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
related to the works of the Bauhaus artists, such as those of László Moholy-Nagy.51 Mirror in the mirror. A part of the street is revealed through the shop window, which displays Sonia Delaunay’s book containing geometric patterns,52 constructivist stage designs by Larionov and Goncharova, the avant-garde architecture journal L’Architecture vivante, a female portrait by Picasso, and other albums of contemporary art - for example, the 1922 exhibition catalogue of the German painter and graphic artist Willi Baumeister, who, according to Hans-Michael Koetzle was Kertész’s close friend from 1926.53 The photograph is an image of life composed of fine lines, while it grasps a simple moment and it is also about passion, friendship and artistic commitment. Two ornaments, a tree created from glass particles and a capricorn beetle on a stone, take us from the 1920s to André Kertész’s late creative period. Earth and sky, the tree stretching to the sky and the insect on the earth, the white, blurred horizon and the dark background: black and white, the play of light and shade calling up paralyzed nature without humans. After the death of his second wife in 1977, it helped him overcome the trauma to take polaroids of small glass objects he bought or found in his apartment. The earlier motifs often return in his art. They can be seen as mirrors describing his own state of mind. We can only agree with Bölöni: "When others think that they have photographed everything and there is nothing left to portray, there comes Kertész, the lyricist and dreamer, and then he discovers the most amazing subjects. People rarely see the world as Kertész does. They rarely notice the life of objects as his photographs show the life of motifs. For him especially, objects open up and reveal their hidden faces.”54 65
