André Kertész, ‘Fishermen Behind Notre Dame, Paris’, 1925, Phillips

Signature: Signed twice, dated in pencil, '307 E. 44th St., New York, Murray Hill' copyright credit stamp (address crossed out in pencil) and various printer's notations in pencil on the verso.

Borhan, André Kertész: His Life and Work, p. 98
Éditions D’Histoire et D’Art, Paris Vu Par André Kertész, frontispiece
Kertész, J’aime Paris: Photographs Since the Twenties, p. 14
National Gallery of Art, André Kertész, fig. 23
Quasha, Paris in the Twenties and Thirties, p. 2
Thames & Hudson, André Kertész: Of Paris and New York, p. 130

Allan Frumkin Gallery, Chicago
Private Collection, New York
Phillips de Pury & Company, New York, The Face of Modernism: A Private West Coast Collection, 4 April 2012, lot 2

About André Kertész

An important influence on photography both as journalism and as art, André Kertész is known for the visual lyricism and humanism that characterized his practice. A Hungarian-born Frenchman, Kertész moved to New York in 1936, having spent 1925-1936 in Paris at the centre of the émigré art world, where he photographed fellow artists such as Brassaï, Piet Mondrian, Marc Chagall, Alexander Calder, and Constantin Brancusi. It was not until 1964 that his work gained recognition in the U.S., when he was given a one-man show at the Museum of Modern Art. Today he is best known for his series of Polaroid studies of Washington Square Park, as well as his distorted nudes of the 1930s, which take the radical angles and manipulation of light and shadow of his street scenes and apply them to the human body to obtain a similar de-familiarizing effect. “The moment always dictates in my work,” Kertész once said. “Everybody can look, but they don't necessarily see ... I see a situation and I know that it's right.”

Hungarian, 1894-1985, Budapest, Hungary, based in New York, New York

Solo Shows

André Kertész: Raison d’Etre

Group Shows

San Francisco,
Los Angeles,
New York,
Art Basel 2017 - Folio
David + Goliath
NextLevel Galerie, 
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