nc33/multispan_quoref huggingface dataset:
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person who found critical and commercial success in Paris?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person dubbed "Brother Seer" and "Brother Seeing Eye" by Paul Dermée?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person who was fascinated by the Cubism movement?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person who created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person whose uncle died shortly after he went to Paris?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person whose work gained publication in Germany?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person whose 30 photographs were presented by Slivinsky at the "Sacre du Printemps Gallery?"
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the first name of the person who had become connected with members of the growing Dada movement?
Answer: André
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person who was dubbed "Brother Seer?"
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What is the last name of the person who was dubbed "Brother Seeing Eye?"
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What was the last name of the person who was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces?
Answer: Kertész
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Question: What was the last name of the person who created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein?
Answer: Kertész
Toward the end of 1961, Kertész broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again.  This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry.  Later in 1963, his work was shown in Paris at the Bibliothèque nationale de France. He later visited Argentina to see his younger brother Jenő for the first time in years.  Kertész experimented with color photographs, but only produced a few.
In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show. With his work critically acclaimed, Kertész gained recognition in the photographic world as an important artist. 
The work of Kertész was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertész was appointed as a member of the American Society of Media Photographers.
His awards rapidly accumulated: 
1974, Guggenheim Fellowship;
1974, Commander of the French Ordre des Arts et des Lettres;
1977, Mayor's Award of Honor for Arts and Culture in New York,
1980 the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and
1981, honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture that year.During this period, Kertész produced a number of new books.  He was able to recover some of the negatives he had left in France decades before.
Despite his successes, Kertész still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions, especially Japan, and rekindling friendships with other artists. To deal with the loss of his wife in 1977, Kertész fell back on his new network of friends, often visiting them to talk. By this time, he was said to have learned basic English and talked in what his friends called "Kertészian", a mixture of Hungarian, English and French.In 1979, the Polaroid Corporation gave him one of their new SX-70 cameras, which he experimented with into the 1980s. Still growing in fame, Kertész was granted the National Grand Prize of Photography in Paris in 1982, as well as the 21st Annual George Washington Award from the American Hungarian Foundation the same year.

Question: What is the last name of the person who was awarded a gold medal for his dedication to the photographic industry.?
Answer: Kertész
Toward the end of 1961, Kertész broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again.  This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry.  Later in 1963, his work was shown in Paris at the Bibliothèque nationale de France. He later visited Argentina to see his younger brother Jenő for the first time in years.  Kertész experimented with color photographs, but only produced a few.
In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show. With his work critically acclaimed, Kertész gained recognition in the photographic world as an important artist. 
The work of Kertész was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertész was appointed as a member of the American Society of Media Photographers.
His awards rapidly accumulated: 
1974, Guggenheim Fellowship;
1974, Commander of the French Ordre des Arts et des Lettres;
1977, Mayor's Award of Honor for Arts and Culture in New York,
1980 the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and
1981, honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture that year.During this period, Kertész produced a number of new books.  He was able to recover some of the negatives he had left in France decades before.
Despite his successes, Kertész still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions, especially Japan, and rekindling friendships with other artists. To deal with the loss of his wife in 1977, Kertész fell back on his new network of friends, often visiting them to talk. By this time, he was said to have learned basic English and talked in what his friends called "Kertészian", a mixture of Hungarian, English and French.In 1979, the Polaroid Corporation gave him one of their new SX-70 cameras, which he experimented with into the 1980s. Still growing in fame, Kertész was granted the National Grand Prize of Photography in Paris in 1982, as well as the 21st Annual George Washington Award from the American Hungarian Foundation the same year.

Question: What is the last name of the person who won the Guggenheim Fellowship?
Answer: Kertész
Toward the end of 1961, Kertész broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again.  This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry.  Later in 1963, his work was shown in Paris at the Bibliothèque nationale de France. He later visited Argentina to see his younger brother Jenő for the first time in years.  Kertész experimented with color photographs, but only produced a few.
In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show. With his work critically acclaimed, Kertész gained recognition in the photographic world as an important artist. 
The work of Kertész was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertész was appointed as a member of the American Society of Media Photographers.
His awards rapidly accumulated: 
1974, Guggenheim Fellowship;
1974, Commander of the French Ordre des Arts et des Lettres;
1977, Mayor's Award of Honor for Arts and Culture in New York,
1980 the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and
1981, honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture that year.During this period, Kertész produced a number of new books.  He was able to recover some of the negatives he had left in France decades before.
Despite his successes, Kertész still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions, especially Japan, and rekindling friendships with other artists. To deal with the loss of his wife in 1977, Kertész fell back on his new network of friends, often visiting them to talk. By this time, he was said to have learned basic English and talked in what his friends called "Kertészian", a mixture of Hungarian, English and French.In 1979, the Polaroid Corporation gave him one of their new SX-70 cameras, which he experimented with into the 1980s. Still growing in fame, Kertész was granted the National Grand Prize of Photography in Paris in 1982, as well as the 21st Annual George Washington Award from the American Hungarian Foundation the same year.

Question: What is the last name of the person who won the Mayor's Award of Honor for Arts and Culture in New York?
Answer: Kertész
Toward the end of 1961, Kertész broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again.  This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry.  Later in 1963, his work was shown in Paris at the Bibliothèque nationale de France. He later visited Argentina to see his younger brother Jenő for the first time in years.  Kertész experimented with color photographs, but only produced a few.
In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show. With his work critically acclaimed, Kertész gained recognition in the photographic world as an important artist. 
The work of Kertész was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertész was appointed as a member of the American Society of Media Photographers.
His awards rapidly accumulated: 
1974, Guggenheim Fellowship;
1974, Commander of the French Ordre des Arts et des Lettres;
1977, Mayor's Award of Honor for Arts and Culture in New York,
1980 the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and
1981, honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture that year.During this period, Kertész produced a number of new books.  He was able to recover some of the negatives he had left in France decades before.
Despite his successes, Kertész still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions, especially Japan, and rekindling friendships with other artists. To deal with the loss of his wife in 1977, Kertész fell back on his new network of friends, often visiting them to talk. By this time, he was said to have learned basic English and talked in what his friends called "Kertészian", a mixture of Hungarian, English and French.In 1979, the Polaroid Corporation gave him one of their new SX-70 cameras, which he experimented with into the 1980s. Still growing in fame, Kertész was granted the National Grand Prize of Photography in Paris in 1982, as well as the 21st Annual George Washington Award from the American Hungarian Foundation the same year.

Question: What is the last name of the person who was able to recover some of the negatives he had left in France?
Answer: Kertész
Toward the end of 1961, Kertész broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again.  This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry.  Later in 1963, his work was shown in Paris at the Bibliothèque nationale de France. He later visited Argentina to see his younger brother Jenő for the first time in years.  Kertész experimented with color photographs, but only produced a few.
In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show. With his work critically acclaimed, Kertész gained recognition in the photographic world as an important artist. 
The work of Kertész was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertész was appointed as a member of the American Society of Media Photographers.
His awards rapidly accumulated: 
1974, Guggenheim Fellowship;
1974, Commander of the French Ordre des Arts et des Lettres;
1977, Mayor's Award of Honor for Arts and Culture in New York,
1980 the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and
1981, honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture that year.During this period, Kertész produced a number of new books.  He was able to recover some of the negatives he had left in France decades before.
Despite his successes, Kertész still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions, especially Japan, and rekindling friendships with other artists. To deal with the loss of his wife in 1977, Kertész fell back on his new network of friends, often visiting them to talk. By this time, he was said to have learned basic English and talked in what his friends called "Kertészian", a mixture of Hungarian, English and French.In 1979, the Polaroid Corporation gave him one of their new SX-70 cameras, which he experimented with into the 1980s. Still growing in fame, Kertész was granted the National Grand Prize of Photography in Paris in 1982, as well as the 21st Annual George Washington Award from the American Hungarian Foundation the same year.

Question: What is the last name of the person who won the Medal of the City of Paris?
Answer: Kertész