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ANDRÉ KERTÉSZ (American, b. Hungary, 1894-1985) DISTORTION #130 signed, titled, dated and titled...

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ANDRÉ KERTÉSZ (American, b. Hungary, 1894-1985) DISTORTION #130 signed, titled, dated and titled...
ANDRÉ KERTÉSZ (American, b. Hungary, 1894-1985) DISTORTION #130 signed, titled, dated and titled again "A. KERTÉSZ, Dist. 130, 1933, DISTORTION 130" in pencil on verso gelatin silver print 7 3/4 x 9 11/16 in. (19.7 x 24.6 cm) 1933 printed circa 1960s PROVENANCE Addison Thompson, NEW YORK Private Collection, NEW YORK LITERATURE Jain Kelly, ed., NUDE: THEORY, NEW YORK, 1979, p. 128, fig. 8 (illustrated) Kertész often photographed distortions through water or mirrors. When the editor of LE SOURIRE magazine asked Kertész to make some nude photographs in 1933, Kertész agreed only if he could do it his own way. He acquired a flexible mirror from the flea market and set to work using two different models. He made around 200 completed distortions that he titled with numbers. When printing the negatives, he often chose to crop out as much of the background as possible to create figures suspended in a timeless surreal world. Kertész's nude distortions form a distinct corpus within his oeuvre that was finally published in book form, DISTORTIONS, in 1976.
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