Estimate
€ 500 - 800
Sold
€ 516
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Information
Modern gelatin silver print printed by Yvon Le Marlec, printed in 1991
cm 23,5 x 30,3 (cm 20 x 27,6 picture) | 9.2 x 11.9 in. (7.8 x 10.8 in. picture)
cm 23,5 x 30,3 (cm 20 x 27,6 picture) | 9.2 x 11.9 in. (7.8 x 10.8 in. picture)
Yvon Le Marlec stamps and print date in pencil on the verso
Provenance
Collection Yvon Le Marlec
Literature
Pierre Borhan, André Kertész, His Life and Work, Little, Brown, Boston, 1944, p. 69;Nicolas Ducrot, André Kertész: Sixty Years of Photography, Penguin Books, New York, 1978, p. 41;André Kertész, Hungarian Memories, Little, Brown, Boston, 1982, p. 5;André Kertész and Henri Cartier-Bresson, André Kertész, The Manchester Collection, England, 1984, pl. 255, p. 158;André Kertész, Andre Kertesz and Avant-garde Photography of the Twenties and Thirties, Annely Juda Fine Art, London, 1999, pl. 34;Sarah Greenough, André Kertész, National Gallery of Art; Princeton University Press, Washington D.C., 2005, p. 16;Renhold Misselbeck, 20th Century Photography, Taschen, Cologne, Germany, 2012, p. 330.
It’s 1917, and André Kertész is still a photography enthusiast, though he has already gained recognition for his skills in non-professional circles. His work is characterized by szogiofoto, the “Hungarian style,” born from the influence of the American straight photography and his passion for capturing anything that strikes him. Using his handy Goerz-Tenax 4.5x6 camera with a Dogman f6.3 lens, which he had bought two years earlier, he photographs this swimmer moving just beneath the surface of the water. He is drawn not so much by the subject but rather to the distortions created in the image. A few years later, Kertész would revisit these impressions to create his famous “Distortions” series, achieved by photographing the reflections of a nude woman on the surface of a funhouse mirror rented from a circus. 
