André Kertész: The Early Years Review

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André Kertész: The Early Years ReviewAndre Kertesz is perhaps the greatest photographer of the the twentieth century, certainly the pre-eminent photo-journalist of his era. No other photographer has some many great works, covering such all aspects of photography (portrait, landscape, urban, etc, over some many decades. This superbly presented "small" book, details his early work in loving detail. One sense the sensuality and freedom of his early years, living untrammeled in the first decade or so of the last century in Hungary. There is a freshness, unbridled enthusiasm for life in these early works. Yet so too is his trademark playing with light and shadows, and the solo figure set in contrast, hinting at both menace and loneliness. A lovely volume and a joy to look at.André Kertész: The Early Years Overview
André Kertész (1894-1985) was one of the most inventive, influential, and prolific photographers in the medium's history.
His combination of Modernist vision and poetic wit defined a vocabulary that generations of photographers have continued to use. Kertész's iconic images of 1920s Paris, such as "Chez Mondrian" and "Satiric Dancer" and his later images from New York "Melancholic Tulip," "Washington Square" have seeped into contemporary culture, and yet Kertész maintained that the real roots of his work were in Hungary. This book, the first completely dedicated to Kertész's early Hungarian prints, offers a unique window on the origins of genius. Ninety images, selected from more than 1,000 contact prints in the artist's estate, are meticulously reproduced to actual size, revealing the explosive cultural context of early twentieth-century Hungary. A treasured addition to any photography library, André Kertész: The Early Years is a rare opportunity to witness the beginnings of a great artist. 90 duotone photographs

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We Are On Our Own Review

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We Are On Our Own ReviewThis is a wonderful, touching book. It is a harrowing story of a young women's struggle to survive the Holocaust and save her toddler daughter. The story takes place in Hungary in the last year of the war. A resourceful and courageous woman, the mother manages to hide as a servant woman. She is both willing and able to do whatever it takes to stay alive. The latter part of the book is devoted to her husband's search for her and his daughter. This search is eventually successful and the family builds a happy life after the war.
The book moved me to tears because it touches the raw pain and desperation both of the mother and of the bewildered child. Unlike many other Holocaust books, this one focuses not so much on the cruelty of the Nazis and their Hungarian helpers, but on the many kind people who took risks to help the two survive or just showed them kindness when it was most needed.
One of the central themes of the book is the young child's struggle to understand God in the context of the losses she suffers. Throughout her life, the protagonist yearned to believe in a God that she felt did not exist. It's an interesting theme and is handled in a nuanced manner.
This is a graphic novel, in cartoon strip format. I did not fall in love with the images. They lack the graphic power of "Maus." Spiegleman made the cartoon medium work for him, forever changing it. Katin's images seemed to me to be less interesting and challenging. They are carefully drawn and capture the mood, but what made the book work for me was the dialog, and that could have been captured as a narrative as well.
This book may not, in my opinion, be appropriate for the younger student because of sexual content. There are two situations of forced sex, and while they are not graphically depicted, the themes are rather adult. There is also discussion of an abortion. The older highschool student should be able to contextualize the material appropriately.
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