Andrè Kertèsz and the Paris Avant-Garde

New York

21 April — 4 June 2005

Rogi Andre, Portrait of Dora Maar, 1930's

Brassaï, Dormeur au Canotier, c. 1930

Brassaï, La Bastoche, c. 1932

Brassaï, Les Cafes de Montparnasse, c. 1932

Brassaï, Le Pont des Arts, c. 1933-34

Brassaï, An Opium Den, c. 1931

Brassaï, Nude, 1932

Brassaï, Chairs dans le Jardin des Tuileries, c. 1933-34

Ilse Bing, Pont Alexandre III, et Trocadero, 1935

Ilse Bing, Street Organ, Amsterdam, 1933

Ilse Bing, Avenue du Maine, Paris, 1932

Ilse Bing, Eiffel Tower, Paris, 1932

Eugene Atget, Avenue des Gobelins, 1925

Marcel Bovis, Nantes, 1932

Andre Breton, Self Portrait, Photomaton, c. 1929

Andre Kertesz, Distortion, c. 1933

Andre Kertesz, Chez Mondrian, 1926

Andre Kertesz, Mondrian's Glasses and Pipe, 1927

Andre Kertesz, Biblioteque, Paris, 1928

Andre Kertesz, Marionettes, 1925-36

Andre Kertesz, Elizabeth and I, 1933

Andre Kertesz, Eiffel Tower in Fog, Paris, 1926

Andre Kertesz, Nude Distortion No. 52, Paris, 1933

Andre Kertesz, Nude Distortion No. 49, 1933

Andre Kertesz, Paul Arma's Hands, 1928

Germaine Krull, Wanda Hubbell, c. 1931

Germain Krull, Panneau Publicitaire L'Affiche des 'Nicolas Fines Bouteilles', 1927

Jacques Henri Lartigue, Kuliette Clarens, Avenue des Acacuas, Paris, 19 April 1912

Jacques Henri Lartigue, Walking Lady, 1912

Jacques Henri Lartigue, Renee Perle, Half Portrait in a Sleeveless Top, 1930-32

Dora Maar, Blind Beggar, Barcelona, 1932

Dora Maar, Christian Berard, c. 1935

Dora Maar, Setting of 'Le Simlateur', L'Orangerie Du Chateau de Versailles, 1935

Man Ray, Self Portrait as a Fashion Photographer, 1936

Man Ray, Self Portrait (Distortion), c. 1930's

Man Ray, Dora Maar, 1936

Man Ray, James Joyce, 1922

Man Ray, Atelier Man Ray, Paris, 1930

Man Ray, Solarized Portrait of Mary Gill, 1931

Maurice Tabard, Composition, 1950

Press Release

Andrè Kertèsz (American, b. Hungary, 1894-1985) is considered by many to be the single greatest photographer of the 20th century. Kertèsz began his photographic career in his native Hungary, but it was during the eleven years in Paris, between the two World Wars, that the artist cultivated the experimental innovations and foundations of his oeuvre. A pioneer of Formalism, Surrealism, and the lyrical street photograph, Kertèsz was a member of a celebrated milieu that included Piet Mondrian, Fernand Leger and Tristan Tzara. Thanks to his progressive vision and evinced by his influence on artists such as Man Ray, Brassai, Laszlo Moholy-Nagy and Henri Cartier-Bresson, Kertèsz established himself as one of Europe’s leading photographers of the 1920s and 1930s.

Within the first decades of the 20th Century, Paris became the art capital of the world, attracting artists, writers and poets from Hungary, Germany, England and the United States. The hub of a burgeoning art mecca, and the birthplace of photography, Paris provided an environment conducive to cultivating, expressing and experimenting with wild forms of creative energy. The years between the two World Wars proved particularly fertile for the arts. Kertèsz and his contemporaries thrived off one another, each on the brink of discovery and even greater creativity. Taking full advantage of all that modern urban life presented by capturing the fantastic nature inherent in daily experience, these artists worked in radically new ways. No single photographer embodies this legacy more completely than Andrè Kertèsz, as this exhibition seeks to illustrate.