Untitled

26 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.

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.