •( • 1 1 y<·ar,, d u 1·i 1 1g " · h i r - 1 1 1 i 1 1 H· K cr 1 {-,z de­ brot l 1cr. T l i i s t ri p 1 1 1 M rkrd t l ie c11d of t hr t h i rd period
Yutrd l i i 1 1 1 S1· l r 1 0 I /011se 011d Carde11 a 1 H I occasi o 1 1 : d l \' and t he bcgi 1 1 1 1 i 1 1g of t l 1e fo1 1 r1 h i n t l ir crm'c r of t l ie
.
10 I i i , o\\· 1 1 "·u r k . K rrt c:.z ''"''" 1 10 1 f'\'f ' l l i 1 u- l i 1 c lPd 1 1 1 pio1 1rcr of .. 1 < i l k i 1 1g p i c 1 1 m'o" "·ho "·o u l d 1 1ow 1 1 1 1 i 1 e
..
l<� c hrn rc l S t c · i c - 1 1 1 ' 1 1 · , , l io"-. ··T J i r Fa 1 1 1 i h- o r ,\ l a 1 1 i n h i s fc1Yor 1 0 I i i, rrof ' 1 1 t 1 1 1 r1 1 1 .
1 9.) .) ( t l 1 0 1 1gl 1 1 l 1e c l ioicr o r pho10gra p l 1 < · r, was ( '[ ' r-
1 l l i 1 1 h· dc·hat a l i l r rro 1 1 1 an a rt iot ic poi 1 1 1 of ,· i<· "·) . I i \r h i l r "·a i 1 i 1 1g 1 0 hr rr( '()gnized. K ( ' rl rhz ·,, pr<'­
\\Wi i 1 1 1 1 1 1 c d i : 1 t ( · I �· rol l o"· i 1 1 g A l r x L i l w n 1 1 a 1 1 ·,, rrj rc- fe rred 1 1 1 0 1 i f, i 1 1 1 l ie oi rrr t :. or :\cw Yo rk . a l ong w l 1 id 1
1 io 1 1 or < l l l m·r rh 1 1 1ov i 1 1g p l iotoess ; I \· al Cole Port e r·,. l ir \\·a 1 1 dr1w l 1 l 1 ro 1 1 g l i o u 1 t he 1 9.) Q,. rr1 1 1 a i ncd
a i 1 d a projeel 1 1 1 1 d r rr a k r 1 1 at t l 1 r r 1 1 < I or 1 96 1 . t h a t t l 1 c rnn s i rnct i ' is1 j 1 1. x 1 a p c h i t i o 1 1 o f t l w b 1 1 i l d i 1 1g;,. t l ie :l l
K c rt rsz h ro k P I i i ;, rn 1 1 t rac1 "·i t l 1 C :o 1 1 dr \ a:,t a l l ( I cclc c t i ( ' 1 1 rha 1 1 f 1 1 r11 i 1 1 1 rc. t l 1c passrr;,l n-. a11cl t he
-; t o pp1·d work i 1 1 g ror 1 !011se 011d Corde11 . H r l ir ,·rd. prop l r 1 1 1orr ( ff Ir:;,, at t l 1e r m 1 rg i n , "·ho l i ad t l l C' 1 i 1 1 H ·
l i l w ra t rd . l lC ' """ f i 1 1 a l l \' abl(' l o g i ve rn·e r< 'ig1 1 i o I i i , t o ;,i t 0 1 1 p u l i l i r l w 1 w l ws . These \\'f'r(' t l 1 e 'a 1 1 1 r· prople
..
se1 1 1 i 1 1 1r 1 1 1 < d pl 1 0 LO g ra p l 1 �·. · · I l e \\'HS s i x t ,·-pigl i t ,·r·; u·:, Lou is Fa mcr p l 1 otographrd-Faurcr a l so had 1 10
o l d . �·et he re: i p pe a rrd 1 1 1ag1 1 i f icr1 1 1 h- 0 1 1 t l 1 r i 1 1 t rrn a - t as t e for glori f,·i 1 1g a 1 1 i \ 1 1 1crica 1 1 ooci r t y depri ved of
1 io 1 1 a l ;,ce 1 1e. w i t l 1 s h o w s i n \'r n icr a 1 1 d i 1 1 Paris. 1 1 1 a l l i n 1 1occ1 1cc. c o rn p l a ce 1 1 t . o<l t i s r icd "·i t l 1 i 1 ,, co1 1 1 pao­
Camera. i 1 1 A p r i l 1 963 . B rassa ·i c l u bbed h i 1 1 1 a . . i rn r s i o 1 1 lrss " '·s t e l l l or ;,u 1 1 ct ion,,. and \\'a;, a,, 1 1 1 1 w l i as for-
..
CT<'a l or or t l 1 e i 1 1 1 agr. . a 1 1 d O i l (' of t l 1 r gl'C'HI C'SI pho­
· 2
t ographer' or 0 1 1 r t i 1 1 1r . · -1 Bras"1 ·1· \\'"' 'Orr�· 1 l i a 1
Ken r,,z · s 1 1a 1 m• a 1 1 d work were 1 1 1 1 k 1 1o w 1 1 i o t hr 1 1rw
gc1 1rra 1 io1 1 . a 1 1 d hr rel a t e d :

..
\X ' hc1 1 I s::rn · h i 1 1 1 aga i 1 1 , a few yrar' ago. l ir
was wait i 1 1g for l l l f ' on t he q uay of t l ic port i 1 1 .\ cw
York. I I i;, r i r;t words wrre ·1 a n 1 dead. It i s a dea d
1 1 1u 1 1 you a rr sct--i 1 1g aga i n . . . . · "T'hc rra�on wa:o; givr 1 1
i 1 1 t l ie si 1 1 1 p l ic i l \ · of t l ir fac t s . Tra 1 1 sp l a 1 1 t cd 1 0 D world
ra t her 1 1 1 1 favora b l c t o l i i s m 1 t 1 1 rc and l i a v i 1 1g 1 0 focc
up 10 L l w 1 1ece,,, i 1 irs or h i s l lP\\. c x i s t r l lCf'. K r rt PbZ \\·a s
1 1 na blr 1 0 f i n d h i , t rur pa t h . b u t 01 1 h-. a n d 1 1 1 1 1c l i l a t er.
f i m 1 1 1c i a l b L H T< 'S,,. \York i ng for t l 1r magaz i 1 1 e l lo11se
w1d Coirle11. for ycan; he consc i r 1 1 1 io1 1 sh- p l io­ .lol 1 1 1 �zurko" :-i k i .
\ r \\ \ mk . l 'lh:l
t ogra p l lf'd . w i t h a l l I i i;, profe,,si o n a l 1 1 1a:,1 rrr t l ic rid1
\X'a !-l l i i 1 1 g 1011 Square� 1 < >3-+

bidden 1 0 p u blj s h a n y t h i ng hu1 h i s fash i o n pho­ Squarr covered in snow. i n which a d i s 1 a m sil­
l ogra p h s . Tire fa t e of t he Swiss Rohen Fra n k , who lrouel l e, anon)· mous, sol i ta ry. i n d ispe nsab le . was
i r 1 1 r 1 1 igra t e d i1 1 I CJ.SO n n c l was i 1 1 1 eg rn 1 e d de:;p i 1 e t i re '" spec i a l ! )' " of t he photographer. his signa t ure .
l'\'C'rv 1 h i 1 1g. '''as hardly r 1 1 orc desira ble. I t was i11 T h i s shot proved 1 ha 1 a lt h o u g h ro1 1 1 i n� had wea k ­
F ra 1 1t T t i rat Pra r rk's 'T h e 1l 111erirn110 was publis hed in ened I r is name, i t h a d not p u t i t O l l i a l l ogetlr er. The
·1 938 ; t i re A m e r ic a n cri1 ics wc rr severe wl rrr r 1 he i n ner conn ic t did not SLtbdue h i m : the pressu res of
book "·as pu bli s h e d i n l hc Uni 1cd S 1 a 1 cs lw G rove Conde Nast d i d not 1 01 a ll)· ·'con 1 a 1 1 1 i n a 1 e " h i m . t o
Press . A f1 er Kt'rlcsz a n d Elizahc1 Ir 1 1 1 ove c l . 0 1 1 Oc10- borrow \Valker Ernns· s e xpression. T h e a n i t i n h i m
bcr 1 1. J C J.) 2, i n t o a r r aparlllll' l l l 0 1 1 t l r r i \\·cl f't h noor remained v i t a l a r r d mot ivated. C'\'C'll i f, for a long
o f a l rn i l d i n g a t Two F i fi Ir Avl' r 111r i lr a 1 lookrd out on t i 1 1 1e, h i a rt is 1 ic i 1 1 t et 1 s i 1 y was weaker. i nce "·h en ?
\\'as h i ng1 01 1 q u a re Park. Krr1 rsz obsrrn·d in all \�'eston Nacf'25 be li eve < i i t was since 1 933. t he
srasons t hr l i fe of 1 I r e r 1eigl1borl roocl fro 1 1 1 h is w i 11 - Year o f h i s m o t h e r:s deat h a n d of h is marriage to
dow,. From t here ( ,,·i t l 1 a 1 elep l rot o lens ) I r e t ook h i s El izabr1 h. O t he rs be l ie,•e i t ,,·as si nce 1 936. w he n
hes l s l r o 1 s . i r r w h i c h I r is a rc h i l ec l u ra l sense w a s m ar­ he lef1 Pa ris a n d I r i s art i s t i c home. Kertesz '"as
\'C' lousl,· eorn p le me1 1 t e d by I r i s i n na t e capac i l )' for si ncere w h r 1 1 he acrnsed A nr erica of having
co r 1 1 p l i c i l o u s obscr\'al ion. There I r e exercised u n l i m ­ ro bbed l r i 1 1 1 of h is t r u e t a lent, b r r t was he not per­

i t ed p a 1 i e 1 1 ce. wai t i ng for j us t w h n l wou l d 1 1 1n k c t i re haps r 1 1 i s l a k e 1 1 ? I Ir would again show evidence of


p h o t ognr ph u n i q u e, K e r1 rszia1 1-as I r e k ne"· how t o nea t i v i t y, a f1 e r c 1 1 d i 1 1g his collabora 1 i o 1 1 wi t h l/011se
C'apl u re. a 1 j us 1 1 hc right rnor11e111 , 1 he flash 1 ha 1 a11d Carde11. i 1 1 I 962 . Then he b egan lo rca sert
1 n 1 1 rSl'C' n drc l s i g h t a n d n·leascd ''ision, i l l u 1 1 1 i n a t i 1 w I r i s i n drpc11de1 1cr. rrgain i n g h i s eo1 1 f id r 1 1cr t h rough
l i fe. T h i :; nc"· apart 1 1 1e n 1 a n d t l rr s q u a re at 1 hr foo � l \\'O s r r ccessi ,·c la rge shows and. in 1 96:). recovering
of i lre building fir rall)· offrrrd h i 1 1 1 a pr rso r rn l a r rchor. tl rC' r 1rga1 in'' he l e ft in F rance in I 936. w h i c h
I i t ' rl ' l le\\·ed I r is a cq u a i 1 1 1 a nce ,,·i t l r t i re masterpiece I r r had 1 hou�d 1 1 were lost forever. A rn r r ic a alone ca 1 1 -
d u ri n g i l rr w i 1 1 1 r r of 1 9 .) -t t l r a 1 1 k s lo a \\'as h i 1 1gt on r 1 01 b e blamrd.
I . lndn> A.n·t<>s:. l fagl nrurs:.<lgon. illh'I"\ iew wit Ii J8110.., :!.:!.. l·: l l iot Pau l . ·· \ .\ lood f'ro111 t hr Dim PaoL .. Saturday lle­
l3od1 1ilr. riew ofl�itemture ( \ lay 1 9. 1 9-t.)) .

:!.. lhid. n. Kr>rtes=. Gail lard. pagr 71.

:l. Ibid. 2-t. · · \Jon i\ 1 1 1 i A n d rr Krr1 r,z"' h� Brassa·1. Car11em, \pril


1 96 : 3 .

2) l 11dre Kertr;s= of Paris o ! ! d .\"r>,,. J 'ork. W1·,1011 \a1•f.


.
·"T1 1(' \ l a k i 1 1g of' a 1 1 , \ rnerin. 1 1 1 P l 10 1 ograpl ier. ·� page 1 2 1 .

(1 . Cliangr's. \ pri l l <J7.) .

.., I lt111!!_ori<111 l le111ories. pagr .\ .

.
8 . . LP.., p l 101ograp! ir., ( rorigi rn: 1�1 rangi>rr ac1 i f.., P 1 1 Fra11 C "c
1·111n· J CJ J ( ) ('I J <):J(, .. ( P howgrapl u·r:-. of fon'i;.!1 1 origi n an i n·
i 1 1 FntlH'C he 1 \\ c·e 1 1 1 9 1 Q and J 9:�C>): 1 1 11:1.,l('r·-. dw-.j., in a n
h i -.1 ur� : \ 1 1 1 1 iP-La 1 1 1'(' \\ a11a,·erherq: l 1 1 i n·r.., i 1 � or Pari�­
Sorho11 11I'. I C ) < JO: pai:c• 8-t.

C). l h i c l . . pap:l" 81.

I 0. I l1·11ri \ a 1 1 Lirr. l listoire 1iliotow·apliir1ne de la plw­


loarophie ( Phototrniphic I l i.,1or�· ol' Pho1ogniphy). /cs
( '"/ii<'!"s rle '" plwtogmphie. I <J<J:!..

1 1 . ·· I l1•1 1ri \ l a t i"r 011 � l odrrni,111 a 1 1 c l Tradit ion.·· Tlie Stu­


dio. I \ . 1 111. :;o. \ l a , I <J:J .:;.

:n
I :l. l n rld !.. r•r/1;s=. 111a Fronce: Sa11dra l 'h i l l i 1h. ·· \ n c l rr
Kt ' l '1 '� ... 7. 1 1 1 1 101 1ri:-.H· it Pari)i: 1 92:)-2"7.· · pa�<' �:). Tltr lt'.\ l 'i
I " S11 11dra l ' l 1 i l l ip, i n l urid !.."erth=. '"" Fmnr·1' a re n l ract'
fro111 · Th" Pl101ographie \\"ork of \ 1 1c l n� K<•rt r,z i11 Fra11e1·.
1 1 ):!. .)-:l(i: \ Crit ic;il "'"'� and Caw loi:11t···, 1 hc·,i" t he C i t \
L 1 1 i "·r,i1' of \"" \ 'o rk. 1 98.1.

1 -t. lhicl.. I ' · :!.<>.

l h. 111 rq.w rd 1 0 t l 1e n·la1io11.,hip b('t \\ t'r11 \ru in� Ker11':..,z and


t l u· prr--. "''' t l u• 1111p11hli,hed -11uh h� E l i,al w 1 h Dau11ia,:
·-,\11dn� "t·r1f-,7 a11cl Crnn111i.., ... io1 1c-d Plio1o�n1 pli� l'ro 1 1 1 1 C>:Z.J
10 J < J:J(i.·· \ l i"io11 du l'at rimoinr Pho1ographiq 11c. J {)()()_

1 7. l11r/d t.."erfl;s=. 11w France: fra 1 1-C : la 1 1c l(' Le1 1 1ag11 \'.
· · .\11dd "<·r1 1�... z 1 1 1 a'i'1n· de la 1 1H' ... 1 1 n·. ·· p<-ltrt� 1 08 .

1 8. lhicl . . I '"!('' 1 1 2.

:!.O. I 1 1 1 1"n i1·" " i t l 1 .lunrh 13oc luar.

:!. I . I lorper :1· /J!!=rwr: \o. :!.<>9-t. ··.) ::lO-Tlu• ( :11r1 a i 1 1 Fa l l.,.··
"·i 1 h t l 1 i rn·1·11 pl1010i:raph, b�· \ ndd Kl'rtr,z.
The I- -I un ga rian Period
( 1 894-1 925 )
A Ph otographer/ram Birth
A
1 1 d rr K e rtesz s a i d a l l h i s l i f'C' t l w t he was
·· ! Jo rn a phot ograp h<'r. · · l rn t he nr 1·r rt h r l l 'ss
<'VOl \'cd d 1 l l" i n g t h e r o 1 1 rsc o f his ra reer-a 1 1 d
h i :. !'\'O l 1 1 t i o n was l a rgc l v i n f l uenced bi· h i s su rrou 1 1 d ­
i ngs. O n e o f t h e objec t i ves of o u r st u c k i s t o sho"'
how his b i r t h place. t he c1 1 l t 1 l l'a l backgro u n d of
his yo1 1 t h in l l u nga ry. nnd, I n t er. t he memories
of his past a n d his I l u ngari a n a t t ac h m e n t s m a rked
h i s work . 0 1 1 r second object ive is a bit more com ­
plex. We would l i k e to u nders t a n d t he mea n i ng of
h: crt rsz ·s cert a i n r y of h a v i n g a n i n n a t e phot ogra p h i c
v i s i o1 1 . K e rt esz oft en raised t h i s 1 u cst io1 1 . rei t era t i ng
t ha t he composed u n ceas i ng ! �'- C\'en w i t h o u t a ca m ­
rra . B 1 1 t t l 1c d i s t a nce bet ween t he verb a l a n d t he 1·i ­
s u a l co1 1 1 p l i c a t !'S t he a na h- sis. a ro 1 1 1 1 d . a n d I fo 1 1 1 1 d o l d 1 n agaz i nrs. l i k e die Car/e11-
lr111be. ll' i t h l o 1 s of pho t ogrnph:,. l 1 1:, t i 1 1c 1 i l'('I�· I
K r rt r,;z spoke n e i i l 1 c r French nor E 1 1 g l i , h rnr­ fe l t t he de, i r<' 10 t a k e p l 1 0 1 os 0 1 1 r d · 1 1·. l ,a 1 r r I dC'­
rr< ·t 11. Ii 11·as in I l u nga rian t h a 1 he c x p rr;,srd h i n b r l f ci drc l . 11 · l 1 r 1 1 I had 1 1 10 1 1e1'. t h a t I 11·0 1 d d I H 1y a camera
l'lrarrst ( a t t i mes C\'e 1 1 s h o w i n g e1· i dc 1 1cc of a l i t c rn 1Y a n d I ll'On l d do ll' h a 1 I ll'a 1 1 t rd IO. \ l ranll' h i l r .

:J(> l':\ige1 1 C 1 " ) . I le rnjoyrd r(·co 1 1 1 1 1 i n g < 1 1 1 rcdot t':, a 1 1 d 11· h r 1 1 '01 1 1et h i 1 1;r h e l d 1 1 1 �· < 1 1 t r 1 1 1 i o 1 1 . I ll'Ou l d hold 0 1 1
wo 1 i l d rrl a 1 r t h r ' a n 1 r l '1·r n 1 01·rr a n d u1·rr. l·'rom i l l(' t o t h l ' 1 1 1< · 1 1 1or�. "1 1· i 1 1g 1 0 1 1 1 1 oel f: · O K . l a 1 C ' r. ll' h r 1 1 I
" hegi 1 1 1 1 i 1 1g o f [ 1 1 1 \ ' ] ra rrrr. . · · I I ( ' 11·o u l d ,m· 1 0 l i H 1 T a ea 1 1 1 rra. I 11· i l l 1 a k e a p ict u re of i t . ' l 1 1:.t i 1 1c­
h: risz t i 1 1 a Pa,s1 1 t l 1 (art h is 1 o r i a n . w h o was for a w h i l r t i vl ' h I l ww1 1 1 1 0 rn 1 1 1 posl': I lra rnrd 1 0 prrr<'i1T t l 1('
a < ' 1 1 1"a 1 ur a 1 1 hr .\ l i 1sfr d ' i\ r1 \ l odernr c ir In \ ' i l k d r 1110111e111 . . l i p 1 1 1 1 1 i l t h< ' dm· whrn I t oo k Sleeping
P a r i ' a n d i s now c ha i r o f t h e a n h i s t o 1 Y c i('pa n mr n t /]0 1 : ll' hO 11·a:, 0 1 1 r of 1 1 1 1· a n m· h u d d ics. ·· i 1 1 1 a 1 101 hrr
a l t l w l 'n i 1•<· rs i t �· of lfo dapest ) : · · 1 n �· i 1 1 1 en·s1 i 1 1 pho- i 1 1 t e1Yi< 'll' hr rC('a l kd : ·· 1 1 1 1 1 1 ot l 1 a vr I H ·<•1 1 ' i x 1·rar'
1 og n i p h 1 hrga n i n 13qq_ I was harch- 'ix 1·rars old. I o l d w h l ' l l I d i scowrrd i 1 1 1 1 1 \· ; 1 1 1 1 1 1 · , a t t ic o l d 1 1rll'o­
h m l ;ronr 10 Szigc1 hrc,('. to 1 1 1 y 1 1 1 1c l r ·:. . 0 1 1 r da 1· I pap<'r,; a 1 1 d i l l u o l ra l ('d 1 1 1 agaz i nc:.. I ('1·r 1 1 re 1 1 1 < · 1 1 i l w r
. . l i 1 1 1 l wd up to 1 he a 1 t ic . w l 1crr I began 1 0 rn n 1 1 m 1gr t I 1 e 1 i t Ir of o n e of i l 1r,c· 1 1t·11·s 1 w pC'r': die Car/1•11-
la11be. . . I 1T 1 1 1c·1 1 1 brr cl<·a r l �· 1 h a 1 . r1·c· 1 1 1 1 1· t h a t
1 i 1 1 1 r . I l w d i l H' fer l i 1 1g t l 1 a 1 0 1 1r· d a 1 · I 1 00 11·0 1 i l d
1 m 1 1·br d o '0 1 1 1et h i 1 1g l i k e t l 1 io . Then I pn­
< T i l'ed 1 h e <'1·r 1 1 1 ' a ro u n d n 1 c · i 1 1 a ,po 1 1 1 a 1 1c•ous or r<'­
l kc 1 i n · 1 1 1 a 1 1 1 H'r. oa 1·i 1 1g to 1 1 1 1·,e l f t h a t l a 1 c r. ll' I H · 1 1 I
had a t·a 1 1 1 t · n 1 . I ll'o 1 1 l d t a k e 1 h i :, a n d i l 1 a t a 1 1 d . a l 1 1 10>.t
i 1 1 ' 1 i 1 1 c1 i 1 T k , I < · 0 1 1 1 po,;('d pho1 ogra phs . . . . Thl'
c l inic<· of t i l l ' l t ' 1 1gt h of t l H· pooc'. t he co1 1 1 posi t i o 1 1 . t hr
1 1 10 1 1 1 r · 1 1 1 of t l 1e o l 1ol 11·en' t r u h- i 1 1 1 1 1 1· 1 1a t 1 m · . 1 3 1 1 1 I
1 rn i 1 l <'d 1 1 1 1",l ' l f i l 1 i ' ll ' l l \' a l,;o. ob 1·i o 1 1, h ll' i i 1 1 0 1 1 1

'
h: e r1 {-,z ' I H ' 1 1 1 i l H ' Fi rot \X orld \� ·a r a' a ' o l d i e r
t ) I '"" \ i r \ I " " · l .o l l il'. ( .; d i 1 · i : i . f < J f .-, a 1 1 d a 1 1 1 a 1 c u r p l 1 0 1 o;rra phcr a 1 1d-11·i i l 1 or 11 i i l 1 0 1 1 1 : 1
ca1 n rrn-l 1 e d i d 1 1 u1 s l o p co 1 1 1 pos i 1 i g . I I i » nol r·l ioob
a ho 1 1 1 1 c l i l l 1 1 o i a 1 i o l l 'i i l 1 t 1 I C 'Ol l l d I ll ' dP,< T i p 1 i o 1 i s o r
p l i o 1 ogra p l i s . I i i go i 1 1 g 1 0 L e 1 n bC'rg ( I ,"·')"·) i 1 1 1 9 1 .) .
I H' 1 10 1 r d : "Tl 1 1 1 , I "·a, ahll' 10 "l'l' a r1 r r a11 < '. x pl o,, i o 1 1
i l l< ' 1 1 1 e 1 a l l i ( ' road a l l l l l l ie "·ago1 1 0. 1 > 1 1 1'1 1 1 . dl '"1 l'O\'l'd .
A 1 1 1 1 1 1 1 l w r or l l l l l' l l l H 1 1 s;, i n 1 1 \\'U!!Ol lS \\"t' I'( ' O i i i l ll' r 1 1 1 -
l 1a 1 1 k 1 1 1 r •1 1 1 a l o 1 1!! "·i i l 1 i l 1e d('l i r i " frr i 1 1 1 i l l l ' hri dgr i l w 1
l i n d e x p l o d 1 • d : i l i r ,p 1 1 1 a p h o rr. ( ' i l lYC'd i 1 i i l w l i g l l l o r
i l ir " u 1 1 . "·l 1 i ( ' l i l i ad a l rrM h- "l'I hrl 1 i 1 u l t l u • < ' 1 n h a n k -
. . ;;
1 i H · 1 1 1 . ;rm·f' i l 1r 1 n a 1 i i 1 1 < · 0 1 1 ; p n · l i f ' 1 i s i h l<' s i gm i l . .
n 1 1 d " \r(' l 1 a d I Jl'gi 1 1 i I l l ( ' 1 1 1 a n · l i al d; i \\' 1 1 . i\ 1 1 or a s i 1 d ­
d e n I sa\\· a -; p l r n d i d i n ia!!r: a q 1 1 a r 1 rred l ia 1 1 a l i o 1 1 a l
dm l 1 n ·a k . Iii n fo!!g1· l a 1 i d scape. "'i l l i , 1r ep i 1 1g.
c l n·a 1 n i 1 ig "ol c l i e r,,-drra 1 1 1 i 1 1 g < · i ,·i l d n ·rn i i " b d 1 i 1 i d
i l u' l i rn 1 1 ' . .. � .\ n o t e fro n 1 h i , j o u r m i l o f A p r i l T
Fi 1 .). rea ds. " 1 1 1 l l i r f'VC ' 1 1 i ng. I lookr·d al i l lf' people
hr • 1 i 1 O\'( ' I' i l wir hask<·h i11 a flood i 1 i g o f i l l<' \rrs"·irn
a 1 1 d I \\'as d < · l igl i 1 rd w i 1 h i l i C' s i l l io i ir 1 1 r of a rn r
\\' l i ic l i w m. 1·f'fkc 1 r d i n i l ir "·a t C ' r a n d da rkC' 1 1C'd. a 1 1 d
, h i 1 1 1 1 1 1ned i i i i l lC ' sr1 t i 1 ig o f i l l C' s u n hch i 1 1 d I l ic da 1 1 1
1 i ra1· t he flondrd zo ne. I C 'a v i 1 1g go l d d u s t hel 1 i n d i t . 1 1 1
i l 1r \Yat e r. i n l l i C' ca l 1 1 1 w a 1 rr o f I l ic hegi 1 1 1 i i 1 1g o f
s p r i 1 1g. a l d 1 i , k . . . o i 1 h- s o 1 1 1 p [ j ,, l i s 1 1 rfac i 1 1 g l i erf' a 1 1 C I
i l 1 c rr p ro d i 1crd l\Ti 1 i k lr,;. 1 1 1 1 c l u la 1 io11' d ia t co u l d
o n l y c 1 n l w l l i t-h 1 hc f l a 1 s i 1 rfa ( '('. S l o"·h- a hsorbC'd. I l ic
d a rk sl i ado"· o f i l 1 r ca r "· l 1 i (' h spun a l fu l l spcrd 1n1 s
i n r i 1 1 i 1 ch- 1 1 1 1· 1 r r i o 1 i s . · · �

:n
F o r K C ' r1 l-sz. co1 1 1 pooi 1 io 1 i i 1 n p l ird. a hovr a l l . pos i 1 io 1 1 . 1 1 was i n i po r 1 a n 1 1 0 i n c 1 0 d o i 1 . ''6 '" W l i v d i d
1 h c ordering o f fo rms. a 1 i d ;,rn i 1 r 1 i 1 1 w;, a l so i n l C'grn l ­ I 1 a k r i i ? I s n w 1 hcrr srn i wi l i i ng 1 h a 1 0C'c 1 1 i cd i n l C'rC's l ­
i ng a t mosph<'rir co n d i 1 i c 11 1s. I i i I l ic p l i o 1 ogra p l i c n - i 1 ig a n d I c l c rn a l izC'd i 1 . Obv i o 1 1 s l �" I wC1 i t c d for i l w
1 i i lcd The S11 • i11g ( 1 9 1 7) . I "·o c l i i l d rr n ! ' h a l 1 e r. for1 1 1 - 1 nos1 fa \ ' o rn b l r rno 1 1 1C 'n l . I \\'as i l w re. 1 hey l 1a d 1 1 0
i n g a ligh 1 opo1 i n fro 1 1 1 aga i ns 1 l h C' d a r k backgro u 1 1 d idea \\·h a l I \\'a. d o i 1 ig. c -prc i a l h- in 1 C J 1 7-1 p l a vN I .
i n \\'h ic l 1 ('V('rv l h i ng i s d c l !' l'l l l i 1 1cd I J\' I l i c l rn c i ng o r I t a l kC'd 1 0 1 h rm-1 l ic favora b l e m o n l l ' n i a rr i vrd. I
para l le l s a n d s o 1 n c ( ' O l l vrrgrn t l i nes. " I ! ' O n s c i o u s h­ t oo k i i . A n d i n effec l . I sec now 1 h a 1 l'ro 1 1 1 il i t> poi n 1
t oo k t h i s p i ( 'l l l l'(' fro 1 1 1 i l 1r poi n l of \' i('\\' or 1 h r ('01 n - o f view o f co1 n pos i 1 i o 1 1 . i i i s 1 n odrrn . "'? 1 1 1 1 h e p h o 1 0 -
gra p h . o n h- o n e r l r 1 1 1C'1 1 1 1 e ·s 1 i fiC's 1 0 i l 1e " favorable
1 1 1ornc1 1 1 ·· , 1 hr l i 1 i le girl l i ft i ng h e r foo l . In ot h e r p ho-
10gra p h s . 1 hC' approp r i a 1 e 1 nrn n c 1 i 1 is i l 1e key r l e n H ' 1 i 1
o f d i e ( ' 0 1 n p os i 1 i o 1 1 . Fo1· c x a 1 n p lc. t he 1 ra i 1 1 1 ravcrs i ng
l he backgro u n d i n Mell(/011 ( 1 928) or 1 l i r s i l ho 1 1 c 1 1 < '
a p p roac l i i 1 ig t h e s 1 rrr 1 -1 hc1" arc ,,ign i r i ca n 1 . I i i h i ;,
r i rs 1 prriod. I l i c !raps I ll' a n i i rn hC'r o l' 1 l ie f igu 1·rs rr­
ca l J 1 h a l KC'r1c;,z t oo k a d v a n l agC' of e,·rry o< ·c:: i o i o 1 i t o
do spor1 s. I n grnrra l . rvC'1'\'t h i ng i l 1 a 1 h a s l o do w i i l i
1 i H )VC' 1 n r 1 1 t-lra p i 1 1g. pool sr·rnC's. rnc<'s-rsprc i a l l ,·
i n l cre&tcd h i m 1 he n . 1 1 is i l 1 1 1 s na 1 u ra l i l 1n 1 he opl C'd.
veiy ea riv. for i no t a 1 1 1 a 1 1co i is p h o 1 ogra p l l \· \\' i i Ii or
1Vi i l i o i 1 1 a1i a i 1 1 0 1 1 1 a 1 ic rrlra;,C' 1 1 1 rl ' h a 1 i i :;1 1 1 . N o l e aga i 1 1
:iol t l i n a 1 1 t l B 1 1 l l . t hr s i n g u l a r ro l r o f h i n b i i i l i i o \\·or l c d w , o f l l ' n or·­
I l 1 1 1 1g[t 1'\', 19 1 7 c u p v 1 hr kC'1' p l arrs i 1 1 hi;, liC'ld o f ,·i s i o 1 i 01· nra l f' f ' I -
.
'"noble met hods , \\'as replaced bl' t he prod uct of
�soft e n i ng'' lenses. Appare 1 1 t l v Kert esz d i d not k 1 1ow
t he work of t he photogrnphers J a 1 1os \. IJLi l l ncr or
C v u la .lclfy, "·ho d u ri ng t he Hcpu b l i c or Cou 1 1scls
had t ried to ereat e I l i 1 1 1ga rian phot o-essavs. We a l so
do 1 1ot k now i f he k new KCiroJy l:<:scl1cr. \\'IJO \\·as
born i 1 1 1 890 and who. hct \\'Cen t he l \\'O world wars.
bcea 1ne 011e of t he kc,- figu 1·es i 1 1 rC'port i 1 1 g "·i t h a so­
cial c 1 n phasis t1 11d cvc 1 1 of' pol i t ica l l y r1 1gagrd ·"sorio­
photograp l n·. ··· At t h i s t i me. Kertesz "-as a l rcark t he
n ia 1 1 1 1·r crrc 1 t o r ,,·ho. ,,·i t l 1 h i s lvrica l vision a 1 1 d h is
\Iv Brotlwr '" l 1 · a r 1 ".
original ( ·0 1 1 1 posi t io11s. would i nscribe h is name i n
D111 1ahara::;z1i, I l u ngary. 1 9 1 9
t he h i s t ory o f' photogra p l ff \\' i l h t he i nvent ion of
..
what i s k 1 1 0\\·1 1 as ·" l i t era rv reportage .
emC'1 1 t s w i t h narra t i ve val 11c. We have u n derst ood
ra t her late t l ial h i s photographs of b i rds w<'rc not t i !(' In 1 9 1 2 K ert esz t ook h i s first p hotographs ( a
work of rha ncc. L ' pon his v i s i t lo Budapest i 1 1 1 98-t. you ng neighbor a 1 1 c l her f 'a n 1 i l)') assisted b y h i s
Kcrt r;;z wai 1 1 !'d t o take a sliot of a n o u t door st a t ue you nger b rot her. J o u rn a l enl l')'· J u ne 2 1 . 1 9 1 2 : " · We
a n d asked h i s ro1 1 1 panion to h o l d h i s arm o u t u 1 1 t i l a t ried t o make pri l l l s from t he plate and we suc­
b i rd appcarrd i 1 1 t he i 1 11agr. I t d i d 1 1 ' t work. a 1 1 d a ft e r ceeded. It i s cap t u red ,,·el l . The photo i s s m a l l . b u t
a f ] U a rl c r o f ' : rn hour he gave n p . 8 sl1arp cnougl 1 . I rn u look a t i t for a long t i me a n d I
a m very h apj l\'. � t o A l l t hat fol lowed up u nL i l a n d
A 1 1 t o1 1011 1ons f'or1 11al va l ues. degrees o f ' i n t e n ­ d u ri ng t he war-a b O )' asleep beneat h h is newspa­
s i t y of b l a c k and w h i t e. i nsla11 t a 1 1 cons photog­ per. lover:;. friends pla\'ing sports t oget her. sol diers
ra phy-Kert rsz could 1101 s l udy t hese in h i s res t i n g. Cvpsv c h i l d ren, a b l i n d m usician, onlookers
p redecessors. T l 1 rongh t l 1f'i r "'01·k on fac i a l expres­ i 1 1 front of a circus tent-consisted of gen re scenes
sio11, I l ic 1 nost i n t porl a n t professional photogrn­ taken w i t h sensi t iv it)', but w i t h o u t a l l y t race of social
:rn phns, masters l i ke A J adiir Szekely, Denes B6na i . cri t i q ue. J n 1 9 1 6 Kertesz p a rt icipaled i n t he sati rical
J6zsd Pr('si , t ried t o break t he bou rgeois photo­ m agazine Borss::,e111 Janka's compet i t ion wit h a sel f­
gni p h i c h a b i t s of' t he port ra i t ists of t he cJJd of t he pon ra i t in w h ich he was delou i J 1g h im se l f. The f'ol­
ccn l 1 l l 'y. As for t he a m a t e u rs. n u m erous and well or­ lowLng year he sem a v iew of peasants arguing and
ga n i zed., t hey workPd to d iversi fy t he i r t hemat ic anoth er of v i l lage c h i l d ren leafing t h ro ugh a story­
c l 1oire:;: la1 tdsnt pes. n u des. gen re scenes, st i J l l i fes . book to t he Ere/ekes Ujsag compet i t io n . In 1 9 1 8
B u i a l l o f' t hc 1 n , concerned w i t h m a k i ng reference t o Kertesz p hotographed " t he revo l u t ion o f t he QLteen
t he h igh a rt s, were i nc l i ned ro use t h e eraser, plat­
i 1 1 1 1 n L bro m i de, b ro n 1 o i l , and o t her '· noble m e t h ods'·
1 0 achieve "pictorial,"'' i 1 1di s t in c t a n d vaporous ef­
fec t s-wh ich Kertesz rejected fron 1 t he beginning.
This a n t agon ism persisted i n t o t he 1 920s: K ert esz
wou l d have t ak e n a s i l ver medal i n the compet i t-ion
of t he N a t ional Associai -ion of Amatem [ l u ngarian
Photogra p hers i n 1 922 i f he had been w i J l i ng lo
sho"- photographs prepared \\· i t h bromoil. Because
he refused. he recei ved onh· a s i mple nom i n a l ion.9 A
t Pn c lency close t o Kcn csz"s ow1 1 was represe1 1 t ed by
l 'Crt a i n phot ographers of t he F i rst World Wa r, s uch
Wi H ur l o l f Balogh, his elder by f i ft een vcars. a11d l vtin

V\'Cla r<'n)'- h i s cldn by sevc1 1 vcars. Bot h eon­


t ri l 11 1 t <'d. hct wrcn t he t wo "·oriel wa rs, lo t h<' C'rca 1 i o 1 1
of a " iV l ag)·a r St )'lc": s u n - f i l led I l u nga ria 1 1 l a 1 1 d­
' < " ' 1 H " ' · ,·i l l11g(' s<·cm·s i n '"h i C ' h t l 1r pil'toria l is1n of'
1\ l u rga rr t , ·· a n d 1 he st reet e,·r ms of t he Hrp u b l ic o f
C o 1 1 nsrl:,. w h i c h \\°aS declared .\ l a rc h 2 1 . 1 9·1 9 . t t
T h i s docs 1 101 necessa rik mean 1 h a 1 he "·a,, e m h u s i ­
as1 ic: ·· 1 '"'1" a lcft i t . l i k e r,·ery 1 1o r1 1 1 a l human
bei ng. a bso l u t e! �· left i ,; t . . . as a h igh ;,chool s t u ­
n oocia l ist . b u t I w a s n o t t he H l ' t i v i s 1 t \-pc-1
d!' 1 1 t
''"''s 01 1 h- in ;,� · 1 1 1 p a 1 h ,· "' i t h t hcm-t l 1 r 1 1 I sa"· what
h a d occu 1Ted d u ri n g t he co1 1 1 1 1 1 1 1 1 1e. . . I read
and l 1 rard t ha t 1 1 1 \· fri e 1 1 d s wrrr execu t ed for n o t h ­
i ng. i l 1a t is t o sm· for t l 1r s i rn p l r p l eas u rr of k i l l i ng .
.\ I )· frir 1 1 d o were i 1 1 1 1 occ1 1 1 s "·ho h a d 1 1 rvcr done
a11\ h a rm 10 a 1 1vonc. And I hr�· wcrr !Pf1 isb l i k e
1 1 1r. ""hat ha ppenrd " · as 1 c 1Tible: eo1 1 1 p 1 i l sor�·
parade> . . . . I "·as e 1 1 1 pl o ,·cd at t h e t i 1 1 1c . 0 1 ) \ ' i ­
o us l �·. i t 'ms obl igmorY t o rn a rc h : 1 he prro i d r m of
� h - � lo1 hcr·s I la11do.
t l 1r otock excha nge ofricc h a d 1 0 m a rc h with u:.. I
R11daprs1. I l1111garY. I C J I CJ
ha\'t' a p h o t o t ha t I t oo k on i\ h 1)· l : I rrm r m ber i t
wr l l . " t � an anecdote hows A nge lo · · i n f l uence: in 1 923,
Kertesz p u t asi de-a n d "·o u l d keep a l l h is l i fe-A n ­
A t t he beg i n n i ng of t he 1 920s. 1-.:ertrsz "·as gelo's p ho to -essa'' c 1 1 1 i t led La Rue de la Pai.r a
u ne1 1 1 p lo)'cd . .'\o t o n l y d i d he sepa ra t e h i n 1se l f m o re Pest-les :l-1 !te11res de la me l oci ( Peace Street i11
a n d n 1 o rc fro 1 1 1 t he val ues a n d e x pec t a t ions of h i s Pesi-Tlte :1-1 I lo11rs of I c1ci S1ree1). t::; A ngelo. whose
.. ..
fa 1 1 1 i 1"-a p roper job appealed t o h i m less a 1 1 d real name was Piil Funk. \\'aS t he same age as
Jc:.s-b u t i 1 1 r i n d i ng \\·ork h i s Jr\\·ish origins \\°e l"C K er t rsz : i n d was. a J 1 1 0 1 1 g t he p rofessi o n a l p h o t ogra­
..
a lso a p ro b l e m . t:l I le h a d once workr I a fr"· weeks p h e rs. a rcprcsc n ta t i ,·e o f t he soft St )·le'' p o p u l a r
as a beekeeper: as h is p h o t o-esSa )·s were l a t e r to 1r - between t h e l \vo w o r l d w a r s . 1-.:ertrsz. who p re ferred
t i f)·· t ra d i t i o n a l t rades art racted h i m . T h r 1 1 he de­ si n 1 p l i c i 1 ,· a 1 1 d t he > 1 l i;,ol 1 1 t c a bsence of a r t i f i ce, r,· i ­
c i ded t o brco1 1 1c a p ro fess i o n a l p h o t ographer. Ent 1Y dl'm l ,· cou l d not co 1 1 1 p lr 1 c l )· com p l �· ,, · i t h A ngelo's 39
in his 1 1 o t rbook . .\ I m· 23. 1 922: " A nge lo has offered i 1 1s1 ruc1 ions. K e r t rsz l 1a d 1 10 real need of a t eacher,
to t each me phot ography. T h a t I "· i l l brco 1 1 1 e a pho­ a n d he c u l d d i seuso phot ogra p h v w i t h a n u 1 n l ir r o f
t ographer:· E n t ry .\ I m· 30. 1 922: ' · J 1 1 ot i r.cd A nge l o friends a n d re l a t i o 1 1 s . 1 l i s friend i\ laxi m i l i a n \Vi n t rr­
t h a t I accept l 1 is offer. I l e h a s pus hed back t he bc­ s t c i 1 1 fou n d h i J 1 1 sr l f a ft e r the war i n t h e new Czecho­
gi 1 1 1 1 i wr or t h e lessons from Sept crnbrr to Oct ober. s l ova k i a as a p rofessiona l phot ographer; l�rzsi
w h r 1 1 hr w i l l h;we work :· E 1 1 t l ' )' .l u 1 1c 1 9. 1 92:2: ' · J Ho1 1 1er. a not her fri c 1 1 d . a t f i rst an a m a t e u r. later
..
we1 1 1 t o Pomaz wi t h A ngel o Lo t a k e p h o t ogra p h s . opened a s1 udio i11 B u d a pest . His cousin Hozsi
E 1 1 t r)' .lu 1 1e 23. 1 922: " P h o t os dedicated i 1 1 a n a 1 1sc­ K lop fer rrg 1 1 la r l y asked i n her l e t t ers for a d ,· i ce on
a t i 1 1g · t yl c 011 A ngelo ·s p a n . That docs not p leaoe p r i n t i 1 1g t ce l 1 1 1 iq ues. I lis friend Sii 1 1 dor Boross owned
rnr:· E 1 1 t r�· J u k 8. 1 922: " A t 1 1 1 i d d m·. a t A ngelo ·,, . a va l u a b lr ca mera . Espec i a l I ,· i n 1port a n 1 to h i m wrre
I Ir rcsc1Ye;, a rn l d welcome. p u rposek d i rrc1 s t he h i s t wo brot hers. I J 1 1 rc a n d J e n o . Jeno rm igra 1 c d i n
co11 vcrsa t i o 1 1 i 1 1 a wa�· to d isco u rage 1 1 1r fro 1 1 1 pho- 1 923 1 0 B u e n os A i rrs. "·here he co1 1 t i 1 1 ucd t o t a ke
1 0 g rn p h )'. \'ioi b l �· his O\ rn pride is h u r t . because I d i d p h o togra ph:,. \fr i 1 i 1 1 g from A rge n t i n a . Jeno pre­
.
n o t tt<Tept h i s a d v a 1 1ces a s h e h a d hoped. I was l i c t e d t l 1c cvol 1 1 1 i o 1 1 of h i s brot her: . A las, I h a ve not
a fra id of h i s cclebrit \'. Lat er. he warinrr l u p aga i n . '' seen a n )' o f )'O u r recent p h ot ogra p hs. T l1e Kemstock
E 1 1 t 1Y J u l y 1 1 , 1 92:2: " ,\[ a c l n i rvo,·a 1 1 1 ·s . I s h o u l d Studio is s t i l l in )'Ou r o l d st ,·le. The photo of
1 101 l i s t r 1 1 1 0 A ngelo: he is a h�·poc r i t r . 1 h is corx i o ­ 1\ l a d a m e ,\1 e n 1 cs l ra 1 1 i 1 1g 0 1 1 her el bow. "·i t h t he o t l 1rr
t c 1 1cr w i l l 1 1 cvC'r succeed. I t is 0 1 1 t hP t races of a 1 1 o l d wo 1 1 1 a 1 1 . ,,·as co1 1ceivcd i11 t he s p i r i t o f A ngelo. \� 'i t h
gcn t l e 1 m 1 1 1 t ha t I w i l l r . n d m ,· fu t u re. w h i c h "·i l l b r 1 hc "·o m a n br h i 1 1 d t he cafr t a b l e. )·0 1 1 h a w a l reaf i Y
..
bca 1 1 t i fu l . I h o u l c l lean·:· E n t 1Y J u l )· 2-t. 1 922: I met Pre l l \·. T h e f i r;,t t ru h· origi 1 1 a l p h o t o t ha t I .,1w
went to sm· goodb)·c 1 0 A 1 1gr l o . 1 1 got>s to of y o u rs "· as Zil=er a11d .\'o e. But i t is < J i i k a 1 1 a t ­
Pari,. . . ·· t� Kettroz h i 1 1 1s r l f d i d not lcm·c for t e m p t . \ri t h t he C reek c 1 1 g i 1 1cer. rn 1 1 b<'gin i o l l!'­
Pari;. u 1 1 t i l t h ree m o re ,· cars h n d pasord. I lowc\'f'r. cornr A 1 1 d rr 1-.: c n rsz. For 1 1 1!'. t he b i g s 1 1 rpri,r n 1 1 1 1 e
fro1n t wo photos o f C : 1 1 1 1vor Bf'/"g. Then,.. )·01 1 a rc itl­ Whal spirit ual baggage d i d Krrt rsz take w i l l 1
re::td)' a d isl i ncl charnclcr-il is 1 10 longer L l 1i:' a ppa­ l 1 i 1 1 1 Lo Pari ? Baggage s i m i lar 1 0 t ha t of I l ic average
ra l us t ha t phot ographs but t he li:'11;, t ha t d raws as p1·r:,on . Born in a pct i t bourgeois fa11 1 i l y. w i t h a
you wan t it t o . l�sp<'ci a l l v i 1 1 t he t l 1 rce-q11artrr por­ d iploma fro 1 1 1 a b11si 1 1css school. l ie t herraf't rr was
.
t ra i t . I don · t even k 1 1ow ho"· \'O U did i t . It is 1 101 pcr­ ch ir fh· s r l f- 1 t u 1gh1 . Though a t rn c '·Budaprst ian . ( a t
frct l y clear. but il i s also neit her d isagrrcabh· dark t hr 1 1 1 1·n of L l 1r cen l t 1 1 ')". t h e I l u ngari a 1 1 cap i t a l was a
1 101· ooft in c ksig11: i L i; st ro11g i 11 con t rnst s . The I rch ­ vc1Y c kn a 1 1 1 ic l': u ropcan nwl mpo l i s \\·i t h a 1ncl ro. a
u ique i; i 1 n pccca ble. tl l ld . as for t hr co11 1 posi1 ion. I 1 ra 1 1 / \\'tt\'. a 1 rlepl 1 0 1 1c 5,·s1r1 1 1 . and a n u m ber of t hc­
don · t recogn ize vo1 1 . "'hen we parted. ,·01 1 "·ere a t rr:, a n d cnfr:o) he oft e n we1 1 i 10 t he count 1Y. As a
gropi 1 1g. 1 1 1 1consl · io11s. w i t h l i t t k origi n a l i t y a n d l o t s h igh school s t uden t . rvcry t l 1 i 1 1g i n terested h i 1 1 1 . l ie
of i 1 1 1 1 1 i 1 io 1 1 . I lc rc I spea k 01 1 k of po n ra i l s . A ppar­ a t l c 1 1c lcd sport ing cornpct i 1 io11s (soccer. box i ng,
c n t lv. vou needed t h is ,·ra r whNe vou fou g h t t o Pa rn rugl w). p a rt icipa t i:'d i 1 1 a i l tlrt ics. p layed t he r l u t c
..
a l i v i 1 1g. t o bcco1 1 1 e a u t onomous a 1 1 d co11scic J11b . t 6 wPl l . and co1 1 1 po:ord parodiPs of popu l a r songs. He
was a grrat lover of i hc t heat er. I n t he gra n d halls
l.:'.vcn i f w e don't k n o"· a l l t l 1e photographs of l311c lapes 1-Ne1nzrL i Szi1 1 haz . .\ l agva r Szin haz.
c i t C'd. t h is lct t r r t eaches 1 1 ; n 1 1 1 c l 1 a h o 1 1 t t l 1r exigr11- V igszi1 1 h;\z-hr sa \\· plavs b)' Brrnard Sha"· a n d
cirs of t l tf' period. Krri csz had ccrt a i 1 t l ,, pho­ :\ l a 1 1 ricc .V lac't rrl i 1 1ck a n d t l 1ose of fasl 1 io1tablc I l u 1 1 -
t ogra pl 1Pd t h roughout t he "·a r-fro 1 n I l 1 1 1 1ga r)· lo gari : 1 1 1 a u t hors :ouch as Lajos I la1 va n v. Lajos Biro.
C a l iria. fro 1 1 1 A l bania 10 H 1 1 1 1 1 a 1 1 ia-h 1 1 1 ;i m p l )· reg­ Drzso Szomo1Y. and FPrP11c I lcrczeg. I I i , read i ng t es­
is1r1 · i 1 1g cvc1 1 t s d i d 1 101 l'O u 1 1 1 as a 1 r11 c prrl'o r11 1t11 1cT: t i f ied 1 0 t he sa1 1 1 p eclccl ici;,1 1 1 : Sandor B roc lv. whose
1 hr 1 r11C' phot ographer. t hC' 011(' "·ho "·0 1 1 l d ro1 11(' to novel Oadu is a 1 1 rxan1ple of latP-1 1 i nP1cc11 t l 1 -crn t u 1y
l ivC' hi; cra ft . 0 1 1gh1 10 1 nakr art ist ir rC'ndr1·i1 1gs. t\ na 1 1 m t l io 1 1 1 . Crza C :ii rc lo1wi. a u t hor of a h i:ot orical
l i t t l e- t i ! l le s t i l l had L o pass bC'forc t he p 1 1 h l ic "·o u l d bl'st -scllrr 011 t l 1r "·ar aga i n s t 1 hr T1 1 rks. and Istvan
ri:'a l izr 1 ha 1 a 1 w w gc·1 irr had l )('cn h o rn : photojo1 1 r- BCu·so11v. whooe h u n t i ng storir;; "·rrc \'Cr)' popular. I le
1 1 a l i s n 1 . I t wa;, i 1 1 Pt11·i, t ha t K i:'rlPsz brrn 1 1 w a pl1010- c·ert a i 1 1 l y rrad 7 '/1p Cll.i :s ji-0111 Pal Street by Frrr11c
C'SSa )'is1 . ;\ lolnii r, a cu l t book Llrnt rnovrd gcuera l ions of

-t( )

Eliza l w 1 h . Du1 1aharaoz l i . I l u ngary. 19:20


E m i l Sovot r w. the designer .\ l a rccl \'cri co. Cnrla
Z i lzer (11· i t l 1 \1·l ronr Irr 11-i l l leavr for Paris a n d wl ron1
l w 11-i l l later enco u n t er i n '\cw York) . l 1 1 1 re Czu rn p f'.
l r n rr .'\ag1·. and. abm·r a l l . \'i l rn oo A ba - .'\ oq\k and
bt ,.,; 11 Szom· i .

\�'lrat st rikrs 01 1e. i n t h is s nr a l l l is1 . is t he ab­


sence o f rep rC'sc n t a l i vrs from t he I l u 1 1ga ria1 1 an1 1 1 t ­
gardr. sl rirt l r sprn k i 1 1g. K rr·t rsz crr1a i 1 1 h· k nr11·
o t h r r art-ists-I Lis brot l rC'r · s lrt t e r. c i l cd <r bovr. i n d i ­
cat es t l r a t Irr phot ograplrrd t I r e :m r d i o of K a ro l y
\ ll". f ) j ,·i 1 1f! i 1 H o t h<' K r rn s t oc k . t l rr l rcad of t ire group o f p a i n t ers ··Tlrr
S\\- i 1 t 1 i 1 1!.! Pool. C roup of Eight ··-br r t he had t o 11·a i t 1 1 n t i l Paris to
Budap(',(. 1 9 J 7 work 11·i 1 I r I l 1 1 nga ria11 prngrrso,ivcs.
.
c l 1 i l d rt"1 1 . and !/ ) 011 Please. Teacl1P1: h1· die sat i rir­ "'herras ··The C ro11p of Eigh t " 11·erP part ic1 1 -
p l r i lo"opl r ieal n u t l ror Frig1·rs K a ri 1 1 t l 11·. a 1 1ovcl ror l a rh · u n der t i re i n fluc1 1cc of Crz a 1 1 ne a n d t l rr Fa r 1 1'r;,.
h ig l r ,cl rool :,t u dems wh ich made one l i tera l k la ugl r l hc aet i v i :, t: ,. p a i n t e r�. a n d "'ritcr:, ga l herrd around
0111 loud. L ajo s K assiik moved l o11·ard Const ruct i 1·isnr a n d
Dada is1 1 1 . Mall\· a 1 1 1011g t l rr1 1 1 part icipated act i vch· i n
Journal enl JY. 1\ pril 1 3. 1 922: ··Ga111i11e. b1· t i re pol i t ics of t he Cor n r n une of' 1 9 1 9. pa i n l i ng
PiP 1Te \�'ebcr i 1 1 I lrl t a i ·s t ra 1 1sl a t i o 1 1 . I t is t he f irs1 postrrs. for cxa r n plr. a r i d rrea t i 1 1g t l1C' decora t io11s
1:rc 1 1 cl 1 ( '( ) l l l C C k l l rat I h a 1·c SC'Cl l . It pleasrd / I le. o r for l i re l\ l a �' I parade. Kassak opcnl)' opposed one of
p l11 1·,, ror l i re t hea t e r. I sl i l l can not forr rn rl a 1 c cri­ t he rnrnm u n ist d i rectors. Bel a K u n , a11d refused to
t i q u <'S. d 1 ich i:, l lOt t he case ror objertS a11d \\'Orks or put h i s a rt a l l he servicr o f t he pol i t ical e n ds of t i re
a r·t . I r r t hat dorm1 i 1 1 . arrd t o r n v greatest p leasu rr. I prolPtarian d i ct a t o rs l r i p . Nrvl'r t h rlrss. a ftrr t i re fa i l ­
haw' bcrn able l o do oO for q u i l e a 11· h i 1 c . ·· t7 It is from u re of t i r e Hrp u b l ic of Cou nsel:,. Kassak. l i ke oi l rcr
t l ri, prriod 0 1 1 \Yard t l r a t t he ( i rs1 t e:,t i 1 1 1on i cs t o menr bers of t he group. had t u r m i grat r. and 1 11ovcd -t i
K l' r· t csz\ i 1 1 t rre,;t i 1 1 t i re f i 1 1e arts date. A t t l r is t i rne. l w t o Venice. ( Ker1 rsz pl rowgrapl rrd l r i rn 11·i t l 1 I r is w i fr.
borrght a reprod 1 1('[ ion of t he pai r r t i ug J Jo11ey1110011 by Jolii 1 1 . The date o f t l r is magn i f icen t phologra p l r io
Bi hari a r i d 11Tr r 1 to \ l i k los \ 'adasz ·s hl ro11· ( t l rese wrrc 1 1 1 1 k 1 1011� 1 . ) Laszlo .\ lol rol v-Nag)· 11·en1 . 1·ia \'ienna. to
t 11·0 rnediorre pai r n rrs fro111 1 hat p!'riod) . i\ l o re sig1 1 i f­ C('rn ra 1 1 �·· 11· l rrre I rr part icipatrd a lo11g w i t Ir 1 1 1 a 1 1 y of
ica 1 1 1 h-. I re kept a 1 1 issur ( .'\ o. 5) of d re f i rs1 1·rar of i l 1 r h i s com pa l riots i n t i re fou n d i ng of t hr Ba u h a 1 1s;
magazine !Jf.>dto111iires::;ef ( Drcorat i vr A rt:,). da t i 1 1g Lajos Ti ha m·i d 10;e Paris.
fronr 1 9 1 -t . "'l r i r l r p rroen t rd t l rP works or K a ro l y Kos.
a r r a 1 1 t hor of a gr1·a1 1·a ric1 y of crra t i ve works. Kos ·s
princip,1 1 l i t e rn r)· work. t l w e p i c poern 711e /Jealli of
!1 11ila ( 1 909). 11·as a lso kept by Kertesz among h i s
t rcas 1 1 res. K o s designed and co1 1st ruc1ed b u i l d i ngs i n
a r rrw l ylr. "· a la H u 1 1garian.'· ba. ed on i llP popu lar
an o f Tran&ylvania . In t he e a r l y 1 920s. K e rt c'sz often
11·ent to t h e decorat i ve art s m u seum and lO i t s l ibrarv
w i t h Erzsi Sa hr ( Euzabct l r ) . h i s fu 1 u re w i fe. who c1 1 r ­
broidered a n d st udied d ra 11-ing w i t h A l mos .Jascl r i k
(anot her represenrative o f r h e secession a n d symbol­
ism ) . To get an i dea o f 1 he i m port ance o f t h is wom a n
i n Kencsz·s l i fe, we have o n l v to examine t he double
(se l f-) porl rn i t t aken i n 1 93 1 . There we sre Elizabc d 1
wi l h h e r face audaciously cul i n 1 wo. h e r lover·s
(Kertesz"s) right hand res t i ng on her slroulder. I n
H u ngar)'· many o f h i s friends were a r t i sl s : t he painler \\'i r h \ly .\ rr iol Frie1 1dh. I l 1 1 1 1gan. J 9:n
-+2

Trio. lliirkrve. I l 1 1 1 1g a n , I 'l23

When. in 1 925. A n d re-s t i l l A ndor-Kert esz t ion of Ducha1 1 1 p ..s ··ir�(ra111i11ce., t heorr 01 her
a rri ved i 1 1 t he F rench cap i t a l . he l'o u 1 1 d h i mse l f a t friend of Kenesz ·s shou l d a l so be noted: t he de­
once i 1 1 t he 1 1 1 i l ie11 or t he ··1 1 t l l lga rian colonv ·· = he fre­ signer aud 1\·orn a n of lett ers A n na Lesznai. one of
q 1 1 e n t rd t he Cafe d 1 1 Dome. 1 l 1e mee t i n g place for t he pioneers of 1 1 1odcrn t a pest ry a n d model for sev­
I l t n 1ga rians in Paris. I t is a l most i 1 1 1 poss i h lr 1 0 re­ eral port ra i t s: Noe m i Ferencz�·; t he arch i tect s Erno
const ruct perfee t k t he l ist of t hose "·i t h wl101 1 1 l te es­ Coldfi nger and Pierre V <'ig6. and scu l p tors Joseph
t ab l ished t iC's d 1 1 ri 1 1g h is 1 1 1orc t ha n ten vears i n Csiik y a 1 1 d E 1 ienne Beiit h �-. i 1 1 ,,·hose s t u d i o Kertesz
'
Pari:;. 1 8 h u t t he l i :;t i 1 1 c l u des many a rt ists ; R u d o l f photogra phed t he fa 1 1 1ous /Ja11cer i n 1 926. Kert esz
Dienrr- Dl-nes. pa i 1 1 t e1·: Vera Bra u n , p a i n ter; Marcel rPca l led h is model for t h is photogra p h t h us: '··S he
Vfr1 es. designer: c ,· 1 1 la Z i lzrr:. Ida Tha l .: and t he 1rns cal led Magda Fors t ner. a vc1T good da ncer. She
pa i n t e rs \'i l 1 1 1os Aba-.'\ ovak. Bert a la n P6r. a n d Jeno da1 1cPd i n Budaprsl a t t he \ ' igao a n d was a l rPady fa­
Ba n-:;a�· o n t hr i r \HI \. t h ro 1 1gh Paris in l 927; as "·el l mou 11·hen she deci ded LO leave for Paris. 11·hcre we
as Zsigmond K olos- \ ' ii ry, 1Yh o 1 1 1 K c rt csz plto- ra n i n t o each ot her. 'Magda,' I said to her, 'co11 1e 1 0
1 ograpl 1ed beh i 1 1 d t he fol k loric ba lcon ies o f t he 1 nar­ Beiit h y°s st u d i o t omorrow: I wou l d l i k e t o r a k e some
ione1 t ist Ceza Bla t l n<•r a 1 1 d l'crenc Reichent a I from phot ogra ph s o f �·o u . ° She en.me. We t a l ked of every­
Pozson �· (Brat islan1 ) . 01ie or h i s best friends \\'HS t he t l t i 1 1g and 1 1ot l t i ng. I asked her if she had a m· i deas
drn f-1 1 1 u i e p a i n t er Lajos Ti hanyi. or "·ho1 1 1 hr 1 11 a c le abo111 t he pose. Above a l l no embarrass mr1 1 1 . A f'rw
i l 1r surprising port ra i t in w h i c h t h ick smoke s p i l ls m i n u t es a ft er t he f i rst photograph, she sa i d she had
from Ti ha n \'i · s 1 1 1ou 1 h l i k e ectoplasm or an i l l us t ra- a n i dea. Site t h rew herse l f 0 1 1 1 he coucl 1 , a n d I 1 oo k i t
al oner. I "1"' 1 ha 1 it \\'as prrfrrl . 1 l 1a 1 t l 1rrr "·ao 110
nrrd for a not her t ake. ·· t <J \ri t I i her hoc k t l iC' da 1 1cer
gm·r a11 i 1 1grnio110 i n t C'rp re1 a 1 i o 1 1 of lkiit l 1 1:,, srn l p­
l u rr;, . B<-iit l 1 1'0S \\'i re. J\ 1 1 1 rn . \\'<lS a lso a friC' 1 1 d or
J..: e ri f>;z ·s f i rot "·i fe. Rogi A 1 1 d rl- ( Hozba K ir i n ) . hrr­
srlf a pl 101ograplier and s1 1 1 d rn t of L i sc•t ! r i\ lodr l .

i \ 1 11011g t l 1r I l i 1 1 1garia 1 1 f i l n 1 1 m 1 kcro. Kcrl rsz


k 1 1C'\\' V i 1 1<·1•n1 ; 1 1 1 r l /\ lr·xai 1dn Korda; a 1 1 1 1 mg t he 1 1 1 n ­
biria1 10. Feri Ho1 h a n d Pa u l A n na: a 1 1 10 1 1g t l i C' \\ ' r i t ­
rro. 8a 1 1 dor .\ f a ra i a n d C1·org�· B o l o 1 1 i . Sa1 1dor ,\hi ra i .
at 1 h r 1 i 1nr a co 1 n ·o p ondc 1 1 1 for a I l i 1 1 1 garia 1 1 dai lv.
Boy• Hradi11g.
asked l ii 1 1 1 for a phot ograph of a 1 1 a u 1 01 uobilr. Eszlcrgorn. I lu11gary. 1 9 1 :)
Boliini e1;ked l 1 i 1 1 1 to photograph places-bl rcrts and
neighborhoo(b-t h a 1 E 1 1d rC' Ady. 1 hr grra1 I l u 1 1gar­
i a 1 1 porl and u 1 1condit ional lover of' Paris. liad frr­ Paris a s wel l : [ rg)' Landau, I l ka Hevai, J u t k a M i k ­
q 1 1e 1 1 1 ed at 1 h e beg i n n i ng of 1 h e ce1 1 1 1 1 r)·.20 J\uot l irr los. Y l la. E:va Besnyi5, Hosie Ney, and even Madame
i 1 1 1 po r1 a 1 1 1 cvC'1 1 1 i n regard 1 0 I l u 1 1ga rian l i tcra l u rr K a rolYi, ·· 1 hr red Cou 1 1 1 css,'' wife of the e x i led p res i ­
occurred in 1 927. when. at t he opc 1 1 i 1 1 g or Krrt rsz's dent of t he H e p u b l i c, wbo wanted to open a joinl
show wit l 1 Ida Thal in L 1 1 e ga l l er1· J\ 1 1 Sacre d u st udio w i t h Ker1esz.22
pri 1 1 1 cin ps. Ferenc H o n l and t l ir pocl A t t ila .lozsr f
read some or t heir poems. J\ separa 1 r plaer should be re s e rved for La>zlo
V, l oholv-i\'ag\'. whose a udacious L i l t shots and u 1 1 -
It is d i ff i c u l t lo enumerate a l l I l ic plio1ogn1- usual rra 1 1 1 i 1 1 gs a rr 1101 u n related l o ce r l a i 1 1 pho­
phcrs or I l u ngari:rn origin \\· ho l i vrd i 1 1 or pas1>ed t ographs by Kcrtrsz. K rrlesz·s int erest in c JjsLor1 ing
t h rougli Paris, or were i 1 1 co1Trspo1 u lr1 1cr wil I i m i rrors. a u l o 1 1 1obilc headl ights. and t he crysta l balls
K c n e z. 2 1 T h e 1 nos1 i m por1 a 1 1 1 werr Braosa ·1· (C) ula of c la i rvova 1 1 l s \\"<JS 1 101 u n re l ate d L O the i nterests of
l lalasz). Roberi Capa ( E nd re FriC'd 1 1 1a 1 1 1 1 ) . Lucien t lic 1 1 w 1 1 1 I J!'rs of die Ha u l i a u . One shou ld also note
A igner. �l 1 11eric Feher. and-in a la rger sense­ t h a t 1 hc series " Oistorl ions·' had a parallel i n 1 l un ­
Stcfan Lora 1 1 1 . L i 1e editor or Mii11c/1e11er ll/11s1rier1P gary: I l i c cariea t u re o f lstva11 Sokoropii t k a i Szabo
and ot her i l l ust ralcd rnagaz i 1 1es. J\ 1 1 u 1 1 1 bcr of I l u 1 1 - 1 1 1 a dc i 1 1 1 926 bv M ar1 i 1 1 M u n kacs i . Moholy-N agy
garian wo1 1 1 e 1 1 were successful photographers i 1 1 somet i mes said or K rrt csz t ha t or 1 he 1 wo or 1 hem,
Kenesz was t he t l ' l l r p l 101 ographcr. Thrv had m uch
respcel for each ot hrr-1 0 1 hc poi 1 1 1 t l 1a 1 i 1 1 1 944
i\ loholy-Nagy t ried LO persuade Krnesz 1 0 becorne a
prorcs or at 1 hc New Bau l ia11s i n Ch icago.

The fol lowing observat ion conl·ern;, 1101 :\lo­


h oly - 1\' a gy b u t a 1 101 her Co11st rucl ivisl. t l 1C' pa i 1 1 tcr
Piel .\ 1o 1 1 d r i a 1 1 . and aucst> l o t he s u h t lr i ro 1 1 1 or
Krrtesz· s photographs: I n t he masterpiece e111 i 1 lrd
C/ie:; 1l lo11drio11 ( 1 926 ) . we see a 1 u l i p i 1 1 a vase, hut
"· l i ocv r r l r now:; M o 1 1d ria 1 1 ·s work k nows t l 1 < 1 1 t hf'
l u l i p is 0 1 1 1 )· a11 a rt i f icial flower pai 1 1 1c c l wliit P.2:1 .\
co1 t1 p l r 1 e s 1 1 1 1 1 1 1 1ar) of' .\ l o 1 1 drian's rel a 1 iom,hip w i l h
wo111cn is co1 1dcnscd i 1 1 1 h is rad i a1 1 1 h- p u rr pho10-
gra p l 1 .

" \ '0 1 1 r photogrn pli;, 'J l<'nk 1 00 1 1 1 1 H·h. ·· a 1 1 < · c l i ­


tor or Lifi· 1 1 1agazi 1 1(' 01 1('(' ;,aid 10 J..: 1 'rtl-:.z. ·· \\ 'p O l l h
1 1rC'd dol ' 1 1 1 1 11•1 1 1 a r1 photo;,. 0 1 1 r !'d itor \\ ' rit 1·, t i l t '
1 c · x 1 , . .. ThC' p l t o 1 ogra phrr rC'pliC'd . ·· 1 ni 1 1 · 1 help i i . 1 1 1 ,·
pholOo ;, 1 wak : I ea1 1 · 1 louch i l H' ('a 1 nPra "·ii l 10 1 1 t r·x­
pre;,;,i n/! nn-orl f. " · ��

.\ l ohok-Nag'" L l lf' co1 1 s 1 rn l ' t i \' io1. \\·01 i l d l lP\ f'r


hm·r brr1 1 ablP 10 ;,pra k of l 1 i s 0"· 1 1 pholOf!raphs t h i,
\\"<I)'· I Jrl·a u:,r hr p rrfffrcd i 1 1 1 p! ' rso1 1 ; 1 I . · ·ohjel ' t i \'l· ··
produet i ,·i t )' t o s 1 1 hjrc1 i \'!' sel f-1·xpn•soio11. I le a l:,o
'"' 1 s a I l u ngarian i 1 1 n o rn 1 o r i 1 1 pl 1otowa p l l \-. 1 1 1 1 1 i i
""" i 1 1 Cen n a n ,· i li a 1 l lP l wn1 111P b 1 1 1 1 i l ia r "·i i l 1 1 l 1 i'
1 1c·w a n . i 1 1 C'On ; ra:,t 1 0 K e ri r;,z. "·ho had c·laboni1ed
I i i:, a n ist iC' \ioion in I l 1 1 1 1ga r) . " f..: er1 l-oz wa;, in i l 1e
hH'kY J )():,i t ion of 1 1w k i 1 1 g pho1ogni p l t ) i be l f a11 i 1 1 L e­
gra l part of h i o grow i l 1 a;, a 1 1 1 a 1 1 . · · \\TOIC' I l i l 1 0 1 1
K ra n 1Pr i n I !1111garia11 ,\ /e111ories. � :; T h i o oi i l ijel ' I i n ·
\' isio11 wa;, formed i 1 1 t he pho1ograph, of i l H ' I l 1 1 1 1 -
ga ria 1 1 period. a n d . ('Ondrm.i 1 1 g u n t ol d ;,wric·s i 1 1 I l ic I. Pa�:-,11 1 / 1 " ri..., z 1 i11a. l/es::.Plget<;s lndn� A.·erl<;ss::.<'I " l /11 sr ;<,
rap t 1 1 rcd m omcnlo. i t u 1 1 dr 1 1 iabk 1 11adc Kcnrsz a 1 1 r/" Ir/ .l lodenw d<' la I ille de Po1-is-bu11. / 9 ):!. Ok111b,.,. :!.'5-hr
1rig i 1 1a l i 1 1 1 hc world of pho1ography. (/11/errierr ll'illr 1 111/r ·r; J.:,.,.1,;s::. al llw .l lr1se11111 1!( l lodenr Ir/
<!( tlw C i(1· of l'r11·is. Ort o lwr :!5. 1 9 S:!). l l l p 1 1 l ili'l"'d 11 p!'d
1 n1 11.,<-rip1 io11. Thr origi 11ul 1 ap1� i., at d ie· \ 1 1 d rC: K1·r1(...,z 1 1 1 1 1 -
1-1r1 1 1 1 1 i11 Szi�f'1hrt'..,<'. \�'r 1 hnnk \ l i11e Pa...,� 111 1 1 for ha\ ill[.!
111adr 1 li i -, doc1 111H·111 a\ ailablC' to u�.

2. l11rlrC: "'er!Ps= . 1 /ag, nrors::.ll�o11. i111rn ir" wid1 .Jii11o:i


Bod11(ir.

.lo11rnal. 1 9 1. ). gifi fro1 11 Kenesz ( � li ss ion d11 Pm rimoille


:J .
Pl1olograpl1iq11r ) .
++

-+. Ibid.

·>. Ibid .

6. I /1111garia11 ,l/e111ories. page 1 90 .

7. Pa>sut l 1 . op. c i 1 .

8. Borbelv K >iroly. Ti::. nap Andre Ker/es::. 1arsas1igribo11


(7<'11 Day s in 1/w C 'o1 11pa11y o f A11dre Kerll;s::.) i l l : /l fl(/rf>
KPr!Ps= ,lfaµ:.rrtrors::.llf!Oll. op. cit. page 5.

9. l ,1 ·11 1 .,· from Dr. Frjfrvan·, -ccreiarv general of .\ l i\ OSZ


( �a1 io1 rn l i\s:,ocia1 io11 of A111a1c11r I lungarian Pho1ogra­
J lh!'ro) 10 r\11dre K1·nesz. dated Sep1e111bcr 1 1 . 1 922. w i 1 h
!-!11l11'i f'q11t•111 1101c!i b y J\11drC K crt i-!:i z . h:"ert rsz·b gift (Missio11
dll l'ui ri111oi 11r Pho1ogrnphique).

1 () , .lol l rnul. 1 9 1 2 . Ci f'1 fro11 1 Krrl!-sz ( �• lissioll du Pa1 ri-


1 1 1oi11r Photograpltiq1w).

1 1 . K erir:;z ,,·a:,. i11 l"ac1 . a \\'i t 11P�!i 1 0 1 ii r di:,50J 1 1 1 io11 of t l ir


A 11!-ir ro-l l u 1 1gtiria11 111011archy and t hr d i ffir u l i y i 1 1 es1ahlisl1-
i11g an au10110111011!i I l 1 1 11g:ary. Lrr ":-i noll' t hr 1110�1 i111por1 an1
r,·r111:i: .\ 1 die I H"gi 1 1 1 1 i 11;.r of 1lir Fir�1 \rorld \� ·a r. a :iocial a 1 1 r l
cco110111ic rri:.,i� ! liar became 111orC' and 111ore �rrio11� took
hold of i l w "·hole 1·011111 r1. and Oil Or1o!Jrr :3 1 . 1 9 1 8. ··1 hr
rrn,l111 io11 of i l w Q11t'('J1 \lar�Hrt't!:i .. broke out. " l iicl1 led 1 0
i lw ld'1 i,1 oppo,i1 ion for111rd of i 1 1 1 ic pt·1u l1'111' gro11prd
a ro1111d d1r Co1 1 1 H \ l i l ial� K<hol� i. rn c l iral h o u rgeoi .., 1 1 1 1 d -,o­ 1 .) . .'i=i11llfi=i U<'I. fro 1 1 1 .la 1 1 uar� -+ 1 0 1 0. 1 9:2.). pagr -+-+. C i f1
«itd d<·11 10lTah. 1 a k i 1 1g 1 10\\ ('r. \ 1"1er t l ic' c k·1 · l a ra 1 i o 1 1 of d ie of KPrtl>"'z ( \ l i.,:,io11 du Pa 1 ri 1 1 1o i 1 1(' Plio1ograpliiq11t').
I l t 1 1 11-!a ria1 1 Hc' p 1 i l 1 l i(". 1':iirol�·i !we-am{' i i :-. prf'-.,i c ll' 1 1 1 . Tlun1gli
I i i(' I I ('\\ �0\ f ' l' l l l l H ' nl ("{'rl f l i 1 1 / � t rit·d lo l"Oll"I'� Oii a clialO;.!IH' 1 6. Le1 1 rr fro 1 1 1 J•'no K('rti'" 1 0 .\ ndrr f\rrtr'z da11·d \o­
'' i 1 h t lH· 1 u 1 1 iollal 1 1 1 i 1 1ori1 ir-. 10 ...a rrguanl du· 1e1Titorial i 1 1 - wmh<'r U. 1 926. C i f1 of f\<·r1i'" (\li,,io11 cln Pa1 ri 1 1 1oi111•
1 Pg r i1 � of 1 1 11' l'O t 1 1 1 1 ry. i t could n o t �top d u · ach a1HT of Czed1 Pl101ogra 1 > l 1 iq1u·) .
; 1 1 1 d H111 11a11ia11 a n 1 1 iPo. oupport<'d Ill i l 1e \ l l i a l l<"('. Tiu• p rn ­
\ l l iarict· and pa r i f i .., 1 orif' 1 1 t ni inn of i i � l l lOr<' t"\H'n111I pol i1 ic� 17 . .lo11 r11 n l . 1 9 1 2. op. ci t .
prOI i l ll( i1 11'iT<'<·t i\(•. i l1e prcoide11 1 of i l l <' lfr p u l i l i . . . 1 11urc• a 1 1 d
l l l l ) I'( ' l ' l l l h a 1 ded. giln" dw :,cat or powrr {)\ {'!' 1 0 d u · '"lt H"ial 1 8. Sa11clrn Phil lip, l 1 a' o i 1 1 1 1 1 1 1arized 1 hc· I l 1 1 1 1garia11 i 1 1 f l 1 1 -
de11H1(Tilh f11,.·d " i 1 l i t he <·011 1 1 n 1 1 1 1i;i, 011 � l a rch :.! I . 1 9 1 9. r 1 1£"C'in l\C'rlr�..,z·:-. work in d<"rn il i n l udn; KertPs:. of Paris r111d
Tl1c Hrp11lilic of Cou11o<·I; ""'" procl a i 1 1 1<'d. and " I ll'\\ rn o­ .\'e11· ) ork (Tiu· \ rl l 11,1 i1 u1C' of Chicago. l l 1 e \Je1 ropol i 1 a 1 1
l 1 1 1 io11 of t h<' lfol,1 1<', ik l \"pt· lww1 1 1 . ,\, for Kiiroh i. af1rr Iii, .\ l 11,r1 1 1 1 1 of \ r1 . Thr111 1r' a 1 1 1 I 1 h1< l,on. "''"" \'ork. l ,011do11.
deci1.iio11 he c-ho�(' ('Xile ( K<'r!C�..,z rai l i1110 l1i111 i 1 1 Paril'l and l <J8.)): 1l flrln; A.'erlcls:.. 111a 1'i·o11ce. \X'c t h u� limit 011r�eh c·�
took J i j ., pliowµ:rapli on "''"''·f'ral ocTa..,io11..,). l'lw ke� fig-11r<· of herr to a..,pt·c1 ... rnealed t l 1 ro11�l1 rr..,card 1 i 1 1g 1 hr KertC:-;z gif1 .
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of cn·a 1 io 1 1-\\·h ich was f i rst i 1 1 \�'c i n w r a 1 1 d i l l('1 1 i n 1Ta rncd 10 pa i 1 1 1 . sf ' 1 i l p 1 . or ll'ri l P . 1 1 1 rn1 1 L rast lo M a 1 1
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.\ ag1.-, < ' X I H ' r i 1 1 l ! 'n t a l J'l'Sl'Urt ' h f'o 1 1 1 1dcd O i l a 1·igid t hP­ l'ka rh- a 1 1 d 1 11oc ks1 k \\·a 1 1 1 pd l o he 1 10 1 l i i 1 1 g b u 1 a
orrt ica l ha;,is a 1 1 d Ker1f.;,z\ avowed respect f'or photognq il 1<•r.
pop 1 1 l a 1· 1 rnd i 1 io11 irnd c 1 1 l t 1 1 ra l l 1n i t agl'. t here co1 i l d
0 1 i l y l 1a vc I H·c1 1 i 1 1r·o1 1 1 pa t i h i l i 1 1 . I t scr•111,, clear i 1 1 t l 1 i s T l " " · K er1 f.sz ·s l i l l le i 1 1 Paris was spr 1 1 t i n t he
s<•1 1sc t hat Kntrsz cl 10:,e Pa ri;, for i h op1·1 1 1 1e;;s a 1 1 d assid1101n; a n d f'1·ic1 1 d k soc i a l i z i 1 1 g of' t l H' I l u uga rian
;d 1s1·11r ' t ' of dog1 1 1u1 i s 1 1 1 as 1 1 1 1 1eh "' f o r t l 1c forcd11 I a rt i s l s i11 1\ 1 01 1 1 pa rn assr. a 1 1d l i is I l u 1 1 garia11 f'1 1 i 1 u ra l
j ll'l'Sf' l l( '(' of' i I J 1 1 1ga ria11 i 1 1 1 1 1 1 ign1 1 1 t ;, ( pa i J l l ('rS. \\Ti l ­ l ieri t agl' 11"<1;, p rrsP1Yed <'1'('1 1 '"' l ie ll'as hcco n 1 i 1 1 g a
('J'S. p l 1 0 1 ographers) i n \1 J o n t parnassr. B 1 1 t i f' K crt roz Parisia n . Tirnda r FriPd. cvP11 w l i i if ' pol i t ica l k cu­
\\'a;, l i 1 1krd In l'rienr b h i p 10 ls1 1·ii 1 1 Br•ii t l 11·. .lo;w pli gagl'd . wo1 i l d a l ways 1 1 1a i 1 1 1 a i 1 1 his l'asci 1 1 a 1 i o 1 1 ll' i t l 1
Csii k v. Ti rndur Fried. \ l a rg i 1 Koviif 's. A 1 1 1 1a l ,i•sz 1 1 a i . t l ic· I l u 1 1ga ri a 1 1 aes t l irt ic a 1 1 d h i s t a s l e for pop 1 1 l u r
1 ra d i t io11,,. i\ l a rg i t K ovii"s ll'as i nspir!'d i ll· t ra d i t io 1 1 a l
I l i 1 11ga ri a 1 1 pot t cn·. A 1 1 1 1 a Lt•sz 1 1a i shml'C·d floral st i l l
l i f't's. l�va H(>vai \\·orkcd i 1 1 a rt isa11al c•1 r i l iroidrn·., t 1 1 H I
Lajos Ti l 1a 1 1 1·i ; 1 1 1 d C y 1 1 l a Z i l ze r., bot l 1 l i n k!'d t o t hr
..
I l 1 1 1 1gari;1 1 1 al'an1 -garde ( t h<' " l�igh 1 group. 1 hc
.. \, I A . . l!l'O u p ) . p u rs1 1ed ll ork st ro 1 1gh· 1 1 1 a rkPd I n·
'
I l 1 1 1 1ga riun l�.xpres,io1 1 i " n .

To Kc·rt f.sz. a t t l 1 i , 1 i 1 1 1c·. e1·r1'\'t l 1 i 1 1g poi 1 1 t ed l o


t he 1 1 1odel uf a v i s 1 1 a l rPs<·a n · l i i l ia 1 i 1 1 1 egra 1 1'd Frr 1 1ch
l ' 1 i l 1 1 1 rP-1 1 o t a bl)' C :1 1 b i s 1 1 1 . i i i<' t i H 'Ol ')' of proport io11s.
a 1 1 c l t l 1r so-( 'a l le d Paris sd 1ool-\\· i t l 10 1 1 t dc111· i 1 1 g t l w
dc·t('J'J l l i m 1 1 1 t l ra i l s o r I i i;, rn l l 1 1 J'(' of' origi 1 1 : c l f i c if 'l i l )'
1 0 t i ll' rn l ut's of' l wri1 agl' a 1 1 d t ra d i 1 io1 1 . "')( ' i u l 1 1 wa 1 1 -
i 1 1g. a 1 1 d a t as t <' f'or t l 1e < p 101 i d i a 1 1 .

1 1 1 B u dap<» I . KPrl rsz p l io 1 ogra p l wd \\' i 1 1 Jd1·1·­


i 1 1g 1 1 1 u:ii<'ia1 1s. �·( H 1 1 1g pca:--a l l t :-i i 1 1 rags . i 1 1 l (' l ' l \\-i1wd
co11 plrs. a 1 1 d ll' i 1 1 d i 1 1g s 1 n•1•t ,,; i 1 1 Pa ris. I I(' prol t 1 1 1g1·d
Kertesz w a s a lso p a r t of t ll(' t \\ · o grc a 1 1 1 1 <1 1 1 i fe o l c » o f
a va 1 1 t -ga rrlP: i n 1 C J20. · · Fo t og rn f i e
the p h otogra p h i c
..
der Gegemvan (C orn r 1 n porn n· p h o t ogra p l l \" ) . a l
t h e Fol kwang M use 1 1 1 n i l l l�,SP 1 1 . a n d · · l ' i l 1 1 1 1 1 1 1 d
F o1. 0 ·,· in S 1 1 1 1 t ga n . 7

To j u ;, t i l\- t he clTel ' t of t l 1 i s s 1 1 d c l r 1 1 rPcog1 1 i 1 i o 1 1


( a 1 1 d i t s l w 1 1d i 1 l o K n 1 roz·s "·o r k ) i l l i l J P i l h 1 s l ni i l'd
p rrss a 1 1 d i 1 1 t he g< i l lr r i l ' o a 1 1d o l 1 0 \\'S. 01H' of1 r 1 1 . and
..
p rrh a p o 1 00 hn,1 i k rrf"rro 10 , u rrea l i s 1 1 1 · · o r · · r 1 1 h­
is1 1 1 . I f ii i;, l l l H l l ' 1 1 i ; i \ i lr t h a t K!'rl rsz \nl;, ra 1 1 1 i l i , 1 r
\\' i i h ce1·1 a i 1 1 1 r 1 w b o f S mrl'a l i ;, 1 1 1 (a;, \\'HS .\ l a 1 1 Ha,· ) .
Serg 1 1 r·1 .\ I . Ei!"it ' l h l { ' i 1 1 .
rn 1 d C 1 i l i i s i 1 1 . i i i ' a l ,o l l' l l l ' t l 1 a t l 1f ' l ll'\'l'r c l a i 1 1 1!'d ;1 1 1 ,·
J < ):! I )
;d icgia l l ( ' l' 1 0 e i t h er o i" t l 1C'S(' l 1 i g h h- !i l J' l l ( ' l l l l"('d 1 1 1 0\'f'­
l l H ' l l l , . .\ o t l 1 i 1 1g i 1 1 I i i:; propo:;; d , or i 1 1 h i ,; l 'O rr1 ' ' J I0 1 1 -
d r 1 1 t 'l' ;, 1 1 p p u r 1 s l l w i d 1•a of a 1 1 n p l i c i i h- ., 1 1 1Tea l i s 1 o r
Budapest , t a k i ng sr l f- po r 1 ra i 1 s o f h i mse l f sea l ('< I : 1 1 a rn h i o t d i 1 1 1r1 1.,io11 i11 h i,; \\' O r k .
t able w i t l 1 a t ableclot h r 1 1 1 b rn i de red hy h a 1 1 d \ l\· h i s
m o t h e r-Sel-f Po rtra it ( \ CJ:Z7)-a 1 1 r l ohoo1 i 1 1g i l H' or r l l('S(' I \\"( ) rd('l '('l l('f'o. t l 1 P O l l f ' l o S 1 1 rn ·a l i o 1 1 1
revol u t iona ry f i l rn l l l a k cr l�isc 1 1 s 1 e i n s i t t i ng 011 a 1 rn ­ '('C'l l h t hr 1 1 1001 ' I H'c 1 i l a t i \'f' for \·; 1 riouo 1Taso 1 1 ;, . T l w
d i t i o n a l I l u n ga r i a 1 1 1 aprs1 1·�·. 1 1 1 Fra 1 1cr. l 1a ,·i 1 1g be­ 1 1 1 a i 1 1 1Ta,0 1 1 l'< J 1 1 w, l "ron 1 \ 1 1 d rP BrPt 1 J1 1 ·, : 1 1 1 1 hig1101h
come a photojournal ist for 1 h r i l h 1 st r a 1 r c l p re ,;;,,-1 I I (' s 1 < 1 1 1ce i n rrgard 1 0 i l w ,. i , u a l a r 1 , a 1 1 d ' ' ' P l T i a l l , i11
t ra 1 1 s f'o n n c c l t he peasa n t s o f B ri t t a m· a m l t l 1e Sm·oi<' n·gard 1 0 p l 10 1 ogra p h ,·. I I" t l 1 t • re ''"m' i11 13n·1 0 1 1 ·, ,·i"" '
into p u re c m b l c rn s o f a l i fe rlose l o I l l(' ea rt h a 1 H I ;1 t l wo1Y of p a i 1 1 1 i 1 1 g 1 0 "· l 1 i r l 1 h i , IA' S11nhili.1·111r• et
rich i n co1 n m o 1 1 p l acc v a h ws. 1 1 1 1 l unwro 1 1 s pl 10- lo Pei11t11re (S11/'/"eolis111 Oii(/ Pai11ti11g) t r s t i f i N L n 1 H I
t ogra phs, a n 1 1 1 e 1 no l l i c , a ffect iw :; i g 1 1-a l l orna 1 1 H ' 1 1 - i f h e 1 i lso !!a''' ' h o 1 1 1age 1 0 f i l 1 1 1 . l l H· rrl a 1 i o 1 1 s h i p o f
t a l 1 11ot i f, a bouquet o f flowers. a h a n c lcrn fted o h j l 'l ' I . t he;,<' l o pl 1 0 1 ng r; 1 ph \· \\·; 1 ,. a l 1 1 1 ! ' , 1 ; 1 1 " 1 . rn 1 1 1 p l n u 1 H I

86 a l ways more i m ag i n e d t l 1a 1 1 ;,ho"·n-a llowl·d t l l( ' co 1 i ll icl i 1 1 g a F ro 1 1 1 I 1 i ., f i r., 1 I /0111/(.,,te O l l \rn rd . H rl ' I 0 1 1
vital i n f l uen ce of I l u n ga ry 1 0 C ' 1 1 1 r rgr . ,· i o l e 1 1 1 h· cri 1 icized i l H· n •a l i ,t ic 1 1 m·1·I o f t i ll' 1 1 i 1 H·-

B u t prec isrly bel ' a 1 1se K e rt csz ·s e x i l e \\' a s 1 10 1


a l l i n vo l u n t a r y u p root i ng, h i s p h o t ogra p h ,· w1 · 1 1 1 I H' ­
vond nos t a lgia. I \ is p h o 1 ogra p h i 1 · "·ork doeo 1 101 ri 1 1 1 -
a l izc l l lo u rn i ng for a lust ro 1 1 1 1 1 1Y 1 ) 1 1 1 ra t he r
ccleh ra t rs h a p p y i 1 1 1 u 1 rrsio11 i n a n r "· one. a,; h i ' l i r:<I
s h o t s 1 rst i fy, of ba rges 0 1 1 1 hr Se i 1 1 e. fisl1n1 1 H · 1 1 0 1 1 l l H '
q uays, a c i t y ha loed i 1 1 fog a n d ra i n .

Q u i c k l y i 1 1 1 egra t rd i 1 1 i l l ( ' art i;, t il' ci rl'I(•;, o f


:V l o 1 1 1 pa rnnssc a 1 1 c l i 1 1 " " t he H u d 1r · · (a g rn u p o f a n i -.. 1 ,
fro 1 1 1 t l 1 e D a l l t z i g passagr). K r r 1 c,z frrq u <' 1 1 1rd t l lf'
s t u d ios o f Fouj i t a . Lcgrr. L h o t l ' . l , u n,;a 1 . \ lo 1 1dria 1 1 .
a n d Z a d k i ne. A fr ien d o f 1 1 1os1 o f i ll('ol' pa i 1 1 l no.
close 10 M ichel S e 1 1 p h o r a 1 1 < l l i 1 1 k !'d 1 0 t he p l 1 0 1 og rn ­
p h ers Bere n ice A h l J0 1 1 . Crn n a i 1 1 r K r u l l . : 1 1 1 d \ l a 1 1
11av. he w a s q uickly r<'rng n i zrd b v 1 he p h o t ogn:i p h i l '
1 1 1 i I i c u . On M a rc h 1 2. 1 0:27. he sho"·ed h is p h o ­
t og ra p h s a t t he ga l lerv A u Sacrr d u P r i 1 1 1 e 1 1 1 ps :' and
t hrn. in successi o n . a lso r x h i b i t cd at t he ""Sa l o 1 1 de
l ' Esca l i r r, ·' the Salon de \ " A ra ignee. and in the sho"·
'· Les D i x ·' (The Ten ) -° O n a� 1 i 1 1 1 c rn a 1 i o n a l \ r ,·e l .
t rr1 1 t l 1 ccn t t 1 r,·. " · hose descript iow; hr ni l led . . photo­
..
gra p h i c . A fter h::l\·ing asked .laeques-A n d rr Boi ffa rd
t o i l l ns t ra t c ,\'odja, B re t o 1 1 registered d isappo i 1 1 t ­ Flrn .\larker, J 9:-r;
n 1cnt : t he si l cs phot ograpl red seemed t o h i r n
drnttdcd or a l l magic. a r r d t he i l l ust ra t iort ·'disi l l u ­
.
:;ion i 1 1g . . O r r t i re odl('r h a n d . he rorrsa" · t hat fn1· u rc f l l i a t rd w i t h i l l ( ' Su rrea l ist rn0\·c1 nc1 1 1 . a n d i 1 1 h is
boob wordd no lo1 1grr I )( ' a cco 1 n pa 1 1 icd I J\· d ra \\' i ngs m a 1 1 iJcs1 disi 1 1 1 c res1 i n t heoriza t io n a n d polcn 1 i cs .
but b,· photograph,. a n d he sa l t r t rd t he \\'Ork done O l l C Ca l l SCC H rpaff l rn 1 a t ion or i 1 1 d e penc f C ' n C e a n d t he
I H· B ras,a·r· a r r d \ l a rt Har i r t r l 111uur Fo11. B rc1on r i rst obs 1 i 1 1a1 c defense of i n J i ,·i d ua l i t y.
cor r ccivrd a n d t hen deplO\· ed S t r rrea l is1 1 1 i n his \\'r i t ­ 87
i 1 1g a i 1 d U1 1 h- la1cr brough 1 t he v i s u a l a r·ts i lllo t i l f' Cerl a i 1 1 h-., 0 1 1c cou l d a rgue t he opposilc a r i d
fol d . S 1 1 rrea l i;, 1 1 1 . i 1 1 t h i;, l't'S i H'!'t q u i t e di:,l i nl't rrn1 1 1 poi n t t o t he D is w rt ion- and I he n u merous photo­
L l w Cen t ra l 1-:: mopran a \·a n t -ga rdc. "ervcd t o r·< · i n ­ graphs in "·hich m a n nequ i ns. d 1cir heads C UI off or
for·!·e t he t rnde11n· of Parisian Dada ism t o p l ace rx­ "·i t l 1 \\'Oodrn legs, a rc fca l u rcd. But i f effcel i vell'
per i 1 1 1f ' 1 1 1 a t io11 r n t i l!' ,·isual arts l i c1 rea 1 h t l 1c L l 1P rc is a great t c1 1 1 p t a t ion to j oin t h e DisLOrt io1 1s l o
don 1 i n a nrc or die l i 1 r ra 1'\' gen re. S u rrra l isrn \\'<IS i 1 1 i - Su rrealism. o n e rn u s 1 keep in m i n d 1 ha 1 . on t he one
1 i a l h· a n 1 0,·c 1 n c n t o f \\Ti l ers. r na n )· of' "·1 10 1 1 1 ,,·c r·c h n 1 1 d . a Oistortion is 1 1ot a rn a 1 1 i p u l a 1 ed i 1 1 1age.. a vi­
edur1 1 1 cd i n t he school or \ 'alrn-. 1 r S 1 1 rrea l i,; n 1 i 1 1 - sual cxperi 1 1 1c 1 1 1 of 1 hc same order as a pho1011 1 0 1 1 -
dccd "·a,, able t o propo:;e a ,·iS 1 1a l 1 hcor). i l 1c 1 1 0 1 1 r t agc or a 1 1 ovcrprin l . b u t 1 hc s i mple phowgra p h ic
r n n'I rc1 11crnbcr t ha l i i w a s ( i rsl a poet ic o n e a n d t rn nslat i o 1 1 of a rdlccl io n i n a d i 1 o r1 i ng m i rror. On
l ' a r n c rro n 1 i 1 l l 1'rnal rxpni!·1 1rc. t l 1e oi l 1cr hand. t he series Distor1 ions. co1 1 1 1 1 1 issio1 1ed
I J\· I lic 1 11 agaz i ne Le Sourire. do nol l a l' c l a i n 1 10
The oi l ier 1·easo1 1 0 1 1e m us1 p rudc1 1 1 h· h a n d l e ! Je i 1 1g an i n vcst iga l iOll o f t he l ragec f )· o r t hC' c fc­
rcrncnccs 1 0 S 1 1 rr!'a l is1n i 1 1 1·cla1 i o n 1 0 K l'rl t�sz co1 1 1 r•s rorr 1 1cd or. 10 use a Lcrm o f Georges Bm a i l lc·s. or t l 1<'
..
rro1 1 1 t l 1e fact 1 ha1-i 1 1 con 1 ras1 1 0 \ I a n Hm·. a co1 1 1 - "in/ormc ( " i rregu l a r " ) . Tbe)· a rc a jo,·ous explo­
pa 1 1 io 1 1 o r B reton's Oi l t he road o f Dacla i,,111 a n d t hen ra1 io 1 1 of 1 hr po1 en 1 ia l i t ics o f 1 he female boc k closrr.
S 1 1 rrca l i;;m. a r i d i 1 1 t '01 1 1 ra;,i 10 .l crcq 1 1cs- A 1 1d 1·{ in 1 ha1 sc1 1 sc. t o I l e n t'\ ' .\ l oore·s Hecli11i11g ,\lfldes t l 1 a n
13oi lford. Brn s,n·i. a n d Hao1d L 'bac (who \\'[1' i r kolog­ 1 0 1 he gro1rsque fare,, o r Jacques-Andre B o i ffard or·
ira l h- close 10 B 1·e101 1 a r r d 1 h e " i l l 1 1st ra1 o r-pho1ogrn­ t he u n sc 1 1 l i 1 1 g A!Jiclie::. l as Poe111es. Ajficlie::. l 'os /111-
pher,, .. or L o He1•0/11tio11 S11rrealiste. . l li11ota11re. and ages (Put 11p ! O ur Poe111s. Put 11p 1 'ollr /111og;es) I J\·
Doc11111e11ts- K c 1·1 csz \Hls nc,·l'r asked b,· B reton to Hao1d Cbac. I n t h e same wa1·. if the rc rn rrc1 1 ce i n
collabora 1 c. a n d he \\'ab a lso l lC\'Cr 1 1 1 c n 1 io1 1cd a s K rnrs z ·s photographic "·ork of bot h a "disquic1 i 1 1g
bei ng clo ,c 10 1 he group. 1 1 1 K ert csz · s rcru,,a l t o bC' a f- s1 r·ange ne ss or t he m a n ncqui ns.9 a n d d i e sadis1 ic
1 1 1o t i f of a m p u t a t ion or c leca p i 1 a t i o 1 1 . 1 0 t <-s1 i h· to a prr1 i 1 1 e 1 1 1 . K r ri rsz k 1 ww pa i n t er, such a,, Lrgcr a 1 1 d
v i s u a l fa n t a s t i c a l ncss w h i c h \\"<lo cen a i n k pre"' l l l Ll iot ('. a 1 1 d i i<' grm · i 1 a 1 rd t o t l 1r a rt iot ic c i rc l Po o f
bet ween t he t wo wars. i 1 is n o t i n 1 1 1 1 e d i a t e k S u rrca l ­ .\ lo 1 1 1 parna,,,,e: a l ,,o . a 1 1 1 1 rn brr of h i ,, 1 1 rba 1 1 l a 1 1 d ­
i 1 . .\'ot l 1 i ng. i n K c rt rsz. ca 1 1 br co n 1p a rrd 1 0 t he o b ­ sn1pP:, a rl' c o 1 1 , 1 ruc1rd a rou 1 1 d p 1 1 rP gro1 ne1 ric fo rn b :
essi \'C' ero t i c experi 1 1 1c 1 1 t a 1 ion o f I ! a ns Brl l n l ('r. squ11 re,,. rec t a ngle,., u n d 1 ria nglco. The,,c l a 1 1 ( iocapeo
el a l iorn t e a spacP "' i t h o u t dPpi l 1 . as if l l a t t encd.
H a t hcr t h an ha st i lv l i 1 1 k i 1 1g Kert rsz 1 0 a u r­ "· h i cl 1 hrra k s "·i t l 1 I he pcrsprct i n ' o\'"i r 1 n of ''a 1 1 i s l 1 -
rea l i s 1 1 1 from w b i c h lw assu red ! �· "·a 1 1 1 N I 1 0 d i s ­ i ng l i nes i 1 1 h eri t cd from t he H c n a i :;sa 1 1lT.
t a nce h i mse l f. one can spea k . a l o 1 1g \\' i t h Edouard
11 .. 1;; 1 1 1 b l c 1 1 1a i ic of 1 h i s gro 1 1 1ct ricizat i o 1 1 of t he
.l ag11er. of an acu t e 5r11:,r of 1 he c i rc u ms 1 a 1 1 t ia l
..
magic i n h i s p h o tographs. o n e o f t h r t h ree cri t e ria u rba 1 1 space io Kcn roz·,, p h o t ogra p h i c 1 rca 1 me 1 1 1 of
.. .. 1 2 ··C
o f ro1 1 rn lsive bea u t ,. i c lc 1 1 t i f ird h�· B re t o n . i r­ roofs. "·i 1 1 do"·' · a11d cl 1 i m nc,·s i 1 1 l ieu· o.f tlie Roofs
..
c u m s t a n t ia l magic is d i rrc t k p reoe 1 1 1 i 1 1 ,1 /e11do11 .from .5. me de I (//tres ( 1 9:2 7 ) . Paris .1/011/pamasse
( 1 9:28) a n d Subllrban La11d1icap e ( 1 93 1 ) a n d , in a ( 1 9:30 ) . To1m1i11e ( 1 9:29-3 0 ) . a n d Hoofs of Paris
1 1 1 i 1 1or wa �-. i n K e rt esz ·" phot ogra p h i c essm·s. ,,· I i i c h ( 1 9:2 9 ) . B u i i f Piel ,l /ondria11 s Studio ( 1 9:2 6 ) . e n ­
a rc a t t e n t i ve t o t he u nex pect ed drt a i l . t he ephrmeral t i re ! )· ;, t rnct u red i 1 1 uocc 1 1 d i ng bando of co1 1 t ra s 1 i ng
m o m en t . rn l 1 1c. a m l a 1 1 1 c 1 a p h o r for .\ l o n d r i n 1 1e,q ur "·ork.
sre 1 1 1 0 l i k e a 1 1 1 0,·r 1 1 1 r 1 1 1 to t h e b o u n dt1 ries of C 1 1 b i s 1
lf. t h us, t l 1e rel a t io1 1sl i i p t o S u rre a l i s m re­ rP,ra n - h for K er1 rsz. a 1 1 u in bcr o f p l 10 1 ogra p h ,, , 1 1 0 " ·
m a i nPd o b l i q u e in K ert esz. t l 1r l i 1 1 k to C u b i s m . as t he ,,�·s1 e m ·'· ,· ie l d i ng ·· i n t he face of t he eve1 1 1 . t l 1e oc­
J e a n - C l a u d e Le11 1 ag 1 w p o i n t ed o u t . 1 0 seemed m o re cas i o 1 1 . 1 hr a 1 H'cd o 1 c . In N11e l (1ri11 ( 1 9:2 :'i ) . t he rigor­
ou" gcomct ril'" of b l i nd,.. wi ndo"' . and g1 1 1 1 cr" i;,
d i ,. 1 1 1 rhed lw t he l 1 1 1 1 n a n presence of a n o l d "·o m a 1 1
lra n i 1 1g on hrr balco l l \-. I n Quartier Latin ( 1 9:2 6 ) .
t h e C 1 1 h is 1 s h a pes o f roofs a l l ( I c h i 1 1 1 1 1e,·,, a rr ordcrcd.
or. more exact k d i sordered. arou nd a s m a l l p r i ,·a 1 r
space. a t rrrnre h e 1 1 ra 1 h t h e roofs . .,, · hose l i nes es­

88 cape 1 hr geo1 1 1c1 ric mode l : a man ora t ed 011 a bench


rea d i 1 1g. a s i l ho u e 1 1 c see 1 1 beh i n d a door. a lace rn r-

1ai11 in t he w i 1 1 do"·· t he i n t er 1 "·i 1 1 i ng of r l i 1 1 1 b i 1 1g


p l a 1 1 1 0 . Elsc" · hr rr. it is a passer! ),. "·ho drs 1 a h i l izrs
1 he l i nes. or a ca t "·ho runs a"·a,·. So b,· m·oid i ng
. '
:
rigid fon n a l co1 n po,, i 1 i o 1 1 . K c n rsz ca p t u 1 ed t l 1r i n ­
t ri nsic t h r i l l of l i fe \\"i i h t he phot ogra p h .

1 1 1 fact . o n e o f t h e cs;,e n t i a l 1 n1 i 1 s of K r n roz · s


work was t he rejec t ion of ")°" t e m a t iza 1 ion. a 1 1 d a re­
ject i o n of i t " rffccb-a d o u b l e rej ect i o n . 1 ra 1 1 o l a t e d
1 1 1 a i n 1 '- h )· d i o 1 a nc i 1 1g i " 'e l f from t he procedure,, of
1 hc .\ o l l \·cl lP \'ioion. 111 G e n n a n \' a,, i n France. rdlcc-
1 io 1 1 on t l w potem i a l i t ie,, of t h e m ed i u m of p l 1otogra­
p l 1 )· led pho1 ographcro he l \\'ecn t he t \\·o "·orld \\'[Ir;,
to m a 1 1 i p u l a t c t h r i 1 1 1agc : rn c l to cxperi 1 1 1e 1 1 1 "· i t h
p h o 1 ogra 1 1 1s. phot onH m t agcs. solarizat iono. a11d
o,·crp ri 1 1 1 i 1 1g;, . .\ ot l 1 i 1 1g of t h is can be ce1 1 in K c r t roz.
and if I I(' ,,hared "·i t h .\ l o h o l r - .\ag\' t he co 1 w i c 1 i o 1 1
t h a t 1 h c phot ogra p h i c m e d i u m \\'as a u t onomous.
t ha t he m u ot con q u e r i 1 0 "prci f i c i l \· "·i t l 1 o u 1 rcfcrcncr
10 1 he p ict orial 1 1 1odrl. hr 1 1en�n hclc ,, refused 1 he
;,op h i o 1 ica 1 i o 1 1 of new p roce d u res a n d rema i n e d a l ­
"""'"" a ,, 1 rangcr t o 1 he 1 cc h 1 1 ical a n d ''i s u a l e u phoria
ced i 1 1g space. For h i m ., mea n i ng wou l d not come u n ­
less one was gro 1 1 nded i n t hr worl d ( from "·h ic h
a rose h is reject i o n of p ho1 ogra p h ic abst rnct i o n ) a n d
:; i 1 1 1 1 i l t aneuusll' a t a d i s t a nce from i t ( f ro 1 1 1 w h i c h
c a m e h i s frPq u c n t b u t a l ways ca ln i l a t e d u s e o f t he
t i l t s l 101 ) . Be i 1 1 g a1 1 hc w i 1 1 do"' \\'as a l so., as P a i d Der­
mer S 1 1 gges1 ed on t l w occas i o 1 1 of t he show devoted
t o K e r1 csz at t he ga l le ry Au Sacre· d 1 1 P ri 1 1t emps. h is
a t t rn 1 p t t o rP-Pndorsc 1 hc H i rn b a u d i a n rn v t l 1 ologv o f
t l 1 P v i rg i n a l v i s i o n . t h e c l a i rvov a n t , · i s i o n :

. . K e r l csz. t he eve:; o f a c h i l d for w h o m


..
e a c h look i s t h e r i rs l .

T h e v i rg i n gaze i s t he o n e t ha t k n ows h o w t o
re i n vent t h e v i s i b l e from t he ord i na ry. I t a l so k nows
ho\\' to "·a i l and cap t 1 1 1·e t he i n o 1 n e 1 1 1. . a i ded b y a
sp1·c i r i c r a n 1 r ra-fi rst d i e s m a l l port a b l e c a m e ra of
1--: ert rsz · s phol ogra p h i c begi n n i ngs. a 1 1 d t hen t l i c
Lei c a . t � T h e p hotogra p h i c a p pa ra t us-of't en t hought
o f i 1 1 d i e 1 920s as a pros I hesis. a suppleme n t a ry
. ..
organ-formed a . bod)· w i t h t h e hod)' I t was less
·
t h a t c h a racterized t he e x per i m en t a l phorographers a 1 1 e x t e rn a l t ech n o l ogy t h a 1 1 an e x 1 e 1 1 s ion of t he
of t he 1 020s. body. a s 1 1 pp l e me 1 1 1 of 1 hc eye. I t a l lowrc l for s e i z i n g
a 1 1 d f i x i n g a n event , f o r a s u dden acc i d e n t t ha t i n ­
Kert Psz w i s hed to be lo)·a l to a phot ogra p h i c snibrs i t sel f i n t h e esta b l i s h ed fra me of t he w i ndow.
prob i t ,·-a 1 1 ae;, t het i c as rn uc h a s a n et h i c a l prob i t \'.
Hese 1Ye. modes t \·. a n d d i scret ion toget her designa t ed H cf u s i n g 10 use t he cffrrt of shock. ma k i ng 1 1sc
89
for h i n 1 a way of being a 1 1 d a 1 1 i dC'a l of ,·i s i o n . These of a n acsl h c t i c o f sobriet y, Kert esz t h u s i n ve n t ed
· · ,·i rt 1 1 r :· "·C'rC' t ra n s l a t C'd in K e rt esz b)' a pos i t i o n "· h a t one cou l d ea l J . i f one remem bered t he objec t i ve
t h a t \\·as a t o n c e spa t i a l . c u l t u ra l . a n d e p i s t emolog i ­ assigned t o H u sserl 's p h i l osopl w. a p h o t ogra p h i c
.. .. ..
ca l : bei ng a t t he "·i n lo\\'. Beca use i 1 w a s a m i dd l e ' · p h e n o n 1 e n o l og)'- To " rc1 u rn 1 0 t he t bj ngs t h e m ­
..
space. t he fron t ie r t ha t a r t i c u l a t ed t h e i n t erior a n d selves . t o u 1 1 h 1 i r dc 1 1 t he p h i l oso p h )· o f false prob­
e x t erior. t h e \\' i n do"· gave K e r t esz t he opport 1 1 1 1 i t Y t o lems a n d pscudoconce p 1 s-such \\'as I l ic I l u sserl i a n
co1 1 1 1 n 1 u 1 i ca 1 e "·i t h t h e world w i t h o u t losing h i m se l f i m p e ra t i ve: t o m a k e v i s i b l e . 1 0 s h ow. w i t ho u t a v i -
.. .
i n i t . o f b r i n g i n i t . ,,·i t ho 1 1 t b e i n g of i t . . B n t be­
c:rnse i 1 a l o funct ioned as a frame of v i s i o n . because
i t i s a p a r t o f t he \ ' i s i b l e . t he w i ndow a nt i c i p a t e d h i s
p ho t oarap h i t fra m i ng. preceded i t . a n d m a d e i t pos­
s i b l e . T h u s . aL t he hean of K e r t esz · s work. i n t he
, ·rlY p r i n c i p l e of h is 1 1 1 e i l 1od. is i n scribed sepa r a t io n .
c l is 1 a 1 we .

T h i s i s p recisely t h r message of Broken Class


( 1 929) ( > 1 1 1 i m age consist i n g of bot h b roken glass
and d a m aged p h o 1 ogra p h i c p l a t e ) . T!te !'011! des
A rts Seen thro11f!:h tlie Clock a/ the l11stit11te a/
Fm11re ( 1 929-3 2 ) . a n d T!te Sei11e See11 .fi"o111 L(/((J"
.l le11dls Jlpart111e11t ( 1 92 9 ) . For K e r t esz. i l 1 r \\'O r i e l
" · a ;, n o 1 ,-i,, i b l e . legi b l e . "·i t ho 1 1 t i l 1e dou h lr rnnd i t i o n
of bei11g pcrcci\'cd f1 ·om a n O\'r rhang a n d from a re-
sual a priori . to describe i n a word. such was t he
K ertcsz i a n photogra p h i c i 1 1 1 pera t ive.

Kene z·s a 1 1 r n 1 i ve a 1 1 c l 1 11oc les1 gaze. w h i le


see k i ng 10 capt u re '· t 1 1c 1·igl 1 t rn o 1 n e m . ·' rejected 1 he
e ffect of t he punct11111 1. > so ove1whel n 1 i ngl �· prrsr 1 1 t
i n 1 1 1ost of t he photo-essays of t he t i me a s w e l l as i 1 1
t he d ra ma t i c co111.posit i o 1 1 dep l O\·ed i n t he work of
I lenri Car1 ier-Brcsson . I n Kertesz. 1 here \\'as neit her
d ra 1 1 1a t i za t io n o f t he fact nor 1 1 10 1 1 11 1 nen 1 a l iza t ion of
m!'1 1 1 o r�-. bu1 rat her so11 1ct h i ng more ten uous. more
fragile. to "·h ich 011e ,·ol 1 1 1 1 1 arih- g i,·es t r i ,·ial names :
.. ..
t he . . t l 1 i 1 1gs (1101 1 he '·objce1 i'' ) . t he . . people ( 1 101
.. n 1 t'u . ' ) . Whal can one describe i n t h is urban m i l ieu

t ha t holds t he po1 e 1 1 t i a l for d i!' photogra p l 1 ic act . i f


not what. happened t l 1cre, t he 1 h i 1 1gs. a n d t he people?
Thi ngs, which a l "·a,•:; spPa k of people. t he d c 1 1 izr11"
of t he st reets of Paris: 1 6 not t he modern ist. Pari" of
t he mem bers of 1 he .\ouvclle Vision, nor the t o u rist ic
Paris o f Germ a i n e K ru l l in 1 00 : i: Paris, nor. d1'l i bc r­
i \ 1 1 1 1 1 ' ,\ 1 1 i 1 1 w l \
. larkl' I .
atek. t he A rc de Triomphe. t l 1e Louvre. t l 1 r gra nd () 1 1 a i Sa i 1 1 1 - � l i cl " ' I .
a ve 1 1 1 1es. Kert esz\ pho1ographs ret a i n o n l y wh,1t en­ Par·i,. 1 9:27- 1 9:28
l i vened Paris orga n ica l lv: f i rst d ie water o f t he Seine.
o f 1 he p u d d les o n t he sidewa lks or t he wet f lags1 01 H·s.
and r i na l l v t he a n i ma l s and t he c h i l d re n . For pea r (such a;; wa 1 1der i 1 1g 1 1 1er('ha1 1 1 s. peddlrr,.
Kerlcsz. t he c i t �· was nC'ver a met ropo l i s t ha t nour­ vagabonds ) . Ker1 csz s11bsi i t u t rd a rcflrc1 io11 on i l l('
ished a rch i tect u ra l a n d l ccl 1 1 1ologica l u topia n i s m : for 1 1a l 1 1 ra l 1 1ess or l 1 u n 1 a 1 1 i t ,-. In part icu l a r. l ie ,,1 1o"·ed
90 t hose who k new how to l ook a l i t p 1 1 re l v. t lw c i t �· " · a� ho"· t l 1e i 1 1 d i ,·i r l 1 1 a l . 1 ho 1 1gh he ma )· be a e i 1 izr1 1 a 1 1 d
s i m ply a 1 1 extension o f die ru ra l lan dsrap('. Fro1 1 1 t l w a p<1rl o r i l w social boc lv. a J \\·ay, 1e1 1ded 1 0 pn'Sf'r\'e a
cou n t r�· t o t he c i t r t here was n o break . no clravagc. priva l f' space. "·h ich wa" a loo a 'pace in 1 rn 1 1 1 rr. I i io
b u t rat her t he same l i vi ng. a n i m a t ed t issue. i n 1 h i s se11sc 1 ha 1 011c 1 1 1 1 "1 rPad 1 11 artist :� st11dio.
Paris ( I 027). "·herr 0 1 1 a f i 1 1 i shf'd pmq 1 1ct lloor
Thus Kcncsz had a pho1ographic pred i lrct io 1 1 ch icken [reek peck ::it grn i 1 1 . I t is also how 011e n 1 u,l
for 1 hc q uays of t he Srinc ( n bit o r 1 ia 1 u re p rrserved ,·ic"· t l 1c por1 ra i 1 ,,. so a;,t o 1 1 i,l 1 i 1 1glv s i 1 n i la 1-. of ,\. I i"
i 1 1 t l 1e wry l wa r1 of t hf' c i t y ) . a 1 1 d for t lw p<'np lc wl10 J o l 1 1 18011 a 1 1 d t h(' p a i n l er Fo11j i 1 u : 01H' l 1 11dd lr•d. rng!'d
st i l l had a ch i l d l i ke na1 1 1 ra l ncss-t l 1 c Gypsies. t l l(' I n- t he s 1 a i rca:;1• a 1 1 d n 1 rlrd 1 1 p i 1 1 a l'Oh 1 1 1 1 i 1 1 0 1 10 dark
vagra 1 1 1 s. a 1 1 d peopl(' not vet urba n i zed ( i n t h(' ;;e1 1,r cape-a sort of pro1 ec1 i ,·r ocrccn 1 ha t isola 1 e' hrr
o f h a v i ng t he proper v i n ucs oJ' Ci ( \· l i fe). \rhat fasci­ w i t l 1 i 1 1 t l 1e colle c 1 i vc "pace: i l 1c oi l ier. h a l f \\Tapped
n a t ed Kertesz was t he i n 1 1ocr1 1cP. t he nawra l nes,. i l l a mat or bra i ded ,l rtl \\'. J 1 a l f m a n . h a l f lllli 1 1 1a J i 1 1 a
t ha t people k ne,,· how lo 1 1 1 a i 1 1 t a i n i 1 1 t l 1r11 1sPlves. I n , l i r l l . Sit t i ng or h· i 1 1g-1 101 o t a 1 1 d i 11g u p rigl 1 1 as l id i 1 ,
t hr case o f t he c ,v ·v o r t he t rn 1 1 1 p i t was t he rejec­ i i ll' u n i q 1 1ene;,,, of l 1 u 1 1 1a n i t \·-i 1 1 i 1 1e i r \\'H )' i l ll'\' a rc
t io 1 1 or a social codr. t l ie choice or a posi 1 io 1 1 at t l 1r a,, i so l u 1 rd as Keri c:;z at h i ,, "'im lo"-. The figures a r! '
m a rgi ns. Thus. pho1ographiug t he t ra m ps 0 1 1 t l 1e S O\'er!'ig1 1 k a f'ri rn wd. show i ng 1 ha 1 ro b e 011P,,el f is
q u m·s or Tlie 7hu11p s Siesta See11ji·o111 !lie Po11t-a11- f i 1·;,1 of all l o bC' a hoc k. and t ha 1 l i ,·i ng i11 a c i l \' i,, 10
C 'h a11ge ( 1 927). Kcn esz was i nscri bed "·i t ho u l a k now how t o ncat r onc''s space.
doubt in a photographic 1 ra d i 1 ion i na ugura1ecl a1 1 hc
e m l or t l 1c 1 1 i 1 1el Pf'l l i l 1 cc1 1 1 1 1 1· )' 1 1" E 1 1gi'11r J \ 1ge 1 . Pai d Bui if Kcr1e:;z 1 wrccil'ed t l w c i 1 ,· as a t ·o1 1 1 p lrx
..
Ce1 1 ia u x . a n d Lou is \'en : 1 ha 1 o f '·small jobs -at a nd ,·ibrant 1 1 1 i x 1 1 1 rr or ci,ri l i t \' and n a t u ra l ness. hr
once gen 1 ·e scenes and sket ches of m a n ners. 1 7 B u t for rr1 1 1 H i ncd a s 1 rn 1 1ger to t ha t da1·krr pan or ii \\·hich
.
t he S) S l l'l l l a t i c clcvat ion of .. s 1 1 1 a l 1 joho . a n d i 1 1 e 1 1l('­ t l 1r S1irrra l i s 1 s t ried 10 decode: t l 1t' c i 1 )· "·as no1 for
t l 1od ica l a rc h i v i n g o r h u rn a n l vpes dest i ned LO d i:,ap- h i m . as ii ,,·as for B rrton. a labn·i l l l h of e 1 1 ignrn 1 ic
signs i n "·h i c h i 1 wou l d be d i zzy i ng 1 0 los<' oneself. Ii po i 1 1 1 s: 1 h r E i ffel Tow('r. 1 l rc Seine. t he p 1 1 b l ic gar­
"·as a l so 1 10 1 . a s i n r he \\Ti l i ng, of' P i e rre !\ l ac Orl a n dens. To descr i be I hrsc 1 hi ngs is LO h e closer 1 0
o r 1 he p h o1 ogra p ho of Bras>m·I. t he i 1 1 1 r r l ae i 1 1g b l a c k t he rea l i l \· o f w l r a l 1 he c i l \· offero t ha 1 i ;, co1 1 1 i 1 1gr 1 1 1 .
r i b bon' o f , 1 rrrt . 1 h ro 11gh wh i c h pro;, I i i 1 1 1 r:;. d 1 1 1go. a 1 1odr1 1e. i 1 1 (·soc1 1 1 i a l : i 1 i ;., 1 0 h ig h l igln t i re 1 1 1 1 1 1 1 -
a n d 1 1 1 1 1 rdc'rr·ro 1 1 1 a d e 1 l r e i r \\· ay. K e r l r,,z\ Pa r i s "·a, d a 1 1 c . K e r 1 1;;.,z i a 1 1 p h e 1 1 0 1 n r 1 1ology wao s r n ; p i c i o u s of
1 1 !'\'!'r Ba l J\· 1 0 1 1 : one l lf'\'Cr d i scO\·rrcd l r az\' l i gh 1 i 1 1g. a rt i f ice a11d l1ad l i 1 1 i!' 1 0do w i l i r l i re rn l 1 1 1 ra l a n d for­
prl' 1 1 1 0 1 1 i l i o 1 1 , of c r i 1 1 1r. n l l l l coo1 1 1 1 1 1 ed l n l l ls\'C'o l i l<'S m a t i ve i 1 1 1 pcn 1 1 i "r' of 1 h e ,\ou\'ellc Objrc 1 i v i 1 r . I n
ha 1 1 1 1 1 i 1 1g l i w 1 1 i gh 1 s of 1 l r<' 1 1 1 i;,g1 1 i ded. K r r 1 rsz ig- Cc rr n a l l \'. 1\ l he r 1 He1 1gcr- Pa1 zsch 0 1 1 1 h c 0 1 1 c ! ra n d
1 1 orcd l i re ( ' ·i i
\ parh of 1 hc c i l \·. of I i r i ng;,. a 1 1 d of pro­ a n d 1 hc Ba 1 r l 1 a 1 1 s p h o 1 ogra p hcrs 0 1 1 t he oi lier f ' X ­
plr a 1 1 d re1 u i ned o n h· t h e opcn a 1 1 d fa 1 1 1 i l i a r. I J i ;., a l i ed l i re bea u h· o r l l H' i 1 1 d 1 1 s 1 ri a l objec1 a n d 1 1 1 a d c
P a r i ;, \\' l b 1 101 1 he r r r e de L a p pr. 1 1 or was i 1 I hP l a ;, t ­ serial i 1 1 1 agc" ( o f b i g i n d us1 1Y. of p h o t ogra p h�-) . 1 1 1
d i 1 c l r h o 1 p J ;., . l i rP brawl;,. l i H' t ra ff iekcd l m·e: rn 1 l re r i t France. Cen n a i n e K rr r l l p 1 1 h l i ;,l t c d ,l /hal. 1 8 a n d 1 he
w a' l i w peaccf1 1 l 1 H' l \rnrk o f l i 1 1 l e -,1 1 ·rc1�. l i 1r d r l i ca 1 r .\ o u n ' l l e P l r o 1 og ra p l r i l ' o l r a rcd in d1r 1 1 1odcrn i ;, 1
d1·, i g 1 1 of' l i re r l r a i rs i n 1 hr L 1 1 x e 1 1 1ho1 1 rg Cardc11,. t he c n t h u ;, i a;, 1 1 1 . K e r 1 c,z. howr\'cr. becn 1 1 1e prrocc 1 1 p i ed
f i r, 1 lea\'!'' of t1 1 1 1 1 1 1 1 1 1 1 . 1 h e read i 1 1 g of a 1 1r'"' J lapcr as \Y i l h 1 10 1 1 i n d u,1 r i a l . c rn f1 rd objre t ; t l 1a 1 w l d a s1 or)·
i11 . 1 11 1·11/I'/' .l lomi11p: at !lie r a;e d11 /){mw ( 1 928). a11d "·rre o fl < ' 1 1 1 l l ! ' l a p h or;; for 1 hr i r 0\\' 1 1 e r· s l i fe:
,l /ondria11 :� Class('S a11d P1/Je ( 1 926 ) . Ropes ( 1 9:28).
To d<'sc r i he P a r i :; i 1 1 repo;,r i ;., 1 0 orga n i zr i 1 s a n d c h a i r-;., i 1 1 a gard e n . O f1 r 1 1 ca p t 1 1 r i 1 1g l i re objc< ' I ;,
gc ·ogra p l l \· a rn 1 1 1 1 C I cerl a i n i 1 1 1 1 n 1 1 1 a h le refe rr r wr i 1 1 a p p a rr n 1 c l i sordrr. a s 1 l to 1 1 g l r 1 h r,· hud bre 1 1 l r f1

91
The a 1 1 "'·e r 1 1 1 ig l 1 t I )( ' c l i sro1 1 cer t i 1 1 g i 1 1 i t s ;, i 1 1 1 -
p l iei t )· : t l 1 ro 1 1 g l 1 i l H' si n g1 1 l a r i t )· o f p l t o 1 og ra p l 1 1·. T l t a t
i s t o sm·. t l w ·· ,· i ,, 1 1 a l C'< p 1 i va le 1 1 t s ·· a n · a c l t it'\Td
f 1 1 ro 1 1g l 1 t he l l S(' o f va l t t l'o. rro 1 1 1 deep I . lack 10 l l l trf'St
w l t i i <'. pa ss i n g t l 1 ro 1 1gl t t l w i 1 t f i 1 1 i 1 r rangr o f grm·,. I f
t l 1n<' i s l i t t le o l a rk I . l ack a t t c l w l t i t < ' i n K r · r f rsz. a l l 1 1 11 ·
oha drs of g rn v a rr p rrs r n t . Tlten'. perhaps. l i es t l tt'
\'l' I ' )' l l l ( 'l t l l i t tg o r K e r t <'.sz··,, p h o 1 og ra p l 1 i c - work : 10
pl to t og rap l t t hr world i s i n low gray P" ' " i o 1 1 a 1 ek
C ra y i s 1 101 a color: i t i s a l l color' a ' se 1 1 1 h l ed i t t O t t ! ' :
S t t h t l ! ' . S l l H \ ' ( • . re i i t tcd-gra)· is t h e gra i n of t l t e \\'or i e l .

C rm· . i, t l t r <'sse1we of t l 1P worl d : it sm·s . t l w t t l H'r<' i s


0 1 1 1 \' a s i ngle p h otogra p h i c s 1 t l ijec1 . a n d 1 0 t l t i s s i ngl<'
a 1 1 d 1 1 1 1 i q 1 1r ;, 1 1 hjee t l' H'IYt l t i ng
io a p rr t ex l . att O<T< 1 -
,l rt et .\ ledeci11e. Oc1ohrr \ CJ:3 \
r i 1·c'r'. o r c i t i c ·» . T h e lJol­
;, i o 1 1 . 1 1 q 1 1t»; t i o 1 1 o r f«w<'o. o r
co11y at 1l larti11iq11(' ( 1 97:2 )-a p t t 1·r rn 1 1 1 pos i 1 ion o f
rarclcssk on a t a b le. 0 1 1 a s l 1 e l f. i n a corttl'r of a s t t t ­ >i u rfa c r;, a n d 1·a l uc,-is i l tP a p e x o f t l 1 i s q uP"t for
d io. K e rt esz t ook 1 1 p-br )' 0 1 1 d t l t P Con s t rnct i v i o t grav \\' l 1 i d 1 \\·:i;,. w i 1 l to 1 1 1 a d o 1 1 h 1 . K c rt l-sz · s rn i son
..
' · co 1 1 1 po s i 1 i o n of objrc t s - 1 he p ic t o r i a l t r a d i t i o n o f . r N rc .
. ...
st i l l t lw ra mo11s Fork ( 1 928).
l i fr : 1 1 1 i n i 1 1 1a l ist in
sober. a l most a u s t ere. i n Bowl 11•itl1 Bits of S11gur 111 t h i s n•sprct K < · r t rsz \\'a;, r: J c l i , · a l l v. ab­
( 1 928). Tl t e st i l l l i fe is dc p lO)-et l a n d 1 1 1 , 1 d r 1 1 1 0 1-r so l t n c l r a p l io t ogra p l w r-1 1 0 1 <1 1 1 a rt i s l 1 1 s i 1 1g p l to-
co m p l e x in t he d i sprrsion and d i sorder or objrct s 1 ogrn p l 1 )' as an acc rss o rv. h 1 1 t a p l tot ogr: 1 p l 1 e r fu l l v
t h a t c h a rac t erizc St il/ /.4e i11 ilf(rs Roo111 ( 1 928). A r t conscious o f t l t c possibi l i t ies o r h i s mcd i 1 1 1 n . K C 'rt e"z
hrco 1 1 1 es t l w basis or a p oss i b l r f ic1 i o 1 1 i n A Poe111 of d r d i ca t cd l 1 i 1 n se l f 10 p l t o t ogra p l 1 )· a s ! t is 0 t 1 k p<i s ­
Ac(1 · ( 1 927-28)., b u t i i i s es p rc i a l l )' so i n /I/oil ll a ' it­ � i o n . w i l h o u t (•vrr i 1 1seri h i ng i n l i i:i i r nage s a n y rrgrct
i11g at the Cc!/e du Do111e, in w l 1 i c h t l t c l e 1 1 cr, p i lrd o r )'ea rn i 1 1g for o t l 1 r r 1 1 1 c d i 1 1 : · · 1 a 1 1 1 ,. C' I")' l uc k )·-\\· l ta t

92 1 1 p beh i n d a v i t ri ne benra t l 1 a l u 1 1 1 i no u s globe seem I ha v r a l wavs wa 1 1 t cc l \\·tb tu e x p rr• s s 1 1 1 vsel f. a n d


at oner to beckon a nd to w i t l 1 d ra \\'., in an a l l Pgorv w l t c n I t a k r p l t o t og ra p l t s . I do 1 l t a 1 . I was horn "· i t h
of l ove. a sensr o r p ho t ogra p l t v. I 1 1 t 1 d P rs 1 ooc l i n 1 1 1 t { '( l i a t r l v. I
i rn rn r d i a l r l r had t h e co1 1 , · i c t i o n t l 1 a l pho1 ogra p l 1 y i s
1 1 1 a ge 1 1eral way. and i 1 1 cont ras t 10 ohj r c t i v is t p ho t ograpl t v. t l t a t i t h a s 1 1 oi l 1 i 1 1 g to do \\'i t h a 1 1 1•t l 1 i 1 1g
p h ot ogra p h v. to w h i c h K e 1t c sz is 1 00 often con­ rlsc. ··
21
I le is 1 a l k i 1 1g abo 1 1 t I. hr p l eil s t t r(' or t l t r
signed. 19 he did not t re a t ·" 1 hc objc·ct ··· as a p lav o f
l i nes a n d forms. Tho11gb f o r l t i rn . t he o hjrc t co1 t l c l
b e a n n h i ng. i i was never i 1 1 s i gn i r ica 1 1 t . \ V l 1Prcas t hr
object did n o t i n t erest a n object i ''ist i n so fa r as it
\nlS p 1 1 re a n d 1 1 1 1 b u rdcncd o f a t t )' h is t o ry o r co1 1 t e x t.
a n d c a u g h t i n a fon m 1 I n e t work . for K c rt rsz t he t l t i 1 1g
was con f i rmed a s a l ready h 1 1 1 1 1 a 1 1 . It "·as bo 1 1 1 1 d 1 1 p
w i t h a s t o ry. cha rged "·i t h a ffec t , st i l l m a r ked h v t hr
f i ngers t ha t h a ndled i i . \\·a i l i ng fo1· t he µpsl u rc t h a t
"·o u l d g i ve i t 1 1 1 ea n i ng-a h a l f-e m p t )' glass . an open
l >ook . \\Ti n k led s hrr t s . The object p hot ogrn p h ed b)·
K rrtcsz \\'as not a p re t ex t for 1 he cel rb ra t ion of .V lod­
rrn Ti 1 t tf'o b u t ra t he r t hr basis o f t he 0 1 i l\' q 1 1rs1 i o 1 1
t l 1 a 1 1'r·rt r;,z fr l t \\'a s \\'Ort h as k i ng : h o w ( ' a n 0 1 w i n ­
t e rpret t l w "·orie l i t t ,·i s 1 1 a l t c n ns ? T l t a t is 10 say. ho\\'
can 0 1 1c' giv<'
..
vist t a l e q 1 1 iva lrn f ;,. · · 1 0 1 1 0 <' att l'SS<' l l t i a l
�o
rn 1 wc·p1 o f . \ l frC'd S t i< ' g l i t z"., . of t l H' ci 1 1·. of pro p lr.
or t l 1 i 1 1g;, ' lloi' d" Bo11log11!'. \ < J:!<J
p hol ogra p h i ! ' a c t . ,\ n d �·1·1 . a k i nd of' 1 1 0,, 1 a lgia
p i c r!'e;, his ,,or1 i 1 1 wgrs. i hl':.l' ha rgC"" 011 i l 1r Sr i 1 1!'.
t i H'S(' p 1 1 h l i ! ' ga rd l ' 1 1 s ha i l l('d in a 1 1 1 1 1 1 1 1 1 1 l igh l . i 1 1C'sC'
d ro\\'S\' 1 ra 1 1 1 p,,, i l wsC' i m m igra n t rael's. i\1 a d i s t a 1 1cC'
0 1 H 'l' aga i n f'ro 1 1 1 I l l ( ' 1 1 1 odC" rn i ;, t l ' U p h o r i a a 1 1 c l i l 1l' a 1 1 -
1 1 1 1 1 1! ' i a 1 i \( • e 1 1 i l 1 u;, i m, n 1 o r \ l odl'rn Ti 1 1 1r;, i l i a t a 1 1 i -
1 1 1 a t c·d Con;,1 r 1 1 c t i v i s t \\'Orb. 1-.: C"rl rsz i 1 1 \'l' 1 1 t rd
t 1 1 1 o i hl'r pc'r<'l' P l i o 1 1 : .\ lc l a 1 1 ! ' h o l i a . �� .Joy was 1 oo
b ri g h t a rolor. ' " ' r 1 1 1 01 i o 1 1 t oo o t ro 1 1 g for K ! ' r t rsz · s
q·r . To i 1 1!' rngi nrcrs a n d 1 1 1 i l i t a 1 1 t ;, or i l w f'1 1 t mC".
1-.: l'rl r-,z a l ways prC"ferrC"d t l 1 1 ' i <" n d r r a 1 1 d l'ra g i l r gC"s­
t 1 1 r(' of' a c h i l d w i t h sad C \'C's l 1o l d i 1 1g a p 1 1 pp' closr i 1 1
,1 1 1/w l 11i111a/ ,1/arke1 ( 1 927-:29 ) : t i ll' sol i 1 udr or t hr
pa i 1 1 t r r Lajo;, Ti ha 1 1 \·i . a dC"a r- 1 1 1 1 1 t r f'ro 1 1 1 " hos(' l i p>;.
for l a c k of' ;,p1'C'ch. t l 1C' w h i l ( ' s 1 n oke of' a !' iga rC't i C'
IA(/Os Tiho11yi ( 1 926): t h !' hra u t i f'u l face.
s p i l l ;, . i n
I H' a n· l') ! ' l i ds. a n d c l row1 1rd t') ('S of' 1 \ n n e- \ l a riC'
\ l ( ' r k l ' I . a d i ;, i l l 1 1s ioncd 1 1 1 ado1 1 n a . all hopC' Jo;,1 . a Sa-
1 mn i a 1 1 \ lr l a n ! ' h o l i a .

T h i s i s t hC' cas(' cvC' l l i n On(' of K l ' r l <;,,z ·s most


l wt1 1 1 t i r1 1 J p h o t ogra p h s , £/i::.abe1/1, Paris ( 1 9:3 1 ), a
work i n g d ra ft i n w h i!'h A 1 1 d n; \\T<l J l" h i s a r m lov­
i 1 1g J , a rc rn 1 1 d l � l i z a l )('I 1 i ·, s h o u l d l ' r. I l e s 1 1CC(''o i vr l y
rcl'ra 1 1 1rd i 1 1C' i wo face:.. a n d i l 1C"11 0 1 1 h l�l i za l )('1 h · s
far<". w i t h h i , h a 1 1 d on h r r sho 1 1 l ( kr. I t :.pea b al Ol lC'('
of' JoV!' : 1 1 1 d of ;,oJ i t udr . o r h a p p i l l l'b' H i l d i 1 ;, prP( ' H r i -
0 1 1 :. J l('S;,. T J I ( ' l o o k i;, ocriou;,. t hC' 1 n o1 1 i l 1 pro1 n i ses i 1 1!'
1'1 1 l f i l l 1 1 1 ( ' 1 1 t of a s 1 n i le . a 1 1 d ! ' I Os!'d 011 i l H' f'rn 1 i 1 1 i nl'
s h o 1 i l d c r l i 1 1gcrs t l 1r h : 1 1 1 d of t hr lover. ll' hos.· bod,·
a n d fare h a \'l' d i sa ppC'arrd.

TIH• f'r:igi l i 1 �· of' t l 1 i 1 1g,. h n 1 1 1 a 1 1 ' 1 1 l 1 1 c ra h i l i t �· :


h a p p i 1 H '"' l i r:. i 1 1 t hr prPcario1 1 :. . 11 i;, 1 h i s \ !'I'\' prr­
!'Hrio1 1 :, 1 w". i l 1 is hra u t \ of' t ht' q ih r 1 1 1eral. t l 1 a 1 0 1 1 h
p ho1 ogrn p l l \· n1 1 1 '<l\'t '.
I . I l u 1 1ga r i a 1 1 l i k e Kert esz. Bras a·i b i u d i rd f i r,1 i 1 1 Be rl i 1 1 ai
d ie A k ad e 1 1 1 i;,d1e I loel i;,cl 1 1 1 le de Berl i 1 1 -C : l iarlottc1 1burg. be­
fore 1 1 1ovi 1 1g 10 Pari� in 1 9:2-t.

:2 . 1 1 1 1 925 Laszlo t\lolioh-- Nag,· p u bl i s h e d Iii, gn·rn t l 1<'or<'t­


ieal work. A lalerei, Fotografie, Fi/111 ( Pa i n t i ng. P l 1 o t ograp l w.
Film).

:J. For more i 1 1 fo r m ai i o1 1


on t l 1e i rn 1 1 1 i g ra 1 1 1 I l u n g1 1 ri a 1 1
ar1 it-i1 s i11 Pari� l wt w r·r n die t wo war�. c·o1 1i,11lt Sa ndra
P l 1 i l l i 1 J> . ··A udre Krrtrsz: A Tou ri;,L i11 Pm·i,. 1 9:2:)-:27. ··
A11dre Ker/es=. 111a fim1ce ( 1 99 0 ) .

-t . Kertesz eollahorn1ecl cl ooch- "· i t l 1 I i 1 . l,11eien \-og< ' I - , i l l 1 1 0-


1 rH t c-dm ag a z i n e. a n d w i d 1 A ri Pl 1l lt!deciue. Dr. Dc-ha1·!'1 l u \. 1 1 -
rio11::i rnnga z i ne. I IC' co 1 1 1 ri l )lned LO ot her 1nagazi1 1e!'I. r-i11rh a;:,
I ogue. Plaisir de 1-1-auce. I oila. and llew1rds.

:>. The s l iO\\' """ l 1eld \ la rc h 1 2-:2-t. 1 0:27. '" t l 1e ,\ 1 1 Sarr<'


du p r i 1 1 1 ( · 1 1 1 p ;-, ga l l r r� . d i rN·1rd by .Ian S l i ' i 1 1 � k �-. .). rue d 1 1
C : l i .-rl ' i w - t\ 1 i d i .

(J. 1 1 1 �· J , 1 1 1 9:28. t i "' f i r,1 S"lo" des !11d1;1w11d(l11/s de '" l '/10 -


1ugmpliie. rn l l "d 1 he ··Salon de l'E;,n1l in.· · """ I H· l d in 1 l i e
" n i rwell of t l i<' Co11 1(od il' e ll's C : l ia 1 1 1 po - E h-,frs.

"'!. 1 1 1 .l a 1 1 u a r � I 9:2() Ht i l 1 e Fol kwang .\ l 1 1 :-r 1 1 1 1 1 i 1 1 E.,ti( ' 1 1 .


.
u n d r r dw n 1 hric of i l 1r :-ihow ·· F ow,;r ra f i e d r r C ef!t ' 1 1 wa n .
(C :o1 1 1 r 1 1 1 po rn r� P lio t og Ta p h �' ) . i h r work of Pari-.. i a 1 1 . C :c·r-
1 1 1 :1 1 1 . a11d H t 1s!iin 1 1 plio1ograpl1cr::-i wa.i, h u ng. A 1 1 1 01 1 f! i l 1r

Plan' du C : a rro 1 1 sC ' I . Pari "i i H 1 1:-i wrrr Brrr 1 1 i t ·r ,\ bbo1 1 . F lo re 1 1 cr I l r 1 1 ri . \ 1 1 d rf

Pari,. 1 9:28- 1 929


K r n roz. C c rn w i l l r 1' ru l l . E l i Lowr. a 1 1d .\lm1 R " ' · F rolll
9-t
l�sor·11. t he ,how 1 ra\t'led 1 0 I l a 1 10,· er. Brrl i l l. Drr,dPl l . \"i­
<'l l l H:l. a11d Lo11do11 .
..
O" V ia ,· 1 8. 1 020. t l ir S t u t t ga rt ·· F i l 1 1 1 " ' " I
Fo1 0 opl'lll'l l .
o r�H 1 1 i zf'd t l 1ro11:.rli 1 1 1(' i 1 1 i t iat i n· of C ust a \· S t o l z. b� d 1r
De1 1 1 ,cl 1er \rrrk l J 1 1 l l d . Tlir p urposC' wao 10 dt•t r rn 1 i l l<' t 1 1e
b('OJW of <J('l i O l l l'or p l 10 1 ogra pl1 '" and "' drfi l lr "·l i m l 'O l l l c l l w
(T ' a l ed o n l y w i t \ 1 p l t Ot of! rap l 1 �·- w i t h i i :, p a rt ic u la r app roac h .
'T'll{' !'Jl 1ow wai:, !l t ro 1 1 gly H 1 1 1 i t hrt ical 10 i l 1r p i et o ri n l i ., 1 H <' ;".'l ­
t l 1 1· 1 i t ' . C : o 1 n poo<• d of l \\"O t housand pirt·"' in S 1 u 1 1 gar1 . · · F i l l l l
a 1 1 c l Foto.. t ra\'rlcd i l l a ;, l l l a l l r r ,·e rsi o n 1 0 Z 1 1 ri!'h. Berl i n .
Danzig� \'ienna. a n d \ , l u n i c h . I n 1 93 1 i 1 \Vrnt . r n · 1 1 1 1 1urr rr­
d 1 1 ( ·rd . 10 To k ' o a l l d 0 a k a . where it "·a;, reviwd b\' a
J apa 1 1<'or 1'd i 1 0 r.

1 1 1 S t u t t gB r l . Ollr eol l l d eount five h u 1 1 r l rl'd ar1 is1 0 fro l l l Cer-


1 1 1 a 1 1 y. A 1 1h t ria. I lol l n l ld. France. l�n gl a 1 1 c l . Br lg i 1 1 l l l. C :zrd10-
slovak ia. and 1 hr L '1 1 i 1 rd States. eaeh u n d e r hi, 0\\'1 1 rubric.
There were also t l 1 i r 1 �· H ussian a n d scvrn \\· i ss arti�tb ga i l 1 -
cred i 1 1 1 0 1 1 a 1 io 1 1 a l g ro 1 1 p� . S i x C r r1 1 1a 1 1 s pcci a l izr d 1 rac h i n g
i 1 1 & t i t u t io1 1s. such as 1 l ie Bauhaus. \\ 'C re rc p rrsc n 1 rd b� t he i r
cla:,i:,('.i, i n pho1 ography and t ypog ra p l 1 y.

From t h e Parisian side. o n e could coun1 Be re n ice Abbot t ,


""lio added LO h e r o w n \\"Ork prinLs b,· Eugene A L gr t . Flor­
ence I lenri, Ceorgr I l o �· n i nge n - l l u e nc. A n d re Kenf;,z. Cer­
nrninr K ru l l . E l i Loiar. \. !Jan Rav. a n d Maurice Tabarc l .
8. Cf . 011 d 1 i , >11bject Rosa l i n d h:rau,.. E.iplosante:fi.re. 2 2 . I n t he seuse t h is term had i n t he phvsiological l itera 1 u rc
Pitotograpitie et Surrealisme. Cen t re Georges Pompidou/ of t he ancients a n d in du: i m age of' Sa1urn such as it is rakt�11
1 lazan. Pari>. 1 C)8:J. up i n t he l i trrary and pic1orial t radit ion. and. f i na l h-. in
Diirer. Cf. Havmond K libansky. Envi11 Pa1 1 o l"sb·. a n d Friiz
" "
Q. Cf . lu a Sculptors Studio ( 1 925). and lf o
" odeu l lorses Saxl. Sat11me �I la Mela11colie. G a l l i mard. Paris. 1 989.
( 1 C)lQ) . .I lario11e1tes ( 1 C)29).

1 0. C l" . 011 tite Quay s near Sai11t-A liclwl ( 1 C)lo). Cl late/ r/11
Rereil ut tite Batig110/les ( 1 927). C 'lay/011 /Jates. Dancer at
the .l lo11/i11- Ro11ge. and Paris ( 1 C)28-l'J).

1 1 . Cf. E d o n ard .la!!uer.


'""
Les .\fp;teres de la C 'itambre Noire.
F l m 1 1 nrnrio 1 1 . Paris. 1 982 .

1 2. \ 1 1 d rf- Bn· 1 rn1 n:isignrd t l i rC'<' tTilPria 10 ro11v11lsive


lu'a t 1 1 � : i 1 1 1 1 u!lt l>f' ..rrotie-veilPcl."" .. r,plo!li vc-fixf'd:� and
.. 1 1 1a�ica l -c i r(' 1 1 1 1i.:,1 a 11 1 ial ··
.

1 :3 . .l 1·a11-Cla11dc· Le1 1 1ag1 1 ,·, ·'Audre h:1·r1 e" \1al1 re c ir la


\ l t " · .t 1 re . ·· l 11dn; A."erll�s::,. 111a F'ra11ce. op. ci1.

1 -t. T i u · I .t'irn " '" i 1 1 vr 1 1 1 ed in 1 C)2.) I > �· ( ),kar Bar11ack, a


!-if H ' t ' i u l i :-. 1 i 1 1 pl'Pt ' i'iiOll m o c h i n r � a 1 1 d
d i rC'CIOr. si lH'f' J 9 J J � o f
d i e r'l'-,('a1Tl1 l <- i l iorn 1 urie:, of i l w Leitz f'arl orit'h i 1 1 \V('t z l a r.
Cen 1 1 : 1 1 1 � . 1 1 w k< • r:i o f rnirn >!:lt'Opr!'i � 1 1 d 1elt•:i1 ·01 H·:-i. ' T'l1r Lt>ira
i -. a :-. 1 1 1 a l l fon 1 1 a t c n 1 1 1rra wii l 1 2-+ ,'\ :3(, 1 1 1 1 1 1 f i l r 1 1 . Ii wa:, pre­
:-.1 · 1 1 1 1·d l'or 1 he f i r-.1 1 i 1 1 1e 1 0 1 hf" p u h l i t ' i11 1 92.S at a i1 i 1 1 d 1 1s1 rial
fair i11 l ..f'ipzig.

1 .) . 1 1 1 " "' 'r " 'r lloland Ba n hro 1i;r,, i t i11 ( 'm11era Obsmrn.

l ( i. I I P rr 01 1 1 ' > l 1 0 1 1 l d 1·t•mrrnlwr 1 ha1 l'aris \\' llS t l1 1 ' 1 1 1 l tr suh­


9,:;
j<'rl of a 1 1 1 1 1 1 1 l lC·r of photographi<" I J( Jok" 1 1 1 1 9:18 Paris I "
\ l ario Bnt·m i,h "·a, pnbl i,,hrd i n Crnna11\ ( 1 " 1·1 1 1 , - 1 h rrr of
i1-. �.)() i 1 1 1 ag1•-. \\'{'r(' h�· Crrmainr K ru l l ) . In I C ) � 9 Crrmainr
h: r u l l p 1 1 h l i, l 1 C ' c l 100 . r Paris. w i d 1 l l '.\I In FlurC' l l l Frio. i n
F rC' 1 w l 1 . C1'r1 1 rn n . n 1 1 r l l�1 1 g l i s h . In ! C):rn. A tw•t. P/1otographe
de Poris '"" i 1 1 1 ro c l 1 1<"rd b� PirtTC' \ la< " Orl a 1 1 . 1 1 1 1 9:3 1 1 hr
p 1 1 hl i,l 11·r, .il'a 1 1 1 1r \X 'a h rr p roc l 1 1 r 1 •d Paris. a rnl lerl i o n of
1 1 10 1 1 1 a�c.., and ,:.,t n•et :-i(' C'llC':-i sig-11cd ·· \Jcfr \'<' r·· a 1 1 d pre fa ced
I" Fl'r11 a 1 1 d l .rg<' 1·. ,\ loo i 1 1 ·1 93 1 , i 1 1 " '" S r " ir1 L 11 1 io1 1 . l l rn
E l 1 rr 1 1 1 > 1 1 rg pt d i l i> h rd Moj Pri�. \\' i 1 h a <"uvrr b,· I" Lissit zb·
a 1 1 d p l 1n1 ograpli-, by 1 he a u t hor.

1 7. Cf. Petits l letiers el 'l) pes Parisiens 1ws 1 900. 1l tget.


Ge11ia11.r. I ert. � ·! user Ca ma valet. Paris. 1 98-t.

1 8. ,\/eta/ appeared i n 1 927 from E d i t ion;, Calava,, and was


an h o magr 10 I hr mel a l l ic architecwre of t hr Ei ffel To\\'er.

1 C). Cf. Da n i•' l r S a l l e 1 1avr·;, (among ot hers') i 1 1 1 rrpret a 1 io 1 1 ,


..
'· \ 'o i r r · " " ' l i rr . !111cb-e Kertesz, C :'l/ P. Photopod 1e. Paris.
1 98S.

20. ,\ l frrd St ieg l i t z called his photographic series of clouds


' · Eq n i rn lr 1 n ;, . ··

2 ·1 . A n d re Kene z cited bv Agat he Gail lard, Ker/es=. Bel­


foncl. Pari> . 1 980. page 13.
T l 1 r S c i 1 1 r fro 1 1 1 t he Po1 1 1 Sa i n 1 -.\ l ic l 1 r l . 1 9:2.)
'l 8

F i s l 1 r rn w 1 1 brl i i 1 1 d .\ ot rr - Da 1 1 1c. Pario. 1 92.)


0 1 1 I he B a n k s . beh i 1 1 c l i\ 0 1 re- D a 1 1 1 e. Paris. 19:2.)-19:26
1 00
101

Brok�11 Class. P;iris. 1 929


1 0:2
<QI
...

1 0:1

()uai d ' O rs1w. Paris. 1 926


1 0+

The Tra mps' Siesla Seen from d1r Pon I au C h a 1 1gr. Paris. 1 9:27
1 0:;

i\rar 1 1 1 <' Po1 1 1 r l <' ( ,' 1.( ' 1 1<'1 11'. l 'a ri;,. ·1 92.7
1 07

T l 1 r Po1 1 1 drs J\ n s Se('ll 1 h ro11gli l l 1 r Clock of l i H? l 1 1s 1 i 1 1 1 1 c i r F rn 1 1<·•·. l'>1 ris. ·1 929- 1 9:32
1 08

Shadow. Thr l�i lfrl Town. Paris. 1 929


1 09

P u r i ,,. 1 9:3:l
..,
...

1 10
1 1 1

H u e r l 1 1 Coten l i n . Paris. 1 9:� 1


I 1 :2
J J :J

Lyons. J 93 1
I J. "i

.\ 1o 1 1 1 p a n 1 assc. Paris. 1 928


1 f (J

Tra i n . c . 1 930
1 17
1 IB

,\ \ri 1 1 t f'r \ l o r1 1 i 1 1g a 1 1 l ir C a rr d 1 1 Di'" "'" Paris. 1 928


\ \{j
1 20

U 1 1 1 i i lcd, c . 1 930
1 :! 1

p" ris. I CJ:3.)


P;:u·is. c. 1 9.3 0
J :!:l

Pario. c . I CJ.3 0
1 2-t
J ;Z.)

School C i r! . c. J 9:n
I :!?

Can' � l o r 1 1 pal'lrassr. Paris. ·1 <J:3 J


1 :rn

S 1 1 pporlt'l'o o f 1 he F rl'rH'h ·· F ro r r l Pop 1 1 l a i re . · · P a r i >'.


I <J:l-t

...

Pari . c. 1 9:32
The \'e rt - C• a l a 11 t C a rde 1 1 .1 1 1 \X' .1 1 i t f ' r, I , ar . ·1 8 • 1 929
l'arc de s('l'H l l X . Purio. 1 926
Jarc I.1 1 1 ( l t 1 Luxembou1.,,
0 . Paris, 1 925
Wooden I lorsc, c. 1 926
Les Tu i l eries. Paris. 1 9:28- 1 9.3 0
Beh i nd 1 he I lo1el de V i l le. Paris. 1 92!)
1 :�3

A Bisl ro i n 1 hr Q u a rt icr La 1 i 1 1 . 1 927


lfoc des \lc ri us, Paris, 1 926
1-t()
I -t i

Bobino, Paris. c. 1930


1 +:2

U n t i tled. c. 1930
Bobi no. l'<1ris. ·1 9:3:z
rw
•·

1 -H

\ lagda Fi:irsinrr. 1 926

'via ge l a Fors1 nrr and E1 icnne Bei:ithy, 1 926 Saryric Danct''" 1 926 (variation)
1 -+7

Lajos Ti l 1 a 1 1 v i . Paris. 1 9:26


1 -+8
1 -t l J
I :;o

Ed"·i n Rosskan1. Paris. 1 928


1 .j I

Paul Arma·s Hands, 1 928


Jeuri L11n;u 1 . 1 929
ril
....

I IPlbn I luara. 1 9;3 ·i


I :;:;

Chez .\lonclrian. Paris. 1 926


1 36

U 1 1 1 i i lcd. Pari;,. 1 928


Edll'i11 /losska111 (abore).
Ja11 Sliri11skr ( bo/10111 rig/it )
1 :)8

Art S 1 u d io, c. 1 925


1 :;<J

M a d a 1 1 1e E h renbotu-g. Paris, c. 1 929


161

Hotel des Tcrrasses. Paris. c. 1 926


1 62

Fo1 1ji t a . Paris. 1 9:28


Colrt t (\ Paris. J <HO
\ ()-+
l (J::i

Cla,'ton Ba1es. 1 928- 1 929


olil
.....

1 66

Unritled, 1 934
1 67

Tlir Ferl' 1 1 c Bui h Q 1 1 a r 1 c i . P a r i ;;, 1 926


1 68

E l i zabeth and I, 1 93 1 (full frame) E l izabeth and I. 1 9.3 ·1


'Iii
....

1 69

El izabet h and I. 1 9.' 3 1


1 70

Paris. 1 9:3 I
171

Ossip Zad k i r 1e. 1 926


Anclrr U101e. I 927- 1 928
il
....

\1 l i n 1d1·ian°s C l assrs and Pipe, Paris. 1 926


1 7.)

Tlw Fork. Parih. 1 928


1 77

Legs, 1 928
J 8( . Or·lan � 1 927
Pierre M
1 80

Oua rt icr I ". 1 1 111,


. Paris, 1 929
181

, 015.
Croosroads. . 1>1 . J 9:30
1 8'.Z

Shadows. I 'J:3 I
,\,·c 1 1 1 1c de ! " Opera. Paris. 1 9:29
1 8-±

Paris. c. 1 926
1 8.)

The I lorsc-Tca 1 1 1 . 1 925


1 86

C :h i ldrc11 Pla,· i 1 1g. r·. 1 9:30


1 87

\ kudo1 1. J 928
1 88

l301 1 lcva n J des l n val idcs. Paris. 1 926


1 89

On t he Tcrrac� of a Cafe. Paris, 1 928


1 90

On t he Bou I cval'd s.. p ans


. ' 1 996 1 929
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A/f11 /11·� '/)/10/Y C

Bo11 lcrnrd de la .\ lac lclei nc. Paris. 1 927



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[ 1 1 1 i i 11 • 1 I . t'. J C ):{()
D i s t o rt i o n s
( 1 9 33 )
Play ing /V ith oul Ch eating

b,- Pierre Borhan


ncli-e K ert esz had 1 101 produced manv n udes

A when, in 1 933. lie agreed lo a requrs1 f'ro1 1 1


t he h wn o r 1 1 1 agaz i nc L e So11rire, w l i i c l i pub­
l ished, a mong other 1 h i ngs, saucy images i n order to
a l l ra c l the good-na 1 u rcd i n 1 crrs1 o f' a p 1 1 u l i c d ia l
loved gossi p and frivol i t ies. Tliis t ype o f co11 1 m ission
was 1 1 n 11sual for a plio1ographer who was t oo seri­
ous, l oo refi ned, and t oo sensi t i ve l o use a wo1 1 1 a 1 1 a t
l ie r ex pense, or even r u o re s o l o i n a ke fu.n of h e r.
even gen t l y. I le accepted 1 he proposal o f' Q 11rre l le,
t he d i rcc1 o r o f the wee k l y, 1 h 1 1 1 ii d i d n'I occ u r 1 0
h i m t o m a ke fu n o f women: h e preferred l o work
w i 1 b t he model in fu l l u n derst a n d i ng and sympa­
D i s l o r l rd Po r1 ra i 1 . 1 927
t het ic coin p l i c i 1 y. Kert esz was no1 accus1 o n1rd 1 0 1 he
n u de (except for 1 hc figu res of h i s b ro t h e rs a n d
fri e n d s l y i n g u a k cd i n l i t e s u n i n 1 l ie H u nga r i a n sa m e gen re t l i ro 1 1 g h ou t the cou rse o f h i s l i fe : for
co1 1 1 1 1 rysi d c-w h i c l i a rc 1 10 1 rea l k �·n u des ·· i n t he exam p le. The /l /ela11c!tolic 711/t/J ( 1 930) and fasl i io n
a r 1 i s t i c ense of t l ic l c n n ) , b u l lie had a l rcadv 1 1 1 adc. a n d a d verl i s i n g shots ( no 1 a b l y f o r r ogue i n 1 938
befo re 1 933. i mages of distorled forms, fro 1 1 1 T !te a n d for Cla111our i11 1 9-1 1 ) . I I r never s topped apprc­
U11derwater Swi111111er ( 1 9 1 7 ) 10 1 li e p o r1 ra i 1 o f c ia 1 i ng t l ie c x 1 rn o rd i n a rv fo rn 1 s t l i a 1 people a n d
Carlo R i rn sLretched o u t o r e n l a rged b y a d isl orJ i ng 1 h i ngs l a ke on i n c rvs t a l bal ls. m i rrors. a n d ot h e r
1 98
m i rror. I l e wou l d m a k e 01 l i c r p h o 1 ogra p hs i n t he ref 'lec1 i ng s u r facrs. I le even made a ne"· series o f
dislorlions i n 1 98-1. d u ri n g t l ic shoot ing of a r i l m o n
h i n 1 b v Teri Wel i 1 1 - Da 1 n iscli, 2 b 1 1 1 fifl )' )'Cars l a t er
t l i is series was far from equa l i ng t he i n i 1 i a l mas1 er­
p iece. It is I rur d i a l I h e Disl orl ions of 1 9:3:3 1 1 1akc
a n oeuvre: d 1 e i r success const i t u 1 cs a t o u r c ir force
w i i l 10 1 1 t preccdcn l .

K c r 1 <Ssz··s l a s l f' for t h r st ra ngeness o f rca l i 1 v


crrl a i n l y expl a i ns w h v. i n t he s t u d i o p l aced a t h is
d ispostd. lie increased 1 hc 1 1 u 1 n bcr of sliool s (a new
i 1 1 i 1 1g. ii scerns) brynud whal was 1 1eccssRry lo sat ­
isf'v L e Sow·ire. Assu redly, h e l ook t o t l w gw n c a n d
l i rc a 1 n r ra p i d l v a \\' a re t h a t h i s d i s t o r l i o n s w c n l
beyon . d t he world o f' e n 1 e r1 ai n mcn 1 . T h e t wo 1 n i rrors
h e 1 1sec 1:i came fo1 n an a rn u s r m e n t park. a n d t he
bod ies o f Naji nskava Vcra c k l i a 1 z a n d Nadia K as i ne.
con l ractecL t wisted. t apered, and deployed in t l icsc
m i rrors. e n 1 e rcd d i rcct l v i 1 1 1 0 d ie Kcrt cszian a r1 is1 ic
u n i verse a n d cvc 1 1 st relcl icd i ts l i 1 1 1 i t s . The p l i o 1 og­
ra p her fel l so st rongly a boul t l 1csc pliotograplis t l 1al .
shori l y a f1 er 1 he publ ication o f t welve of' t l 1e1 1 1 i n t lic
C :arlo H i 1 1 1 . Disi ori i o 1 1 . 1 929- 1 9:)0 M a rc h 2 , 1 9'l:3, issue o f /.,e So11rire w i t l i a : (' x t by
A . - P. B a ra n cy, he 1 ried 1 0 have sonic d i s 1 or1 i o n s t he i n i t ia l col lect ive ret icence is subject mau er: the
re p ro d u c e d i n !I ris e l 111 el iers grap h iq u es. I le Dist ort io1 1 s a rc no more myt hological t h a n they are
achieved t hi s obj ec t i ve : iss 1 1e J'\o . 37. of September e ro t i c o r se n t i m e n t a l , n o r m o re h u m a n i s t t h a n
1 5. 1 933. i 1 1cludccl an a r1 iclc bv l3c r 1 ra 1 1 d C u rgan ro 1 1 1 a n 1. i c; s o d e v o i d o f p a t hos, s o d i s t i l le d , t: b e y
e 1 1 1 i t led ··Kertesz and I lis M i rror.··· Kertesz also t ried dep ri ved t h e p u b l i c of reference poi n t s, v i s u a l or
10 make a book of t he Distort i ons. b u t ., f i rsr because otherwise. This lack of reference poi nts, which iso­
of pol i t ica l even t s in E u rope. t hen because o f t he l a t e s t he m , a t t es t s even m o re to t he i r o r i g i n a l ity :
1 m r i L a 1 1 is111 of Americans. he had t o wajt u n t i l 1 976 t hey a rc except ional-which perhaps m a k es t hem
to see il finally publ ished. Even t h e most progressive occupv an essent ia l pl ace i n K ertesz's oeuvTe.
of t i le Su rrea l is t s. of t he mast ers of t he B a u haus, of
1 ' 1c man�· a 1 1 d varied ava n l -ga rd i s l s. d i d not: help i n W h a t a n t ecedents the Distorti o n s m a y have
overco l l l i ng t he reticence and reject ions o f t he cau ­ artistica l l v are c h ronologica l l y close 1.0 t he date of
t ious editorial m i l ie u . The t w o h u n d red glass plates. t he i r crea t ion, s i t uated in t he q uart e r of a cen t tll')'
i n 9 x 1 2 form a t . p roduced w i t h a Linbof chamber t hm p receded t hem. when a r t ists-r h e C u bists, t h e
and refrarnecl i J 1 pri n t i ng. were t oo ephemera l , t oo F u t u r i s t s . t h e S u r r e a l i s r s . a n d t h e Ly r i c a l
fa ntast ic. L oo dist u rb i ng i n comparison L o fam i l iar, Exprcssionists-dewched t hemselves from mimesis,
anat o micallv fai t h f u l i mages of t h e fema l e bodv. which u n t i l t he n had reigned i n E u ropean art . In
O n l y U m b ert o Boccio n .i . Giacomo Ba l l a .. Alexander phot ogra p h y. a n t eceden t s are a lm os t n o n e x i s t e n t .
C a l der, Jea n A rp , H e n r i L a u re n s . H e n ry .\il o o re . The H e a l i s 1 s a n d Pictorialist.s who h a d dorn i n a t ed
Pablo Picasso. and Francis Bacon could view t hem u n t i l the 1 920s h a d ba re l y h inted at a n a rn orph os es
w i t h o u t gri n n i n g fatu o u s l y at t he i ns u b st a n t i a l i n t h e i r fi e l d of vision: a n d even the m ost explor-
reflec t ions p ro ffered. O n l y t h ey saw t hem as t hey
r e al l y were. at once concrete and abstract, dream­
l ik e . Only t hey accepted the figures w i t h ou t ident i tv,
wit hout social s t at u s , without a role, seductive a n d
t erri fy i ng. exalted a n d d a m ne d b y tu rn s . E ve n i f
t he�' corresponded t o w h a t any bwnan eye c a n see
i n a d is t or t i n g m i rror, to t he normal v is io n of t h e 1 99
p h otogr a p h i c a p p aratus t he D i s t o r t i o n s a re true
a n a m o rphoses. a n d t heir essence i s el u sive. What
a re t h e s e re c l i n i n g f i g u res t h a t c o m b i n e Les
Demoiselles d 'A vignon and t be sct d p t ed women of
Picasso. w h os e morp bol ogy i s em a n ci p a t ed iJ1 defor­ c- ........ ..__,_ -· • oto 1-o � � ...
.. ...... - ·-· ,......... ---
m a tions t ha t are perhaps parables. perhaps omens?
FEN£TRE OUVERTE SUR L'AU-DELA
They cou l d make one laugh, bu1 at t he same r i me Par A.-1•. BARANCY

r hey were u nset t l i ng. D i d th e�' sed uce or d i d they


f r i g h t e n t h e M i n ot a u r w h o lent h i s n a m e t o t h e E,��:;���?�:&
IL • •
��. :� :.:�::::u:
::� :�'.�.:�
::
.,. .. ....,,, .., ,.. ......... ... ,_,.,
S
magazine t h a t w a s t h e n begi n n i ng i ts l i fe u nder t he
arti s t ic d i rect i o n of Teriade? J n a n y case, i t t ook
t i me for them to make their mark on the curat ors.
t h e galleries, t he edit ors, and the col lectors; t hey d i d
not sudde n ! )' i nscri be r hernselves i n t he es t a b l ish e d
cont i n u i t y of t h e h i story of art i n gen e ra l , a n d i n
p h ot ogra p hy i n part i c u lar. They evoke neither Eve
n o r Ven u s , D i a n a 1 1 or Bat h s h e b a . nor 1. h c T h ree
Graces, the Ba the rs. o r Ol)• m p i a . Even i f, in 1 889,
Louis Ducos d u l la u ro n h a d m ade a na morp hosed
port ra i ts t ha t b roke \\· i t l 1 the m i m e t i c t ra d i t ion o f
t he gen re. scorn i ng verisi m i l i t u de., t h e D i s 1 .0 rt ions ··Opc11 \\.i11do\\ · 0 1 1 l i 1t' lkrn1 1 d . · ·
t hemsel ves wou l d ltavc n o m a j o r a n tecedents i n i\ . - P. l3an1 1 u · , i 1 1
photography. A n ot her h)'pothet ical e x p l a n a l i o n for /,c• So11rin•. \ lu rc l 1 :2 . I <1:n
Dist or1io11 no. 91. 1 933

ati ve of Kertesz's c o nt e mpo ra ri e s. such as ,\ f a n Rav. dcria ncc arc i n scribrd i 1 1 t hr l t i s 1 or)· of ph o t ogra p l t v.
.. .
Liiszl6 S!Joboly-Nag)', Hao u l H a u s m a n n . and a few Yet t h e visual d rn n kcn n ess . so successful in m a k i 1 1g
others. h a d neither discovered nor d i pped i n t o such t he Diston ions is u 1 1 i q uc in h i s career as a pl totogra­
a o-easure cbest before K ertesz d i d . p l tcr. T l t c i r pla,t. ic q u a l i t y i s all the m o rr cxtraordi­
200
na 1 ·)' in t hat it docs not red u ce i lwi1· 1 n )·st c 1Y . Krrtcsz
Ke rtesz's ge n i us is also t h a t he p l aced t hcsc l e ft ! t i s valoriza t ion o f t h e en i g 1 1 1 a to p hot ograpl 1 v.
sta rt l i ng nudes i n suspens i o n . o u t s i d e t he world a n d A n v art t ha r ca11 preserve t l t i s is t l 1r 1 1 1orc n1agica l .
o u t ide t im e . Fragments of a n obscure tot a l i t )' each
·
of t h ese v a ri a t i o n s was i n sc r i bed i n an i n v i s i b l e
fra me. T h e p hotograp her h a d n o more i n r e rest i n
s h o w i n g t h e st u d i o w h e re h e p ro d u ced t h e series
t h a n he did the s l i de o f the sh o t . 1 l i s n-iode of work­
i n g rem a i n e d h i d dt>n . l i k e t h e e n v i ro 1 1 1 n e 1 1 t . A n d
even r i te m a rgins o f t he final i m age were carefu l l y
e l i m i nate d . � Jacq 1 t c s Derri d a ·s observation c a n be
app l i ed to t he D i st o rt ions: ··There is a frame. I u l
.
t he frame does not exist . , J n h is secret cache. t hcv
are for t he most part o f a h a l l u c i nat orv bea u t v.

Wi t h i n a few days. Kcrte z ha d made l t i l llsclf


an accompl ice of t he u n p receden ted and nm n i fest ed
a ra re a c u i l )'· M o d e s t b )' n a t u re . he even fl irt e d
uncharacteristically with the r i s q u c . P l a y i ng w i t I t t he
el a s t ic i ty of the body a n d espec i a l ! )' w i t h t he i n c o r­
porea l i t y of t h e reflect ion a l lowed h i m to ach ieve a
p ierc i ng of the real without u·ick cry. I-Jc defied t h e
babiwal credulity o f t he gaze: bis fo rmal ism and t h is
I . Q 1 1ercllc. , , fra i d Kcrlr;z would refuse. had asked M a rcel
\'C n rs t o c a l l h i 1 1 1 . \'Crtf'S. an a n is1 of I l u nga r i a 1 1 o r i g i 1 1 .
worked for L e i:io11rire. K e r 1 6sz accepted t l 1c proposal w i l b ­
out hrsi L a 1 io11 .

2 . 1l 11dre da11s /es 1•illes: IJ11dap est. Paris. Xeu· J 'ork.


1 9 5+-S.5: l'ortmit dll11dre Ker/es=. . D i rec1cd I "· Ter i We h n
D a 1 1 1 isc l 1 . .5:) 1 1 1 i 1 1 u 1 cs. A TF 1 a 1 1 d � f o 1 is 1. rv or C : 1 1 l 1. u re p ro­
d11e1ion.

:3. KC'rtC:sz wo1 1 l r l soo11 a h a 1 1 do11 orw o f 1 he:;r n i i r ror::i 1 0 usr


0 1 1 1 �· O l l f' . S i 1 1 1 i l a r l �·· lie wou l d C'f'HSr to work w i t h .\ a d i a
K a,:, i 1 1 r a fL e r o n r or 1 wo sess i o n � a n d w o u l d produce t l 1 c
('OoCl l t i n l J >f l l'l or t he series w i t l 1 .\l aj i ns k a �·a \'crac · k ha t z . Cf.
1\'11de: 'l'lieo1:1 : L u s t r u m Pres» 1 979.

-t. O n e can con b u l L La IJ1//'ere11ce entre / '/111nge. 011 /es


Oistorsiom d/l11dre l\ertes�. Frrdcric La n 1 br r 1 . a ot u d�· pro­
d u ced for t l i r ,\ 1 i;s i o n du P a t r i rn o i n c P h o 1 og ra p l 1 i q 1 1 r .
.\ l i 1 1 iotcre de la C u l t u re. 1 992.

20 1
Claso. Diol< J1"l io11. 1 9-+:3

Clock. Di · L O rl ion. J 9:38 " C n 1 1 1 r l . ·· c. 1 9;39 ( ac h ert i,,i11g s t u c k )


D is1or1 io11 110. 68. 1 9T�
Di;,iori ion no. 1 67, 1 9:33
20G

Dist ort ion no. 9 1 . 1 9:33 ('·aria 1 io 1 1 )


206
:207
208

D i ;, 1 o r 1 i o 1 1 no. 1 -tO. J 9:3:3


:209

Disrorrion uo. 80. 1 933


21 1

D i s 1 or1 ion no. 46, 1 933


Distor1 ion no. 6, 1 903
D i s t o n i o 1 1 1 10. 6. J CJ:B (v"ri"t i o 1 1 )
:2 1 -1

Dist ort io1 1 110. 9:3. 1 9T�


Di>; 1or1 io11 1 1 0 . I 02. I 9:3::)
:2 1 6

Disronion no. 49. 1 933


:2 1 7

Di,1or1 ion 110. 1-+7. 1 933


�18

Disior1 io11 110. 96 . I 9:·n


1 19

Dio1on io11 110. -tO. 1 9:3:3


D i s 1 o r1 i o 1 1 1 10. 1 -t I . 1 9.1 3
.: Q I

Distortion no. 6 1 , 1 933


D i s i or1 i u 1 1 no. 82. 1 9:B
Distortion no. 76. 1 933
The American Period
( 1 936- 1 962 )
A Mutual Misunderstanding

by Ju n e L i ,·i 1 1gst o 1 1
nclre K ertesz a rri ved in New York fror 1 1 Paris

A
about
i n October 1 936. a t a moment when a n i m ­
portant era i n American p hotograph
ro
. 1· 1Yas

commence. I le carne t o A merica having en­


t e red i nt o a professional con1 ract wilh a photo­
gra p h i c agenc1· cal led Ke�'St one S t u d i os: b is mood o r
combined apprehension a n d o p t i m i s m 1Yas s l r a red
by marw of his E u ropean con frcres. B ut, as K e r t esz
Fancy Dress, New York. 1 938
has often rel a t ed., his hopes for success were soon
d a nr perred. bot h I eca use of t h e rest rict ions p l aced
o n him by t hi s conl ract ( l ie fe l t h e had L raded awav a r · t is t s a n d i n t e l lect u a l s were crossing t h e A t l a n t ic.
h is a r t i s t i c freedom in excha nge for a salar�'), a n d Tire su rge o f crea t i v i t y t i r a t seized New York i n t hr
what h e perceived 1 0 be h i s fa i l u re t o secure eit her r i ­ decades of t he 1 930s, 1 940s. a n d 1 950s affrned
n a J ic i a l stab i l i t y t h rough st eady and s u fficient !�· v i rt u a l ly a l l t he a r t s . The e x t e n t to w h i c h pa i n t i ng.
prest igious magaz i ne work-or. more i m po rt a n t . scu l p t Ltre, l i t eral u re, and cnnc1sm reached a
recogn i t i on a s a n a r t i L crescendo in A m crica r r c 1 1 l t 1 1 re d u ri ng t h i s period is a
well k JJO\\'ll phenomenon. It has been only rece n t l y.
Yet a l t hough d u ri n g h i s early years in New however. t lrnt t h e fu l l noweri J J g or p h o t. ogra p h v in
York K e rt esz oft e n experie nced bot h profcss i o r r a l 1 l r is era h as been a c k r rowledgcd.
a r r d crea t ive frus t ra t i o n . a i r d a l t h ough h i s Paris
\\'Ork of t he prece d i ng era has u n t i l recently been New York was t he cent·er nof o n l y o f L i re m u ­
226 considered s u perior to hi New York \\'Ork. i t carr be s e u m a n d ga l l e rv scene i n A merica, b u t r J 1e c a p i t a l o f
a rgued t ha t in 1 936 he was e n tering i n t o one of h is t he magazine p u b l i s h i ng i n d u s t ry. More t Jrn n a n �· i n ­
most fert i l e periods as a J 1 a r t i s t . For he lef1 E u rope at f l uence of e x l i i b i t i r rg venues, w i t h t h e exccpt iorr o f
a t i me when some of t he c ru c i a l events i n die h iswry t he M u seum o f .V lodern A r t 's p l i o t ograp l w p rogram s
of modern i s t s t y le-S u rrea l i sm and Const rue­ u n der E d wa rd S t e ichen a n d Bea u mont and :\n ncy
t i 1· ism-had run t he i r cou rse. A k i nd o f e l ect rical Newh a l l , cert a i n p u b l ishers and magazine e d i t ors i n
L ra n fer of vanguard ist energy passed from Paris, New York made a n d bro k e p h o L Ograph ic rep u t a t ions
Berl i 1 1 . Prague. a n d B u d apest t o Ne1Y York at the during t h is period. The t h ree powers in t h is world­
moment when Kertesz a n d so m a n v o t her E u ropean Conde N as t , Wi l l i a m H a n d o l p h Hearst. P u b l i cat jons.
and l .l e n ry Luce-were. de facto. t he most i n f l uen­
t i a l f'orces in the creat ion or phot ogra p h i c rep u t a ­
t i ons. Des p i t e h i s fee l i ng of e x c l u sion from t he i r
ranks, K e rtesz wou l d bene f i t from a l l of t h e m . rn o t

last i ngly t h rough h i s sc1'en t een-year assoc i a c ion w i t h


Conde .'\ast ·s I-louse w1d Curdl'!t.

I n t h e m i d - 1 930s a n u mber of evems occ u rred


t ha1 mark endi ngs and begi n n i ngs signif ica nt for
A n d re Kert esz's forw nes. The great art d i rect o r of
R u ssian origin A l exey B rodov i t c h became one of t he
most po1Yerf'ul ed i t o rs at L l earst 's J-Jcu p er's Ba::.aar:
H e n rv Luce ·s Life magaz i n e was fou nded in 1 936:
A lexander L i berma n was beg i n n i ng hjs ascent at
.\ cw York. 1 956 variou Conde J'\a·t I u b l icat ion : ,\ l ob o l v - N agv cs-
t ab l i s hcd t h e ·' N e w B a 1 1 h a u s · · in C h i cago; t he Fann L i k e some o f t he o t l w r most g i ft cl E u ropean
SrCLu · i l )' A d 1 1 1 i n i s t ra 1 ion ·s p h o t og ra p h i c project got p h o t ograp hers o f h . is genera t ion who fou nd t he m ­
u n derway u n c lc1· Roy St ryker: t he P h o t o League. selves i 1 1 N e w Y o r k i n t he 1 930s, s u c h as Mart i n
u n der Sid C rossrnan and Wa l t e r Hosc1 1 b l u rn ., was \1u 1 1 kacs i . B rassa ·i. a n d Lisel l e Model. Kertesz re­
fou n ded i u c lcpendc 1 1 1 k of t he Film and Photo ceived cncou ragenl('1 1 I and c m p loy 1 1 1e n t . which
League. C o n d e N ast 's / (wi� i · Fai1; l o 1 1 g a lea d i n g w o u l d prove decisive 1 0 h i s s u rvival, t h rough t he i n i ­
showcase for p h o t ogra p h v. fo lded for a I i m c i n 1 936. t ia t ive of A lexcy Brodo,r i t c h . Brodovitch's u nderstand­
and such galva n i z i ng pre cnccs in Sew York as i ng of t he u n i q ue q u a l i t y o f Kcn csz's " n a t u r a l i s t ic"'
.
J u l ien Lcv�·'s S u rre a l ist g a l l r r�· and A l fred S t iegl i t z s t \' l c. a s t v l e t ha t wou l d rem a i n tenaciously s u b t le.
modern ist C a l l r ry 29 1 were fad i n g in t h is peri ocl­ delicatelv con t ro l led. u n responsive lo eit her l i te
h u t t be pos i t i ve eve n t s for t l 1 e l ife of a m b i t ious pho­ h i s t rion ics of t he L l 1cat rical brand of S 1 1 rre a l ism or
t ographers i n New York fa r 0 1 1 1 weighed t l 1e ucgat ivc t l tc more ex t re m i st Construct ivism t hat was in t he
ones. a i r. resu l ted 1 10 1 o n l y in some of h i s best magaz i ne
work in t h e i"lcw York period. b u t i n t he achievc 1 1 1cnt
G i ven t l 1 r com p l ex i t y of i n f l uences and eve n t s of one o f t he greatest p h o t ograph i c books of t he era.
i n K e rt csz · s N e w York rxpcri r 1 1 ec. espcc i a l l v i n t he It was B ro c l o v i t c h who designed a n d pack aged /Jqr
( i rst decade of h i s prcse1 1cP t i ter<'. i i is not smprising of Paris ( 1 9-+5), i ncorporat i n g 1 -t? K e r t esz i mages
t l iat his work rdlccts so 1 1 1 a n �· d i s 1 i:: 1 r a l c i m p u lses. n 1 adc in Paris in t he decade before he came to A m er­
I n deed. i n thr face of bot h the variant accep t a b l e d i ­ ica . L i k e Brodovitch ·s book of his own photo g raphs.
rect ions prn n i ssible t o a sPrious p h o t ogra ph e r. a n d Ballet. publ ished t he same year, /Jay of Paris
K e n esz's o w n cxt ra o rd i na ri l ,· sop h is t icated grasp o f q u ic k l v became an object revered i n a sort of u n der­
t h e en t i re 1 n odcrn is1 phot ogra p h i c l i t e ra t u re, one can gro u n d world of serious a r t i s t s i n ,\l cw York a n d else­
onlv m a rvel a t his a b i l i t y 10 s u s t a i n a coherent voice where. Bot h books h a ve bcromc c o l l ect o r's i t e m s .
as an an i s t . The poten t i a l l y con J l i c 1 i ng t en dencies
reprrscn tcd by l a 1 t (•1·-day A 1 1 1 c rican S u rrea l i · m , D 1 i r i n " K c n csz's t we n t y - s i x years as a p ro fes­
Const r u c t i v i s m . fi l m n o i r- i 1 1spired pho t ograph)' sional phot ogra ph e r based i n New York, he pro­
·
a r t i s t i ra l l )' a 1 1 c l pol i t i ca l l y engaged report age. acs­ d 1 1ced a body of i mages t ha t in some meas u re
t l wt ira l l y gra 1 1 1 i t o u s st i l l l i fp-a J I t h ese devc lop- doc u 1 1 1 c n l . or at least rdl ccr. t he part i c u l a r i t ies o f 227
1 n c n t s W<'rc k n own l o and proba b l v scd 1 1 c l ive lo t he c i t \'. Yet compared 1 0 s o rn e of h i s colleagues.
Kertesz d u r i ng his earlv vea1" i n i\e"· York . Yet he
carefu l l y chose his met i e r. I Ir worked 011 assignmcnl
for various magazi nes. a n d com i n u cd 10 do h is ·'per­
sonal work . "

The c u l t u re. i ndeed t he cull, of prrsoual work


i n p h o t ogra p h y became a d i st i 1 1c1 ivclv A merican
phenomenon. It was v i rt u a l l y an a rt irle of fa i t h
among many of h i s con frcres i n t he m ed i u m t h a t
com me rc i a l p h o t ogra p h ,· w a s bv def i n i t ion a cor­
rupt i ng act i v i t y. W b c 1 1 considering K e rt.esz's u n end­
i ng com p l a i n t ou t he S11bjcct of h i s own lack of
recogn i r ion by. on t he one hand. 1 1 1agazinr editors.
a n d on t he ot h e r. m 1 1sc 1 1 1 1 1 a n d ga l lcr)· c 1 m1 t o rs. i t is
useful ro remember the cases o f such p h o t ographers
a Liset t e Model. Lou is Fa mer. Leon Lcv i n s t c i n . Ted
C roner., 1 lelcn Levi t t , a 1 1 d many ot her i m port a n t
a rt i st s . w h o l"xperiencecl i n vary i n g degrees t he con­
flict bet wf"e 1 1 t he freedom to "·ork 1 1 n e n c u m bered by
t he demands of edi t ors o r advert isers a n d t he need l o
m a k e a l i v i ng t h ro u gh p l 101 ogra p l w. J u st l i ke t h e m ,
Kertesz h a d t o p u t u p w i t h t hese d e m a n ds. Day of Paris. 1 9-t:'i
such as \Veegee. M odel , Levitt, Teel Croner, a n d Lou i s v ie\\· f i n dc1:s a ngle o f atlac k . P e rha p s I be two p ho­
Fa 1 i rc r, K e rtesz seems 1 0 h a ve rn a i nr a i ned a ce n a i n t ogra p h e rs whose own S u r rea l i st v i s i o n most c l oselv
d i s 1 a ncc. o r object i v i 1 y, i n rela t i on 1 0 h i s s u bjects. p a ra l l e l s t he i n t e r m i t t e n t S u rrea l ism in Ke rt esz··s
W h i le i1 i s t n w t h a t many of his :\ew York street pho­ New York-period p h oto grap hs are Lee M i l l e r a n d
t ogra p h s rrllcct 1 l 1 r i n fl uence o f t l 1e New York School M a n ue l A l va rez Bravo. I n respect t o t he former. onP
of pho1 ogra p h v. ii i s a l so l rue t h a t t hrv a rc l a rgcl v is s t ronglv rem i n ded of some of her Pa r i s i a n
1 r m pcred b )' a k i n d of self-described ·' n a t u ra l i s t S 1 1 r­ c i t vscapc p hoto grap h s o f t he l a t e 1 920s and ear l y
rea l i s 1 n ··· drveloped w h i le t he a r t i s l was s1·i l l in E u ­ 1 930s. wh i c h reh· for t he i r S u rrea l i s t c o n t e n t p r i -
rn p c . M o reover. t h e seeds o f s o m e o f K r rt csz·s '·New 1 1 t a r i l v o n s k ewed a ngles o f v i s i o n a n d p l ay hcav i l v
York School-st 1·lc .. phot ogr a p h 1· wcrr p l a 1 1 1 cd before u po n cxaggcra t e d l v d ra m a t i c e ffects of l i gh t a n d
l i e ever a rrived i 1 1 i\cw York . 0 1 1c of h i s earl iest New shadow. S u c h K ert esz phot ograp h s a s s o m e o f t h ose
York i magrs-a n d 1 h r a r t i s t 's o n l 1· i m age from t he t a k r n in i\J ew York in 1 937 a n d 1 94-t and Stairs,
)·ra r "1 936 t ha t \\'O u l d be p u b l i s h e d for 1 m u 1 y vears­ Railing. Shadows and Woma11 ( 1 95 1 ) a rc dcc p l v
is C 'n/Jpled Jl ol 111a11. a p l 1orogra p h 1v h i c h , w l 1 i l c i t s rc­ a k i n l o bot h M i l l e 1:s c a r l v Pa r i s Su rrea l i s t w o r k a n d
l a 1 io ns h i p 10 I l e n r i Ca 1·1 icr-Brc ·son is u n m i s 1 a k a b le, t h e l a t e r Smrca l i s t n she c x p rrssed i n s o m e o f h e r
foresha dows one o f rhc p r i .1 Ha ry s1 ra. i us i 1 1 t he Ne"· 1 9-tO--t 1 London phot ogra p h s p 1 1 b l is hed in he r
Yo1·k School S1 )• 1e: co1 1 1 1 n o n st ree t - photogra p h )' t rans­ boo k . Grim Glo1y: Pictures of Britain U11der Fire
fo rmrd i 1 1 t o a k i n d o f n u n i 1 1a 1 i vc poct rv. ( Sc r ibners, �cw York a 1 t d London, 1 9-t6) .

Two of K c r1 esz·s besl k n own N e" · York s u 1Tc­ K ert cs z · s strollg a f f in i t y t o somr of M i l l e 1:s
a l i s t i 1 1 1 ages a rr Lost Cloud a n d !I nn and I entilator work is eq t 1 a lrd l w 1 l t a t 10 A l varez Brn vo, "·l tose S 1 1 r­
( 1 9:3 7 ) . These p hotog raph s arc classic c x a n 1 p lrs of rea l i s t "·ork was d i s t i nct i ve l v ' · n a t 1 1ra l i s 1 ic. ·· a 1 1 d w l to
t he k i n d o f S mrra l i s 1 n Pxrrn p l i f i ed at i t s best in eer- a lso showed at .J u l i e n Lc1·y·'s Ne" · \'ork ga l lc rv before
, I a n Hm-, such a s h i s :299.
1 a i n "·o rks by \ boulernrd K r rt csz a rri ved i n t he c i 1 v. K e ri csz ·s Ne11• Vork. 1 9-+6,
Raspail ( 1 9 2 8 ) . a 1 J d t l lC' S u rrea l i s t p h ot ogra p h e rs w i 1 h i 1 s suspen ded f'ycgla:;s a n d rish s ign s. rr l a t es t o
Hoger Pa rrv c111d :\ l a 1 i r i c!' Ta b a r d . Th e i r pol'tic s 1 1 c h Bravo i 1 n agrs a s Elephant in the Sl,y a n d Optic
q t 1 i r k nc\, ;1nd d i . soc i a l i 1·c h u m o r res i de 1 1 0 1 i1t < I l l )' Parable, ·1 9.3 1 . Other i 1 1 1ages stronglv
bot h 1 1 t ade i n
228 fo rced j u x t apos i t i o 1 1s. nor i n t h e fa m i l ia r Su rrea l i st rc n t i n i sceu t o f Bra v o <J tT l t i s Disappearing !lei
USC o f co l l age Or l l l 0 1 t t agc t f'eh n i q ucs . hut i nstead ( 1 95-t) and New York. 1 959. W h i l e it i s d i fficu l t t o
s p r i 1 t gs fro t n t l tr ph ot ogra p her · s consc i o 1 1 s sC'lcrt ion i 1 1 1agi 1 t c t ha t K e r t esz wo 1 i l d havr been u nconsciou s o f
o f a rres t i n g s 1 1 bjec1 s 1 h a t prPsl ' 1 1 t cd 1 he r n s e l ves t o :\ 1 i l lct:S a n d Bravo ·s r x a n 1 plcs. i t i s a l so l i k e l y 1 ha t
h i t n i 1 t passi 1 1g. 'v l wsc � t ra 1 1ge1tcss or i ro n y i n t he s u c h d j rect i n f l ucncP as ope rat ed a m ong t h e m a l so
p h o t ogra p h ic res u l i deri ves basica l l y from t l tc t raveled from KPrl Psz 10 t l ir 1 n .

Crippled Wo11 1 a11. �cw York. 1 936


Several Kert esz i mages relate q u i t e d i rcci l y lo
somr of t hr rnost prototivical i mages of t he 1\ cw
York School. A l t hough i t has been oftrn poi n t rd 0 1 1 t
tbat Kertesz. especi a l ! \· i n h i s earl y years i n \ J cw
York. was i 1 1 n ur 1 1crd bv t he ·'documcnt a rv · · work of
Berenice A bbou , espec i a l l y t he k i n d of a r� · h i tecu 1 rn l
photography incl uded i 1 1 h e r 1 939 book Changing
New York, i 1 1 fac t , Kcrt csz's spirit i n many of" his own
cit yscaprs of" t hr period is f"ar closer in spirit t o cer­
t ai n 1 11r1nbc rs of t he New York Schoo l . For instance.
t he photograph he cal led Lost Cloud. w h i l e us11alh·
evi nced as an example of t he a rt ist's su rrra l ist 1nodf'.
resemblrs a n u 1 1 1 bC'r of emincnt l v. nonsurrealist p h o­
t ograph;, of t h e rra a 1 1 d is part i c u larh- C\'OC "a t i vr of
Disappearing A e1 . :\ew York. 1 955 Lou is Famer·s (lat Pr) Looking Toll"ard RC'/1 Building
at Rockefeller Center. . \'e1l' !Ork ( 1 9-t9). ( l 1 1 t rrc·st­
i ngk Kert esz producrd another i 1 11age i n 1 936 thul
is cvr11 1 1 1 orc rr1 n i n iscC'11t of" bot h l;a 1 1 n·r·s and Thi
A no t her aspect of the surrealist spirit crept i n t o Cronf'r·s v ir"·" louk i 1 1g 1 1 p at )\T('w York sk yscrapers.)
Kertesz"·s New York-period work . i 1 1 at least a f"cw e x ­ The pecu l ia r 1 1 1 i x t 1 1 r(' of to1 1gh 1 1 ess a nd ro1 nant icis1 1 1
amples. T h e peculiar! )' A merican Smrca l i s 1 1 1 o f " Fred­ charact nist ic of" such t1 1·1 ists as Wccgl'c. Lco11 Lf'v i n ­
erick Sornrncr and C larence John Laugh l i n can be s t e i n . and Wi l l i a 1 1 1 K lr i 1 1 . st rongly rvoca t i \'f' of t i lC'
f"e lt in such i mages as A rmonk. New lark ( 1 9-t 1 ) and aest het ics of r i l m 1 1o i r. is palpabk C'\iden l i n n1am· of
Sofa, /V illiamsbwg, V i1gi11ia ( 1 95 1 ) . The f"o rrncr t he ·· New York phot o"niphs·· taken I n- Krrt r;,z i n
photograph recal ls not onl)' Sommcr"s doll i mageIY. �
1 937 . And i t i;, d i f"ric tlt t o ol'C' Child;·e11 i11 Pla.1 ·­
b u t i\ l i nor W b i te ·s most Slll"real ist "·ork. such as some ground u•ith Spri11kler ( 1 9:39) \\·it l 1out t l 1 i 1 1 k i 1 1g of
of his a m h ropomorphic u·ce phot ographs. The laucr. Helen Le\'it t · s many photographs of children pla\ ' i 1 1g
a pict ure t aken w h i le on assignment for ! louse and in t he sl t"C'C't s of" .\cw \ 'ork. It is t cl l i 1 1g. howC\'C'r. t l 1a 1
Garden in Colon i a l Wi l l iamsblll"g, is bot h an a nomafr K ertesz ·s com posi t i o n al approacli i n t h i s pict t l l "C' srp-
i n K e rt csz"s career and a clear signal of" h is increasing
grasp of American c u l tlll"e: Lbe Sout hern Got hic fla­
vor of t h is phMograph rivals some of Laugh l i n ·s most
punge n t l y Fau l k nerian i mages.

As i m e rest ing as it is to consider t he conr frru­


i ng and evolving presence of a su rreal ist en i b i l i t ,·
in Kert csz"s photography, a tendency t hat con t i nued
10 reappear long after he left Paris. L h is element of

his work was f"ar from the predominant t ra i n i n t he


New York-period out p u t . D u r i ng t he f i r t f i ve \'ca rs
of h i s l i fe i n New York. Kertesz q u i t e rapidly a n d
profoundly assi m i lated a style o n l y recent l y articu­
lated as such: t he New York School of photography.
w h ich. as I have proposed in my recen t book. nour­
ished i 1 1 t he years between 1 936 and 1 962. W h i le i t
would be m isleading t o suggest t ha t K e rtesz was a
member of t h is st vie. he d i d create several of h is best
i m ages from t he i a t e 1 930s in L hc spi ri t of t he aes­
t he t i c created and apot heosized by such a rt ists as
l lelen Lev i t t . Lise t t e Model., Tee l Croner. aul Leiter,
and Lou i s F a u rcr. Armonk. 1\ cw York, 1 94 1
\'rt o r COtJroC K c n rsz \\"HS 11('\'Cr J l lercly a
··:.1 raigln ·· or '·1wt11ralist" ·pliotograpltrr. 1\ lany
thn·ad' "·ca\'C tl1ro11g l t tl1r work. shu"·i11g rn rio11s
i 1 1 flur11ccs a11d si"11if,. i1icr this artist · s f1111da1nc111 alh­
� �
protl'a11 capat'il y o 111as r a 1111111 \ w r of lang1u-1gr:-, i ; 1
l i i s cl1osr11 n1rd i 1 1 111. !•'or inst al l ('('. t i l e ror r n alist stvlr
tl1at l1as bern111r 011c of Krrtcsz's l t allnw rks. assoc i ­
ated p ri111arily \\"illt ti t(' later i111agc·s 111adc or i l ir
park i11 \X 'asli i11gto11 Sq11arr tl1at hr could srr frol l l
the ll'i l ldU\\ " o r his apartment f l t Two Fiftl1 Avr1111c. i l l
,0111e "'m·s brlic;, tl1r ··11aturnlist " · c rrdo h r 1n1;, at
;
"11'!1 pai1 ,, to r;,po11se. ,\11d certai11 of K c rtr;,z · ,, pho­
t ograph;,. i11cludi11g a fr,,. made before the 1·in 11al
('<''st1tion i11 ! ti;, p roductio11 that occurred hrtwrc11
1 < )-+ 1 a11d 19-+-+. co11ve)· 11othi11g so l l l l ll'li as a wi,,!1
1 0 ack no\\ · iedo-r a1 u l l l HISl<'I ' H ki11d or q11i11l l'sSC' l l ­

tia i 1 )· i \111rrici 1 pl1otograpl1ic ;,l \· I<' associated witl1
i\11s1·! 1\ da111s rn1d l�dll'ard Wc·sto11. Tltc A111erirn11-
11rs" or I ii;, wcll-k11ow11 1l mw11k. 1\'e/I' ) ark picl11r('
perltap;, acco1111ts i11 part for its appeal to Bea11111011t
\ew York. 1 9:37
\ t'\vl1t1 1 ! a11d i ll(' rn ra 1 o rial sc· nsibi li l \' or t ltc \
, l t1sc11111
arntrs liin1 dccisivclv rro111 Levitt .. wlio i' ahrn)'S as of 1\ lod<'rn A rt . l f o t oi lier i111ages arc e1 p1t1il) ' co11-
1n11cli cli o rrogra p l i l ' r as co1npo,,<·r. K ertrsz · ;, hahitnal 1 1cctt'd to K 1 · rt r,z · s 11c"· lio111c l;rnd ;111d to so111r o l' its
picto ri; i l t'01 1s1 ructi11g. as oppoM'd 10 dir{'Cti11g. is pl1utograplti!' 11111»1 ers. IJ11sk. I !'1wo11/ ( 19:37). 1d1il<'
111adC' C'Sjl{'Cialh- clear i11 this !'01nparioo11. plai11h 1 aki11g cog11iza11r<' or Abbott. is also 011<· of
ti t(' earlier Pvidr11C('S or Kcn rsz"s awar<'l l('S;, of
\ Vli ilc 1nuch in K c rtrsz · ,, wo1·k of tlic 19-+0s \X 'alker l�va11s. It was. lio"·c·w·r. pri111aril)' artrr 19-+-+
and 1 9':>0s ;,hows his awan·n1·,,s of the aesthetics of 1 l iat thi;, t<'ndc11cv blosf.0111s i11 the work. NPtt' J 'ork.
tlw New York School. 111an1· of i i s pri1narv <·01H ·rrns 1 9-f-f i" a p1m•lv · · ,\111crin111·· co111positio11: Ne11• ) o rk.
wc1T forrign to him. Krrtesz 11r1-cr r1111da111e111all�· 1 95 1 , taki1 1g as its s11liject both a11 isolatrd. pr11"i,·c
rcjccted liis own traditio11s to t i l e ext<'J l f that otl1rr fig1Jre a11d I l i c 1·0111 po,;itional strr11gtl1 of a wall. rP­
111e1nbrrs or the New York School did: thr rn11scio11s rnlls J\ mo11 Siski11d. Tltcsr rxa111plcs are 111<'rrl)' a
ironoclasm of Alcxev B rodovitrl1. Sid C rossnia11. 1111(! kw of 1 ! tc 111a11)' i11111gcs Krrt csz 111adr i11 tlir lat1·
Lisette Model. for c x a111plc. is central to the dc\'f·lop- 1 9-+0s. tltc 1950s , a11d the rarly 1 960s t hat r111body
1ne11t of the Ne"· York School and en t i rC'I)' n11cl1arnc­
tcristic of Kertesz.

By the late 19-+0s. ;,evcral strain" in the evolu­


tion or photographic stvlc were emergin g. or chang­
i11g. i n Krrtcsz's photogrnphy : an incrca;,ing wi;,h to
n1w.,t1·r a kind or ··Arncrica1111css.'' i11 trrr11s of both
s1il>j<·<·t a11d sty lr: a c·o111 i nucd rcfi11c n 1c n 1 of t !1e
artist's aln·ady 1 ·stu hlisltcd co11stn1c: ivist/c1il>ist for-
1nal vocal 11ilary, l;1rg1·ly r. ,. .ilitat cd thro11gli ! tis 111a1n­
a J'l'lti1 <·1·t n ral or still-li l'1·-likr intniors done for
l /ot1SI' Ul/r/ (,'lll"lfl'll: and ti ll' S< i l l ll' i11 f (•n•st that ! tad
alwm'" l11•1 ·n prPsi· n t in K 1 · rtr.,z·s pltotogra plis in a
kind ol' ··11atn ralis1 . ··· n nd1· rstatl'd vi1·w or th(' world
t l t ro11gl t ti ll' pltotog rn p l tic 1<'11s. rn11v<')'ing tile ill11-
;,io11 that rcality was l ici11g captn rcd rlfortll·,,,ly.
wii l1011t prejudice or artr11I co11cei 1 . \X 'a:-,l i i 1 1g1011 Square. I 9.)2
l\" r w Yo r k . 1 937

h is assimilation of A merican photography. A n d yet . graphic idea. usua!fr cli.scard i ng all but one. bu t
c h a ract e ri s t icaLlv, t hey appear in h i s oe u v re in a sort sornet i rnes apparcn t l v accep t ing diffe ren t versions of
of sporadic fash i o n; t he p hotogra pher was a l s o en­ t he s am e s u bject . They a l so pcrfec t k represent t he 23 1
gaged in o t her a r t i s t i c concerns. idiosv ncra t i c r n anner i n "·h i c h K er t esz some t i 1ucs
s u m moned his O\\�l e a rl i e r i n vent i ons in the service
Dw·in g t hese somew h a t l a t e r yea rs., K ert es z of new ideas., cre at i ng s u b t l e "combi nes. · ' S u ffi­
was ofren u s i ng large format cameras for h i s com ­ c ient h- eclectic. K e rtesz 's work refers ro differe n t
mercial work for Hollse a n d Garden. For h i s per­ s t ra i n s of h i story of phot ographv.
son a l work, he defi n i t ely p refe rred the 2 -t x 36
forma t , or e ven t he 6 x 6 . Though i11 some ways one From 1 9-t5, when A l exander Liberman
senses a slack en i ng of i nt en s it v and si ngleness of broug l 1 1 A n d re K e rtesz t o House and Garden as one
p u rpose in t he wor k o f t he l a t e r 1 950s, t' here is a l so o f' its res ident p h o t ographers. u n t i l 1 962, w hen he
a new sense of freedom and com m a n d of his me­ left t he magazine, K er t e sz achieved f a r more as an
c l i u rn . W h i le u s i n g m uc h of h i s energy for commer ­ art ist t h an he h i msel f seems ever to hm·e Lmder­
c i a l work i n t hese years, K e rtesz can be said t·o have s t ood. I l e mastered t he part i c u l a r i t ies of several d i f­
begu n d w'ing t h i s pe riod to s y n t hesi ze many of l i is fe ren t camera fonnat·s and con t i 11ued to work in a
earlier concerns. Tbe successful Wash i n g ton S q u a re var i e ty of styles. never abandoni ng h i s l i fel on g a l le­
photograph s are proba bly t he best k nown of his giance t o a n essen t i a l ly " n a t u ra l i s t i c ·· approach t o
work of t h is t ime. l n t hem, a n d in ol her p ict u res , a h i s medium a n d vet aka v s de m o ns t ral i 1 1g h i s e no r­
sort of combi n i ng of t he s u rrea l i s t and t he const ruc ­ m ousl y soph i s t icated grasp of t he moclern i s t 's con­
t iv i s t l an guage s ofren occurs. Disappearing A c t and t r i b u t i ons lo t he visual ans. Kertesz was
pict u r es of New York t aken i n 1 959 a n d 1 960 cer­ const i rnt i o n a l ly i ncapable of exaggera t i ng his faci l i t )·
t a i n l y share t h is charact e r i st i c . K e r tesz's occasional in t h e n a m e of commercial shock appeal or t h e
ret u r n to earl ier de,rices, such as t he use of t he di s ­ seduct ions o f mannerism:, b i s pho1ographic accom­
t on i ng mi rror, is e x empl a ry of a met hod he often p l i shment is both st ra ight forward in its craftsman­
p ra c ticed of produc i ng variat ions on a s ingle photo- s h i p a11d marked bv a kind of snibborn i n t egrit y of
Sclf'-Porlrait. 1'\ cw York. 1 96 1

vis ion . I f t he sheer n 1 1 1 l t i p l ic i 1 y o f s u bjects. compos i ­


t i ons. a n d technical approaches l ie com m a nded l e n d
to d i ss i pate one·s sense o f a single h a l l m a rk s t r l e .
never! he less. a great K e rt esz. whet her depic t i n g a
c i t y park or a bowl of wa l n u t s. can n vcr I e mi -
232 t a k e n for t he work of a n yone else.
New York, 1 9+1
:n
::;

Crippled Wornan, New York, 1 936


2:36

�ew York. 1 937


Bal let. :\cw York. 1 938
:238

M i mv Combey, New York, 1 9-tO


239

Losl Cloud, New York. 1 93 7


�-10

C e 1 ma l Pa rk. 1 9:37
2-+ 1

Lake Placid, 1 954


:2-t:2

A nnonk. New York .. 1 94 ·1


:2-t:�

T heodore Fried, New York. 1 96 1


2-t.)

Pough keepsie, New York. 1 9.3 7


New York , 1 9:3 8
New York, 1 938
:2-t8

A rm and Ven t i lat or. New York. 1 937 (fu l l frame)


:2-t9

i\ r r 1 1 u 1 1 d \"c1 11 i l nt or. New York. 1 937


r
: ;o

New Ymk., 1 9.3 9


C l 1 i ldrcn i 1 1 P la\'ground wit h pri 1 1 k lcr. �cw York. 1 939
252

V. Day, New York, 1 945


253

.\iew York, 1 94 7
i\�"· York. J 9S2
F i re Escape, New York. 1 949
256

i\'ew York, 1 9-t6


S1airs. R a i l i ng. Shadows. and Wo1 1 1an. �cw York. 1 95 1
238

:\ew \.01·k · 19.0,1


Overhead C rosswalk wit Ii Cloek. \
, rw York. 1 9-t 7
:260

New York, c . 1 960


Det roi t . 1 9.'i7
262

New York, 1 945


\\'ashington Sq11are. 1 954
20-t

The Sofa, Wi l l i a m s b u rg, \ ' i rg i 1 1 i>1, 1 95 1


Corridor. 'i
J c\\' York, 1 9-t7
New York. 1 959
267

Lnn cl i 1 1g Pigeon, New York, 1 960


:268

New York. 1 9 6 1
Park A\'cnuc. i\c"· Yor k. 1 959
no

�rw York, J 9'.5-t


�ew York. 1 9+ 7
The International Period
( 1 963- 1 985 )
The Dou ble of a L�fe, Con tinued:
In the Firmament of Photography

by Pierre Borhan
B
et w ee n1 936 and 1 96 .3 ., K r rt esz's negat i ves
were '"p reserved," first i n Paris t h en in t he
park of t he domain of Laborde (Lot et
Garon ne), w h e re t hey were b u ried i n a s u i t case d u r­
i ng t he war. Before bis depart w·c LO .\/ ew York,
Kertesz p laced t hem w i t h Jacq u e l i n e Pao u i l lac .. t he n
a j o u rn a l ist, '" i n order L o m a k e com m erc i a l u s e of
Sel f- Pon ra i t 'vi t h .v h· M<1'ks.
L hem a n d s h a re the profits. ·· Jacq u e l i ne sem t he m .
:\cw Yor k . 1 976
a w a y t o Laborde L o p rotect t hem, where t hev re­
mained after t he end of t he con f l i c t . t hanks to L hc i n t e rest t hat 0 1 1 cc aga i n was t a k c 1 1 i n
him, t ha n k s lo his newly fou n d i n dcpcndcncc.
W hen h i s show w a s presented a t t he B i b l io­ K e rt esz from 1 963 onward once aga i n k new a deter­
t J 1eq ue Nationale in 1 963, Kcrle z was s u rprised t o m i ned prod 1 1c t i v i t v-soon encou raged by i m port a n t
recei ve a message from the '"t rustee'· o f t h e photos. p u JJ l ica t i ons. Ass u re d l y, t h is creat i v i t y grew s t i l l
who had learned of t he homage p a i d to the photog­ m o re aft.er i<: l izabct h "s dea t h , b u t m us t one deduce
rapher t h rough an a r t i c l e in t hr newspaper Le from i t t h a t Iii love for her was l i ke a brake t o t be
Monde. The i r meet i ng was an emot ion a l one, a n d e x u l t a t ion of h i s phot.ogra p l 1 i c gen i us ? Tlw i n terpre­
Kerte z recovered h is p recious goods. F r o m t hen on, t at ion of facts and phenomena is inevi t a b l y haz­
h j s France was no longer reduced l o a chosen few ardous. Ke rtesz h i m se l f' wa very selrct ive i n his
views, as i t h a d been s i nce 1 936. I ! is work wou l d no memories, s t o ries, a 1 1 d expl ica t ions, and m j slcd h is
274 longer be t ragica l l y t h i n . T h a n k s to th is recovery, i n t e rlocuLOrs; he al wa)'S chose melancholy, t h e sigh
and I be com p l a i nt-in con t rast L O Lart igue. who a l ­
ways chose happi nrss, a s m u c h i n h is j o u rn a l as i u
his paint i ngs and photog ra p h s . Like Lari igue,
Kert esz f'a b ricat ed-ce rL a i n ly i n good fa i t h-a leg­
end for himself. I le did not s l op t ry i n g to i n s p i re
compassion. W hose heart was too hard to feel p i t y
for the fate of a m a n s o bad l y t reat.eel by I h e A meri­
ca n p h o t ogra p h ic m i l ieu-such as he described it­
so m isL mders t. ood? Even i n 1 963 K er t esz p referred
h i s own schen 1 a l ized version of h i s career Lo faci n g
t he t ru t h , t o c l a ri t y w i t h o u t com p l acency. He fe l t
isolated; he was not: i n t egrated i n New York l i Jc, d i d
not v i s i t o t her a rt i s t s . N0L i 1 i n g s t i 1 1 1 u l a t. e d h i m pas­
sionate l y. A n d , eviden t l y, it. was frorn E u rope, S)'m­
p a t h e t i c and conge n i a l , t ha t t he proposals t ha t
removed h i m from h is con f i n i n g rou L i ne arrived.
W h e reas t h e H u ngarian M i k los Jancs6 got ready LO

m a k e of Sans-&poir an i m port a n t film ( 1 96 6 ) ,


Kertesz escaped from t he yoke of t h e A m e rican press
and regai ned confidence. I le was a l most seve n t y and
st i l l fel t like an "'emerging" photographer. If he had
The F i n d i n g of Kcn csz's French a n d not f i t t h is l a bel f o r L we 1 1 t y - fi ve years. he wo u l d
I l 1 1 1 1garian A rcl1 i vcs. Drce111 ber 4, 1 963 aga i n .
\X - l r e r 1 . d 1 r ri r 1ir t i r e 1 960;,. l r i o w i t h d ra w a l i n t o 1 rn t t·d r a t l rc r 1 I r an expansive a r r d rad i a t i ng. I l is
l r i r n s e l f ( l i w'd as a l r a rd s l r i p ) g ra d r r a l l \ ;,t op p ed . fol ­ l r i g l r l ' ol pra ise of a work '''a s ·" 1 1 is d<'Pp: it is s i n ce re;
lo\\' i ng o fff' r.-, c r n d p ro po;, n l s of c r l l k i r r d:,. "·l r i l " l r I r e i t io goo d . · · l r r 1 r l l i ge n c r was r ro l I r is l l l" i n c ipa l c r i t e ria :
o ft(·n aC"< "l'pl('d. K e rtPsz cou ld f i r r a l l �· rrcor 1 s idf'r t l rr I re frl 1 . l i k e t he f i l m rna ke r Bohn! 1 3 rcsson. t l ra t · · i n -
wl rolr· of I r i s work and p r r r;, r r f ' i t 1V i t l 1 0 1 1 t • · o r rst ra i n t . 1 C'l I i µ c · r rc l ' < ·or r r p l i rn 1 c•s C 'Ver"\' l I r i r r g . · · Ye r . I re r r evn
I le d i d nol nrrd 10 con f i r1 1 1 t l r H I for l r i rn p l 1 o t o g ra p l 1 y a l rn 1 1 c lon!'d l 1 i 1 n scl f 10 s1·1 1 1 i r r r e r 1 1 a l di · urntv. I Ir was a
\\'U S a 1 1 ol r;,C';,sivc act i v i t \'., h r r t I re IHTded t o rea ppro­ ror n a n l i c of s u b t l e t ,·.
p r ia i l' I r is a rc l r ivrs . to rcge r w ra t r l r i 1 1 1,;1:1 f". 10 e s 1 a l i­
l i :, l 1 l r i r n s r l f ur rc·\\·. t u i r n po sf ' h is vi;, ion. a 1 1 d 1 0 For K e r t esz. p l ro 1 ogra p l r )· wa s a r r cr r c l less c i r ­
1 · 0 1 l ( " l 1 1 dr . I t 1 na 1 t c· rc d t o h i rn t h a t I re "·as rTt o g 1 1 i zed c l r a 1 1 1 r r rP n t . p ro,·er r and t ra nsce n d i ng
i l l \· i r r c i h l P .
as a pi l l a r· of t l r f ' n a t u ra l i s t t ra r l i t i o 1 1 "'l r o t rr a 1 e d rr­ c o r n p a s;, i o r r . I t s s o u rTf'
\\'flS a l \\"(l \'s i r r love, a n d it re­
a l i t 1· \\" i l l 1 0 1 1 1 r· x aggr ra r i o n a 1 1 d nf'vrr i n ,·r 1 1 1 C'd a f ic ­ ;, i st C ' d dea i l r . 11 was t i re · · s i r e a r r d t l rr fo rr n u l a ·' or. ac­
t io n . Did I rr nor ;,t i l l rej ect rc('Otl l"se t o 1 1 1a 1 1 i p r r la t ions cord i n g 10 a no t her H i rn h a r r d ia n e x p res s ion . ·'of 1 h e
a 1 1 d o t l w r 1 ra r " g rcs s ion s u f p l r o 1 o g nrphi c o r l h o do x v. ;,oul for t i re sor r 1 . ·· P l r o 1 o g ru p l r )' a l so l r a d for K erl Psz
exrep l fo r rrf' ra r 1 1 i n g nega t i \'('s? Healist j r r s t i cc rc­ i l s 1 1 1 y s 1 e r iou s side. Hobert F ra r r k ( i n lr rtfom111.
n 1 a i r 1 rd I r i s credo. T h e e x p e r i r n c n 1 at ion of 1 he a va 1 1 1 - 1 976) regrrt t c d t ha t no t l r i r rg l'\'l'r ha ppened to I l cnri
ga rdc h c l \\·crn I h r t \\'O world \\"t t rs ( 1 I rr B a u h a u s . C :a r1 i er - l 3 r·rsson ·· t h a t s l rook lrinr r r p ., Pxcept r l 1c
\" c u e S a c l r l i c h ke i 1 ) d i d no r h a k e l r i r 1 1 . r 1or d i d t l rf' l wa r r l \ " o f co r n p o s i 1 ion . " · I le co r r l d r rot l r a ve sa i d t h i s
pcrfec1 ;,l r r d io \\·orks bv A m e ri rn n r nast crs o f t l w of K n 1 rsz. for \\'honr . i r i ge r r era l . t i r e s u l r j t'c l r r r a u e r
po r t ra i t . o f fashion. a n d o f a dv ert i s i n g . s r r c h a s I r­ \\'ab one w i t l r for 1 1 1 . rac l r fou n drd i n t i re or l rcr. i nsep­
v i ng P e n n a n d H ic ha rc l Awdor r . 11 r n a t t c red l o l r i r n a ra b l e . .\ l orTo,·Pr. t i r e u n i 1 1· of K e rt rozi a r r work lay i r r
t h a t t i re p ro fc;,s io n a l m i l ie r r recogn ized 1 ha t he never 1 l rr c o nj u 1 1c 1 ion of" fornr a r r d r n ran i n g. a n d t h i s con­
rccvcl e c l t i re i 1 1 1 a ges o f h i s forc r u n r 1ers, not even hr j u r H 'r i o n con s t i t u t ed a s 1 y l c-t l 1 e a l l i a r rcr o f a n i n -
nodding 10 t l rr i r works. t ha l h e i n ,·enl cd h is O\\"l l 1 r• n s(' s r r b jec 1 i 1· i t \ ' (a sc r r s i b i l i t v. a f i r rc l y foc r r sed
ac ·s t l r c r i c. accord i ng t o h is O\V l l et h i c. I t n w t l cred t o pass i o r r ) w i.t l r 1 he s k i l l to rid rea l i t y (as r r r uc h as t h i s
l r i r n l o r r r a k r i i u r r derstood t l r a l t i re U 1 1 i 1 c d Stal PS is pm;si h l 1 · ) of i l s opac i l y. I l i s work is a lso a ffec t i r rg
1 1 c i i l 1 c r n w d r l r i n r s r r b m issivr r ror subd ued h i rn nor t l r rougl r i 1 s s i rn u l t a n eo 1 1 s p1 1 r i 1 y n n d s i r rgu l a ri t )'. The
va r r q u i o hec l his a ff i rr i 1 y wit h t he ""c p r i r r t ess en c e ·· , it t \\·e n t i e l l r ccn t u rY. wir l r its grandeur. its t ragedies.
onh- iool a 1 ed h i m . I l is best r h o 1 ogra p hs a rc n r i ra c les a n d i t s r r r i ser i r>. l r a d r r o hold on i t . It is as if K ertesz.
of ca l r r r grav i 1 ,· : t l1c1· reflect t h r p u r it v o f I r is so u l ,
wh i c l r I re real i ze d . ·· Ph o t ograph y d i d not i r r Jl uence
m y l i fe. he st a t ed; m y l i fe i n f l u rnccc l I l l \' pho1 ogra­
p l r ( · t M o re t i ran 1 h e oeuvres of C u s 1 a ve Lr C ra )'·
J r r l i a l\i l a rg a rct Ca m e ron .. E : u gc n e A t ge 1 , and M a r r
Hay. t o c i t e on l y a few. K c rt esz's \\'Ork has a biogra­
p l r )'· Even I r i s s t i l l l i fes a rc r i c h w i 1 l r I r is i n 1 cl lret r r a l
a n d er no t io r r a l l i fe . T h e presence of I r i s w i fe echoes
i r r rr rr ison '" i t h h is own in E/i::;abet Ii :s F/01ners
( 1 97 8 ) . as d oc s t h a t of Mondrim1 in t he a rran ged
cornposit ion w i t h h is p ipe. a s l l l ra )'· and g l a sses
( 1 926 ) . Can a n \· s i m p l er. more d i rect p l ro1 og ra p l rs
br t a ke r r d r a t sp ea k as w e l l for 1 h e n r scl ve s ? K e rt esz
as r r r 1 r c l r l ra nsrendrd w l r a t hr fe l t as w l r a 1 I r r saw.

For K e rt esz. old age was nol a t i me of revi sing


v a l ues. ii was a t i m e for re a ffi rrr r i r r g ori g i n a l ,·a l ­
r r c s- l l r o sc o f l i r e r r r a r r I re h a d been a n d s t i l l was.
t l r ose of 1 h e p hotog ra phe r : for h i rn . rca l i 1 1· was rich
a n d cor r t a j r r cd t h e best o f l i fe. on t he rn n d i t ion t ha t
i t was n ot purged of l ove . I l is love sl r o r rc t l 1 ro r r g l r
e ve ryw h e re. even i f i t \\·as ror r t a i nc c l a n d conrcn - \p\\ \ or k . r. J <J"YH
a a pho1 ographer. had a c q u i 1 1 ed hist orv. I l i s own o t h e r eq u a l l v sign i f ieanl ('On s 1 a n l s : h is facu l i )· for
virt ues w a t c hed over h i m. prolcctcd h i m . I !is oe uvre, de f i n i ng t he q u o1 idi1rn a n d h i s ge n i a l apt i 1 1 1 d<' for
l i k e 1 ha 1 o f Josef Sll( lek. rn usl be t a ken or l e ft as a ope n i n g spa<.:C' 10 d rca1 1 1 i ng. K ertcsz · s crea l i ve
whole. I I is t ha l of a pho1ographcr of i nwardness. a n d l o 1 1 gc v i 1 1· was c o l 1 e rc1 1 1 . The loafer who never had
t h i s i n wardness en ' l l l'CS coheren ce as m u c h as 1 hc­ his o w 1 1 st udio a l ways ca111e back 10 1 h e san1c n1ot i fs :
m a 1 ic a n d v i s 11 a l l e i 1 n101 i fs. K e rtesz was a con 1 ras1 10 he wa · loya l , i n h i s a f'f'cc1 ions ( for1 y - f ive years nf l 1 is
Moholy-Nagy, the cxpcri nlC'nl cr, a n d M a n Ray, for l i fe was spc n l w i 1 h E l izabci l 1 . whom he sl cad l'asi ly
whom t he medimn cou n l ed more t han anvt h i ng. fo r adore d ) and a r t i s 1 ic < 1 ll 1· ( l ovn l to h i s eq u i p men1-i l 1c
whom t he v i s u a l a l p h a be1 preva i l ed over t h e pocl ry. Lcica from 1 928 0 1 1 w a rd-10 h i s s u bjects, 10 h i s acs­
t l 1e 1 ic ) . He was nol one of 1 ho. e who t ravel 10 f i nd
Kertesz never had a g lo b a l project : al t he most i n s p i ration or t o cha1 1gr i i , or who rack t he i r bra i ns
h e concen1 rated some1-i 1 nes on a se ries , l i k e t he D is­ to come up 1V i t h a new. oricri 1 1 a l s u bj ect. or who ca 1 1 -
t ort ion ( 1 933), or 1 he Polaroids, which were par­ 1 1ol l e l a fashion g o hv w i l h o u l s t a m p i ng i 1 w i l l 1 l l 1e i r
t ially p u b lished i n A Ma Fenetre ( Fmm My Window., n a m e . I l e did nol fo rce h i s voca t ion or L I')' l o c x peri-
198 1 ) i n homage 1 0 t he memory of El izabc1 h . I le 1 1 1e 1 1 1 wilh i t i n a ll c l i rc('l ions. S i 1 1 cc r i 1 y. rcspcc l . tlll(I
had no need of syst emal i z i n g t he explora t ion of h i s dcpl h : 1 hcsc were h i s k e y words l o t he e n c l . A 1 the
u n iverse-he a l ways i ns t i nct ively s e t i t s l i m i t s . For conc l usion of a pho1 ographic oeuvre. wha1 one
seventy years he made no show of his Lecl l l l ical k nows a bo u l I he photograpber i s what h is pho­
savoir fa i re . "Tec h n i q ue," he a i d, "'is i n t he p i n k ie . " l ogra phs reve a l .
The s h o t s t a k e n from h is w i n dows i1J Paris a n d N e w
York a re l e i tmot i fs in his reperl ory o f virtuosi l y, as F o r a l o n g 1 i 1 1 1 e K ert esz w a s 1 rea 1 cd offha 1 1 d ­
are t he i n h a b i t a n l s o f t he e i 1 y, passersby, t he roofs e c l l y by h i torians of p l 101 ograph y. A few li nes decide
a n d t he chim neys, Llie read e rs , I he b i rds, and h i msel f his fate il1 Photograph,y 1839- 1 937, bv Bea u mont
( h e d i d not stop making self-por1Taits, t hough t h ey Newh a l l , who does n o l c i t e him i n The HistotJ' of
never became i n t rospect ive); as a re t he L i l t shots, h i s Photography .fi'om 1839 Lo the Present Dc�y ( M u ­
I J·ea t ment of shadows, of a ngles a n d h is w a y o f cut ­ seum o f Modern A rt, 1 949) a n d forgets h i m aga i_n
l i ng up space into p lan es of opposite consistency: in 1980 in Photography: Essays and images. Not a

276 opaq u e/tran slucid, rigi d / flui d as i n Sidewalk ( 1929) si11gle cha p ter is dedicated to him in The Picture
a n d The Balcony, Martinique ( 1972 ) . There a re Histo1y of Photography by Peter Pollack, i n which,
i t is true, Puyo, S udek, D r t i k o l , Nojima, Bell mer,
Tabard, O uterbriclge. a n d Horst are also not c i ted.
lgnoraJJce cannot acco unt for this d i sregard . In
1989, the year o r the commemoration o r the 150th
anJJi versary of the a n nou ncement of t he discovery o f
ph otograp h y, Kertesz, t he photog ra ph e r of Paris,
was held u p as an i n novative fi gu re, as a pho tojou r­
nal ist, i n the show a n d t h e catalogue of "On the A rt
of Fixing a Shadow". 3 S i m i l m· ly, in Photography
Until Now, 4 Jo!JJJ Szarkows k i deals w i t h K e rtesz's
relationship to the press. Of eleven photogra p hs e­
lect e d for The Art of Photography, 1839- 1989, 5 ten
were made in France. T h u s we can say that it was
not necessary t o wai t u n t i l the 1980s for Kertesz to
be taken int� consideration by h i s t o ri a ns , at least for
the ph otograph s taken d u ri ng his stay in Pari
( 1925-36) . Yet in t he year of t he 1 00 t h an n i versary
of his bi rth , not everyone seems conviJJced t h a t he
was a master. ln contrast to this neglect, Anna
Farova dedicated a book t o h i m i n 1 966, and John
Szarkowski, who held him i n esteem early on, wrote
,'\ cw York, 1 975 in 1973 in Looking a t Pho tographs6: "Perhaps more
C i reus. New York, 1 969

than any 0 1 h er p h otog ra phe r. Andre Kertesz d i scov­ K e ri csz l i fe was no1 1 h a1 of t h e hero of a story,
ered and dem o 1 1s 1·rat ed t h r spec i a l aesl het ic of t h e rich i 1 1 a c lvc1 1 1 u rc, ra i l 1 c r ii is his wo rk t hat counts.
s m a l l camera . . . . I n additio11 lo 1 hjs splendid and I low cou l d so m a n y A merican o nno i seurs ignore
origi 1ial q u a l i t y of forma l invent ion, d1 ere is i J 1 the him for so long? T h rough indi lforence, or to pun.ish 277
work of K e rt e s z another q u a l i r y Jess eas i l y ana l yzed. h i 1 1 1 for his cri t i c i sm and 1 hc anta goni s t i c position he
but sure l y no less i mport ant . Ii is a sense of t he t ook i n regard lo drnm? 1. 1.e ind ee d had character,
sweetness of l i fe. a free and chi l d l i ke pleasure in t he and he was even somewhat disdainfu l of the theo­
bea u t y of the world and the preciousness of sight . " ret i cians. What is more, he was rancorous. I s i t not
On t he other band, Susan Sontag, i n On Photogra­ the case that because he was not respected as he felt
ph.): and Janet Malcom. in Diana and Nikon, make he deserved to be when he a rri ved in New Yor k ,
very few reference to K e rtesz. th[rt y or fo r t y years l ater h e p a i d l i t t l e attent ion t o

Withoul a doubt, i t was in France t h a t he was


recognized with t h e least hesi t a t ion and a l most with­
out except ion. Roland Barthes himself. in La Cham­
bre Claire, 7 cites h i m as of1 e 1 1 as he does Hobert
.\1app l c L l 1 orp c and com men t s on parl ieular pho­
t ographs t h a t he l i kes. such as Lines! ( Paris. 193 1 ).
I le re111inds us t ha t t h e e d i 1 ors at l.'(fe refused l hrsr
photographs bv Ker1 csz brrausr 1 hev "·spoke 1 00
1 1 1 u e l 1 . ·' a n d conc l u des: .. 1 1 1 1 hr end Photogra p h y is
su hvcrsivr, 1 1ot wheu i1 frig l 1 1 c 1 1s. rrp u l sc s , OT evf'n
tlw11glrt/iil. '. And i 1 1 U//is­
s1 ig1 1 1 a 1 izes, l i u 1 when i1 is
toirr: de la Plrotograpliie. 8 e d i 1 r c l l w .!ran-C l a u d<'
Lr1 1 1 agnv a 1 1 C I A n d re H.011 i l l r. K.er-1rsz cons1 i 1 1 1 1 es one
of i l 1r p i l l a rs or t h e r h a p 1 c r · · P h o 1 ogra p h ie. A ri r1 \\'nshi ngl 0 1 1
.V l odc rn i 1 r ( 19 1 0- 1 9.3 0 ) . ·· S q u a re. ·1 97 1
t he decora t i o n s a n d I l ic honorary c l i s l i nct iuns t hu t !'d i t ors i r 1 .\cw York r n n dc h i rn in re t u rn rej ect t l w
were f i n a l ly gra n t ed h i 1 1 1 hy J\ 1 1 1 e r i n u 1 i 1 1 s t i t u t io r 1 s ? wholr A r n erirn r r p l r o 1 ogra p h i c · rn i l ie r r . i i n r l hen H 1 r l
l�ve11 when t he U r r i t ed S t a f f's a d o p t e d a n d cell ' h rn t c c l t h a t . a l l of J\ 1 1 1crica. a l t horrgh l ie 1 1e\'er s l iO\\'C'd c v i ­
h i rn , he rem a i ned i r 1 eo1 1 f l i l ' I w i t h i t . I Ir f'vr r 1 re­ de1 1cc · o f ' a 1 1\· rancor l owa rd t h e .'\ a z i s . A p l a 1 1 ; i h l e
proached A 1 1 terica 1 1s for 1 1 0 1 l ra v i r 1 g k 1 1 ow11 how t o c ' x p l a r rn l i u r 1 is 1 h at l l f ' fr l t I I(' \\'Us prf'\'P l l i f'd fro r 1 1 rt'­
l a ke ca n' of El i z a be t l r w h c r 1 she fe l l i l l i r 1 1 97.5 (ii t 1 1 rr r i ng lo Paris i r 1 1 9:37 or 1 938 becu 1 1se hf' d i d 1 1 0 1
seerns t h a t l herc was 1 1 1 1 Prrur i r 1 t he d i agnosis of h r r h a ve 1 hc C T 1 1a n c i a l 1 1 1 ra 1 1 s-bcca use he h a d nol hern
ca ncer) . F o r exa r 1 1 p lf'. he \\TOi e 1 0 .lc n l l \· l3od d i 1 1gt o r 1 . a b l e t o get r 1 1 0 1 1gh pa v i r 1g jobs-and 1 101 brca 1 1 se
t l lf' l r!'ad of t l 1e p h o t ogra p h )' df'parl 1 11 c n 1 a t t he :\ a - I l i l l e r. i r 1 C u rope, "·as n 1 1 1e1 1 n ce lo h is l i bc r t v a r i d i n ­
1 i o n a l C a l le r)' of Vict oria i 1 1 t\ lc l bo u rne. A u s t ra l i a . 0 1 1 c lred t o h i s s u n·i ,·a l . T h i s psn· h i c s i rn p l i rica 1 i o r L a
.
Decem be r 1 7. 1 977: . I t i s bc)·o n c l c lcscri p t i o 1 1 w h a t del rrn i n i ng one i r 1 h i , ca rrer. w i l l crrt a i n h· 1 1n·cr be
l � l i z a be t h wenl t h rough a n d 1 h rough h e r s u fferi ngs e l 1 1 c i d a t ed . \Vi i i onr ever k no\\· if he "·as b e i n g h o r r ­
a lso I L l )' Sclf. I l a d I ever hel ievcd in a god or i r 1 a n y e s t i n forgeu i ng t o t a k r i r 1 t o acl · o 1 1 1 1 t cert a i n i 1 1eo1 1 -
ot h e r h igher pow!'rs, I h a "e every reason 1 0 dc1 1v i i . t rs 1 a hlc fac l s . cert a i n cont i 1 1ge 1 1 c ics? I n a n y case. i i
One i s hel pless a t 1 he i g 1 1 o ra 1 1cc o f t he m e d i c a l pro­ w a s t o France t ha t h e proved h is a t t a ch m e n t a n d h i s
fession here, t he goal of w h i c h i s o n l v to m a k e 1 1 101 1ey. gra t i t u de, bv m a k i n g a do n a t i o r 1 t o t he S t a l e o f
W h a t h a ppened to 1:;; l i z a l w 1 Ii, never wou l d happe r 1 i n Fnrnce on !\ l a rc h 3 0 . 1 98-t. of a l l h i s r icga t j vcs a r i d
A u s l ra l i a or i n France. 1 hc way s h e lost h e r l i fe n r 1 d l'Orrespon d i ng a u t hor's righ t s . as 1\·cl l a s h i s doc u -
how mr l i fe becarnf' t o t a l l y n i i ned. A l t he present 1 n e 1 1 1 a t ion a n d h i s correspondence. T h ro 1 1gho 1 r t h i s
l i me I a r 1 1 s t i l l u n a b l e t o reeovrr of t l 1 j s t ragedy. ·· l i fe. he sa,·ed t h e press c l i p p i ngs COJ lccrn i ng h i m . 1 he
con t ra c t s . t he i n voices. a n d o t he r profess i o n a l pa­
W hat \YO t r l d a psychoa n a l yst r n a k e of t h i s ol i ­ pers, his a p po i n l n 1 c n l books, his passport s. a n d h i s
s t i n a l e rcsen t 1 1 1c n t ? The rf'jeet i on o f K e rt esz b ,· 1 he m e d i c a l papers. as we l l as a l l t he m a i l he recei ved.

\"" ' ork. ,\ p r i l I +. I <)77


(nm/of'/ sheet)
h i 1 n i 1 1 t h e a reas oJ research. s t u d y, a n d re f l ect i o n , as
s he. J n 1 97-t Ke rt e s z received a G u gge n h e i m felJow-
h i p ( a gra n t o f $ 1 5.000 ) . In 1 977 A b ra h a m Bcame,
M ayor of t he C i t �· of New York. gave birn the Mayor·s
Award of I lonor for Arts a n d C u l t u re. and Edward
Koch gave hirn a c c on d one in 1 98 1 . In 1 985 t he
..
show ' · A n d re Kenesz of' Paris a n d :'-Jew York was
s uccessively presented a r t he A rt I nst. i t ute o f Ch i c ago
a n d t h e Me t ro pol i t a n .\ l uscum i n New York. t wo
prestigious venues for w1 a rt i s t .. B u t i ncont estably.
Kertesz was m ore moved b�' h i s i n vitaJion to tbe V l 0
H en con tres l n te rnaL ionalcs de la P h o L og ra p h i e a
Ades in J u ly 1 975 (to w h i c h he returned in 1 979)
a n d even more touched to see a large select i o n of' h is
works in Paris i n 1 977 at L he M usee N a L io n a l d'Art
Moderne, s ho rt l y after L he op en i n g of the Centre
Georges Pompidou-lbough he cam e alone to the
opening: E l iz ab e t h had d ied on October 2 1 . He was
proud t o be decorated wi t h the Arts et Let:tres i n
1 976 ( co m m a n d e r ) a n d w i t h tile Legion d ' I-fo n n e u r
.\cw York . c. 1 963
in 1 983, to receive the Vermei l Meda! o f t he c i ty of
Paris in 1 980 a n d Le Grand Prix National de la
i n c l ucLi ng congra t u latorv lct: t ers, leners from- adm i r­ P hot og rap h ie in 1 982. I l e frnrned t h e e p r i z e s a n d
ers. and cop i e s of some of t he let t e rs he sent . F i na l ly. decora t ions gra n t e d b y France. a n d showed Lhem.
what i s i m port a n t is t h a t. . i n dep en d e n t of national with em ot io n . to v i s i to rs . From 1 977 on w a r d ,
considera t ions. the work exists in its t o t a l i ty. w i t h K ertesz w e n t more frequently to Paris, where he fe lt
t h e e xcep t i on of plates b ro k e n i n H u n ga ry d u r i n g confident, i n harmony. I le a lso was recogn i ze d in
t he wa r and in France when t he1· were t ra nsferred other E u ropean count ries. b eco m i n g a n l lonorary 279
from Paris to C a s t e ljal o u x . a nd it can be co n s i d e re d Doctor of t he Hova! Col lege of Art . London. in 1 983.
i n a l l i t.s fu l l ness. a well as in Japa n .

One must be fa i r: not all Americans u n deres t i ­ From 1 970, the year of t he U n i versal Exp o in
mated Kertesz . President a n d .V l rs . J o h n. on i n v i t ed Toky o, onward, t he exhib i t ions followed on e anot her
1 -:1.
him t o t he W h i t e I l o use for a rcce pt.:i o n on J wle w i thout a break, notably in S t oc k h o l m , B udapest,
1 965 . .\fore t ha u seven pages were dedicated to h i m Helsink i , Lo n don, l\ew Yo rk , Paris, M i d dletown,
i n the A p r i l 1 959 issue o f Infinity, w i t h laudatory Boston, Tou louse, and Mo o r h ea d , up to 1 980, a n d
text by William I lou e m a n , exe cu t.:i ve ecLitor of then in Salford, Jerusalem, Paris, Toronto, Eszter­
House an.cl Garden. In 1 967 Corne l l Capa selected gom, :\'orfolk. Co l ogn e, Milan, Lin co l n , Bud ap es t,
h i m . along w i t h \X'c rn c r B i s c h o f.. David Seymour,
Hobert Capa. Dan We i ne1-. a n d Leonard F re e d , for
The Concerned Plwtogrophe1-. and a l l t he books of
t he 1 970s were p u b l i s h ed in r h e L ' n i ted States as
well as in France: On /leading ( 1 97 1 ) . 9 Si:rty Years
o/ Photography ( 1 972). I O which rece i ve d t h e .'\ad a J ·
prize i n 1 973. J'ai111e Paris ( 1 974) -' 1 Of New York
( 1 976). 1 2 Distortions ( 1 976) . 1 :1 Andre Kertesz i n t h e
col lection l listory o.f Photograph]-. as "·e l l as t he four
vol u 1 11es A mericana, Birds. Landscapes. and Por­
traits ( 1 979) . 1 � Tbe f i rst u 1 1 i vers i t v o t udent to do an
i n -dep t h st u d �· of Kertesz was a n American. Sandra
P h i l l ip-; 1. 5 t o t h i s da�'. n o one has devoted so 1 1 1 u c l i t o
Bradford. Chicago. New York. Santa Fe, Buenos
A i res, Tokyo, Osaka, a n d even rnore. Some \»ere ac­
companied bv a ca ta logue. ot hers by a book. Kerte z
was in a rn i re of c u ra t ors. crit ics, a n d jou rn a l i s t s .
.
T h e praise became nearh· 1 1 1 1iversa l-t he . Kertes;.:
t ouch., was recogn ized bv profe ssi ona l s and a m a ­
t e u rs a li k e .

AJ 1 he time of t h e show ··The Concerned Pho­


t ogra ph e r," pre c n t cd at t h e H i verside !\1 1 1se 1 1 m i n
N e w York (October 1 . 1 967 .. t o J a n u a ry 7. 1 968) ,
t he 1 07 photographs b y K ert esz t J ia t had been se­
lected were put up for sale for a price of between
$75 and $200. Satp-ic Dancer was worth $ 1 25, as Sc11lpt u re. Japan. ·1 968
was Chez Mondrian. (Today t he pri ce s and sales a re
commens urate with his renown . ) Short l y a fter C a l lery ( L on don ) . F iole t ( A mst e r da m ) ., and ot her
breaki11g his contract with Conde Nast. Kertesz wor­ E u ropcaJl galleries. SusaJl H a rder. beyond her role
ried about future revenues a n d agreed i n 1 96-t lo be ­ as a gallerv owner. a clvi eel Kertesz and a i ded i n t he
come a member of the Magn u m agency as a management of h is L ra nsac t fons.
contributi11g photographer ( t h i s membership proved
t o be o n l y m i nima l ly profit able fi n anc iall y ) . Ten . I n Paris i n t he 1 920s. Kertesz 's friends had
years lat er. h i s cop y right s a n d his sales of col lec t i ble been H u nga J-i ans , editors. recogn ized a rtist ., or
prints ensured a sizeable revenue, which fiJrn lly al­ a rt ists i n the process of being discovered. Li the
lowed him ro stop worrying about monev. I n 1 975, 1 970s. his friends were, for t he most paJt. "people i n
..
Aga t h e Cai.H ard showed his work in Paris short ly cha rge a n d others i n t h e phot ographic n l ilieLLX. The
a ft.er opening her gal lery. She would soon be counted Frenchman Nicolas Ducrot . who was part of tl1e New
among h is Parisian friend s . York publishing world, served as Kertesz·s agent

280 u n t ii 1 979 and p la yed a princi p a l role in the publi­


His best i n st i t u t io n a l c l i e n t s were in Canada c a t ion o f Si:r:(y Years of Photograph] ; J'aime Paris,
and in A u s t ra l i a . In 1 976 Me l bourne 's N a t i o n a l Of New Vork, and Distortions. Their collaboration
G a l lerv of Victoria bought t hirty-fotu- prints, came to an end when A mericana, Birds. Landscapes.
"· hcreas the Metropol itan Museum had only bought and Portraits we re pub]jshecl. Kertesz claimed, \\;th­
four. But in 1 977 t he G i l m a n Paper Compa ny out his control or approval of the layout or printing.
bought eleven vint age photographs. taken b e tween When t he phot ographer decided that these books
the t wo world wars, for 23,650. In 1 984 the Pace/ were not a c ceptab le "either from a technical point of
,
M cG i l l G a l l e 1y p a i d $9,000 for Distortion No. 79. ,riew or from aJl art ist ic point of view. aJ1d u-ied to
Bet ween 1 984 aml 1 989, t he J . P a u l Getty Musewn in t erru pt t J 1 e prod u c t ion and stop disn-i b u t ion, it was
bough t 603 vi n tage photographs. And in 1 99 1 G. t oo l a t e . This 1nisadventm ·e brought a painful end to
Rav J-1.awkins sold a v i n t age p r i n t of Chez il1011dria11 his cont ract "'i t h Visual Books and bis previously
lo a private c l ient for $250.000. confident, cordial relations witl1 .\icolas Ducrot­
who, meanwhile. provoked, indeed irritated Kertesz.
Ln t he 1 980s the demand for prints cont i n ued because he opposed Kertesz ·s clesi.re to produce a n d
t o i ncrease. The orders came most ly from t he Si mon se .11 a large n u m b e r of modern prints. Kertesz reacted
Lowinsky Gallen· (San Francisco) , Light G a l l e ry equallv viole n t l y when t l1 i rty-one of his photographs
( N ew Yor k ) . J a n e Cork i n G a l l ery (Torom o ) , The (som e of which belonge d t o t he Ducrot fam i l y ) were
I l a lst e d Ga l len' ( B i rn 1 i ng h a m ) . E c l wy n n HoLtk ( A n n p u t up for biddi ng al a C hrist ie 's East a uct ion i 1 1
A rbor). G . R a y I l a w k i n s G a l lery ( Lo A n gele s ) . i\' ew Yor k OJJ October .'3 1 . 1 979. I- le wrote t o
St e p he n \\ ! b i te Gal lery ( Los Angeles). Vision G a l lery Christie · s t o demand t he rest i t u t ion of n i n e of t hem
( Bost o n ) . I rene Drori Grapbics ( Los Angeles). A t ­ t ha t . accordi n g t o h i m . belonged to h i m . .\evert he­
l a nt a G a l len· of P h o t ography (Atlan t a) . Susan less. t hev were sold a lon g w·ith t he ot hers. Kertesz
I l a rdcr G a l l e r�' ( :\ew York ) . a n d The Photogra pher's never again spoke of :'\ i colas DucroL except t:o in-
form h i s as oci a 1 cs of r h e e n c l of 1 he i r col l a bora t i o n . vie,,·ers such as Pa u l 1 l i l l and Thomas Cooper (Dia ­
F r o m t hen on. o n l y A lex I l o l l c n c l c r h e l ped t o m a n ­ log11e tililh Photograph.): T h a m es a u c l Hudson.
age t he lega l s i de o f h i s affa i rs. K e r t esz d i d n o t hesi­ 1 979) and lll)'Self ( f oy ons l'Oir, Crea 1 is, 1 980). I n
'

t a te. in 1 980. to t a k e legal acl ion to recover the 1 980 Bel fon d p u b l j s hcd Ker/fr:; I )\' Agathe G a i l l a rd.
i n terncga t i ves retai ned by t he Freelance P h o t ogra­ One of t he last books p u b l ished i n h i s l i fet i m e , From
phers G u i l d . A�r W inc/0111 ( 1 98 1 ) is part icu l a rl y movi ng, because
1 he Polaroids reproduced 1 hen' were t a k e n a t h ome
Mos1 o f Kenesz's "friends h i ps .., were profes­ "in memorv of E l izabet h . ·· w i t h k n i c k k na c k s and fa­
siona l . p ri m ari l y based in m u t u a l i n l e resr-wh i c h m i l ia r objects.
a m ong w h ich is a glass figu r i ne
.
d i d n o t prcvem t hem from somet i mes b e i n g si ncere (bought a1 Brentano s ) 1 ha 1 is w i 1 h o u 1 a doubt t h e
a n d warrn. h seems t hat he m a de few m i s t a kes i n s y m bo l o f t he woman i n h is l i fe. A rav o f love t ra­
1 ha 1 arena. I l e rem a i ned c l ea r-headed. a s h e re­ verses a t ra n s parent heart . A t e i gh t v- five K e rt esz
m a i ned i n c lc p e n c l c n l. . and rarely was i n r l ueneec l by was st i l l a t ru e p ho1 ographer, who appreci a t ed I l ic
.
1 h e ideas of ot hers. l n any case, h i s acqu a i n t ances p leas u re 1 ha 1 p h o t ogra phy gave h i rn . l l i s Polaroids
became m o re i ntern a t i o n a l as his hows an d publ i ­ arc wit h o u t art i f ice. of a confo u n d i ng d e l i cacy. They
cations m u l t i p l i ed t h roughout t he worl d . Lale i n l i fe a rc 1 he " E q 1 1 i va l cn 1 s " of a n a rt isl par exce l l ence
he h a d great d i ffi c u l t y in tak i ng pho tographs be­ "·ho, w h e n h.e capt L Lres a l i u lc l n 1 l 1 1 , wa n t s it at t he
cause b is hands shoo k . b u t he re ponded to n u m er­ s a m e t i m e 1 0 be h i s own m ot i f a n d l igh l . I- T is oe 1 1 vre
ous requests: post cards and porl folios o f origi n a l co1 1 1 plctec l . it can be con r i rmcd t ha t K e rt esz had
p r i nts were p u b lished, book covers were i l l u stTal.ed never been d isconnected from his origins or from his
wil h hi p h otographs, fi l ms were produced on h im Mag�·ar sensi b i l i t y, a n d t h at l ig h t l ia c l been for h i m
a n d h i s work-notablv by B BC t e l e,rision. a n d Ben m o re t ha n a "good fri e n d . "' I i h a d been a generous
L i fson i n tervie,Yed him i n a f i l m produced by the acco m p l ice a l ways reaclv to s h a re t he sacred passion
P u b l i c Broadcast i ng Service. Teri Weh n D a misch of l i fe . When. in 1 952, A n d re and E l i zabeth moved
fi lmed A n dre clans les Vt:l!es for French t e levision, t o Two F i ft h Ave n u e 10 t he a p a rt m c n l 1 hey wo u l d
where t he photographer ret u rned l o I h e s i t es of his occupy u 1 1 1 i l t he en c l of t he i r l i ves, t h ey bough t a
memories a n d produced new D i s 1 o rt ions i n 24 x 36 t c i n wa y p i a n o . lt was on 1 h i s p i a n o t h a t . t h irty
form a t . He a l so agreed t o a nswer t he q uest ions ( i n years l a t er. were kepi t he Po l a ro i d s 1 h a 1 l i rnc w i l l ef­ 28 1
l l i s pecu l ia r mixture o f Engl i s h a n d French ) o f i nter- face. as ii effaces nearly everyt h i ng. bul L hey were

Pario. 1 98-t Pario. 1 98-t


1 hc u l 1 i rn a 1 c a c l 1 icvemcnL o f he who a l wm·s repea l e d :
"Nol look i ng, b u t fee l i ng . "

I n t h is I . Ory o f a l i fe l ransforll lrd i 1 1 1 0 l hr


work of a l i fe, l hc boo k s of 1 hc last years a rr l i k e
bouqucl s 1. ha 1 o n e o ffrrs a l t h e e n d of 1 he co11ccrl 1 0
1 he soloist w h o 1 1 1 adc o u r hea rl s beat fas t . T h i s was
l he case w i l h l lungarian Me111ories. w h i c h a l lowed I /1111!{aria11 .l l<'111ories

Kerl rsz · s )'Ou l h 10 come to l i 1C' nosta lgic s 1 1 rface of ( 1 082)


his old age. It was a l so l i w casr for A ndre Kerth::: of
Paris and New York. w i d1 co m 1 n e n 1 a rv by S a r r d ra
P h i l l i ps. Da,rid Tra ,ris. a n d West o n Saef. a n d it was
I l i c case for t h ose h o n 1 agcs rendered a ft e r l i 1e soloisl
had dcf i n i l i ve l v f i n i s hed. such <is Andre KPrtes:::.
p u b l ished by l w a n a rn i S h oten in J a pa n ( 1 986) a n d
Andre Kertes:;: 1110 France ( 1 99 0 ) . w h i c h i n c l 1 1dcd
bca u 1 i fu l . pre,·io usly u n p t t b l ished phol og rn p h s . :'\01
being a h ist orian. des p i t e 1uv c o 1 1 re rn for precise i J 1 -
forl l l a l ion a n d exac1 det a i l , I w i l not c i 1 e a l l I i i(' p 1 1 b ­
l ic a t ion , a l l l he shows of l hc l a s l )'Cars. l prefer l o Andre Kertes= of
a p p roach l l l ore prrso n a l l v l h is l l l a n w h o dcdiral cd Paris w1d Xe1r ! O rk

h i 1 1 1sel f 10 pho1 ogra p h v, who did 1 101 h i ng lrss i l ia n ( 1 98.- )


make h i rnsel f phot ogrnplw. Pho I ograplw passes
l i 1 ro 1 1gh h is eves l i k e a p a i n t i n g 1 h ro 1 1gh t he h a n ds of
M a 1 issc and poe1 rv 1 h rough 1 he rn o u l h o f A p o l l i ­
n a i re . Tl 1 a 1 is w h a l n 1 1 1 s 1 b e rc rnen 1 hered o f t h is pho- ANDRE KERTESZ
:282 1 og ra p h e r who u n v e i l r c l whal Inv bcnea 1 h ccrl a i n
ca rds. a n d i n sorne p l aces even r!' n 1 0 ,·rcl 1 hr varn ish
l i 1 a 1 co,· crs l he card ! ab l e . K c ri csz chose h is s u bjects
whc11 o r "·here l l 1r,· d i d not l ie . I le never cont ra­
d i cted h i r n sc l L a n d l 1 is dest i l l )' d i d 1 1 0 1 pass him bv. I
s 1 i J I a s k l l l \'Se l f w l i a l p a r t . in h i 1 1 1 . t he u nconscious
lcf1 10 1 he conscious i n i r s perccpl ion o f r h e worl d .
b u 1 one ca n o n l v g l i m pse 1 h is 1 1 1 ys1 cn·. "·h icl 1 rc­
l rca l s l hc c l oser 0 1 1 c grl s lo i t .
Andre Ke rtes=. ( 1 986)
I l is t o ria 1 1 ,; a rc a hYa)'S m o re a l ease \v i i l 1 a r1 i s 1 s
w h o h a ve a l reach- beco me p a n o f pos1 e r i 1 ,·. K eri csz
1 1 0\\' has his p l ace i n h i s t o ry. a n d t h e h i s 1 o r i a 1 1 s w i l l
..
c01 1 fro 1 1 1 i 1 .T h e u n i t ,· of )'O u r book is l i 1 c 1 1 n i 1 r o f
r o u r f!'r-vor. · · G i de s a i d lO l he \'O u ng \\T i l er. The
1 1 1 1 i 1 ,- of 1 he K er t cszia 1 1 work l ies a l so in t he fe n·or of
i i ,; a 1 1 t l 1 or and in his con r idcnrc; bo t h arc even r n o rc
re m a r k a b l e in 1 h n t hr d i d nol seek to seduce a n d
1 h a 1 . f i 1 1 a l k hc d i d 1 10 1 concern l r i rn self "·i l l 1 h i s d c ­
c l i 1 H' . \' o r d i d I r r 1 n a k r a 1 1 rffor1 1 0 a d h e re l o soc i r t )·
l i fr. a l i fe com pa ra b le. accord i n g 1 0 Pierre Rcvrrck,
.
lo a . n1s1 c n 1 e rprisc o f b a n d i 1 s . ·· S i n 1 i la r l ,-. he re­
f1"cd u l l co r n p ro r n i se in order· 10 1 1 1 a k e I r i s pl r o t ogra­
�;·•.;...._
1l ndre /.:erles=:
--
p l 1 )·· " · h i c l r 1 1 1 a de ils m a rk on i t s own. at l as t . ///(/ rronce ( 1 990)
l 1 1 1 1 1 1 ig rn 1 1 t s s11ch as Alexa1 1dl'r Lihrri na11 .
. \ li ·xr,· 15rodo' i t f ' h . Li sel l ( ' \ lode I. \X 'ecgef'. a 1 1 d
Bohrn l·'r11 1 1 k asoi 1 1 1 i l a 1 ed 1 0 t l l(' poi n t o f hcco n 1 i 1 1g
A 1 ncrirnn;,. K t · i· t t'-oz · s i r lc - 1 1 1 i t \' d i d not n i n-. or ,·a ricd
l i 1 t le . \ 'et l 1 t ' was of .le"·isl r origin . and l i re 1 n ajorilv
of h i s i\r"· York School p l rotographs. as Ja nr L i v­
i ngston 1T1 1 1 i nds us in T/1e Ne11• fork School
1 936- 1 963. \\·ere of .lc"·i ,;h i n fl 11c 1 1ce. In a 1 1,· case. i t
is oign i f i rn r l l t l 1a l l ,cwis I l i nf'. W<i l k rr l�va 11s., a nd
I lrnri C :a rt irr- B rcsson \\'('f'f'. for L i \'ings t o 1 1 . i l 1f' lead­
rrs whose i 1 1 fl ue11ce 011 Lo1 1i;, Fau rer. I l f ' l r 1 1 Lrvi l t .
Sid C ross 1 n a n . Hobert F n rn k . Leon Lc" i n s t e i n .
B rucf' D1widson. a n d ot he rs \\'Ho undeniable. a n d
t l 1at A 1 1 drc K e rt esz was n o t o n e of 1 h r 1 1 1 . rvcn
t l 1011gh he l i ved a nd wo1·ked i 1 1 t l 1c c i 1 \'. The rejcc­
t io 1 1 ., or s i mple i n d i ffc1·eJ 1ce. of A 1 1 1crica 1 1 photogra ­
phers 10 Kertesz q u i t e prnhabk rei n forced h i s
feel i ng o f being 1�-rc1 1ch a t hear t . a> "-el l as h i s con ri­
dcncr i11 his poeLic gi ft . Photograph,· had t he v i r t ue
of paci fying h is relat ionship "·i L l 1 t he real world . For
The Empire St.ate Building, 1 967
ot her photogra p hers. p hot ogra p l w i s i n L ra n s i ge m : it
i n iensi rics. d ra m a 1 i zes. F o r Kertesz. i t cai rned anger.
i1 1 1 1 i 1 igatcd st rong emot ions. I L reconci led h i m LO K e rtesz's most k nown a 1 1 d ren owne d work is
l i fe. l o "·hat c,·cr he h a d LO bea r. what ever he m us t in black and w h i te, but he was e q u al l y capable of
su ffer ( i n .l l u ngarY. a school t h a1 d i d nol i n t erest creat i ng romance with th e rhyt h m s and melodies of
h i m . a boring ca reer: in Francr. t he separa t ion from color., veritable notes of ha p p i n ess . I n New Yor k and
his loved ones: in t he U n i t ed S l a t es . rejection as a n i n t he course o f his travels fol lowing t he 1 950s, he
.
arl iot for t h i JW years, Elizabet h .s cancer) . I t a l lowed took fifteen thousand shots in color ( w i thou t co u n t ­ 283
h i m to c 1 1 t c r art i n st i nc 1 i vcl y. as had l il'fore h i l l l t he i ng t he t wo thousand Po l a ro i ds ) . The K ertesz o f
scu lptor who h a d ca1Yed t l 1r port a l of t hr A u t u n color was loya.l to t h e b l ack -and-wh ite Kertesz. In
Cat hedra l . Through phot ograph)· K e rt es z berame a color a lso, h e avoided mannerism and reta i ned o n l y
p oe t . for whom it is vision t ha t ·01 1 n t s above a l l i n t he a u t hen t i c ., drawing from the q u o t i d i a n . The
term o f what i s looked at a 1 1 d "·h a 1 o n l y passes I J,·; q 1 1cs1 i o n is inevitable: why did he not p u b l i s h a n d
vision is the wa�' ro i nh a b i t t h i ngs . l l i s was elegiac. sho"· more p h otograp h s i n color, si nce h e cont i n ued
He k new how LO t ranscend t he l ra d i t ional ca lr­ t o t a ke t he m t irelessly? T h e an wers c a n lie o n l y i n
gories of i ns t .i n c l and of t he p rof!'ssio11. w i t ho1 1 t p1·econceived not ions. l n an y case, i t is i n co nt rovert ·
exagge ra t i o n . wirbout e x ce s s
. ·"The poets a rc i ble: L l1c p u b l i ca t i on s co n t a i n i ng h i s color work are
a hrn y s r i ghr . · · Pau.l E l u a rd a n d A n d re Kert rsz "·ere few: t he J u l y 1 964 i ss ue of Popular Photography
bot h p oe 1 s. a n d T h e Art and Technique of Color Photography, a
book p u b l ished by Liberman w i t h p h ot ograp hs by
The Distorlions m ak e us ask I h e q 11rst io11 Pen n . I lorsL. Kertesz. Parki nson .. M i l i . B l u m e n fe l d .
\rl iar was t he bod)' for K ert esz if not cert a i n ly t he a n d o l l 1 c rs . A n d reas Fei n i nger d i d not he i t a l e L o ask
most i n t i 1 nat . e but a lso 1 hc 1 11ost foreign s i t e . t he f i rst: him for a boo k on co lor photography i11 1 968. Ot her
s i 1 e of t he 1 m·st ery which no 1net a morphosis ·an exa m ples can be f o u n d as wel l . a n d Charles I l a rbu t t
pierce� The \\·orks t hemselves rep l y t hat. t h e boc k p u shed h i 1 1 1 to i nvest i n Kodachrome fol lowi 11g t he
can be u n b u rdened of i t s n w teria l i t v b 1 1 t not of i t s advances m ade in producing color rcs i o t a n t to t hr
srcre t . i t s 1 reas1 1 re-t l 1!' sou l . The 1 1 1 i niat L l l"es i n color fa d i ng effects of t i me. I n 1 984 Susan I l arclPr orga­
1nade "· i i 1 1 t he Polaroid S X -70. a ft e r E lizabet h "s n ized an e x h i b i t ion. Color: which consi»t ed of a sr­
dea t h , co1 1 1 p l r 1 c t hr a ns\\·rr: t h e o n h- po s s i b l e tran s ­ lect ion of Cibacb rome p ri n ts. 111adl' fro 1 1 1 ·1 9 .s o t o
pa rcnn· i;, 1 ha 1 of t he hea rt . "·h ich can b e a l t. c reel b Y 1 983. Th e res1 1 l 1 was olwious: 1 hcsc photogra phs i 1 1
1 1ot h i 1 1g a 1 1 d I J ,· 110 o n r . I i io pu re. rolor were a s lvrica l . a s rich i n explosio110 or i l 1 t '
ephemera l . as t h ose in black a n d w h i l e . '" 1 1 is t l tP
new rom a n t icism," K c rl csz said 1 0 A n d y C r 1 1 n d berg.
a c ri l ic wi t h t hc /Vew York Ti111es, in A p r i l 1 985. And
C rn n c l berg wro t e : '· W h i le t he a rl i s 1 's 1 1 ew color pic­
l ures often 1 1 1 i nc t h e same s 1 i l 1jec 1 s as h i s n 1 rl i e r
b l a c k -a 1 1 c l - w h i 1 c p h o t ogra p hs. t l w ad c l i 1 i o 1 1 o f color
gives t hem an added level o f c o m p le x i t y and
I JC a 1 1 1 y. " 1 6 Not 0 1 1 l y d i d K c rl csz no1 a l ia n d o 1 1 co lor.
he 1 n ade it h i s acco m p l ice. as w i l h ligh 1 . '· I never
give u p . ·· l ie l old C r u n d bcrg. ' · I I i s 1 h e unk means o f
givi ng c o l o r l o l i fe . .''

T h u s K e rt esz showed e v i d c 1 1 cc o f a g i f1 1 0 ac i d
1 0 1 hosc a l ready k no w n : t l ia t o f 1 1 s i 1 1g rnlor as a sig­
0 1 1 1 he Boa r ! . 1 1 r a r B 1 1 r la 1 ws1 . 1 98-t
n i r i ca 1 1 1 and s t ru c t u ri ng cl emen t . Not h i ng i s predo 1 1 1 -
inan1 in h i s color photographs; each clrmcnt is
i 1 1 dispensable t o I h e whole, a 1 1 d I he pocl r v depe nds
0 1 1 1 h i s . Ta k i ng away t he fl ower i11 Mondria n 's vase.
1 he t ra i n 011 t he bri dge i 1 1 Mcudo1 1 . o r 1 h e need le of
t l 1r c l ock i n t he l nst i l 1 1 t de F r a 1 1ce is l i k e l"Cmov­
ing t he hand rest i n g on t he blc-sscd s l 1 o u lder o f E l i z ­
abet l 1 .

To t a ke awa�· t he b i iH'-t i 1 1ged 1 ra nsparency o f


t l 1r vase here. t he pastel o f t l 1e n 1 u se 1 1 1 1 1 wa l l t h ere. is
t o lose t he essence of p l 1 o t ogra p J i ,-. Wit I i K e r t esz. art
wa s a l ways born at t l 1e s o u rce. It was l lC'vcr po l l u ted
:W-t by a 1 1 excess of i n tel lect u a l is m .

As S a n u 1 r l BcckC' t l w a s s u i l ed 0 1 1 l y 1 0 wri l i ng,


A 1 1 d rl- K e r l csz was s u i t ed o n l y to p h o 1 ograph�·
·
Kerl Psz d ied a l hornc on Scp l e 1 1 i l ic r 28. 1 985. Thal
da �•., t l 1C' s 1 1 1 1 wc1 1 t down w i t h o u l lea v i n g 1 hc sky.
·· 1 1 1 1 he Fin11a111e111 of Pho1og:rapli y,. is an expres­
sion 11s!'d hi' I l!'1 1 ri Cani!'r-Bres,;011 i 1 1 a l!' l l!'r to i\ nd rr
1-:crn�,, ( 1 972).

I . \oiably i11 J\'11de: Tlteo1:); Lust ru m P rf'ss . 1 979.

2. I IH n·�· N. Ahra 1 1 1s, New York. 1 977.

:J. '\ a t ion al Callrry or Art a 1 1 r l die A rt I nst i t u t e or Chicago,


1 989.

-t. The � l 1 1"· t 1 1 1 1 or .\lodern Art. NC'w York, 1 989.

:>. Yale L ' n i vc r, i l \ Press. :\ew I laven and London. 1 989.

6. The .\ 1 1.,r11 1 1 1 of \lodrrn A n , �ew \ 'or k . '1 973.

7. C:ahirr> du Ci ni'1na/Cal limard/Le S e u i l . Paris. 1 980.


Coif/era /,ucida: l!eflertions 011 Photograph.): t ra ns . Hichard
I lo wa rd, .\cw York : H i l l and Wa ng. The .\0011 d ay Press.
1 98 1 .

8. Bo rdas. Paris, 1 986.

9. /Ject11res. Le C h e n e, Paris. 1 97 1 . 011 Readiug, C ross ma n


Puhli hers, New York. 1 97 1 .

1 0. Soi:rn11te ans de pholographie. Le Chene, Paris, 1 972.


S1:rty J'ears of Photograph): Crossrnan Puhli hers, :\ew
York, 1 972.

1 1 . J 'ai111e Paris. Le Chene, Paris, 1 97-t. J'aime Paris.


283
Crossman Publ ishers, New York, 1 97-t.

1 2. Dans New Vork, Le Chene, Paris, 1 976. Of New York,


A l rred A. K nopf, New Yor k , 1 976.

13. Distorsio11s, Le Chene, Paris, 1 976. Dislortions, A l fred


A. K nopf. New York, 1 976. This book was conceived and
prodnced by Visual Books.

1 4. Americana, Oiseau:r, Portrails, Paysages (-+ vol u m es) ,


Le Chene, Paris, 1 979. Americana. Birds, /Ja11dscapes. Por­
lraits, M a y f l ower Books, New York, 1 979. These books were
conceived and produced by Visual Books.

1 5. The Photographic Work of A11dre Kertesz i11 Prance,


1 925- 1 936: A Critical Essay and Catalogue. t hesis, City
University of New York. New York, 1 985.

1 6 . C f. "i\t 90, Andre Kertesz Hemains a Poet o f t he Every­


day," Andy Crundberg, The New York Times, April 2S,
1 985.
287

<"
· · Buy .· · Lon g blan d. 1 96:3
288

New York, c. 1 963


:28 9

Wa t e r Tower. New Yor k . c. 1 963


:290

J'ie"· York. c . 1 96.3


:Z<) J

Tl1011 1as .kff'rrso1 1 . l l t i rn . i\r"· York. '" 1 9(J:l


292

Ne"· York. c. 1 963


29')

Le Pont des Arts, Paris, 1 963


'.N
+

The Banks after R a i n , Paris, 1 963


293

The Banks, Paris, 1 963


296

The Tuileries in Autumn, Paris, 1 963


297

An A fternoon al t he T1 1 i lerics, Paris, 1 96.3


299

New York, 1 964


:mo

�ew York. 1 96:3


301

.V lacDouga l A I I c1·. N�w York . 1 965


:302

Shcrida11 S q 11arc. 1 966


;3Q.)

\ra s l i i 11g1011 Sq11are. 1 966


:)0-t

.'Jew York, 1 966


'\r"' fork. 1 966
:l()8

Mausoleum Meiji, Tokyo, ·1 968


:-l() < J
I loward Beach. �c"· York. 1 969
311

,1
i. x t l 1 Avenue., i..., e w York . 1 973
3 l :2

New York. 1 965


St reet ' i 1 1gcr. New York. 1 969
315

Nrw York. 1 96 9
;3 1 (J

Wi 1 1 trr Carden. 1'\ cw York, 1 970


317

New York, 1 965


318

\Vasli i ng1011 8q11are, 1 970


:3 1 9

Was l i i 1 1g1o 1 1 Sq11are. 1 969


Mart inique, 1 972 (variat ion)
The 13alcony. >1art i n ique, Ja11uary 1 . 1 972
322

Flowers for Elizabe r h , New York. 1 976


:l23

�r"· York. 1 97'2


32-t

World Trade Towers. ,\/cw York. 1 975


In i hc Sn·e et, New York , 1 977
.3 2 7

Paris. 1 983
.3 28

Ploo ds. Paris ' 1 982


Paris. 1 982
Paris, 1 93 1
Paris, 1 984
Pario. 1 98-t
Paris, 1 98-t
The Color
Photo g rap h s
:ns

(', 1 960
, , , , , ,
� . - - ·- . - ·-

, .. I 'I(>.)
:1 1 0

('. 1 %0
:{ 1 1
:342

1 %J
l'. 1 965
'l l l
J < J7()
:1 1 -:-

1 9S6
l 'J8-t
J ( )8-t
"· 1 98:2
l < JB I
Ack 1 1owlrdgnw11 1 �

I wo1 1 l c l l i k r to t f ta t t k \o�I Bourcirr for fti, t i reless.


prr-,pil'<.1('iou-,.. a11d <'ager t'ol l ahonu io11 i 1 1 1 hr preparm ion
of t f te wo1-k. Do1 1 1 i 1 1 iq11r .\ lfrigard for lier 1 1 ndrr,trtt1ding
' and brl lb i l i ' ii� i11 rr�ard 1 0 d 1t' graphic dr�ign.
\\-on Lr \ l a rlec for hi, < ·.x rt•il < 'ltt pri 1tt,. a 1 1 d
� l arl i1u· \ l a rqn1>o a n d Claudine Ci ,·i f i,e for t he i r
acr 1 1 ra 1 e 1 ypi1 1g.

C i f lr, .\ lorn for hi, eonf idrncc and cs,c 1 1 t ial support.
Pat rick Horgic·r� for his grnrrous i n i j i nt ive ; H dw origin ol'
t l tr 1nrrt i ng w i t h C : i l lr' \lnra. and Do11t inq11e 13aqur. .l a t t e
Livi1 1g:-i1 011. and LU:-,zl6 Brkf' f'or d H' i r ('I 1 rieh i 1 1 g s1 11di<'S.

P. 13.
- i 1 1 Cc·r1 1 1 a r 1 1 : F iw 1kfi 11·/p r l/lmtricrlP. . \ 'c 11e ./11f:!<'11d. ,I /ode
C h ro n olo gy 1111d /..'11//111: /Jos lll!lslrierle 8/a//. Oie /Jame . . l /ii11dw111'/'
lllustri!'f'I!'. I '/Ju. !1erli11er l//11slriP1'/P :leil11u!!;. . \ e1wsll•
'
ll/11slric1'/!':
I lungw:> · -i 1 1 l ' 1 1;d a 1 1 d : Th e Spl1 ere . The Sketch.
\ 1 1 1 1 1rroi1� por1 ra i 1 :i of \' l on d r i a n . I ,C:grr. C l ia!.ud l . Zad k i 1 w.

L 1 1 n;:a 1 . C a l der. BrrnH' 1 1:-,i. l�i1w n s 1 e i n .' Drr1 1 1Pl . Tzara. C ' l l ' .
1 89-t
J\ 1 1 d rr K e n i'sz is born Jul\- 2 i n B 1 1 dap<''1. I l 1 1 1 1ga n·.
1 9:27
Fi r:-,1 � I H rn at t l w l l \'U l l l -p;a rdr gnl lrr�· J\ 1 1 SwT<' d 1 1 pri 1 1 -
1 908
1 r 1 11 p:i. i 1 1 Pari!i.
I l i s fa 1 her, Lipo1 , dieo of' 1 u herc 1 1 lo,is.

1 9 '1 2 1 92 8
I IC' b 1 1 � :, } J i.., f i r:it L1·ira.
Wi 1 h a degree from t i re J\eadrn1y of' C o 1 1 1 r n erce i 1 1 Bu dape>L
I I r 1 1 1 a rri<·!i Ut)z.._n " lr i r i . a pho1ogrn p l w r k now n 1 1 1 1drr i l w
Ker1i''z gclo his f i rs t job al 1 hc s 1 ock 1 11 a r k e 1 . I le h 1 1 1·s h i s
f i rs t cai 1 1cra ( a n lCA w i t h -t . 5 x 6 c m pla t e':,) a n d begin:; 1 0
1 1 a 1 1 1" of Hogi \ 1 1drr. Thr1· l i 1·r a 1 7S. b o 1 1 lr1 a n l \ l o1 1 1 pa r-

l a k e pho1os of s t ree1 scenes. 1 1a!-i:-.f'. ' f l u · � ,:, p l i t up 1 wo � rar,:, l a t er.

1 9 1 -t- 1 9 1 8 1 928- 1 9:fi


Becru i t rd i 1 1 1 0 1 l1 r A us t ro - l l u 1 1gari a 1 1 a n n �·. he i8 wounded I le i� < H I P o f t l i<" p r i 1 1cipal eo1 1 t ri b 1 1 L ur:-. to t l H_' .\ lagazinr I ii.
i11 1 9 1 :-i . J\o a11 u 1 1 1 a 1 c 1 1 1· lw p h o 1 ugrnphs 1he c la i h· l i f'e of t he d i reerPd by L 1 1c i e 1 1 \"ot-re l .
soldier!"!. Some of 1 hr negat ives ar<' des1 ro�·pc{ d u ri ng i l 1 e � l o o l i 1 1 1 pon a r 1 1 p l r o 1 0-<'»Hl o : 1 1 1 1 '):28: g l a " hluw(•ro, \ lar­
I l 1 1 1 1ga r i a 1 1 rrvol 1 1 1 io n . slrnl l,1·a 1 1 l rl'. l a 1 1 d,eape; i11 Bar-le-Due: i 1 1 1 9:29: llri 1 1 a 1 1 1'.
1 1 1 a ri o 1 1 r t 1 rs. F rr 1 1 c h i\l'l i o n : in 1 9:30 : l i 1r .l l d 1ev of' la
1916 Cran de Tra pp(·. ' · \frrc l r a 1 1 1 s < • f i l 1r 1'1 1 1 1 1 rr " : i 1 1 i <J:l I : "Tlrr
For h i ' srl f'-porl ra i 1 Ire i> paid a fee det e n 1 1 i 1 1rd lw 1 l re e h i l d rr 1 1 's da1. - · : i11 1 9:32: I losp icrs i11 lka 1 1 1 1e: i11 1 9:3'.3: l i ll '
1 1 u.1g, 1 z i 1 1 r /Jorss::.e111-Jo11k6. L a i i 1 1 Q u a rt er.
I l i s p l i o 1 ograpli::i appear 0 1 1 n 1 1 1 1 1 1 1 I JC'r of 1 1 1at!"a z i r a · rovrr!:l.
I <J 1 7
A dozr11 o f I r is pho1ograph, are rcpro d 1 1 crd '" pos1cnrds. I l e 1 9:29
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( : h ro 1 1 o l oµ�. h i l 1 l io�rn p l i � .

Publications l 11ll'rim110. l·:r l i 1C'd I n \ i ro l '" D 1wro 1 . "\ 1 · " Y or k : \"i , 1 1 a l


Book,/ l 11wrim 1 10 . 1 ' ;11·i,; l ,e C h ene . J 97 < ) . ( H pag<••. ().)
pl 10 1 t 1�n 1 1 1 l 1 � .
Enfanls. T('xl by Ja bounr (Jean :\ o ha i n ] . P11ri" l ·: di1 iori­
r l " h istoi n' r1 d'art. 1 ,i l rnr i rir Pion. I 9:3:!. -18 pagro. (l0
/Jirr/s. l·:di rcd I I\ \ il"lllas D 11r-ro1 . \1·" Yo r k : \"i,11al
pho1ographo.
lfook,/Oi.1·tY111.r." P a r i " l . e· C l rrnr. 1 979. ( H page·,. (1::i
l'aris r11 par , J 11 dre Kt•r/t;s=.
T(' x l I n- Pie·r-rr \ lac Orl a n . 1 1l101ograplro.
Pari" [di1 ions d"hbt0irr r1 e l " a n . Lil m 1 i r i r Pion. J 9:l-1. -t(J
pages. -18 pho1ographo. /;1111rl.1·mpcs. "di rtd I I\ '\ irnla' D 111 -ro l . \ e w Yo r k : \'i, nal
Book ,/Pr(1 ·.wges. Pario: L<' C : l ,.� 1 1r. I 9 7 9 . 6-t pa;::t •o. (J I

;\'os <1111ies /es be/es. Trx i ' " Jabo11 1 1('. Pari,: [di1 ior" pl101<>µ-raplh.
d"h i>10i rc r1 d"an. Lihra i ri c P i on . J C):lfJ. -18 pagr;. bO
pho1ographo. Porlmils. l·:di1 <'d h, \ icolao D 11nn1 . \rw Yo rk : \ i"111I
Book,/l'orlmils. p;, ,. i_, Lr Chi-nr. I < J7C). 6-t pagr•,. ( ).)
IA•s Cuthedrales d11 1·i11 . Trx1 by Pinre I lamp. Pari"
I >ho1 o�rn p l 1 � .
E1 a bl i » cn 1 r n 1 s Sain rcpt Cl Brier. I 9:3?. 28 l "'i(('o . 28
pho1ograph;,. ··l 11 rlre l•:erl,;s=. · · 1 1 1 /Jiolog11e with l 'hologmp h 1 : I "· Paul
l i l l a 1 1d Tl ro1 1 ur ' C oo p t ' r. -l-t--19 . .\('\\' York: Farrar. S 1 n 1 1 r o
1
Day of Paris. Edi 1ed b,· Crorgr Davi>. \e·" York : .I . .I. A n ­ and C i n 1tr.\. 1 979. -t :2 9 pages.
P 1 1 b l ishrro. 1 9-t5. l -18 pages. I 0 2 pho1ognrplro.
g n;, 1 i n
·· A m i ri- K r rt i'·:-iz:1 1 1 En:r� 1 h in� I Phutot{rnpli T l u · re I� ! 1 1t•
1l 11dre Ker/es=. l n 1 roduc1 ion by /\ n r u r Fa ro va . /\d,q 1 ('d for Irr \ 11de: Tlwon: l c di1 1 · d I "·. .l;rin K e· l h·.
I l r r r r r u r r Tor ll"h. ··

t l rr A rnrrican rdi1 ion by Hoben Soga lyn. '\ r w York: Pa nr­ 1 1. )- i :2 < J. 'lr1I' Yurk: Lrrsl rrrrrr 1 > ,.,." ·1 <)7LJ . 1 7::i l "'W<_ I
·
g ra p l ric Books. 1 966. I 00 p agrs. 7:l pho1ograplro. por1 ru i 1 . <) pl 1 0 1 oµ; rapli !i . Co1 1 1 1 1 1c111arir.., h� l\er1 1�:iz.

The Concerned Photographe1: E d i 1 cd hy Corne l l Ca pa. ·· \ 1 1 d n: Kcrlf!->Z. · · < :011\·t·r:;c.11 i o 1 1 w i d 1 Pirrrf> Rorlw11. i11
68-9 1 a n d 1 8-t- 1 90. \cw York : C ro>or na11 Publi;,l rrro. I �nms roir: \ plwtogmphes. :n-�.) . l'ari" C : rra1 i-. I ()80. (J
·1 968. 206 pages. 32 pho1ograplu, . Biogra p h ) . bibliograplrv. 1 ,!101 ogn_11 >h1'1.
C :ornrncn t a rv bv A ndre Kenc;,z.
Kerll;s-:.. 'Tl'.\l h� ,\ ga i l 1r Cail lard. from ·· Leb g-ra 1 u l!i
356 011 Reading. 2 n d ed. \cw York: C ro.,nia n. 1 97 1 //,ecl11res. pho1ograplre,. ·· Pu r i" Bcl l"orrd. 1 980. 1 6 phu1ogrnpl".
Paris: Lr Chene. 1 97 1 . 6-t pages, 66 pho1ograpl ro. Second B i < 1grapl l \ . bibl iognr p h \ .
rdi1 ion, 1 97.) .
Fm111 ,l/i· ll i11r/0111. l r r1 rudu c 1 i on b' Pf'11·r �laeC i l l . Bo,1 011:
Andre Ker/es=: Si:i:ly Vew• of Phologmph.J : 1 9 1:1- 197:2. \pw Yo",·k C ra p h i r · Socie1 y/ l ,i 1 1 lr .. Brow11 ./1l 1110 /('11<�/re.
Nicolai> Ducrot . .'\ rw York: C ross n ia n Puhl isl rrrs. 1 972/!1 11 dre Paris: I l l' rsl " i r f' r. I 98 1 . 72 pages. 5:3 Polaroid ph o 1 og ra p l r , .
Kertes=: Soi.ranle ans de photogmphi<'. 1 9 1:2-197:2. T('x1.
"Frere vo\'a111. · • b" Pau l Dcrrncc. Pari" Le C l rrnr. 1 972. 22-t lll(/rr; K<'l·th=: I /,ife1i111e of Perception. l r 1 1 md rrc1 iorr h)
pages, 23 3 p h owg ra p hs . 'econd ed i 1 io11, 1 978 . Brr r l , i f',o n . '\ r w York: i\bra r ns. P ro d u cl 'd l l\ r,;.,., Porwr
Boob. To ro r r t o. 1 98:2. 2S9 pages. 1. )0 plro1 ;,gra 1·,1ro.
J 'ai111e Paris: Photographs Since the 7/r<'t1lies . .'\ icolao C l i ro1 1 ol ogy. c('/'Jll<.11 1 adap1 a t iu11: .llonw11/e ei11es l.Je !J <'flS, 1\ rt
D11cro 1 . '\ ew York: C ro;snian Publ i&l wr:.. �lacmil lan Cor11- S1ock. Fr('11elr ur l H p W l io n : Les /11slonls de 1110 rie. Book k i ng
pa1w of Canada. 1 9 7 -t/J 'a ime Paris. Paris: L(' C l ri'nc . 1 97-t. l r r 1cr11 a t iorwl. l < J9:l.
22-t pages, 218 phot0grapho.
l lu11gariru1 . l le111o ries. l 1 1 1 roduc 1 io11 hy I l i l 1 0 1 1 K rai 1 1rr.
!111dre Ker/es=: Jl a' shi11glo11 Square. .\ icolas Ducro 1 . T<'xl by Bos 1 0 1 1 : \rw York G raphic SociNy/L i 1 1 le. Brow11, 1 982. 1 9-t
Brc11dm1 C i l l . "ew York : Cross1 1 1Hn Pnhlisl wrs. 1 975. 96 1 rnges. 1 -t-t pho1ographs.
pages, I 03 phot0graphs.
Audre J.:erles=. Tex 1 by /\ u i l io Co l om bo . From / Grandi
Nicolas D ucro 1 . l r 1 1 rod 1 1 c1io 1 1 h\'. I l i l l on K ra rner.
Dis1or1io11s. F'ologi"C((i. 1\ l i la n : Fab ;·i, 1 983 . Bi ograpl 1 v, bibl iography.
"r"· York: A l fred /\ . 'r\ n o p fl/Jislorsio 1 1s. Pa ris: l "c C l rr 1 1 r.
I 976. 200 pages. 1 26 p l ro1ograplrs. ;111(/r,; J.:erles= Alaµ;rnrors=agon. Pnhl ishrd u r rdrr 1 l re d i rrc-
1 iorr ol" .1,0 nos Boduar. B u d ap co t : Fiifo 1 u, 1 98-t. 1 0-t pag('s,
q(Xe11• ! ark. . . . \ i , ·olas Duero1 . i\c·"· York: A l fred A. .)0 pl ro1ograplrs. Fn·nch 1 ransla1 iorr. C hro n o l ogy.
K 1 1opf and Toron10: Ha11clom I louse of C :anada//Ja11s ,\"e11•
! ark. Pa rio: Lr Chi'ne. 1 976. 1 9:.1 pages. 1 89 photographs. , lndre J.:erles=: The .l la11cl1esler Coller-1io11. Tcxh br . I lcnri
I ('01 1 1 ac1 p ri n 1 . '
C a n ie r- B rr>so n . 1 larnld H i l e\ . � lark I lawor1 h-Boot l r . La1h­
� larirur \'a is('\'. \res1on J . :\aef. Col irr Ford. Cl rn rlrs I larl11;1 1 .
l 11dd J.:erl<;s=. l r 1 1 rnr lnc1ion by C a ro l r K i>nrnric. fro111 ··1 J is - \ l a r H"hc>Lf'r. England: The � l a 1 1 c h cs 1 c r C :o l l cc 1 io 1 1 . 1 98-t.
.
1on of Pho1ograpl1'". , tlperl111:e 110. 6. Aper1 11rc I n c .. i\cw 1 86 pages. :302 pl ro10graphs. Biogra p h ,·.
\ 11</d /.. er/1Ss=. l n i rocluet ion l i v Danie� \<' Sal lenaH'. C :.\ P. l11dd f.."erl<;.c <(( Paris and \ "e11· J 'ork. l l · x t s h\' Sandra S.
l'l1fl1oprwlt!" no. 1 7. Pari-;. 1 98.) . Se .. ond c·c l i 1 ion. P l t i l l ipo. l),"·id Tra,·is. nncl \r('olon J . \fopf. T h e ,\rt l 11sL i t ut e
I lJ88/ \11dnS f.."ertcSs=. :\e" York: Pan ti won Boob. and or Cl 1 irngo. T i e r .\ let ropo l i t a 1 1 \ J 11,.' u t 1 1 or ,\st. .\r"" York.
London: Tl1arnr' a 1 1 1 l I l 1 1 c \,on. 1 989. 1 :r; pagr, . .)8 \e\\ \ 'ork a11d London: Tli;tn ll'' mid I l 1 1 dson. 1 985. :288
1 1lio1o�rap! 1.,. Biograph�. bibl iogra p \ 1 � . I '"!!''' · :Jo::; i l l 11olrat im1o. i 1 1eluding l ' l:Z pleot ograph;,. l3ibli­
Of!rnpl 1y. i ndex .
\//(In; l<at1;s= S/1oshi11s/111. l'c l i 1 <·cl I " S n o n n I larr \Pr and
I l i roj i K n l )l )t a. Tnt ' by I l a \ I l inoon ·a nd C11n 1C"ll C :a l '"· l 11dd i..·e1·11:.c: A !'or/rail al .\'i1wl 1 : Tok yo: Paciric Pr!"ss
Tokvo: hnc 1 1 a 1 1 1 i Sl11JLC"n. I l)8(i. \//(Id f.."ertl;s=. /Jian· of Sc·n ic<'. I n t ernat ional C :cn1 1·r or Pi101 ogr;1pln-. 1 985. 88
/,<aht ! 9 /:l- 1 9 �.5. ''""" York: .\ l 'rr 1 L 1 1·,, l 1 lf'. \111/re i..·er11:.c. pagr•o. :ZOO phutographo i 1 1 blaek and "'h i t<', 1 9 pho1ographs
.'i'oi.ra11t<·-di.r 01111l;es de photol{IYl/ J!1ie. Pari:i; I lolognH 1 1 1 1 1r. i 1 1 l'Olor.
1 98 -: :!06 1 '"1!'"" · 1. )2 p\101of!rap\,,. C :le ronolog,.
f.."<'rll;s= 011 i..·erles=: I Sel(Porlmil. l 1 1 1 rocl ue 1 ion b ,- Pet er
II/I/re i..·erlc;s=. I \ 9+- / 9 �.5. C :arolr· K i o 1 1 1aric. "'''"" I H· i\c la1 1 1 . \c·"· York: .\hbr,:i l lc Prro» 1 98.) . 1 :20 pages. 9-t
UO\. c l Foll\ ic'lle. \e" \ ork : i\pr·rtnrr Fo1 1 1 1da1io11. · 1 9<'n. 9-t p l io 1 ograpl i:-.. C l i ronolog�. Co11 1 1 1 1 c 1 1 t a r�· hy A 1 1 d rP l\:_rrtesz.
pag (·�. 13i hl ioµrapli� ·- 1 ·1 1 1111/01-itmllo: 1\11d,.,S i..·erles=. \ 1 1 1 rod11c1 ion IJ,- Pe1e1·
,\c \ u i 1 1 . Tt'XI h\' Carlo lkrt rl l i . L 'di11e. l 1 a l 1·: A rt ·&. 1 989.
II/lid i..·l'/"11;s=. l \9+- 1 9 \.5- 199-1. T"'" \ " K i nc,Ps l\aroh. I (H pagt'>. 9 .f pho1ogra l ' h ;, . C h ro 1 1 oloµ-y. ·co11 1 l l lrnta r\' b'
·
\' l i k \(,, \ lii l \ UbO\. l'irrn' Borl 1an. l n t ervie"· w i t \ 1 Anc lrr ,\ 1 1 r l n; Ker1(>,z.
Kn1{·,,_ llc�i,, H;i \Tav. Lajob \l;igt"i1z. Pel ikan K iado rd.
l311dapr:i1: \ lag� a r Fotogrii liai \ l (1zt'11 1 1 1 . 1 C)9-t. I l 1 1 1 1garia11 1\11dre kert<°'s=: -:o plwtogmpliies. 1 9 1:2- 1 966. Petpr B a 1 1 1 1 1 .
and Fn'1 wle Pcli1 iono. 1 90 pag1·,. 1 2:3 pleo1ugraple>. C :hronol­ L i n z. A l l ' i r i a : Dic' Ca l icrie. I lJ86 . .) ( J l 'agrb.
O.f!� 13ihliop:raph)' o f I l 1 1 11garia11 l f'Xl�.
·
011wgp;io ad \11dr1; /.."er/es=. I \ 9+- 1 9 )5. Acadrmie de
Frmll·r' 1:1 Ho111c·. \'i l i a \lrdici, { B 1 1daprs t . Paris. \ew York,
fa ·hibition Catalogs Hn11 H'). 1 986. 77 pagc'b.

. \11dnS f.."ertf>s= pliotograplw. l\'xto In Hen<' I l u ,·gl ee and


i..·erles= ol /,01111; folo11d l '11irersit. 1 : Text IH .\aliia n H1·sni r k . .lc·a1 1 - Pa 1 1 \ Srnrpiua. Pario: l ns t i t nt cfr Frnnet'. �111sec
\p"' York: 1�01;µ- lsla11d Univ(Tsi I \ . 1 96:2. · .l1wq 1 11•11 1art -A ndrr, 1 987. 1 66 page'' 1 :3.5 pl 1utogn1phs.
·
c :1 1 rrn 10 l og�·- bibl iugrapl1�'.
A111/rf> f.."n ·tes= pho1ogmp/1ies. l n 1 rod 11nio11 I. "· ,\ \ i., CnmhiPr.
Pari" Bihl iu1 l ti'q 11c· nat iunak. 1 9(,:). l3ilil iogr;1pl"-. '/'lwodore Fried 1111d A11dn; i..·er/1Ss:.: A11 E'11d11ri11g Frie11dsl11iJ.
\ 1 1 t rod1w1 ion hi' Fra n k l i n llid t l ! l la 1 1 . �('\\. York: t\ lliso11 Cal­
II . l losl ro /Jie111111/e /11temo=io110/e de/In Fotop;mfia . \'e 1 1 ire: lt'l"if». 1 987. :3(J pag!"o.
Edizioni Bi1'n1 1a1" l'o1ografica. I CJ61. 7 p l totogrnplts. ;357
1l11dn; /.."erl1;s=. 11w Fro11ce. · n"" ' l l\· Pil'ITl' Bon\ 1omllle. Sau­
'l n dd f.."e1"/es=. Photogrophei: Tex 1 l ev .101 1 1 1 Szarko\\"oki . dra P l e i l l i p; . .lea 1 1 -C laude Lc'lnaµ-n;. \ l iehrl Frizo t . P a ris :
\c•\\" \ o r k : \ l t1bl'tnn or .\ lodern ,\ r t . 1 96-t. 6-+ p l eotognip11'. C :m·di t ion or t i"' .\ l i n is1hc c it' la C u l t 1 1 re/La \ l a 1 1u rac1 1 11·r.
1 990. :!78 pagro. :!-t:l pleotograph» C l e ronolog\'. b i b liogra­
1l 11dre i..·erles=: Fotogrofie11. 1 9 13- 1 9-: 1 . 13, H1n1p I laos11pr. p h � . " x l e i b i t ion;,. A11dnS /.."er/es= i11 Paris: Fotop;rapliie11
S 1 oc-k l to l n 1 : \ loderna � 1 11orr 1 . I 'l7 I . 1 9:25- 1 936. ,\ J 1 1 1 1 i d 1 : Sd1 i rnwr/�1uoel. 1 992.

1l 11rld /.."ertes=. l 1 1 t roduct io11 l e, Pic'1T<' de Fen o v l . Paris: C :e11- ,i..,'1ro11a,·er to Pa f'is. l n 1 rod11e1 ion h\ Holn•rt E 1 1 ricrl 1 t . rd.
1 re Ceurgeo Prn11 1 'idou/C:o1 1 1 re}u 1 1 r. Paris. 1 977. Second edi-
Toro1;10. Ca11ada: J a nc· C :ork i 1 1 c,;11,.n-. 1 992. 9S pageb. -+0
1 io11. 1 979: t le i rd f'd i 1 ion. 1 98:!. 88 pagc•o. 78 pleot ogr;ipl e,. pfiojogra11l1..,.
C :l e ro11olog, . l 11dre i..·ales=: ,J11 1::.rhibitio11 o(Photographs
fro111 tlw Centre Geor"f}.·es Pu111pido11. P(lris. l 1 1 1 rudt1c1iu11 b�, Paris. Tc·" ' br Claudio ,\ l a rrn. and \3r1 1 ina Hlcei111s. ed.
C :o l i 1 1 Furc i. Lo11do11: \ rt ,, Council o r C rt"<ll Britai11. 1 979. \ l i la n : l 'leotolcJg\'. ·1 CJ9:J. 90 page;,. -+2 pltotop:ra p l eo.
-t8 pa�(·�. 39 plio1o�ra p l 1s.

/.."erlr;s� ,\. l lar/mll: c�n11pothe1ir E1plomtions. 1:: ,,,". I)\·


\ n c h C rn n d lwrg. \ loorlwad . .\ l inllt'"'"" Plains A rt .\ l 11-
:;c·1 1 1 ;1 . l <J78. 68 ,pagr!-i. 2-t p l 101ogn1ph;-; !1� h:PrtP�z.

1 l 11dn; i..·e,·tfs=. l�di t cd \ "· Tlto11w' \ralt l1!"r. Colog11e: Calcrie


W'i ldt•. 1 98:2 . .):; pages. :!:) plto1ograpl1'. \3iogrnp l "-.

1l 11dr1; Ke1"/es=. l laster <!(Photop;m1;fn : 13roob .lo \ 1 n oon.


\orfo l k . \'i rginia : C l t 1Yoler \ l tbl'l ltll. I 98:2. (J-t pagPb. -+-+
pl1C110f!Tapli� i 1 1 black arid w l i i H· . .) pliotog:raplb i 1 1 color.
C l i ro11olo�� -

\ 11r!t-1; f.."ertf>.c: Fom1 a11d r<'eli11p;. l\ei1 It f Da,·i,. K'n""·'


Cit \ : l la l \ 1nark C :a n k 1 98:3. 8 l 'agc'' · \ (> 1 i l 1 1 1 1 ngraples.
1 980
E xh ib itio n s l 1 1 i \l•r,i l \ of S a l fo n l .

Pari-.. C a l l ·rif• \ga i l 11· C a i l l a rd .

Solo Exhibitions .lrnha l 1 · 1 1 1 . 1..,nH'I \ l u:-.cu 1 1 1 . ·· P l u H ng: rn p l h of a L i fe1 i 1 t 1 < '.

1 9:2 7 l < J8 1
Paris. Calrri(' J\ 1 1 Sa(_'r(' d 1 1 p r i 1 1 1 r 1 1 1 ps . Pari'i. Cal1•ri1' ,\ �at l u .· C u i l l ; 1 rd .

\('w York l 1 1 i ' l'r,i l \ . Tlte Crl' \' C a l l l ' n .


1 9:!7
\pw York. P\·I C a llery. ·· A 1 1 drr Kertr". '"' l�xh i h i 1 i o 1 1 of .\ew \ o rk. S 1 1'11 1 1 I l a n l<'r Ca l len .
60 Phol ogra phs. ·· Hol l i 1 1 , Col lege. \X "i 1 1 t ('r Pnrk ( F lorida ) . C :o n tl ' l l F i 1 1 l ' A rn
( :p 1 1 1 er.
1 9-+6
Ch icago. The An l 1 1 s 1 i u 1 1 r of C h ieago.
1 1)8�
\('\\" ) ork. S 1 1sa 1 1 I l a rder C a l ler\'.
1 %2
\rw York . l,ong l s l a 1 1 d L · 1 1 i versi1v. Toro 1 1 1 0, C a 1 1 a d i a i 1 Cr 1 1 t e r of Phowgn 1 p l iy.

E:;z1 < ·r;.ro 1 1 1 . \ . ii n 1 1 (1zP1 1 1 1 1 .


1 9(,;J
Pa r i o . B i b l i o 1 h rq 1 1 c .\a1 io11alc. ·· A 1 1 d rr Krrt rsz. \orfo l k . Tl11· C : l 1 1 ·"ler \ 1 1 101' 1 1 1 1 1 . ··,\ 11dn' t-.:er1roz: \ l aol (•r of
·
P l io1ogra p l 1 irs. ·· P l totogra p l l \ . · ·
!'\cw York, J\ lodern Age S 1 1 1 d i o . Colog11<'. \X' i Id(' Calrri�·. ·· \ 11d n� K ( · r1 r!iz . ,·i 1 1 1 a�r Foto�ra f i e 1 1
a 1 " d e r Zeit ,·011 1 9�:) l 1 io 1 9:30. ··
Vr11icc. I V . . \ 1 ostra l3ie1 1 1 1 a l e l 1 1 t e rna i i o 1 1 a le della Fo1ogrn f i : i .

1 %-t 1 98:l
\t·w York. ,\ \ 1 1sc1 1 m of \ lod <'rn A r t . ·· \ 1 1 d rr K c n r". � l i ln 1 1 . PHdi�liorH' c r ,\ ri r Co11tr111porHl lC'iJ. ·· 1...a Pof' .... ia drlla
P l i o t og rn p hrr. ·� Sem p l i c i 1 U . · ·

Li11col 1 1 . Slteldo11 \ l ,.111urial ,\rt Ca l l l' n·. ··.\ 1 1d ri' t-.:erl�"z:


1 97 1 For1 1 1 a11d Ff't:l i 1 1g.··
S t oc k h o l 1 1 1 . \ l odcrna \ l 11s< 'ct .

l311clapr'1. .\ l agrnr \rrnzr t i Calfria. 1 98-t


3:18 l 3 1 1 da p 1 ·, 1 . Calcrie de \'igado.
1 972
Bradford. \ a 1 iu 1 1 a l \ l 1 1 oe 1 1 1 1 1 of P l t o t ogra p l l \·. ·· F i l 1 1 1 a11d
l l r l, i 1 1 k i, Val o k u va 1 1 1 u;t•u1 1 .
Te ln·i!',io11 . ··
Lnndo11, P l io t ogrnpher's Cal ler\'.
1 98:)
1 97:-l C l 1 i .-ago. Ti t!' \n l m, 1 i 1 1 1 1 e. ··Andre t-.: r r l rsz of Pari' a 1 1 d
\rw York. I l a l l mark C :i l len·. \ e\\· York. · · .\ l,o \ r w York. T h e \ l e 1 ropo l i 1 a t 1 \ l 11or 1 1 1 1 1 of
\ r1 ( 1 98.'i ): P;11·is. Pala is de Toho ( l < J86).
\cw York. Ligh1 Cal len .
Sa1 1 1 a F('. l", .,,""o ;\ l a )· a 1 1 s CallctT. ·· D i a ry with Ligl t 1 . ··
1 97.)
Btt<'ll<l> . \ in·o. \ l 1 "eo \ u 1 i o 1 1 a l de Bt'llas .\ rt es.
Pari,. Calrrir \ ga t l 1r G a i l la rd .

\ rlt•s. \' I" R r 1 1eo1 1 1 res l 1 1 1 er11ai ionall•c; < h• la Pliotographif' . . ··Tltr '\e"· \X 'o rk .
C : l t i t ·ago. 1'rhn. 1 1 1 1 I l o 1 1 k C a llen-
: ..
(J 1 1 l ) ) . 1 980. 1 '>8-t.

\!'w York. l 1 1 1 c n 1 a 1 io 1 1 a l Cemt'r of Pho1ograplt\'. · · \ 1 1 d rf.


1 976
Kcr1 1';z: .\ Port ra i l t l l \ i 1 1 1 ' 1 \ ·· ( 1 98:)). \ loo Tok rn. Pri 1 1 -
\ l id d l c 1 0"· 1 1 . C :o 1 1 1 1eet i n 1 1 . \�'rsll'ni 1 1 l 1 1 i \' c rs i 1 )· '""' I " C i 1 1za ( 1 ')8.) ) : O;aka. Pri n t e 1 1 1 p; Osaka ( 1 98.) ) .
·
\ r w \ 1 wk . Servict•s C 1 1 l t 1 1 rr1' dr 1 · . \ 1 1 1hassade de F rn 1 wc.
1 98()
l 'l78 Lrn110. Fo11da t i o 1 1 \ a 1 io11alc de la Pho1ograpl1i1•.
1 lodr n 1 r . C :r 1 1 1 re Crorgrs
l ' n r i :-. . \ l w ,•�< ' 1'\ a 1 io1 1 n l er A n \ · · D i !', 1 or:,io11s . '·
Po1 1 1 pid0t1. ·· \ 1 1 d ri- l\: e r 1 (·:,z. · ·
L i 1 1z ( . \ 1 1 , 1 r i a ) . \""" CalNir. ··.\ 1 1 d n' K t'r1 r;z. 70 Pl toto­
\"" \ mk . l .igh1 C a l le1Y. g rn p h i r 1 1 I < J 1 2- 1 ' )66. ··

1 ')71)
1 987
I .1 111dn1 1 . S < · q H" 1 1 1 i r u · C a l l t·r�·.
\pw Y or k . l 1 1 1 en 1 11 1 io 1 1 a l C r 1 1 t c r of Plwtogra p l 1 � . ·· \ 1 1 d rf>
1 � 1 1 ... 1 1 11 1 . C : i l lt-r� of P l io 1 0:.rra p l i �·. K('l'tf.,z: Dian of I .igl 1 1 . 1 9 1 :2- 1 98:; . · ·
l ' JIP- 1 988 S 1 1 1 1 1 g a r 1 . 1 1 1 1 crim Thea1cr P l a t z . l l a l l c 1 · 1 " .x pos i 1 ion.
Pu rib. \ ! 11,fr .lncq111'1 1 w n -.\ 1 1drr. ·· \ 1 1drr K1'rt!·sz. ' ' F i l 1 1 1 n11d 1'010:·
Pl 101of!ra p l 1c · . ··
l 'l:JO
.
i < J < JO 1\ 1 1 1 1 1 ieh. " Das U d 1 1 b i l d . '
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H11dap<'�I (I l 1 1 1 1ga r�·) . \ ..
B 1 1 <'1 100. \ i re;. " Pr i 1 1 1 e r S a l o 1 1 A 11 ua l r lr Fot ogra f i a .
i \ 1 1 d rr K l'rtcoz. · · '""' Pragtll' ( C :z1·rl1 llrp u h l ic ) . l l o 1 1sr of
l ' l 1010/!ra p l 1 Y : a11d K u h u ra 1 1 1 1 Frl l l w r l 1 ( C 1 ' r 11 11 1 1 1,·) ( 1 99-t). P;1ri,. C,.!rrir C. L. \ 1 a 1 n 1 r l l'ri:rrs. " X I " S1tlon de r A ra ignrc: ·
..
Paris. Pa l a i ' dr Tok �·o. ·-, \ 1 1 d rc Krr1csz. 111a F ra 1 1 c ·c .. l': .x h i ­ Pnri� ( ( ) . E., l i i hi 1 io11 urga 1 1 izrd b�· 1 h r a n rn tr.11r photogra­
h i 1 io 1 1 1 1 1 rn 1 1 1 j cd hY t he .\ l i s1'io11 d u Pa1 r i r 1 1 o i 1 1 r Pl i o 1 0- p l w r:i as�o('ia 1 ion.
graphi' l 1 1 r ( 1 990). \ loo ! ,,·011,. Fo11da 1 i o 1 1 \ a 1 io11ak de la
. Bfi le. C1�w('rbr rn 1 1 � r 1 1 m . ··Crhraucl1sgcrii1 in F ra n k re i c h . ··
Pho1 ograpl 1ic: .\ ice . .\ fosfr d A rt .\ 1 odrn1e el 1 r,\ r1 Co1 1 l r 1 1 1 -
pora i 1 1 ( I < )9 1 ) . Cha rleroi ( l3Plgi u 1 1 1 ) . C<' u 1 1 ·c 1 r .\ r1 Con 1 r 1 1 1 - \rw York. T l 1 e ,\ rt C e n t r r� ··Foreign \ c h-cr1 i s i 1 1g
pnra i u : Barcclrn1a (Spa i n ) . P a l a u c i r la \'i r n'i 1 1a ( 1 99 2 ) . Photograph,-.··
! ,j 1 d ilja 1 1a ( SIO\·r 1 1 ia ) . . \ udrnrn
l Cail'rija: B ragn ( Port 1 1 ga l ) .
.\1l u::ieo do:-, Bis, ·a i n lws: \'andor11\Trs-lrs- \ a 1 1n·. Ce1 1 t rc C u l - 1 cn 1
.. .
1 u rel ( ! 99:J ) . Prague (Czcd1 Hrpu h l i c ) . I louse· of P l 1 1 11ogra­ Bal<' . \et"' Spor1 h a u 1 c n . .
p l " : Cl rnl o 1 1 - > u r-Saonc. \ l usfr .\ iccphorc-\'i1'pcr: Brrs1. .
PcHi�. Ca lerie d An C o 1 1 1 rrn p o ra i 1 1 .
Calrri1' Le Quart z ( 1 99-t ) .
.
Esse11 . . D a s Lirh 1 hi l d 1 93 1 . ··
1 9') 1
Nrw \'ork. I louk Fricr li na 1 1 . " A 1 1 drr K rr1r;z. 1 hc EarlY ! 9:J2
Yrar.!i. Lo11don . The Rornl Photographic Socirtv o r Creat B r i t a i n.
.. ..
Exh ibi 1 io 1 1 of � l odcrn Pho1 ograpm-.
1 992
\cw York. J u l i c 1 1 Len· C a l len·. ·'.\ l odc·rn E u ropean Photog­
Toro 1 1 1 0 (Canada). J � u H ' · Cork i 1 1 C a l l r ry. · ·S1 ra11w·· r to Paris.··
rap l "' · ·
.. ·
Brisha11e ( ,\ 1 1,i ra l i a ) . Q111T11ola 1 1 d ,\ n C a l k 1 · �-. ,\ 1 1 d n'
\/cw \'ork. Broo k k n \ l u sc 1 1 1 1 1 . " l 1 1 1 er11 a 1 io 1 1 a l P h o 1 ogra­
K r n Psz. For111 and Feeling. ·· S� dnr� ( . \ 1 1s 1 n: t l i a ) . A rt Cal lery
phrrs:·
o f .\rw So1 1 t 1 1 \X'a les ( 1 99 2 ) . i\ 1 1 r k l a 1 1 d (.\rw Zca l a 1 1 r l ) .
..
A u c k l a 1 1 d C i 1 v A n Cal len' ( 1 992) . Br11ssrls. P a l a i s des Bra u x - A r l s . l n 1 r rna 1 io11ale de la Pho-
..
1ogra p l i i r .
1 993:
M i l a n . Calerir Photology. ·· A n c l rl' Kcn rsz ... 1 9.) -t
Pari;, St u d i o S a i n 1 -Jaccp1rs.
:�.59
1 994
Paris. Calrric de la Pl6iadc .
Kecskrmft (I l u ngary). Magyar Fo1ogrilfiai M l1zcu J 1 1 . · · A ndrC
'
K e rtrsz and l l u 11garv." A lso S1 u 1 1 ga r1 . Crn l f' r of C u l t u re Pario. S a l l " de rAssoc i a t i on Flore11ce- Bl n 1 1 1 r n 1 h a l .
a n d I n format ion for t he I l 1 1 1 1garia11 Hepu b l ic ( 1 99-t).
London. T h e llornl Pho1ographic Soriet y o f Creat B1·i t a i n .
.
Budapest, l nsti t u l frarn;:ais dr I longrir, · D ist orsions . . A lso 'Thr \lodern S p i ri t i n Pho1ographY a n d A dvert i s i ng :·
A rico, lknco 1 1 t res 1 1 1 1 crnationalc;, de la Pho1 ogrnphie.
1 93.5
Santa .'vlonica ( C a l i fo rn i a ) . The .I . P a 1 1 I C c l t y � l uscurn. .
.. Paris, Calerie de la Pleiadr . . Docurncn1s de la vie Soc i a l e :·
'·Andre Kertesz: A Cem c 1 1 1 1 i a l Tri b u t e .
C a n nes, Pav i l i o n des Escalco Tra 1 1 sa l l a 1 1 1 i q 1 1cs.
Paris, Pavi l lo 1 1 drs Ans. ' · A n d re Krr1fsz, Ir D o 1 1 b lr er u nc
.
Vic." e x h i h i 1 io11 orga n i zed by 1 he Y l issio11 du Pa1 r i 1 1 1 o i nc
1 936
P h o 1 ogra p h i q 1 1e, 1 994. A lso Tokyo. .'vlrt ropolitan M u se u m
Pari , M u s6e des A r t s Decorat i fs. · · Lxposi1 io 1 1 l n 1 cr1 1 a t ionalr
o f Pho1ographv ( 1 99.5) .
de l a Photographic Co1 1 1 cmporai ne:·
. ..
Paris. Calerie Leleu . . La Pho1 ographie Viva n t e .
Selected Group Exhibitions
1 937
1 928 "/cw York. \ l 11sr 1 1 1 1 1 o f \lodcrn Art , · · P h o 1 ography
. ..
Paris. Comedic des C l t a m ps- E l vsfrs ( ''Salon c ir r Escalier ' ) . 1 8:39- 1 937 .
� P rc 1 1 1 icr Salon 1 1 1 c lepe 1 1 cl a 1 1 1 de la Pho1ogn 1 p h i e . ··
..
\le"· York. .l i t l ie 1 1 Levy C a l lr1Y P i o 1 1rrrs of ,\fodrrn Frenrh
Brussclo. Calcric l ' Epoquc. .
·
·
Pho 1 ograph)'_ .
A 1 n s1 err l a 1 1 1 a11d H o t 1 rrda n 1 . '· ! 1 1 L r r 1 1a 1 ionalc Fo10 Salon
1 92 8 . ' ! 9-t 1
.
\'ew York. � l n se u 1 1 1 of .\ lodcrn A r t . . l i nage of Fn·edo1 1 1 : ·
1 929
Es;,en. Fol k w a ng �'1useum, " Fo 1 ografir der Crgrnwar1 . ·· 1 96 7
..
from Ja 1 1 1 1 a n. · 20 to Frbruan·
. 2-t. C i rc 1 1 l a 1 r r l i 1 1 1 929 a n d \' c w York. R iwrsidr .\ l usru 1 1 1 . The C :o11rrnwd Phntogrn-
'
! 9.'3 1 . phrr: · Abo Tokrn. \ fa t s 1 1n1 ( 1 968- 1 %9) .
1 970
' l h k � o. Pa,· i l ion of t lw L n i 1rd S 1 a 1 r, . 1-: ' l ""i1 i o 1 1 l '1 1 i n..-,rl l e
c l<· Tob o .

l 'l7u
C l i iC'ago. A ri l 1 1�1 i 1 1 1 t t· ol' C h icago. �· Pl10 1 0!-!rapli� l'ro i 1 1 t l H•
.lu l i1 · 1 1 Lr,·y Collre 1 i o 1 1 . y

I '>77
i.,:,,,,,.1. ·· Dm·u 1 1 1(•1 1 t a 6 . "'

J Q '.'8
\ loorlwad ( .\' l i 1 1 1 1C'so1 a ) . P l n i 1 1:-i .\rt � 1 11�ru 1 1 1 . ··Sy 1 1 1 pa t l 1 c 1 i c
l-: x p lo rn 1 io11s. 1'rr1bz/l larhu 1 1 . y

l ,011do11. I l a ' ward CallrrY. -\rue Sad i l id r ke i 1 1 1 1 1 d Crrrna11


Ht'ali"n o f drr Twr1 1 t ieo."'

1 980
Pari> . l rfi.-io drl l " A r1 e . ·· \'oyuno \ Oi r: 8 plrotof!n1plr < •s. i 1 1 -
1 e 1Tiew:-..··

1 98(1
Poi 1 irr, ( F ra 1 1ee). � l uofr S a i 1 1 1 t•-C : r o i ,\ . ··La \ouvrllr Plro­
wgrn p l i i < ' r11 Franc:r:· A l:io .\ rle� ( 1 98()) a 1 1 d Can:asso 1 1 1 1e
( 1 987 ) .

1 989
Lo1 1 du11. Horn I Aeadrrm. o f , \ rh . ·· 1 ; \r1 dr la Pho1ographie:
1 8:J<J-1 989.·..

Pari, . .\ l rhrc· \ a t io11al er \r1 � l oder11c•. C :l'1 1 t re Ceorgr,;


Por 1 1 pido11. ··L1 1 1 vr 1 1 1 ion < r u 1 1 \ r1 . "·

Puri,. C :r 1 1 1 rr \ a 1 ion al c i r la P l 1 0 1 0!-(raplrir . Palai, de Tokrn.


..
··I l i - 1 o i n · dr \'o i r
( 1 989- 1 990).

1 ' 190
Puri,. 1 l a l l d u .)0 1 1 r1 1 a l Le .1!011de. · · \ lo111 parna"r \'11 par !es
C rn nd, Pl101 ograplre,:·

I < JCJ2
Tnk � o. P r i 1 1 1 e m p-, C i 11za. · · J a i 1 1 1 1 · la F n 1 1 u · e . ·· \ 1-.. o o�aka.
\ago� t l . I l i ro:i l i i 1 11a. Ya111a;.ra t a (.lapa 1 1 ) . St•o1d ( t\:on�a).
Barc ·1•lo11a (Spa i 1 1 ) . S\C l l lC'\. P1•ri l 1 . llri,l w 1 1 1 • ( . \ u , 1 1·a l i a )
( 1 < J<J:{- l < J!)-t).

l 'l'l�- l 'l'l:3
lkrl i 1 1 . lkrli 1 1 i,el 1 e 1 1 Cail'riP. \ l i N· 1 1 1 1 1 of .\ lodrrn .\ n .
..
··Spn 1 1 1;.r i 1 1 d i e Zei1 .

1 1 1 ! /:l
\ 1 1 • \ i rn C :i l \·. H 1 1 l i 1 1 0 Ta 1 1 1 a � o \ l 1 1,c·1 1 1 1 r . ·· \ lc•,ico T l r r o 1 1f!lr
F1 1n·ip:11 I·:".,_-· \ l ,o .\ lon 1 <'n'' a11d Lo' . \ 1 1gelr, ( 1 99 -t ) .

1 91)-t
I l 1 1 1 i - 1 1 1 1 1 . Sewall C a l lrrY.
. · · Fo n r \ lr r , 1 e r P l r o 1 oi!"" l 'l "'r':
B rn ' u. Doi � 1 H 'a 1 1 . Erwi1 1 . a11d l\ P r t f...,z. ·
I'· 2.? ,\ l c·lancholil' T11li 1). \t'\\ York. l lU9. p. (12 .le110 and Boz�i. I l u 1 11. t11 r�·. c. 1 9 1 ..).
List of 9 .\ 1 :! fil111.
.
-+ . . ) x U µ;lw_._, plall'.*
p. :!8 I lo111i nf! Ship. Ct·mral Park. 1 9-+-+. Tziµ«.111r. Eszingotn. I l u nf!ary. 1 9 1 b .
() \ 0 fil111. -+.3 x 6 gla::-� plah·.
Illustrations p. :!9 .\ 111nicn11 \'i..,co"(' Corpora1jo11. p. {H Yo1111!!; \'nrn l i l{-..., . 13(Jwrkf':-zi . I l u 1 1£!:ar\'.
� .
1 9-+:!-19-t:). !) '\ 1 2 !i l r n . 1 9 1 6� -f ..) x b f!lai::. platf'.
Long !:.land. j ()-f.-l . 6 x ( J l i l rn . I l rn 1µ;ar�. U
J I . {):) Yo11 1 1g Tziganf•. 1 9 1 8. -t.:j
r. ,\
* : Plio1 0:.
! T<-_q1li u 1 1 p 1 1hli.,hed 11 1 1 1 i l now.
Brnkt-11 l3(·1wli. \rw Yrnk 1 96:!. µ;la::.� platf'.
# : _\1·µu 1 in- ]0.,1 bf'fon· 1 08-f.
:2-t \ :�{) 1 1 1 1 1 1 . Cyp/'I�- C l t i ldn�11. E1:1z1 ergo 1 1 1 . 1 l u ngary.
Jolin SznrkO\\':-.ki. \ r w York. J <)(1:3. 1 9 1 7. -+ . .S x 6 glm,,, plate.
L ·1 i 1('..,� o t l 1t·1wi.,1· i 11dica1i·d. t l w dirnen..,ion:. or
:2-+ ,, :�u 1 1 1 1 1 1 .
P· 6? Fri('111k E.:-z 1rrwrn1. l \ 1 1 11µ;ar). 1 9 1 7 .
t he origi11al 11cga1in· ar(' gin-11 i 1 1 l'n1.
\\ 'a�hi11g1on Sq11nn·. 1 90-+. -+.:> x 6 p:l<.1:-...; ph-11e.
:2-t ,, :)( ) 1 1 1 1 1 1 .
p. 7 Eliial w r l 1 a n t i I. l �aµ-ym;_1 1 1 � u:-.. I '· 68 Bu 1 l i i t 1tz. Dunaliaru�z t .i . l l nnga r�'. 1 9 1 9.
p. :J(> 01 1(· 1 1 \ i r .\ 1;1..,..,. Lonir. ( ;._dicia. 1 9 1: ) . -+.5 x U µ-latiti plate.
I l u 1 12an. J C):.W.
-t . .) \ (J l i l 1 1 1 . *
-f.:> -� 6 �da.,;'l pin re. I '· 69 l 1 1 derwa1n S w i 1 1 1 1 1 1 rr. Eszten!Om.
E:.zr rr!.!0 1 1 1 . ! 1 1 1 · Ttiwn Cl'llr er. I l 1 1 1 1!,!;
' 1 n. .
p. 8 SlcqJi11� Bo�. B11dup1·-.1. 1 9 1 2 . -+.3 x <> 1 lun�ar�·· 1 9 1 ?. -t.�l x 6 µlass jilat('.
J 0 1 7. ':+ ..j x 6 r-la:--:-. pl<llt'.
µfa ..:. pl111t·. I ' · 70 D u r w l i a rn..,z1i. I l 1 rngary. 1 9 1 9 . 9 ,'\ 1 :2
· p. 37 Soldier m i d B 1 1 l l . I l 11 1 1�ar\.
. 19 17.
p. 9 � le· a ... ._. ··.Hit!f'r.· C:ilrz. J <) l -t (phu10 g1 .......... plait'.
-t.�> x ( J .¥]a..,, pla1e. ' ..
1akr11 01 1 l l 1e e \ l' of n.:nu i 1 1nc1 1 1 ) . -t.S .\
I'· 71 \·\y Broth1T a.... a ··srhf'rzo. I l1 1 11gar�.
Tlw Swill!!. I l u ni!al'\. . 1 9 1 7 . -+.:> x 6
6 gla:,:, pl a t e. * 1 9 1 9 . 9 x \:! µl a:i!. pla1e.
µ;h1::-::- plur:·. '
Kiilmiin K r u 1 1 1 p and Calo Di1·1 er. Two f l . 7'2.. S1·lf-Ponrai1 w i t l 1 .\h 13rot lwr, 1 l u ngnrv.
P · :)8 .\h- Brothn a.., lccn · Li:,. Du11al 1arn:;z1i. ' .
\�'011 1 1 ( led Co111nHlr:.. E.,z1<'r!!1> 1 11. I 0 1 -1 . 1 Q 1 9 . -+.:) .\ 6 glass ,;1�1jr.

I l;rn�ary. 1 9 1 9 . -+ . .) x 6 gla.':l:-. pla1e.
-t.3 x 6 glao;s pln1r.
1 lni rf 'nl a1 r l if' Con\'ale-.rern I lon1t'.
\fp]iget. J 1 1111!..
WIY.. J 9 1 J . -f ... X 6 ) I' · 73 .\II'. a111011µ; FiblH'n1wn. D 1 1 1 1al1c.1ni.-.z1i.
I l u 1 1g11 1'\'. 1 9:!0 . -t . .J x 6 gla�:. plal C'."'
)
Pc'lrlifi n � . 1 q ·1 7 _ -f . . .x 6 �l;i... :. platr.*
g-h1,,,.., fJlare. '
Edl' l)a 1�:-.z1 a11d I. Foko1 11. . I l 1 1 11gary.
p. :)9 .\ l y \lodwr'.-; I lar11k Buda ] H'"I. �
p . 10 Lajo::- �li11wlik '' i d 1 a C<·llo. l·: sz1ergorn. 1 92 1 . -t.:) .\. 0 gla..;s plait.*
I l 1 1 11g•.1r�. 1 9 1 0 . 6 x 9 �lass plat('.
1 9 1 6 . ·t..i x 6 gla::.:-. pl a t r .
ElizulJedi. Dunaliara:,z l i . I l t 1 1 1f.\'1:1ry. J I · 7-+ E l izabel l 1 . I l ungary. 1 92 1 .
p. 1 1 l:..�,.deke.� L )'srlg. .l111 1f' 26. 1 025 (co,·(·r). p. iO
1 920. 9 x 12 gla.<; pla1<·.* -+.S x 6 (!la:;ii p lalt_' .*
9 x 12 gin"" pla1r.
ii .\Ir. D h in2 into l11t" S"·i m m i11£!: Pool. I '· 75 A l 1011�·· I l u 1 1gar�-. I 9:! I .
.\le, knO. and O ur .\ l o l l 1er. Szigrd w(_·..,1•. I '·
BudnpC'�t.� 1 <J 1 7. -+.5 x 6 µ-his:,'· pla1e. * -+.5 x 6 gla:-..., pla1r.
( · . 1 02:· {. -t.3 x 6 gla:-.& pla1<>.*
Jr110. B11dap{·:.·.t . 1 9 1 ? . -+.:j x 6 µ:la�� \\ it\1 \ k \ n i.,.1 Frif· 11d:.. I l11t1!,!t1n·. p.
' . 77 Budafok. I h 1 1 1�ar�·· 1 9 1 9 .
plare.* 1 02:3 . .f.:J x () bfla:-!. plall' . -f.3 � (J gl;i..:-. plaH·.
ElizalJrlh and I . Budapr'il . 1 92 1 . Trio. Hiil'krve. I l 1 1 n�ar�. l ( n:J . -t.S x 6 78
I'· -t2 I'· The Old At :t'onlioni�L E:,z1crgu111.
-+.3 \ . 0 glas:, plate. f!la::-::- plal('. l l u 1 1µar�·- 1 9 1 6. -+.5 x 6 gla:,-:. platr.
p . 12 Sq11ar<" .lolin·t. l'ario. 1 927. fl· -t:l llor,kav l'lal 'c. ll11d11pr'1. 1 9 1 -t. 9 x 12 I ' · 79 \\'a 11dt'ri11g \'iu li 1 1 i s 1 . Aborn. I l 1 1 1 1gary.
.
( ) x ( ) �1 1.i...:-. plat<'. glu'i::- pla1r. \
1 92. 1 . -t. 0 ( ) �la:.:. pl<ilf'.
p. n Curr. d1 1 DOnw. Pari..,. I <-):!3. -t . . ) x 6 Boys Headi11µ;. Et:izlergo1 11. I l t 1 1 1f!ar�. I ' · 80
.. ..
\z i-:�1 . Bnd;1pr�1. l l ):W .
:36 1
gla'>'> platt. 1 9 1 .S . -+.3 x 6 �la�� platC' ( f ) . # - f ..j :-. (J �la..,,; pla!C·.
SPlf-Por1ru i 1 . Pari..,. 1 927. p. ii But l;tpP:-:.1. '1 9 1 6 . -+ ..) x (1 ,;.da"':. plale.* I'· 8 1 Looking n 1 1hr Cirrn�. B11dap(•:. 1 . 1 9:!0.
9 :\. 1:2 glw../'I plul('.
p. i7 Dur1<tl iar;1:-z t i . I l 1 111g;1r�. 1 9:.W . -+.J x h -f . . =:ix 6 g-lass pla1<·.
Pnri.;. r · . 1 9:26. -+.5 x 6 gfa,,s platr.*
gla:..., plaH·.
B111' Sain1 -Dc·11i�. Puri..,. J <J:� J- 1 9:3-+.
p . 1-+ Two Cirl�. Puri:-.. 1 9:20. 9 x 12 gla:...,
I'· i8 .lt-110 in t l ir \ruod::i of .\f.plige1. :2-t x :)(J ltllll.
plaw.*
Budapl'�L 1 9 1 :3 . -t . .) x 6 gl:i'-<., plate·.*
:
Child. 1 9.n. 9 ·' 1:2 glu,,!S pla1r. p. 85 l l b.1 .:rn d Ern BCvai. Paris. J <J2.7. CJ x 1 2
p. i9 Sziw·rl J«c:.e. I l u nf!ary. 1 9 1 -+ . µla�s plat('.
I '· I:) Bra:-.....a'i. Pari:.. 1 9:16. �-+ x :30 rnrn.*
9 x I � izla1:1::i plate. C;:1rt' .\lu111parna!.!>t. J<J:3 1.:2-+ x :,1 () 1n111.*
.\ lauril'r Ta l J H rd. 1 928. 9 x 12 gl a.:-.'i
pl111e. I ' · :;o \'ill;ig(' \ladorrna. Szigellie< ·H:, I ' · 86 Srr�tH:i \I. Ei:,-t·111'lH'i11. l f J29.
I l u 1 1gHr�·. 1 9:!0. -+.S x 6 gin:-:-. plair. 9 :-. 1:2 ,:!la:.:-; plalf'.
p . 18 Diotortio11 no. 10. 1 9�:3 .
P · .) I (;Orz. f o 1 1 u a t'\'
. 1 .i l . 1 9 1 :). Luf'i<'11 \'og<'I wi1h I I i ... Farnily. 1 926.
q :\. 12 ghi... :. pla1P.
-+ ..) x 6 gla..,.., ph 111 ·. 9 x 12 glabS pla11•.*
p . 19 Clo1 l i Doll/'I ti! Judith Criarc l':,. Pari:,.
Forced \lard1 1 0 1 l1r F n m t . P1Jland. I'· 87 .\ l n rt"el \"{>rte:-.. 19:!8. 9 x 1 2 gh:ii:.,
1 'H'l. 9 x 12 !'I"" ph11e.
Ll.'!!::i. ldu B u l 1c·11:.1c i 1 1 Balle1. 1 928.
)
] (} J S. -f ... .\ 6 µ;l;i:-./'I plaH'. platr.*

.\ lorn inf! Prayer i 1 1 Fro111 of Cnlogor�. Fl(·<'1 .\1arket. J 9:3!;. 2-t x :36 1 1 1 1 n . *
C} ,\ J 2 gltt.,..., plflli'.
Galicia. 1 9 1 .) . -+.:J :\. 6 f i l m . p. 88 Tourainc. 1 <J:10. 6.Z> x 0 ,;:: l1fo!. p l a t r .
p. :20 S1·npl10r. < ". 1 9:-30. 9 ,\ 12 µla.,.., pla1r-.*
\rond1·11 I lor.:-r�. Pari:,. 1 929. p . .)-f T('ndr r T011d1. l l u1 1gury. 1 9 1 �. - f...:::i x 6 p. 89 Q u a i \'o l t a i rr. P1.irii. 1 9:28. q .\ 1:2 �la��
�-t x :-)() 1 1 1 1 1 1 . fil111. plare.

I' · 2 1 P a u l Drrmfc-. Prampol i n i . and S1·11phor. E ..z 1 nuor11. I l u 1 12cH\. . 1 9 1 6 . -+ .. ) .\ 6 Tiu· Tu ilerieb. Pnri.'l. 1 enc>.
Pari-,. 1 9:!7. 0 x 1:2 cda:.� plate. �lu,o 1;ia1!' ( ' ) .# ' 2-+ .'{ .) 6 1 1 1 1 1 1 .
Gallrr� . \u SaCTP d u pri111e111p:.. Pnri .... p . .';0 JOska Frankl and a Y 1 111 1 1µ: Girl. p. 90 A t t h e \ 1 1 i 1 11al ,\ larket. Quai Sui 1 1 1 -
1 <J:27 . 9 x 1 :2 gla;,s ph11e. Et-Zl l'J'i!Otll. I h 1 t 1!!<.llY. 1 9 1 �). -f ..) .\ 6 � l i d 1 d . Pari,,. 1 0:!7- 1 '>:28. :! - t .\ :Jo 1 1 1 1 1 1 .
' .
p . :!:2 Pier .\loi1dria11. 1 926. q .\ 1 2 7la:;s plate. �.. :fo�..,; b 1<·.*
1 p. 9 1 S 1 o r 1 1 1 O\Tr Pari-.. I <>:2.)- 1 <J:!(). 9 \. 1 :!
p. n Crllo S 1 1 1 d�·· J 9:2(J. CJ ;\ 1 2 p:hb-. .\aC't!'l'I' B u 1 t 1 . Bniila. B u 1 1 1 a 1 1 i a . 1 9 1 8 . f!lil..," flltlle .
pla1•· ( ! ) . # -t ..) .\ 6 µl a'-� pl;t11·.* . I r! d Jlf>r/N ·i1w. 0(·111l 1('1' J (H I .
Elizal11•1h a n d a Frif'rid . .\l o1 1 1 1 1wr1 n>. ;q
p. : Budapl'"l. 1 0 1 -+ . ( ) x 1 :2 !!la:-- � phw·. I-J oi.., dt• Bunlog11('.
' 1 9:20. 9 \ 1 :2 f!ln..,.,
P<iri ... . 1 <):� 1 . :!-+ x :H, 1 1 1 1 n . * I'· 00 ./11110 So11111 11'r. Buda 1 w-, t . 1 9 1 8. -+.5 \ () 1 1la11•.
Elt"Htlf'<I Trnin Plat f1Jntl. t l ll' Bow1 · n. . �ii_,.,.., pl<nt·.* p . IJ:l ( :l1iltll f h-IJ� :--i':t...,, ] ( ):!CJ.
l tJT?. 2-+ , :36 1 1 1 1 1 1 . .11·115 a 11d llonka. Httd<1pr:-.1. PJ I ?' . 2. -t .\ :�{> I tlttl .
:)(J 1 1 1 1 1 1 . -+ . .-> x () ,!!lrl'-� pla!i·. ,,,. Pl:w1· du Co1tTiHl:-.d. P;iri ... . P>2.8- J <):2q.
I'· 20 \'t·" York. 1 9:�9. :!-+ .\
I' · 'H
\ e \\ Ynrk l lnrbur. J tJ:N. 9 .\ 1:2 fil111. p. 6 1 Budap1·-,1. 1 9 1 .) . -+.:j x U µ-la:.:- plait·. 0 x 1 :2 �In..,.., pl,111·.
p. 9? Th<· Seine from dtr Po111 Sa i 1 1 1 - \ l ithrl. p. 1:3Q Rur dt•., \'a1 11 ... Pari... 1 926. I '· 1 80 Qu:inin L111in. Pari-... J CJ�fJ. 9 x 12
! f)l5. i.5 _.,. 6 gla�� plnte. 9 x I:! �la:-.. plat•'. g b..... pl.ttf'.
p. 98 Fi:)lirnncn hcliinrl \01 r(•-DanJt·. Paris. p. 1 -tO Pon1iC... ICJ:30. 9 , I :! p;la.., pl:m'.* I'· 1 8 1 ( :ro/'l-.. r< 1ad.... Bloi... 1 9:10. 6 ..) ' CJ '.da-.
.! ...
1 925. 9 x ·12 gla.-.:i plaie. p. 1 -t 1 BolJi110. Pari ... c. 1 <uo. 2-t x :�6 1 1 1 111.* plurl·.
p. '19 On 1 hc Banb. bc·hind \otn·-Daim\ p. 1 -t:2 l n 1 i l led. r" 1 1>:;0. 2-t ·' :�6 1 1 1 1 1 1 . * I '· 1 82 Slwdo\\i. J IJ:! 1 . 6 ..) ·' 9 ,;! la,.., plaH'.
Paris. 1 9:2.:")- 1 926. 9 x 1 :2 glass plnh'.
p. 1-t:� B(ll1i110. Puri!-.. 1 1 ):�2. 2-t x : 3 h 1 1 1 1 1 1 . 11. 1 x:1 \Hllll!' dt' rOpf.ra. Pari�. J l):2(),
p. 1 00 The Srine from Lach- \lrndl's 1-t x :1() 1 1 1 1 1 1 .
p. I H .\lagda Fi)r:,1111 '1". l <J26. 1) x 12 µla:-ii
Apartnwm. Paris. Jl)29. p. 1 8-t P11ri ... r. I CJ:!b. 6.G x 9 µ-lai:- pl;11r.
platf·.
9 x 12 glass plate.
.\lagda Fiir:-1 11('1' 1111rl l·:1iPn11r Bril1hy. p. 1 8;) Tlie I lnr�e-Tra111. J l):2:J. 6.:) x 9 gl;1.,.,
p. 1 0 1 Brokrn Gia�:,. Paris. 1 929. 1 926. 9 x I :! gln:i.., plaH'. pla!('.
9 x 12 gln5:, plate. Sa1ni1· D<lllt'l'I'. ) ( )2(1 (rn rintio1 1 ) . p. 186 Childn:11 Pl11�·i11�. c. J C):W. 2-t x :Jb 1 1 1 1 1 1 .
p . 1 02 Stair� at .\ lon11nar1 rr. Paris. 9 x · 1 2 g-la:-.� pla11·.
p. 1 8? .\le1 1don. 1 923. 2-t '\ :3(1 nun.
1 9:2.)- 1 927. 9 x 12 gla.!!:i pla1r. p. 1-t.) Sal\Ti1· D1wn·r. 1 920. 9 x 12 ._!!fa,�
p. 188 Bou\f' \ a n l dt'.., l m �1lidr ... . Pari-.. l lJ:l(1.
p. 1 03 �)uni d' Orsu\'. Paris, 1 926. pla i t'.
9 :\ 12 gla-,, plal('.
6 ..) x 9 gla::-� plait' . p. 1-17 Lajo� Ti I urn� i. Pari:'.I. 1 926. (),:) x 9
p. 1 8<l 011 1lic· Trrracc· of a C:afr. Pari-.. 1 928.
p. 1 0-t The Tramps· Sic:,rn Scrn fro111 the gla:-� pl<ili'.
9 :\ 12 gfa..;., plate.
I '· 1 -t8 '\o{·rnie F1·r1·1tcz�. Pnri:i. 1 9:U 1. 8 ' I 0. .J,
Pont-au-C:l1a1 1ge. Paris. 1 927. 9 ;o.. 1 2
p. 1 90 On dw Bonlernrds. Puri:s. 1 () :!()- 1 9 :!9.
tzlass plate. gla,.,s phue.
I.) X 1 2 gla:;.., pl:HC' .
p. 1 05 .\'car tlw Pont de Crrnrllc·. Paris. 1 927. p. 1-tlJ l'nti!lrd . c-. 1 Q28. <) '( 12 gl;ii;;� p lcHc.
p. 1 9 1 On die Boule\'ards. Paris. 1 9:1-t.
6.5 x 9 glass plntc.
p. 1 .) 0 l�dwin llo:;�ka1 11, Pnris. I ens. 9 x 12 2-t x :36 1 1 1 1 1 1 .
p. 1 07 The Pont des Ans Sce11 t h rough d1f' gla:-.� pl<:11c.
Clock of 1hc lns1iu11 cir Frm1cc. Puris. I' · 1 92 Sl 1adow Pai11 1er. 1 9:26. ( )..) x 9 gla!-:-i
I ' · 1 .) 1 Paul Anna ·:, l lnnds. 1 928 . 9 x 1:2 '
2lass plu1r.
1 929-1 9:32. 6.5 x 9 glass pla11·.
phm.
p. 1 9:l Boulernrd di' In .\ladrleine. Ptnii. 1 92?.
p. 1 08 Shadow. The Ei ffel Tower. Pari�. 1 929.
p. 1 ;;2 .Iran L11n,;n1 . I <)19. 9 x 12 i-:-la.:-!::i ph.11c. <) x 1:2 gla:,:, pla1c.
9 x 12 glas::. pla1c.
p. 1 3:J I lrlh" I l11ara. 1 <m I . <) >;. 12 "lass
� p. 1 9-t Faubo11rg ::foin1 -Cennain. PRri:;. 1 9:3().
p. 1 09 Paris, 1 9:3:3. 2-t x :)6 mrn.
plate.* b.5 x 9 gla:;� plme.
p. I I 0 Paris. 1 929. 24 x 36 1 1 1 1 1 1 .
p. 1 5.> Clit'z .\lonclria11. Paris. 1 92!1. 9 x 1 2
I ' · 1 9.) L '1 1 1 i t lrd. ('. 1 930. 2-t x 36 mm.*
p. 1 1 1 H11r rl11 Co1e111i11. Pari!-1. 1 93 l . 6. .) x 9 ght!-!li plaH'.
p. 1 08 Carlo Him. Dio10r1io11. 1 929-1 930.
gla:•!-1 plate.
p. 1.Sb L·n t i t lN I . Parih, 1 9:28. 9 .x 1 2 gla:-h plaw. <) x 12 fil111.*
p. 112 Pari::.. 1 93 1 . 2-t x 36 1 1 1 1 1 1 . *
p. 1 57 .\'fo;,., .lol 1 1 1:-io11. Puri�. J 'J2?. 9 x 12 gla:;� Dihlorwd Por1 rai1. 1 927. 9 x 1 2 glas:;
p . 1 1 3 Lyons. 1 93 1 . 6 . 5 x 9 glass plate. placr. platr.
p. 1 1 5 .'Vl o111parnassc. Paris. 1 928. I, I 1);):3 . () 2 gla::.�
p. 1 58 An Studio. ' " 1 92.) . -t.5 x 6 glass plate. I '· 200 Diti1orlio11 110. 9 x 1
2-+ x 36 mm. pla1e.
p. 1 59 \\adarnf' Elirenbourg. Paris. c. 1 929.
p. 1 16 Tra m, c. 1 930. 6.5 x 9 glas, pla1e. * 9 x 12 glass pla1r. p. 20 1 Cla:,i;. Distortion. 1 9-t3. 9 x 1:2 fi \111.
p. 1 1 7 L'ruided, c. 1 9:lO. 24 x :J6 n n 1 1 . p 161 l- I01cl des Tf'rrm;srs. Pn ris, ('. 1 926. C:loek, Disc union. 1 9:) 8. 8 x I 0.5 film.
p. 1 1 8 A Wimer .\1orning al die Care d u 9 .x 1 2 glat-s plate. "Ca11J(•]," ('. 1 9:39 (adw·rtibing :-.1 11rly).
362 9 x 1 2 film.*
DOme. Pari:,. l 928. 2 4 x 36 nun. p . 1 62 Fouj i1a. Paris. 1928. 9 x 12 gla::is plfltc.*
p. 20;{ Dis10r1 ion 110. 68. I IJ:J:3. 9 x 12 glass
p. 1 1 9 ls1vUn Rajk in a Bistro in �fornmarrrc, p. 1 63 Colet1c. Paris. 1 930. 9 x 12 glaos pla1r.
Paris. 1 93 1 . 2-t x 36 mm. µlate.
p. 1 6-t Quar1ier Latin. Pllris. 1 926. 9 x ·1 2
p. 1 20 l 'mided. c. 1 930. 2� x :36 mm. p. 20-t Dis10r1io11 110. 1 67. 1 933. 9 x 1 2 gla:,::;
gl<-1ss plate.
platr.
p. 1 2 1 Paris. 1 935. 2� x .% mrn.* p. 1 65 Clavcon Bares. 1 928- 1 929. 9 x 12 glass
p. �05 Di;wr1ion 110. 9 1 . 1 933 (rnria1ion).
p. 1 22 Paris. c. 1 9:30. 2-t x 36 m n i . * plaie.*
9 x 12 glass phuc.
p. 1 23 Paris. c. 1930. 24 ·' 36 1 1 1 1 1 1 . * p. 1 66 U111 ided. 1 93-t. 2-1 x 36 mm.*
p . 206 Distortion 110. 1 26. 1 9:33. 9 x 1 2 glass
p. 1 2-t Ernes1. c. 1 930. 9 x 1 2 glass plate. p. 1 67 The Ferenc Hoth Quar1e1, Pari�. 1 926. pli11r.
p. 1 25 School Girl. c. 1 9:33. 9 x 1 2 glass pla1e. 13 x 1 8 glass pla11•.
p. 207 Dis1onio11 110. 60. 1 93'l. 9 x 12 glass
p. 126 Liiv of 1 he Valley Vendor, Clranrp;- p. 1 68 Elizabc1h a11d I. 1 93 1 . 9 x 12 glass pln1e.
Eh;sre;. 1 928. · pla1e (full frame).
p. 208 Distonio11 no. 1 -tO, 1 9:n. CJ x 12 glaSR
:!-+' x ;36 1 1 1 1 1 1 . Elizabe1h and I. 1 9:3 1 . 9 x 12 glass
pla1r.
plaLe.
p. 1 27 Gare .\ lonrpa rnasse. Paris, 1 93 1 . p. 209 Di:Hortion no. 80. 1 9.33. 9 x l 2 glass
2-t .'( 36 mm. p. 1 69 Elizabc1lr and I. 1 9') 1 9 x 12 glass
pla1e.
plate.
p. 1 28 Supporter� of the French -· Fro111 p. 2 1 1 Distortion 110. -t6. 1 9:�n. 9 x 1 2 glass
- p. 1 70 Paris. 1 93 1 . 2-t x ::J6 1 1 1 1n . *
Populaire. · Paril:I, 1 93 -t . 2-t x 36 111111 .* pla1e.
p. I :!9 Paris. ('. 1 932. 2 -t 36 mm. p. 1 71 Ossip Zadkinr. ·1 926. 9 x 1 2 gins::.
x
p. 2 1 2 Dis1or1ion 110. (), I CJ:.t). 9 .'( 12 glass platr.
plate.
p. 1 :� -1 Tiu� Ven-Galam Garden i 1 1 "'i1uer. p. 2 1 :1 Dis1ortio11 110. 6. 1 9'l3 (\'aria1io11).
Paris. 1 929. 2-t x :36 mm. p. 1 72 Andre Ll101c. 1 927-1 <>28. 9 x 12 glas�
9 x 1 2 �la�:-. pla1c.
plate.*
p. I :3 2 Pare dr Sccaux. Paril:I. 1 926. p. 2 1 -t Di�1ortio11 110. 9:1. 1 933. 9 x 1 2 gfos:;
I) x 12 glass pla1e. p . 1 7:3 A Corner in Fenrnnd Lfgrr's Stndio.
pla1r.
1 927. 9 .x 12 glass pla1t'.
p. l :l:l Jardin du Luxc111bourg. Di!ilor1io11 110. 7. 1 933. 9 _,. 1 2 glal:IS
P;:iris. 1 925. 9 x ·12 glass plutr. p. 1 7-t .\fo11dria11's Classf'S and Pipe. Paris,
pla11'.
1 926. 9 x 12 glass plUH'.
\X'oodc11 I lursc. c. 1 926. p. 2 1 .'i Di>10nio1 1 110. 1 02. 1 9:33. 9 x 1 2
9 x l :! glas::i pl:Jlc-.* p. 1 75 Thr Fork. Paris. 1 928. 9 x 12 glass glass pla1r.
plaH'.
I '· l :l� l�f'!-1 Tuileries. Paris. 1 928- 1 9:30. p. 2 1 6 Di,1or1io11 110. -t9. 1 9:n . 9 x 12
1-t x :�6 mm. p 1 77 Legs. 1 928. 6.5 x 9 glmib plate.
µ:lass pla1c.
p. l : P l3rhi11d t l w I l1j1rl de \'ill<'. Paris. 1 925. p. 1 78 Sai111-Cf'rn1is-lf's- l3ai11s. Sn\'oie. 1 929.
p. 2 1 ? Di,,onion no. 1 -t7. 1 9�:3. 9 x 1 2
<J x 1 :2 �la:,!':! plu1r. 2-t x .'36 111111.
glas� plalf'.
\ B i�t rn in tllt' Qunr1irr Lalin. 1 927. p . 1 79 Pierre .\lac Orlt11 1 . 1 927. IJ x 12 glass
I '· 1:l8 p. 2 1 8 Db1onio11 110. %, 1 93'3. 9 x 1 2
-t.:) x () gla!,:o, plalf'. plate.
gli�ss pla1r-.
p. 2 1 0 Di:-1ur1ion 110. -+0. 1 9:1'.t <) x 1 2 p. :260 \pw York. < -. I 0(>0. :2-t , :�o 1 1 1 1 1 1 . * p . 30:) \rashin,;nnn S•p.wrr. 1 966.
!!lti'i!'I plate. p. 26 1 Dr troit. 1 9.J"?. 2-t ·' :36 1 1 1 1 1 1 . 2; x 16 n n n ( ').'
p. :!:W Di.,10r1in11 1111. 1 -t I. 1 9:3'.3. f J ). 1 2 p. :262 \'f'\\ York. 1 9-t.1. 9 x 1 :2 f i l m . * p . :30-t .\rw Y<1rk. 1 966. 2-+ x :36 mm.*

p. 26:3 \ra:;lii 11gto11 S ( p 1an'. 1 95-t. 2 -t x :30 1 n rn .


gl<1:..:.. platL'. p. :JO� '''"' \'ork. 1 %6. 2; x :36 n1111(').'
p . 22 1 l)i ... 1or1io11 110. 6 1 . 1 9:3:1. CJ x I:! p. :j07 .\ew York, 1 965. 2-t x :36 1 1 1 1 1 1 . *
p. :!U-+ T he Sofo. \rillia111�li1 1rl!. \'ir�inia.
gla ...:.. phm·.
1 9.) 1 . q x 12 f i l n o . p. : J08 \ la11ool<'11111 � l e i j i . Toho, 1 968.
p. :2�2 Di.,1onio11 no. 81. 1 93:3. <) x l :l p. :lb.) C :orridor, .\ r w York. 1 r )-t7. 6 x 6 f i l i 1 1 . 2-t ,'\ :36 1 1 1 1 1 1 .
!!la'-!- pln1l�.
p. :2 b 6 \<·w York. 1 9.J <J. 2-t x : J ( J m m . * p. :309 H a i m· Dnv. Tokyo. 1 968. 2; x :3b 111111 .
p. :2�:� Di ... 1 ( ) n io11 110. 76. 1 93:1. 9 x 1 :!
p. '207 Lauding Pi,f!C'OTL \pw York, 1 0(10. p. :3 1 0 I lowunl Brach. New York. 1 969.
gla,:..., pla1c.
:!-t ). �30 n i r n . 2-t x :10 111111.
p. :!:l(J \('\\' York . J <l.)6. 2-t x :)6 m111.
p. '2 6 8 '\ e w York. I Q() 1 . 2 -t - x : 3 6 1nn1. * p. 3 1 1 Si.x1h .\venue, .\cw York, 1 97.3.
Fm1n· l)rp....,_ \�·w 'ork. 1 9:38.
p. :!69 Park \H·nur. \pw York. 1 939. 2-t .x :16 m 1 1 1 .
2-t '\ :1() 1 1 1 1 1 1 .
:2-t x 3<> llllll. p. :3 1 2 _\ ('\\' York. 1 965. 2 -t x :30 1 1 1 1 1 1 . *
p. 2:28 Cripph•d \rn111an. \rw York. 1 0:·� 6.
:!-+ '\ ;�() 11\ltl. I' · 270 \pw \ork. 1 9.:>-t-. 2-t " :1() mm.* p. :3 1 3 S1 n·r1 Singer. \ r w York, 1 969.

p. 2:!l ) Di-.appn1ri11g Act. \e,, York. 1 O?lG. p. 271 \cw York . 1 9-t7. 2-t .'\ :3() 1 11111 ( ( ) . " 2-t x :16 111111.

( J \ 0 f i l o n ( '. ).' p. 27-t The Finding or l\rnC:sz·s Frr11d1 and p. :l Ii '\cw York. 1 969. 2 ; x :3b m m .

.\ nnonk. \'c,,· York. 1 9-t l . h \ 6 fil111. I l u ngarian Arch ive�. Drrernlwr -t. p. 3 1 0 \h" York. 1 969. 2-t x : 36 m m .
. :
1 963. 2-t x 36 nun. p. 3 1 6 \X'i n t('r Carden, .\ r w York. 1 970.
p. 2:10 J\ew \ork. 1 937. 2-+ .x :j (} nun.*
\\ a�lii11g1011 S(l llal'C. 1 9.)2. () X () fi l m . Scll'-Portrait wit Ii � h-
. .\ l usb. \'rw :2-t .x :)() m m U ) !
York. I 976 . 2-t- .x :36 1 1 1 111.
p. 2 : J I ' " " \'ork. t 9:J7. 2; x 30 1 1 n n . p. : 3 I 7 '\ c w \ ork. I 965. 2; x :36 n 1 1 1 1 .
p. 270 Ne"' York. ('. 1 1 >78. 2-t- x :36 n i m . *
p . 2:)2 S"lf-Ponrai1. \ r w York. 1 % 1 . p. 3 I 8 \l'a>h i 1 1g1011 Sq11arc. 1 970.
:!-+ '\ :16 1 1 1 1 1 1 . p. 276 1\' cw 'ork. 1 97;) _ :2- t x :J6 1 1 1 1 1 1 . 2; x :i(> n n n ( ').'
p . 2:J:J \ 1 · w \ o r k . 1 9;;. 6 x 6 lilon. p. :277 Ci rcu.'-. \e w York, 1 969. 24 .). : { ( > 1 1 1 1 n . p. 3 1 9 \X'a�hi1 1�1011 Scprnrt". 1 969.
\\'aslii11g1011 Sqnarr. 1 97 1 . 2 -t x :1()
p . :2:3:'» Cripplrcl \foma11. \'r" York. J 9:�6. 2-t x :36 1 1 1 1 1 1 .
111111.
2-t '\ :�() 111111. p. :3 20 .\ la n iniqur. 1 072 ("ariaLio11).
p. 278 \cw York. April H. 1 977 (cn11iat·1 :l-t x :3 0 n1111.
p . :2:�h \t'\\ York. 1 9.37. 2-t x 36 rnrn.
sl iee1 ) . :!-t x :16 1 1 1 m .
p . 2�7 llaff<'l. \rw York. 1 9:>8. I) x I 2 on111. p. :�2 1 The Balcony. �larti1 1iquc. January I.
p. '279 .\rw York. c . 1 96:3. 2-t x : � 6 m rn . 1 972. :2-t x :16 1 1 1 1 1 1 .
p . :2.98 .\Jim' C:o111br,.
. Ne"· \'ork. 1 0-+0. Parib. 1 ')8:3. 2-t x : 3 6 1 1 1 1 1 1 .
9 x r'2 film . p . : 32 2 Flu" r1-. for !Clizab<'lh . .\c w York. I 976.
p. 2 8 0 Sculpture. Japan, 1 968. : 2 -t x :3u 111111. 2-t '\
, :J6 1111'11.
p . 2:J9 Lo;i Cloud. licw York. 1 9:37.
p. 28 I Pari>- I 98;. 24 x :lo n n 1 1 . :)(J rn rn .
:!-+ .x :�o mn 1 . p. :12:1 \rw \'ork. 1 972. 2-t x
Paris. 1 98-t. 2-t x : 1 u 1 1 1 1 1 1 .
p. 2-t O C :r 1 1 1 ral Park. 1 9:)7. 2-+ x :)6 n1m.* p. 12; \Vorld Trade 'fow1-rs. :"<r w York. I 973.
p. 28:3 T h r �1 l 1 1 p i rc S 1 1 1 1 f · Buildin�. 1 967. 2-t ,x :16 m m .
p . 2-t I Lake Placid. 1 0.) -t. 2-t x :)6 n1111.* 2-t- �'\ 36 1111'11.
p. : 32 5 I n tloc S 1 rect, \('w \'ork. 1 977.
p . 2;2 Armonk. \ew \'ark. 1 94 1 . (J x f1 film. p. 28� On 1 he Boad. near llndaprs1. 1 98;. 2-t x 36 1 1 1 1 1 1 .
p . 2;:l Tlorntlorr Fried . .\ew \'ork, 1 96 1 . 2-t- .x .':i(1 1nrn.
p . 32 7 Pario. I 98:3 . 24 ' :Jb mm.
2 -t x :3!> mm. p. 287 ··Buy. · · Long Island. {'. 1 96:·:J.
p. :328 Floodo. Paris. 1 982. 24 x % 1 1 1 1 1 1 .
p . :2-t5 Poughkrep!'lir, \r"' York. J 9:�7. 2-t- .'\ ;) (> 111 111 .
2-t x :}6 111111. p. ;j29 Ptiri:,. 1 982. 2 -t x 3h 1 1 1 1 1 1 .
p. 288 '\"w York. c. t 96:J. 2; x :J6 m 1 1 1 . *
p. :2-t6 \rw 'ork. 1 9;:33_ :2-t :36 1 rn1 1 . * p. :J:JO Pari,_ I 98 1 . 24 x 36 n n n .
x p. 2 8 9 \X'a t('r Towl'r. � r w ' o r k . c -. 1 90:3.
p. 2-t? \c" York. 1 <rm. 2-t .x 30 mm. 2-t x :36 n1rn. p. :�r� 1 P:l l"i-,. 1 98-t. 2-t .x : 3 6 m m .

p . :2-t8 ,\n n and \'r11 1 i l a 1or. N ew York. 1 9:37 1 1. 290 .\cw York. c. 1 96:3. 2; x :Jo m n o . * p. :132 Pari.,. 1 08-t. 2-t \ '.36 1 1 1 1 1 1 .
(f11ll frame). 2; x :3b mm. p. 21) I Thomas .lcffer!'>On. L ' L ietl. .\ ew York. p. :333 Puri,. 1 98;. 2; ·' :J6 m m .
. w York. 1 9.37.
p. 2-t 0 A n n Hll(I \ 'en1ila1or. \'e c. 1 963. 2; x :36 n mo . p. :3:37 c. 1 9.):1. 2 - t .x 36 rn111. Kod;:ichro111r.*
:2-t ,V. :36 1 1 1 1 1 1 . p. 21)2 \lr w York. c. 1 963. :2-t .x :3 6 m m . p . :ns c. 1 960. 2-t .x :16 1rn11. Kodachro111r.*
p. '.230 i\ e w ' o r k . 1 939. :2.+ x :36 r n m . p. 29:3 Lt· Pon t dr:o; Arts. Paris, 1 96:l p . :n9 c:. 1 960. 2-t x :1(> 1 1 1 1 1 1 . Kodatl1ro1 11r.*
p. :l!) I C!tildr('11 i 1 1 Pla�·.�n-01111d wi1h Sprink ln. 2-t x :16 llllll. p . :}-tO c 1 960. 2-t x :i6 111111. Kodachrome.*
.\('\\' York. t 9:-YJ. 2-t .x :30 1 1 1 1 1 1 . p. 29; ThC' flanks a f1er Hain. Puri;. 1 96:1. p . :i.... I 1 < )6:t 2-t x :)(J 111111. Kodaehro111C'.*
p. 2;, 2 \'. Dar. \cw \'o r k . 1 9;5. b x b film.* 2-t .'\ :J6 llllll.
p. ::H2 1 96:1. 2-t x :36 111111. l\odadiro111c.*
p. 250 \rw \w-k. 1 9-+7. 6 x 6 filin.* p. 295 The Bank;. Pari<. I 96:3. 2; x :36 nlnl.
p. 3-t:) c. 1 905. 2-t .\ :i() 10111. Kodad1rorne.*
p. 2.)-t '\t'\\ \ork. 1 932. 6 x 6 fil111.* p. 296 TliC' Tu ilerir� in •\ 1 1 1 1 1 1 1 1 n . Pari�. 1 963.
p. :}-t-t � 96:1. 2-t � :3(> n u n . Kodad1 1"01 11r.*
p. 2.).-, Firr E!'.lc1q1r. \rw York. 1 9-t9. :l-t x :16 1 1 1 1 1 1 .
p. :3-t.-> 1 970. :l-t .\ :J() 111111. Ekwd 1romr.*
2-t ). :�u 1 1 1 1 1 1 . p. 2 9 7 . \ 1 1 ,\f1crnoo11 a 1 1hr Tuilc-rif';,. Pari�.
I %:3. 2; x 36 1 1 1 1 1 1 . p. :3-t? 1 950. :l-t .\ :rn mm. l\odad1ro111r.*
p . 2.)6 \1·" York. 1 9-t6. () .x b fil111.
p. 2 9 9 .\rw York, 1 96-t. 2-t x :36 1 1 1 rn . p. :3-t8 1 98-t. 2-t .x :j6 111111. Kndnchronw.*
p. 2.)7 Srnir.,. Bail ing. Shadow�. an<l \X'oman.
\('w York, 1 CJS I . :2-t x 36 mm. p. :JOO \ c w \'ork. t96:J. 2; x :Jo 111111. p. :H9 l < lf>:l. 2-t \ :H1 1 1 1 1 1 1 . Kodad1ro111r.*

p . 2'.J8 \r" York. 1 95 1 . :2-t x :}6 mm. p. :lO t .l larDongal Alie� . \('\\ York. 1 %S. p. :l!)O 1 98-t. �-t .x :1 (1 1 1 1 1 1 1 . l\oda1·liro111t-.*
::!-t x :-kJ rn m . p . :)51 l'. 1 08:2. 2-t x :�u m 1 1 1 . Ek1ad1ro11w.
p . 239 OvrrlH'ud C :ro:i.:.w;ilk wi1h Clock . .\cw
York. 1 9-t7. 6 x ( ) film. p. :102 Sltnidnn Squnrr. \ 966. : ! -t x : 3 6 1 1 1 1 1 1 . p . '):)2
. t <J8 1 . :!-t x :�u 1 1 1 1 1 1 . l\od:wl irn111c.*
Br11ja 1 1 1 i 1 1 . \X 'a l l n, 1 8 Cn�on i:-- . :!8 1
Index Bei) t h � . 1:-- 1 \ :l n ( l·:1 i 1 · 1 1 1 1t'). 1 -t. -+:!. ;.:). 83. Cnm1'I'. Ted, :!:27. 228. 2:2 < )
I++ c.,,t k � . Ju-.q J l i . I -+. -t2. 8:1
Brr�. C 1 1 1 1 \ ur. -tO C : u l 1 i ... n 1 . B<>. aa
Be�m 0. l� ,·a. ;.:-�
rt'f('r to i l h 1!- 1 rn -
C z 1 1 r 1 1 pf. l i n n· . -t I
( Pagt' 1 1 1 1 1 1 1 l u·r� i n ;10/fr
llihl i;H i ii•q111• \:11 i11n;ol1• ( P: 1 1·i,). :) I . :27-t.
1 i o1 1 -. . )
:) .; ;; Dada. l:l
A l w -J\nviik. \'il 1110�. -t I . -t2 lhfi 1 1 : 1 8 /Jodo ( H n\oh ). -Il l
• \ hho11 . lkrrnicr. 1 2 . 1 6. :2.). l H , 8(>. l l iha ri. -+ I IJ011w. /Jie. 1 8 . :l:)-t
2:29. :2:)0 Bini!. l l ... 1'. 1 6 Dm idonn. Brue<'. :27. 18:)
;
,\ d a 1 1 1�. A n�wl . 230 u;,./s. :l?'J' :280 /)a_ 1 · l�/f>flris. 2'). :3(1. :.!:!" :. :j.");)
1 \ c h . " nd rc•. I 0. 12. 2 1 . -t:l Biro. Lajo-. -tO d(' C l i i rii'o. C iorgio. 1 2
•\t!'lli1. \ le l w 1 1 w d F.. 2(J. 28 B isd1of. \rt'1"111'r. :!?I) D"rn1f.e. l ' a n l . 2 1 . :!!. 28. 89. :�.)-+
A i gnl'r. Lw:irn. l :L -t:3 BJ;i1 1 1 w r. CC:za. -+2 Derridn. Jurqt1<':'.l. 200
,\ l h i n -C 1 1 i l l w . L a 1 1 rr, 1 -t. 1 8 B l 1 1 1 1 H · 1 1 frld. l�n' in. :Zb. :!fn IJifflop:111> ll 'itli l'ltoJograph,1: 28 1
\ l i 1 1 u:,y. P a u l . 1 2 Bof'f·iuni. l l 1 1 1 l wr10. I C )() D i C'ru·r- I X 1 11·-.. H 1 1dulf. -t:2
•\l\'ttrc·z Bravo . .\ l a 1 1 1 1r l . 20. 2:28 Bodd i 1 1� 1 01 1 . .le 1 1 1 1 � . :!78 DiC'IC·r. Calo. 'J
' l 111erifflf1<1. 279. 2 80 l3od11;ir. .lc\110�. :26 /Jisfor1i1111s. CJ. I ) . 1 8- 1 9 . :2:�. 1-+. -t:3. 87.
l111('rif 'm1s. 7/w. :3� Boi ffard . .luc1 1 1 w:-- - A 1 1 1 lrl-. 8? l <J'?-10 I . 19�-:!:!.J. :279. :280, :28 1 .
, \ n d r(. Ho�i ( H6"a K lo • i n ) . l !J. I (>. :2:1. -t:l. l3Ulii1 1 i . C� iirc-r�- 2 1 . -+� 28:J. :J.i-t
8-t. :).)-+ Boro"i!". Si'i 1 1 dor. :3 ( ) l)(..,=J10111ii1·<;s::el (/Jeco 1 ·a/ ire . lrt.s). -+ I
,l11dn; da11s lc•s rillf'S. 28 1 !Jorss:,em ./a11k1). :·38. :3:>-t ·· D i \. . 1 ,,,�·· ( t l 1 t' µ:roup of t e n ) . 8( ,
l 11r/n; K1'rlr;s;:, (Ap<'n 1m· 1 1 1 < " . ) . 27<) 13oudwr. P i 1·1Tr. 8-T D t w ... I H irµ. Tlwn \"<Ill. 8:)
'111dr(; KN·tr.c. (I" 1.1nu 1 1 1 i Sliot<"n). :28:2 Bourke-\r l 1 i 1 1 · . .\ l ar_:!t• n · 1 . :2:) Doi.., m·au. Boht'l"I. I ( ,_ :2-t. 8-t
,1 l11dn; J(<'rl<;s::.: 111rt f'rance. 282 Bm i�. .\ l a rTi'I. 1 :"°> Do111\'la. C(,.1 1·. 8-t-8.)
·· A n d rC h:fTIC�z o f Pari., a n d \('w York·· B ra n d i . B i l l . 1 0. 20 lrr1u• Drori Crapli ie-. ( Lo!°' \ 1 1r1·ll' ... ) .
(Ch irnl'o. 1 98:;). :279. :28:2. ;).).) ll ra"n·i (C\ ldii I lalii-z). I � . 1 :;. /.J. 1 6. 1 8. 280
\nl'clt• ( P<il F 1 1 n k ) . ;39 ;� I . -t:�. 8-t. 8'>. 87. 9 1 . 227. 0:)-t D r 1 i k o l . Fra111 i-,1·k. 27(1
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Pierre Borh a n is t h e head of t he M i ssion d u
P a t r i rn o i n e Phot ograph i q u e. w h i c h h o u c s t h e
collect ion of A n d re K ertesz.'s corre pondrnce
and p h o t ogra p h i c negatives. J IC' resides in
Fra n ce.

Lasz l o Beke i s t h e curator of t l 1e 1 l u ngarian


\'ation a l C a l l er�· a n d a professor a t th Academy
of Fin A rt i n B u dapes t .

Dom i n i q ue B a q u e is an art cri t ic a n d lect u res


a l t he l J n ivcrs i t e de Paris V I I I .

J a n e Livi ngston has been t h e c u ra tor a t t h e Los


t l useum of A rt and t he a sociate
A ngeks Cou ntv V
d i recwr and c h ief c u ra tor at t he Corcoran
Cal lery o f A rt in Was h i n gton, D . C . She is t h e
a u t hor of everal books. i n c l u d i ng The ,\.e11• York
Schoof: Photographs 1 936 - 1 963.

Front rover p l 101ogn1 p l 1 : Poughkeepsie. Nrw York, 1 936


Back rover photogra p l i : Jl�1 · brother as a ··scherzo. "
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