André Kertész, ‘Magda Förstner (Standing in the doorway of Etienne Béothy's studio)’, 1926, Phillips

Signature: Annotated 'Paris' and dated likely by the artist in pencil, credited in an unidentified hand in ink on the verso.

Borhan, André Kertész: His Life and Work, p. 144
Phillips, Travis and Naef, André Kertész: Of Paris and New York, p. 139
Ungar, 'Kleine Lugen', Die Dame, October 1927, p. 2
The Museum of Modern Art, Object:Photo: Modern Photographs: The Thomas Walther Collection, pl. 128

Collection of Etienne Béothy, friend of the artist and fellow Hungarian expatriate in Paris
Sotheby's, London, 2 May 1996, lot 147
Christie's, New York, 20 October 2003, lot 170

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
NextLevel Galerie, 
View Artist's CV