André Kertész | Chagall Family, Paris, 1933

Posted: August 18th, 2012 | Author: | Filed under: Books, Film, Painting, Photography, Quotes

Chagall Family, Paris, 1933 © André Kertész

Chagall Family, Paris, 1933 © André Kertész

Everything is a subject. Every subject has a rhythm. To feel it is the raison d’être. The photograph is a fixed moment of such a raison d’être, which lives on in itself.

- Andre Kertesz

If I create from the heart, nearly everything works; if from the head, almost nothing.

- Marc Chagall


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André Kertész | Ballet, New York City, 1938

Posted: November 25th, 2011 | Author: | Filed under: Books, Film, New York City, Photography, Quotes

Ballet, New York City, 1938 © André Kertész

Ballet, New York City, 1938 © André Kertész

Once I worked with the American Ballet. I started arranging my primitive lights when a voice shouted, “Stop, you have no right to put any lights here. You are not in the union.” “What do you mean?” “I said, “these are my lights; I am doing my work.” “You have no right.” I lost my patience and shouted back, “This is my daily work, my daily bread. You eat, I want to east, too.” He won the battle, and I was not happy.

Much later on I wanted to do something my way—with my conception—without complications. I took the dancers along and photographed them on a children’s playground dancing. Some children were playing hide-and-seek and the dancers started to mix with the children. Look at the adoration of the children in the picture. This was a fantastic moment captured in a photo. The dancer, which is the glamour, and the children. the publicity manager sent the photos over to Life magazine. They came back to one and a half years later: “We do not find a place for using them.”

- André Kertész, Kertész on Kertész


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André Kertész | Paris, 1925

Posted: November 17th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

Paris, 1925 © André Kertész

Paris, 1925 © André Kertész

One day my mother said, “If you want to go to Paris, go.” This was a great moment in my life. It was 1925. Arriving late at night, I and two other Hungarian boys took a room in a hotel. We were very tired, but next morning I looked out of the window and say my first subject. I knew no one in Paris, but I soon made friends.

- André Kertész, Kertész on Kertész


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André Kertész | Elizabeth and Me, Paris 1931

Posted: November 11th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

Elizabeth and Me, Paris, 1931 © André Kertész

Elizabeth and Me, Paris, 1931 © André Kertész

 

I took the photo of Elizabeth and myself in the early 1930s. Of course, we also took a picture of the two of us together, but this is the one I like—just her and my hand. At the time I had a little self-timing device and I used it so I could get into the picture. I had found it in 1914 in Hungary and I still have it.

- André Kertész, Kertész on Kertész


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André Kertész | The Distortions, 1933

Posted: March 11th, 2011 | Author: | Filed under: Books, Film, Photography

Distortion Number 40, Andre Kertesz

Distortion Number 40, Andre Kertesz

A Hungarian friend of mine introduced me to the editor of the magazine “Le Sourire,” a very French sort of magazine–satiric, risqué. Many artists worked for this publication. They had never published photos before. The editor asked me to do something. I bought two distorting mirrors in the flea market–the kind of thing you find in amusement parks. With existing light and an old lens invented by Hugo Meyer, I achieved amusing impressions. Some images like sculptures, others grotesque and frightening. I took about 140 photographs in a month, working two or three times a week. “Le Sourire” published a couple of them, and we planned a book, but it had to wait forty years to be published–but that is another story.

-André Kertész, Kertész on Kertész


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André Kertész | Champs Elysées, Paris, 1929

Posted: January 22nd, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

André Kertész | <i>Champs Elysées, Paris, 1929</i>

André Kertész | Champs Elysées, Paris, 1929

At the time photography was zero — only the ordinary commercial kind of shots with little or no artistic value. Nobody photographed the chairs in the parks, in the Luxembourg Gardens, and in the Tuileries. I did. Of course, at that time I did not know that this was modern or unique.

-André Kertész, Kertész on Kertész


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André Kertész | Jardin Du Luxembourg, Paris

Posted: January 14th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

André Kertész | <i>Jardin Du Luxembourg, Paris, 1925</i>

André Kertész | Jardin Du Luxembourg, Paris, 1925

I went walking with a painter friend of mine who was a deaf mute, and I saw those chairs on the Champs Elysées and started to photograph them. He went berserk and signaled to me that I am crazy. but when he saw the result he understood what I was after. This was my first photograph of the chairs.

-André Kertész, Kertész on Kertész


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André Kertész | Eiffel Tower, Paris, 1929

Posted: December 29th, 2010 | Author: | Filed under: Books, Film, Photography, Quotes

André Kertész | <i>Eiffel Tower, Paris, 1929</i>

André Kertész | Eiffel Tower, Paris, 1929

I like high shots. If you are on the same level you lose many things.

-André Kertész, Kertész on Kertész


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André Kertész | The Place de la Concorde , Paris, 1928

Posted: May 21st, 2010 | Author: | Filed under: Books, Film, Photography, Quotes

The Place de la Concorde

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


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André Kertész | Rooster, New York, 1952

Posted: May 15th, 2010 | Author: | Filed under: Books, Film, New York City, Photography, Quotes

André Kertész | <i>Rooster, New York, 1952</i>

André Kertész | Rooster, New York, 1952

Here is a picture I took the first day I moved in — a rainy day full of atmosphere.

-André Kertész, Kertész on Kertész


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