Andre Kertesz, born to a Jewish middle-class Hungarian family, was one of the most innovative photographers of the early 20th century, and inspired a generation of artists. Early in his career Kertész gained prominence in Europe, but recognition eluded him for many for decades after moving to America in the 1930s. In America, Kertész to pushed the boundaries of the medium through his photojournalism, fine art photography, and as a pioneer of the small format camera. His photographs are as much psychological as structural and have influenced a generation. The great Cartier-Bresson said, 'We all owe something to Kertész.rise of fascism in Europe in the 1930s, left Kertész with few commissions. In the mid-1930s, he was invited to the US by the Keystone Agency who engaged Kertész as a staff photographer. Despite his innovativeness and success in Europe, the contract resulted in very few commissions. Kertész opted to pursue personal interest in photography as art. Although Kertész lived in Paris during the 1920s, the golden age of Surrealism in France, he remained on the outskirts of that community. In late 1930s America, however, the artistic community became fascinated with Surrealism through a series of exhibitions, most importantly, through a MoMA exhibition entitled, Art, Dada, Surrealism in 1936. Kertész's King Solomon (Egg Slicer), 1941, represents Kertész response to America's acceptance of surrealism. However, from the mid-1930s the aesthetics and conceptual considerations of surrealism are seen throughout his body of work. Ultimately, this photograph represents a transitional moment for the artist.