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Everything Is Photograph (A Life of André Kertész)
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Product Details
Author:
Patricia Albers
Format:
Hardcover
Pages:
560
Publisher:
Other Press (January 27, 2026)
Imprint:
Other Press
Language:
English
Audience:
General/trade
ISBN-13:
9781590515099
ISBN-10:
1590515099
Weight:
31.4oz
Dimensions:
6.11" x 9.2" x 1.54"
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_delta_active_D20260418T001110_155954249-20260418.xml
Folder:
RandomHouse
List Price:
$49.99
Country of Origin:
United States
Pub Discount:
65
Case Pack:
12
As low as:
$38.49
Publisher Identifier:
P-RH
Discount Code:
A
QuickShip:
Yes
Overview
The first full biography of the innovative “father of modern photography” vividly depicts his life and works, from Hungary to France and America, across the 20th century.
Born in Budapest in 1894, André Kertész soared to star status in Jazz Age Paris, tumbled into poverty and obscurity in wartime New York, slogged through 15 years shooting for House & Garden, then improbably reemerged into the spotlight with a 1964 retrospective at New York’s Museum of Modern Art. By the time of his death in 1985, he had exhibited around the world, taken more than 100,000 images, and steered the medium in new and vital directions: He was the first major photographer to embrace the Leica, the camera now mythically linked to street photography, and he pioneered subjective photojournalism, publishing what is arguably the world’s first great photo essay.
Drawing on dozens of interviews, previous scholarship, and deep archival research, and interrogating the images themselves, Patricia Albers retrieves aspects of Kertész’s life that he and his pictures gloss over, among them the ordeals of trench warfare, the impact of the Holocaust, and the tale of his tangled romances. She takes Kertész from the Eastern front in World War I to the Paris of Piet Mondrian, Colette, Alexander Calder, and a lively central European diaspora. From Condé Nast’s postwar media empire to the “photo boom” of the 1970s. She revisits Kertész’s relationships with other photographers, among them his "frenemy" Brassaï and protégé Robert Capa. She breathes life into a gentle, generous, and unassuming man endowed with Old-World charm but also sputtering with grievance and rage and inclined to indulge in deception.
Everything Is Photograph immerses readers in the heyday of a now lost version of photography. Formally vigorous, emotionally rich, and aesthetically charged, Kertész’s images speak of the medium as a tool for human connection, self-narration, self-invention, and inquiry about the world, even as they project its mysteries.
Born in Budapest in 1894, André Kertész soared to star status in Jazz Age Paris, tumbled into poverty and obscurity in wartime New York, slogged through 15 years shooting for House & Garden, then improbably reemerged into the spotlight with a 1964 retrospective at New York’s Museum of Modern Art. By the time of his death in 1985, he had exhibited around the world, taken more than 100,000 images, and steered the medium in new and vital directions: He was the first major photographer to embrace the Leica, the camera now mythically linked to street photography, and he pioneered subjective photojournalism, publishing what is arguably the world’s first great photo essay.
Drawing on dozens of interviews, previous scholarship, and deep archival research, and interrogating the images themselves, Patricia Albers retrieves aspects of Kertész’s life that he and his pictures gloss over, among them the ordeals of trench warfare, the impact of the Holocaust, and the tale of his tangled romances. She takes Kertész from the Eastern front in World War I to the Paris of Piet Mondrian, Colette, Alexander Calder, and a lively central European diaspora. From Condé Nast’s postwar media empire to the “photo boom” of the 1970s. She revisits Kertész’s relationships with other photographers, among them his "frenemy" Brassaï and protégé Robert Capa. She breathes life into a gentle, generous, and unassuming man endowed with Old-World charm but also sputtering with grievance and rage and inclined to indulge in deception.
Everything Is Photograph immerses readers in the heyday of a now lost version of photography. Formally vigorous, emotionally rich, and aesthetically charged, Kertész’s images speak of the medium as a tool for human connection, self-narration, self-invention, and inquiry about the world, even as they project its mysteries.
