André Kertész

Executed in 1926 and printed later.

Private Collection, Japan

New York, The Museum of Modern Art, André Kertész, Photographer, November 1964 - January 1965, illustrated p. 22 (another example exhibited)
Chicago, Art Institute of Chicago, André Kertész: Of Paris and New York, 1985, no. 25, illustrated p. 139 (another example exhibited)
André Kertész: Photographie, December 1987 - February 1988, illustrated p. 58, fig.6 (another example exhibited)
Washington, D.C., National Gallery of Art; Art Institute of Chicago; Los Angeles County Museum of Art, On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, May 1989 - February 1990, no. 242, illustrated p. 299 (another example exhibited)
Washington, D.C., National Gallery of Art, André Kertész, February - May 2005, pl. 47 (another example exhibited)

Anna Fárová, André Kertész, New York, 1966, illustrated pl. 28
Nicolas Ducrot, ed., André Kertész: Sixty Years of Photography, 1912-1972, New York, 1972, illustrated p.70, fig. 4
Jane Corkin, ed., André Kertész: A Lifetime of Perception, London, 1982, illustrated p. 243
 André Kertész: The Manchester Collection, Manchester, 1984, no. 223, illustrated p. 138, fig. 5
Sandra S. Phillips, The Photographic Work of André Kertész in France, 1925-1936, New York, 1985, no. 1926.16
Pierre Bonhomme et al., André Kertész: ma France, Paris, 1990, p. 41
André Kertész & Carole Kismaric, André Kertész, Aperture Masters of Photography, New York, 1993, p. 75
Pierre Borhan, André Kertész: His Life and Work, Boston, 1994, p. 145
John Loengard, Celebrating the Negative, New York, 1994, illustrated on the front cover (negative)
André Kertész in Paris: Photographien 1925-1936, Munich, 1995, illustrated on the front cover & pl. 31
Danielle Sallenave, André Kertész: Photofile, London, 2008, illustrated pl. 21 

This work is in very good condition overall. There are no apparent condition issues with this work. Framed under Plexiglas.
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"There was a Hungarian dancer. She was called Magda. This photo was taken in the studio of Etienne Beöthy, a friend of mine who was a sculptor... 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