Paris Seen by André Kertész (French: Paris vu par André Kertész), published in 1934, offers a deeply personal exploration of Paris through Kertész’s unique perspective as an observer, often feeling like an outsider. Having arrived in Paris in 1925 as a Hungarian immigrant, he spent nearly a decade documenting its evolving landscapes and vibrant cultural life. Later works, including Day of Paris (1945) and J’aime Paris (1974), revisit these themes, with Paris Seen by André Kertész serving as their foundation. Kertész regarded this initial work as "his definitive statement on his adopted home", notable for its artistic control and personal vision compared to the more editorially influenced subsequent publications.
The project emerged during the interwar period, a time of artistic and social change. Paris, recovering from World War I, became a center for creativity. Kertész’s photographs reflect this cultural ferment, capturing Paris as a city caught between its historical grandeur and the forces of modernization. His images, informed by his immigrant status, provide an outsider’s view of Paris that is both affectionate and introspective, illuminating the intersection of personal experience and urban identity.
Central to the project are themes of anonymity and isolation, the ambivalent place of the human being in the urban landscape, and the respective sense of solitude. Kertész’s compositions transform ordinary moments into evocative studies, focusing on solitary figures, architectural geometry, and fleeting interactions. These meditations on time and place are infused with a quiet melancholy, resonating with the anxieties of the interwar period. The incorporation of abstract elements and emphasis on simplicity reflect Kertész’s modernist sensibilities, while his connection to avant-garde circles informs the experimental framing.
Technically, Kertész transitioned from using a 4.5 x 6 cm camera to adopting a 35mm compact camera in 1928, enabling more dynamic and intuitive image-making. His skillful application of high-angle perspectives, and the interplay of light and shadow underscores the textures and rhythms of urban life.
On publication in 1934, Paris Seen by André Kertész drew notice for a restrained, introspective view of the city, set apart by critics from other Paris books of the period. Its reach broadened when related Paris photographs appeared in MoMA’s Photography, 1839–1937 (New York, 1937). The book later provided a template for Day of Paris (1945) and J’aime Paris (1974), and it has been cited by Robert Frank as formative. Today it is widely regarded as an important statement in the development of subjective, poetically sequenced urban photography.
