E. Csorba Csilla: A kamera poétája. Adré Kertész-fotó a Petőfi Irodalmi Múzeum gyűjteményeiből (Budapest, 2019)
E. Csorba Csilla: A kamera poétája. André Kertész fotói a Petőfi Irodalmi Múzeum gyűjteményeiben / Csilla E. Csorba: The Poet of the Camera Photographs by André Kertész in the Collections of the Petőfi Literary Museum
wide pavement in front of the Monceau inn, the geometrical order of the Panthéon’s steps, the image of the shepherd peddling with his goats, and the young man brooding among the chairs in the Luxembourg Gardens can all be counted among the masterpieces of André Kertész’s Paris series. Over the passing decades, Bölöni’s book with Kertész’s cooperation has become a true national "place of remembrance” among Ady devotees. It has functioned as a mental map in which reality and the imaginary, the well-known poems and the stories colouring the biography, entered into a metaphorical connection with the photographs, which recalled the time and location where they were created. The Club of Beautiful Partridges A forgotten photographic series of Kertész’s oeuvre, which is not mentioned in monographies, was taken of the members of a special society of women, the Club des Belles Perdrix, during a festive dinner. The foundation of the first female gastronomic club was inspired by the practice of the prestigious Club des Cent consisting only of men and established in 1912 that no female applicants could join it. Another gentlemen’s club, Club des Perdreau, admitted Pierre Croci, whose wife, writer and translator Maria Croci soon established the “female” version of the club, Les Belles Perdrix, The Club of Beautiful Partridges. It was founded at the end of January 1928 and the list of members included noted writers, journalists, feminists helping philologists, artists, art historians and aristocratic ladies. Writer Aurore Sand, Georges Sand’s granddaughter and the representative of a prominent literary club was also among the founders. They gathered in a Parisian restaurant once a month to taste the menu and the wines on offer and express their opinion about their experiences verbally and in writing. A few of the high-spirited events were made more memorable with performances by actresses. The introduction to their cookery book published in 1930 and press releases provide the information about their “strict” system of organisation.36 Men, in most cases writers, artists or noted representatives of gastronomy, were allowed to appear in their circle only once a year, at the closing session of the season. The invitees could not be spouses of the female members, the same men could not be invited in consecutive 51
