André Kertész, ‘Meudon’, 1928, Bruce Silverstein Gallery
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André Kertész

Meudon, 1928

Gelatin silver print
14 × 11 in
35.6 × 27.9 cm
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About the work
André Kertész
Hungarian, 1894–1985
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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.”

André Kertész, ‘Meudon’, 1928, Bruce Silverstein Gallery
Save
Save
View
View in room
Share
Share
About the work
André Kertész
Hungarian, 1894–1985
Follow

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.”

André Kertész

Meudon, 1928

Gelatin silver print
14 × 11 in
35.6 × 27.9 cm
Contact For Price
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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Other works from Bruce Silverstein Gallery
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