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
like performance The Blind Hunter. At the congress, the performances by Blattner’s company were a resounding success. In the words of the noted critic Maurice Raynal: "For the first time we can see that puppets can not only imitate life but can create their own art.”49 In 1930, they opened their theatre, the Studio Arc-en-Ciel, close to the bustling cafes, which were attended by artists in Montparnasse in Paris. Kertész took photographs of the company here, too. He also had a keen interest in the art of movement. He was still in Hungary when he began taking photographs of this subject and he continued pursuing his interest in Paris. Presumably it was the Blattners who introduced him to Magda Förstner, whom he portrayed in one of his most famous pictures, Satirical Dancer. The puppeteers also introduced him to Mária Mirkovszky, who continued the school of orchestics begun by Valéria Dienes. As Gabriella Vincze's research shows, Kertész visited Budapest in 1935 and it was then when he photographed - arranged in front of screens - the pure hand movements resembling ornaments of the three dancers Edit Kállai, Zsuzsa Kemény and Erzsébet Arany, representatives of the school led by Olga Szentpál.50 Streetscapes, still lifes In Lajos Kassák’s bequest, we safeguard some unique and lesser known photographs by Kertész, including arranged and accidental still lifes and genre photos. After his arrival in Paris, similarly to other émigré artists, Kertész discovered the dark sides of the city. In his first exhibition in 1927 he included his portrayal of a beggar looking at a poster advertising “sécurité”, and perhaps the one representing men finding a home on the bank of the Seine. The strong social message almost forces open the frame of the small, postcard-size format. Kertész involves philosophy in seemingly petty scenes and still lifes, which he photographed to the end of his life. His images shock and sometimes make you dream. In the case of a cat finding its way to the studio, discovering the contrast between black and white, the living and the lifeless, the photographer waits for the right moment when the animal faces him at right angles behind a bust turned sideways. This cat often appears in different compositional forms in his oeuvre. 61
