The Place de la Concorde
Look at the atmosphere, the reflection. Why did I do it this way? Instinct. I have no other explanation. The subject offered itself to me and I took advantage.
-Andrés Kertész, Kertész on Kertész
Once, Henri [Cartier-Bresson] rang me in Paris and said, ‘Josef, [André] Kertész is in town, you must come to dinner and meet him.’ I said, ‘Henri, I love his pictures but I do not need to meet him.’ ‘No, you do not understand, you have to meet him because we three, we are of the same family.’ At the time, this seems to me to be an unbelievable thing to say. Now, though, when I look back from a distance, I can see that maybe there is something in that.
-Josef Koudelka
Stairs of Montmartre, Paris 1925, André Kertész
PRAGUE, Czechoslovakia—1992. © Josef Koudelka / Magnum Photos
Hyères, France, 1932 © Henri Cartier-Bresson / Magnum Photos
Caption from Life Magazine:
A puppet show of St. George slaying the dragon evokes deep (and ranging!) emotions among French children in 1963. Clearly they share their country’s passion for the arts, Jan 01, 1963.
French Puppet Show, 1963 © Alfred Eisenstaedt./Time & Life Pictures/Getty Images
Snippet from the proof sheet:
PARIS, FRANCE - MAY 01 Photo: Alfred Eisenstaedt/Time & Life Pictures/Getty Images May 01, 1963
To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality. It’s at that precise moment that mastering an image becomes a great physical and intellectual joy.
-Henri Cartier-Bresson
MULHOUSE, ALSACE, France—The Tour de France, 1969. © Henri Cartier-Bresson / Magnum Photos
FRANCE—Sunday on the banks of the River Marne, 1938. © Henri Cartier-Bresson / Magnum Photos
FRANCE—Painter Leonor Fini, 1932. © Henri Cartier-Bresson / Magnum Photos
DIEPPE, France—Normandy, 1926. © Henri Cartier-Bresson / Magnum Photos
JOINVILLE-LE-PONT, France—A newlywed couple at an outdoor cafe in the Vallée de la Marne, 1938. © Henri Cartier-Bresson / Magnum Photos
ARLES, France—1959. © Henri Cartier-Bresson / Magnum Photos
CANNES, France—Jacques Tati and Alain Bercourt walk toward the Hotel Carlton, which bears a poster for Tati’s Mon Oncle, playing at the Cannes Film Festival, 1958. © Henri Cartier-Bresson / Magnum Photos
AVIGNON, VAUCLUSE, France—1969. © Henri Cartier-Bresson / Magnum Photos
ÎLE DE FRANCE, France—Along the Marne River, 1936. © Henri Cartier-Bresson / Magnum Photos
OISE, France—1960. © Henri Cartier-Bresson / Magnum Photos
DORDOGNE, France—Le Bugue, 1956. © Henri Cartier-Bresson / Magnum Photos
FRANCE—A Champagne vineyard, Marne, 1960. © Henri Cartier-Bresson / Magnum Photos
BOUGIVAL, France—1956. © Henri Cartier-Bresson / Magnum Photos
André Kertész | Satyric Dancer, Paris, 1926
This picture of Magda was also taken in Beöthy’s studio. I said to her, ‘Do something with the spirit of the studio corner,’ and she started to move on the sofa. She just made a movement. I took only two photographs. No need to shoot a hundred rolls like people do today. People in motion are wonderful to photograph. It means catching the right moment–the moment when something changes into something else. It shows a kind of distortion similar to that in the photograph of the swimmer.
-André Kertész, Kertész on Kertész
PRAGUE—New Years' Eve, 2005. © Josef Koudelka / Magnum Photos
G.B. ENGLAND. London. Trafalgar Square. 01/01/2000. © Chris Steele-Perkins / Magnum Photos
NEW YORK—The Bowery, 1947. © Henri Cartier-Bresson / Magnum Photos
PARIS—La Villette, 1929. © Henri Cartier-Bresson / Magnum Photos
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