André Kertész, ‘Satiric Dancer, Paris’, 1926/1970s, Contemporary Works/Vintage Works

We also have a 1970s 20 x16 inch print of this same image available for $24,000.

Signature: With Kertész's signature and date, in pencil, on verso.

De Gouvion Saint-Cyr, Lemagny and Sayag, Art or Nature: 20th-Century French Photography, p.44; Greenough, Gurbo and Kennel, André Kertész, pl.47; Bonhomme, Patimonie Photographique Catalogue, p.368; André Kertész, Of Paris and New York, p.25; André Kertész, A Lifetime of Perception, p.243; André Kertész: Photographe, p.58; Borhan, André Kertész: His Life and Work (Little, Brown and Company, 1994), p.145; Andre Kertesz: The Manchester Collection, pl.223; Frizot and Wanverbecq, Andre Kertesz, p.87; Chardin, Paris et la Photographie: Cent Histoires Extraordinaires de 1839 a Nos Jours, p.111; Kertész, André Kertész: Soixante Ans de Photographie, 1912-1972 (Chene), p.70; Greenough, Snyder, Travis and Westerbeck, On the Art of Fixing A Shadow: One Hundred and Fifty Years of Photography, pl.242; Colombo, André Kertész, p.12; Kincses, Photographes Made in Hungary, Front Cover and p.55; Gruber and Gruber, The Imaginary Photomuseum, pl.345; Capa, The Concerned Photographer, n.p.

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

2014
Chicago,
André Kertész: Raison d’Etre

Group Shows

2018
2017
San Francisco,
2017
Los Angeles,
2017
New York,
Art Basel 2017 - Folio
2017
Genève,
2017
2017
Toronto,
David + Goliath
2015
NextLevel Galerie, 
Paris,
View Artist's CV