Immersed in the artistic life of Paris, where he moved from Hungary in 1925, Kertész blended Cubist and Surrealist influences with a photojournalistic approach imbued with his own lyrical vision. His series of photographs of Mondrian and the painter's studio are exceptional for their balanced, abstract rigor, and radiant calm-the very qualities of the contemporary work of this most spiritual of painters.
Inscription: Signed and annotated in pencil below image on mount recto, BL: "A. Kertész" and "Paris"
Estate of André Kertész; (sold, Christie's New York, April 17, 1997, Lot 186); Gilman Paper Company Collection, New York
The Metropolitan Museum of Art. "Modern Times: Photography Between the Two World Wars," June 9, 1998–October 4, 1998.
Carrousel du Louvre, Paris. "Constructed Views: Photography and Architecture," November 19, 1998–November 23, 1998.
La Maison Européenne de la Photographie. "The Odyssey of an Icon: Three Photographs by André Kertész," October 31, 2006–January 7, 2007.
The Metropolitan Museum of Art, Jeff L. Rosenheim. "Paris as Muse: Photography, 1840s – 1930s," January 27, 2014–May 4, 2014.
Greenough, Sarah, and Sarah Kennel. André Kertész. Washington, D.C.: National Gallery of Art, Washington D.C., 2005. no. pl. 49.
One of 21 postales included in folio discovered in Kertész's bookshelves 3 years after his death in 1985.
See Christie's catalogue entry (April 17, 1997, Lot 186) for further information: "Approximately five vintage prints of this image are known to exist including the lot offered here. These include prints in: the Thomas Walther Collection (carte postale, unmounted); ex-collection, Jedermann, Inc., carte postale, trimmed and mounted to vellum); an American collection (carte postale, unmounted, provenance: Sotheby's London 8 May 1992, Lot 264); the Metropolitan Museum of Art, (ex-collection Piet Mondrian. In additiona there is a horizontal variant also in the collection). It should be noted that these may include images in different cropped states." (PA)