André KertészVerenigde Staten, 1894–1985Satiric Dancer, Paris (variant)
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Art Institute of Chicago
Chicago, Verenigde Staten
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Over het werk
In 1915 André Kertész began submitting pictures to newspaper and exhibition competitions in his native Hungary. He arrived in Paris one decade later greatly attuned to the possibilities of photographs as both unique display objects and mass-media images. This gorgeously printed view of the dancer Magda Förstner posing in the Montparnasse studio of sculptor Etienne (István) Beöthy (who, like the photographer and dancer, was also a Hungarian émigré) is a variant of one published by the Berlin leisure magazine Die Dame in 1927 to illustrate a parable of marital infidelity. Clad in a short halter dress with a ruff around her neck, Förstner perches alluringly on a couch, her lower legs swiveled outward as if in imitation of a Charleston step.
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Beöthy was pursuing an abstracted figural language in sculpture, just as Kertész was in photography, and his statue Direct Action, which appears in a corner next to the sofa, serves as a foil for the latter’s camera work. Interestingly, the published photograph became an icon, and possibly gained its current title only in the 1960s, when Kertész recovered the negative and reprinted it multiple times. The Art Institute’s version, meanwhile, is believed to be unique.
Art Institute of ChicagoCC BY 4.0
Gegevens
- Inventarisnummer
- 2009.646
What it shows
In de catalogus
Bronnen
- Art Institute of Chicago: the museum's own open data · opgehaald 7 dagen geleden
- Afbeelding: Art Institute of Chicago — © the artist or rights holder
Intussen, in het leven van André Kertész
Het hele leven26 June 1925
A photograph on the cover of Érdekes Újság
The Hungarian news magazine Érdekes Újság uses one of his photographs for its cover, giving him widespread publicity; by that time he is determined to photograph the sights of Paris and join its artistic culture.
September 1925
Moves to Paris against his family’s wishes
He leaves for Paris, then the artistic capital of the world, against his family’s wishes, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers and his uncle Hoffmann, who dies shortly afterward; Jenő later emigrates to Argentina. Soon after arriving he changes his first name from Andor to André, which he keeps for the rest of his life; at first he takes commissions from several European magazines, in Germany, France, Italy and Great Britain, and then works for VU, France’s first illustrated magazine.
1925–1936
The circle of Hungarian émigrés and portraits of friends
In Paris he is among numerous Hungarian artists, including François Kollar, Robert Capa, Emeric Fehér, Brassaï and Julia Bathory, as well as Man Ray, Germaine Krull and Lucien Aigner, who also emigrated there, and becomes involved with the Dada movement; visiting his sculptor friends, he is fascinated by Cubism. He makes photo portraits of the painters Piet Mondrian and Marc Chagall, the writer Colette and the film-maker Sergei Eisenstein.
1927
His first solo exhibition at the Au Sacre du Printemps gallery
Jan Slivinsky presents 30 of his photographs at the “Sacre du Printemps Gallery”, and Kertész becomes the first photographer to have a one-man exhibition. At the show Paul Dermée dubs him “Brother Seer” and “Brother Seeing Eye”, alluding to a medieval monastery where all the monks were blind but one; Kertész has become connected with members of the growing Dada movement.
late 1920s
A secret marriage to Rosza Klein (Rogi André)
He secretly marries the French portrait photographer Rosza Klein, who worked under the name Rogi André; the marriage is short-lived and he never speaks about it.
1928
Switches to a Leica
He switches from plate-glass cameras to a Leica; this period is one of his most productive, with daily photographing divided between magazine commissions through the late 1920s and his personal pieces.
