art

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I copied and pasted the paragraphs and I need help rephrasing and make it by my own words and I also need help adding article reference at the end for both artists and might need little bit more word on each paragraph.

A THOUSAND MILES AWAY

Presents

A Photography Artwork of

André Kertész

André Kertész was an American / Hungarian photographer who emerged as one of the most influential practitioners of the medium. Prizing emotional impact over technique, he famously remarked, “I just walk around, observing the subject from various angles until the picture elements arrange themselves into a composition that pleases my eye.” Kertész remains best known for his contributions to photojournalism, Kertész is revered for the clarity of his style and his emotional connections with his subjects.

At early to mid-1900s, his great artwork was the subject of many publications and exhibitions, including solo exhibitions at the Bibliotheque National in Paris and at the Museum of Modern Art, and a major retrospective, Of Paris and New York, at the Art Institute of Chicago and the Metropolitan Museum of Art. Among his many honors and awards were a Guggenheim Fellowship and admission to the French Legion of Honor.

André Kertész

Place Gambetta, Paris , 1929

André Kertész André Kertész

Glass Distortion, Paris, 1943 Washington Square at Night (flipped negative) 1954

(A Theme of a Modern Geometric Shapes)

Kertész is revered for the clarity of his style and his emotional connections with his subjects. Reared on the languages of rational and irrational modernism-  Mondrian and  Surrealists for instance - his compositions often sought out and the geometric lines and patterns that would complement and/or alter the picture content. He used his camera lens to freeze time and to turn and opportune street scene, or staged, fixed, object(s), into something metaphorical and permanent.

Manuel Álvarez Bravo

(A Style of His Own)

A self-taught photographer, Manuel Alvarez Bravo purchased his first camera at age twenty while working at a government job. His earliest success at photography came around 1925, when he won first prize in a local photographic competition in Oaxaca. He returned to Mexico City, where he had been born, and in 1927 met Tina Modotti, who introduced him to a lively intellectual and cultural environment of other artists from various disciplines. Among them was Edward Weston, who encouraged Alvarez Bravo to continue photographing; Weston wrote to him in 1929: "Photography is fortunate in having someone with your viewpoint. It is not often I am stimulated to enthusiasm over a group of photographs."

Manuel Álvarez Bravo

Señor de Papantla, 1934

Manuel Álvarez Bravo

Herramientas, 1931

Manuel Álvarez Bravo

Juego de Papel (Paper Game), 1926–1927

(A love for Black and White)

Manuel Bravo’s work is considered some of the most important photography in 20th-century Latin America. Bravo’s most acclaimed images are black-and-white depictions of nudes, folk art, and street scenes imbued with a surreal or supernatural presence. A noted portraitist, he also captured a series of compelling photographs of the Mexican artists  Frida Kahlo and  Diego Rivera. Born on February 4, 1902, in Mexico City, Mexico, he studied art at the Academy of San Carlos but was mostly a self-taught photographer. He was later introduced to  Edward Weston by the Italian artist  Tina Modotti in Mexico City, who both encouraged Bravo to develop his practice. He went on to have over 150 solo exhibitions and 200 group exhibitions, including The Museum of Modern Art’s famed The Family of Man exhibition of 1955, curated by  Edward Steichen. In 2001, the J. Paul Getty Museum in Los Angeles hosted a retrospective of Bravo’s work. His photographs can be found in the Art Institute of Chicago, the Metropolitan Museum of Art in New York, the Victoria & Albert Museum in London, and the Los Angeles County Museum of Art, among others. Bravo died on October 19, 2002, in Mexico City, Mexico.

“A photographer’s main instrument is his eyes”

Manuel Álvarez Bravo and André Kertész’ s Photography style was based on what they felt and the involvement of their emotions, at early 1990’s Photojournalism was in its golden years during the world war, both focused on detailed repeated subjects and the shading within their black and white photos made them a great photographer to be presented together in the (A thousand Miles Away) virtual museum.