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As the art historian Professor Øivind Storm Bjerke argues, it is Kertesz's use of the mirror that is particularly radical in terms of the vernacular of photography: "Kertész's use of mirrors contradicts the traditional understanding of mirrors as something that recreates a motif - reflects it.
- Hungarian-American
- July 2, 1894
- Budapest, Hungary
- September 28, 1985
May 7, 2019 · In addition to these spontaneous shots, Kertész also began one of his most famous series, “Distortions,” in 1933. With the assistance of three mirrors, the photographer stretched and warped nude models—their floating, elongated shoulders, heads, and arms make the figures particularly ghoulish.
Although Kertesz had long been interested in mirrors, reflections, and the idea of distorting the human figure, he did not seriously investigate their photographic possibilities until 1933, when the risqué French magazine Le Sourire commissioned him to make a series of figure studies.
André Kertész: Truth and Distortion. “Everybody can look, but they don’t necessarily see” are the words uttered by André Kertész, a Hungarian born 20 th century photographer famed by his photojournalistic style of framing, “ I see a situation and I know that it’s right”.
In 1933 Kertész was commissioned for the series, Distortion, about 200 photographs of Najinskaya Verackhatz and Nadia Kasine, two models portrayed nude and in various poses, with their reflections caught in a combination of distortion mirrors, similar to a carnival's house of mirrors. In some photographs, only certain limbs or features were ...
To begin with exaggeration: one of the ways in which both Kertesz's and Brandt's distortions seem to exaggerate photography's "male gaze" is by drama-tizing certain properties of the medium. In experimenting with the optics of the fun-house mirror, Kertesz, for one, seems to highlight the reflecting and
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Nov 29, 2023 · Kertesz was known for his use of small, handheld cameras, which allowed him the freedom to explore and capture spontaneously. He predominantly used a Leica camera with a 35mm lens, appreciating its compactness and unobtrusiveness.
