{"slug":"andre-kertesz-works","title":"平凡中的诗意瞬间 - 安德烈·柯特兹 摄影作品欣赏","author":"Thomas看看世界","date":"2018-05-10","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247486850&idx=1&sn=89271198c62ca0c58983043eb5c880e7&chksm=eb81f3e6dcf67af0c666f998ad5fcb2ee02241a4771e25d7b9b48977c0c90f61e2b1e7c65f8a&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"每周一篇干货，让摄影不再难学","b":false,"xe":"One piece of solid insight every week — making photography easy to learn"},{"t":"p","x":"世界是无序的、杂乱无章的，但直觉敏感的他，按下快门的一瞬间却构成了有序的世界。","b":false,"xe":"The world is unordered and chaotic, but with his sensitive intuition, the moment he pressed the shutter, an ordered world was formed."},{"t":"img","f":"img-03","w":690,"h":1000},{"t":"p","x":"Buy, Long Island 1963","b":false,"xe":"Buy, Long Island 1963"},{"t":"p","x":"他的作品，影响了包括布列松、曼雷、卡帕在内的众多大师。","b":false,"xe":"His work influenced many masters, including Cartier-Bresson, Man Ray, and Capa."},{"t":"img","f":"img-04","w":1000,"h":808},{"t":"p","x":"Crossroads 1930","b":false,"xe":"Crossroads 1930"},{"t":"p","x":"与布列松大量依靠预测和计划不同。对他来说，情绪和直觉永远是首要条件。","b":false,"xe":"Unlike Cartier-Bresson, who relied heavily on anticipation and planning, for him emotion and intuition were always the first conditions."},{"t":"img","f":"img-05","w":697,"h":1000},{"t":"p","x":"Macdougal Alley, New York City 1977","b":false,"xe":"Macdougal Alley, New York City 1977"},{"t":"p","x":"他的作品随意自然，却处处体现着简单的几何之美，充满了诗意和韵律。","b":false,"xe":"His works are casual and natural, yet everywhere they reveal a simple geometric beauty, full of poetry and rhythm."},{"t":"img","f":"img-06","w":1000,"h":701},{"t":"p","x":"Sixth Avenue,New York,1973","b":false,"xe":"Sixth Avenue,New York,1973"},{"t":"p","x":"布拉塞说他有伟大摄影师必不可少的两个资质，即对这个世界、人与生命不倦的好奇心，和精致的造型感觉。","b":false,"xe":"Brassaï said he possessed the two qualifications essential to a great photographer: an untiring curiosity about the world, people, and life, and a refined sense of form."},{"t":"img","f":"img-07","w":792,"h":1000},{"t":"p","x":"Looking at the Circus, Budapest, 1920","b":false,"xe":"Looking at the Circus, Budapest, 1920"},{"t":"p","x":"他就是摄影师 安德烈·柯特兹（André Kertész）。","b":false,"xe":"He is the photographer André Kertész."},{"t":"img","f":"img-08","w":1000,"h":800},{"t":"p","x":"Bocskay Place, Budapest 1914","b":false,"xe":"Bocskay Place, Budapest 1914"},{"t":"p","x":"安德烈柯特兹1894年出生于匈牙利。","b":false,"xe":"André Kertész was born in Hungary in 1894."},{"t":"img","f":"img-09","w":795,"h":1000},{"t":"p","x":"Budapest 1914","b":false,"xe":"Budapest 1914"},{"t":"p","x":"他十八岁那年就不断的在拍照，作品一开始就浑然天成，自然而不做作。","b":false,"xe":"He began photographing constantly at the age of eighteen; his works were naturally whole from the very start — effortless and unpretentious."},{"t":"img","f":"img-10","w":1000,"h":745},{"t":"p","x":"My Brother as a Scherzo 1919","b":false,"xe":"My Brother as a Scherzo 1919"},{"t":"p","x":"1925年来到艺术之都巴黎后，更是开启了他摄影创作的黄金时代。","b":false,"xe":"After arriving in Paris, the capital of art, in 1925, he entered the golden age of his photographic creation."},{"t":"img","f":"img-11","w":762,"h":1000},{"t":"p","x":"Satyric dancer 1926","b":false,"xe":"Satyric dancer 1926"},{"t":"p","x":"在巴黎，柯特兹结识了众多的艺术家，其中就包括后来几何抽象画派的先驱 蒙德里安。","b":false,"xe":"In Paris, Kertész befriended many artists, among them Mondrian, who would later pioneer geometric abstract painting."},{"t":"img","f":"img-12","w":1000,"h":772},{"t":"p","x":"The Fork 1928","b":false,"xe":"The Fork 1928"},{"t":"p","x":"在蒙德里安的家，他创作了一系列现在看来普通，在当时却极为先进的作品，将线条、明暗和几何结构从普通的生活画面中截取了出来。","b":false,"xe":"In Mondrian's home, he created a series of works that look ordinary today but were extremely advanced for their time — extracting lines, light and shadow, and geometric structures from ordinary scenes of life."},{"t":"img","f":"img-13","w":726,"h":1000},{"t":"p","x":"Chez Mondrian 1926","b":false,"xe":"Chez Mondrian 1926"},{"t":"p","x":"下面这幅《蒙德里安的烟斗和眼镜》以近40万美金的价格被藏家收藏。","b":false,"xe":"The piece below, \"Mondrian's Pipe and Glasses,\" was collected for nearly 400,000 US dollars."},{"t":"img","f":"img-14","w":1000,"h":803},{"t":"p","x":"Mondrian's Glasses and Pipe 1926","b":false,"xe":"Mondrian's Glasses and Pipe 1926"},{"t":"p","x":"他的作品，处处体现着摄影师敏锐的观察力。","b":false,"xe":"His works everywhere demonstrate the photographer's keen power of observation."},{"t":"img","f":"img-15","w":712,"h":1000},{"t":"p","x":"Quai Voltaire 1928","b":false,"xe":"Quai Voltaire 1928"},{"t":"p","x":"他的街拍作品，除了巧妙的几何构图，还常常需要耐心的等待，以拍摄到丝毫不差的精彩一刻，对布列松有很深的影响。","b":false,"xe":"His street photography, besides its ingenious geometric composition, often required patient waiting to capture the flawless, decisive moment — a profound influence on Cartier-Bresson."},{"t":"img","f":"img-16","w":707,"h":1000},{"t":"p","x":"Meudon 1928","b":false,"xe":"Meudon 1928"},{"t":"p","x":"摄影是简单的，简单到难以置信。柯特兹曾经自述：“我从未跑到大老远寻找素材，他们时常就在我家门口的台阶上”。","b":false,"xe":"Photography is simple — unbelievably simple. Kertész once said of himself: \"I have never run far to look for material; it is often right on the steps outside my door.\""},{"t":"img","f":"img-17","w":1000,"h":785},{"t":"p","x":"Broken Glass, Paris 1929","b":false,"xe":"Broken Glass, Paris 1929"},{"t":"p","x":"评论家形容到：“他的照片简单的像是骗人。而令人咋舌的是，他从一开始拍就是这个样子”。","b":false,"xe":"Critics described him: \"His photos are so simple they seem like cheating. Astonishingly, he photographed this way from the very beginning.\""},{"t":"img","f":"img-18","w":746,"h":1000},{"t":"p","x":"Lyons 1931","b":false,"xe":"Lyons 1931"},{"t":"p","x":"和布列松阳刚的构图和严苛的构造不同，安德烈的作品显得更加随性柔和。","b":false,"xe":"Unlike Cartier-Bresson's masculine, rigorously constructed compositions, André's works appear more spontaneous and gentle."},{"t":"img","f":"img-19","w":638,"h":1000},{"t":"p","x":"Le Pont des Arts, Paris, 1933","b":false,"xe":"Le Pont des Arts, Paris, 1933"},{"t":"p","x":"但在这简单、随性的构图中，却蕴含着一种诗意。","b":false,"xe":"Yet within this simple, casual composition lies a kind of poetry."},{"t":"img","f":"img-20","w":773,"h":1000},{"t":"p","x":"Poughkeepsie,New York,1937","b":false,"xe":"Poughkeepsie,New York,1937"},{"t":"p","x":"交织的线条和色块，仿佛充满了音乐的节奏。","b":false,"xe":"Interwoven lines and blocks of color, as if filled with musical rhythm."},{"t":"img","f":"img-21","w":1000,"h":624},{"t":"p","x":"Elevated Train Platform, New York 1937","b":false,"xe":"Elevated Train Platform, New York 1937"},{"t":"p","x":"除了街拍，让柯特兹名留摄影史的，还有他一系列的视觉“扭曲”作品，探索了创新的视觉表达方式，并蕴含深意。","b":false,"xe":"Beyond street photography, what earned Kertész his place in photographic history was his series of visual \"distortion\" works, exploring innovative visual expression with profound meaning."},{"t":"img","f":"img-22","w":709,"h":1000},{"t":"p","x":"Melancholic Tulip 1939","b":false,"xe":"Melancholic Tulip 1939"},{"t":"p","x":"43岁是柯特兹人生的转折点。他不顾朋友的劝告，决定离开巴黎前往美国，去履行一个工作合同。但合约中止后，他却因为第二次世界大战的爆发，再也回不了法国。","b":false,"xe":"The age of 43 was the turning point of Kertész's life. Against his friends' advice, he decided to leave Paris for America to fulfill a work contract. But after the contract ended, the outbreak of World War II made it impossible for him to return to France."},{"t":"img","f":"img-23","w":804,"h":1000},{"t":"p","x":"New York 1944","b":false,"xe":"New York 1944"},{"t":"p","x":"在巴黎被尊为大师的它，在美国却不受重视，变得默默无闻。","b":false,"xe":"Honored as a master in Paris, he was ignored in America and fell into obscurity."},{"t":"img","f":"img-24","w":618,"h":1000},{"t":"p","x":"Watchmaker’s Shop New York 1950","b":false,"xe":"Watchmaker’s Shop New York 1950"},{"t":"p","x":"当时美国的摄影界只懂得技术至上的纪录性照片，而不懂表达性的创作摄影，根本没有美术馆邀请柯特兹办展。","b":false,"xe":"The American photography world of that time only understood technique-first documentary photos, not expressive creative photography — no museum invited Kertész to exhibit."},{"t":"img","f":"img-25","w":720,"h":1000},{"t":"p","x":"Washington Square, New York 1954","b":false,"xe":"Washington Square, New York 1954"},{"t":"p","x":"虎落平阳的柯特兹，迫于生计的到《LIFE》杂志求职，没想到《LIFE》的编辑认为他的照片“说得太多，反倒使意图不够明显。” 柯特兹一气之下，决定一辈子都不愿把作品登在LIFE上。窘迫的他，当时只能靠拍摄家具照片谋生。","b":false,"xe":"A tiger stranded on the plains, Kertész was forced by livelihood to apply for a job at LIFE magazine — only for LIFE's editors to judge his photos as \"saying too much, making the intent unclear.\" In anger, Kertész decided he would never publish in LIFE for the rest of his life. In those hard years, he could only make a living photographing furniture."},{"t":"img","f":"img-26","w":655,"h":1000},{"t":"p","x":"Washington square 1966","b":false,"xe":"Washington square 1966"},{"t":"p","x":"在漫长的岁月中，柯特兹仍然坚定而孤独的拍摄他直觉观察到的生活片段，并没有因为不被理解而改变自我。","b":false,"xe":"Through the long years, Kertész kept photographing the fragments of life he observed by intuition — steadfast and solitary — never changing himself because he was misunderstood."},{"t":"img","f":"img-27","w":569,"h":1000},{"t":"p","x":"Rainy Day, Tokyo 1968","b":false,"xe":"Rainy Day, Tokyo 1968"},{"t":"p","x":"直到美国的摄影慢慢走向成熟时，大家才惊讶地发现，自己的国度里竞然有这么一位牛逼的人物存在。1964年，美国现代艺术博物馆为他办了回顾展，一系列的全球展览随之展开，鲜花和掌声再次充斥在柯特兹的身边。","b":false,"xe":"Not until American photography slowly matured did people discover with astonishment that such an extraordinary figure had been living in their own country all along. In 1964, the Museum of Modern Art held a retrospective for him; a series of global exhibitions followed, and flowers and applause surrounded Kertész once again."},{"t":"img","f":"img-28","w":716,"h":1000},{"t":"p","x":"New York 1970","b":false,"xe":"New York 1970"},{"t":"p","x":"柯特兹晚年的作品，饱含了经历过世间百态、人生起伏后的情感隐喻。","b":false,"xe":"Kertész's late works are full of emotional metaphors born of experiencing all the vicissitudes of life."},{"t":"img","f":"img-29","w":807,"h":1000},{"t":"p","x":"New York 1972","b":false,"xe":"New York 1972"},{"t":"p","x":"每一个曾经经历过孤独的人，看到柯特兹晚年的作品，都会感到深深的共鸣。无论潮流如何改变，他都孤独的坚持着他的摄影哲学，截取着平凡生活中的诗意瞬间。","b":false,"xe":"Anyone who has ever experienced loneliness will feel deep resonance with Kertész's late works. No matter how trends changed, he stubbornly held to his photographic philosophy in solitude, cutting poetic moments out of ordinary life."},{"t":"img","f":"img-30","w":1000,"h":762},{"t":"p","x":"The Balcony, Martinique, 1972","b":false,"xe":"The Balcony, Martinique, 1972"},{"t":"p","x":"《摄影名家作品欣赏》系列：","b":false,"xe":"\"Appreciating the Masters of Photography\" series:"},{"t":"p","x":"1. 平凡中的诗意瞬间 - 安德烈·柯特兹","b":false,"xe":"1. Poetic Moments in the Ordinary — André Kertész"},{"t":"p","x":"“摄影名家作品欣赏”是托马斯新开的一个版块，意在提升审美并扩展视野，不仅将选取摄影史上的经典照片，还会包括当今各个摄影领域、风格和媒介上最活跃和最顶尖的摄影师作品。","b":false,"xe":"\"Appreciating the Masters of Photography\" is a new column by Thomas, aimed at improving aesthetics and broadening horizons. It features not only classic photos from photographic history, but also works by the most active and top photographers across every field, style, and medium today."},{"t":"video"},{"t":"h","x":"欢迎关注@Thomas看看世界，","xe":"Follow @Thomas Chu Photo,"},{"t":"h","x":"每周学会一个摄影技能。","xe":"and learn one photography skill every week."}],"titleEn":"Poetic Moments in the Ordinary: The Photography of Andre Kertesz"}