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Eugène Atget

French Photographer

Eugène Atget Photo

Born: February 12, 1857 - Libourne, France

Died: August 4, 1927 - Paris, France

"I can honestly say that I have captured all of old Paris."

Summary of Eugène Atget

A photograph shows the inside of the display of a clothing store like a parody of a theatrical space, where the photographer plays with ambiguity: while the vitrine triggers desire, the glass physically isolates the consumer who contemplates his own reflection mingled with the spectacle of the commodity. Direct, yet enigmatic, images by Eugène Atget earned him the title of "a modern art master" in his use of photography not only for aesthetic ends, but in order to detach the image from its social and cultural referent. Above and beyond their subjects, his photographs are regarded as the bridge between 19th century topographic photography and the so-called art documentary of the 20th century. His work expresses an uncompromising vision that took less account of technical precision, but rather focused on creating a record of pictorial space.

Key Ideas

Atget used photography to describe the different aspects of Paris opposed in many respects to the forms taken on by large-scale modernization. He chose specifically typical architecture before transformation, and small trades or "petits métiers" such as "ice-cream vendors", "wire-basket merchants" or "violet sellers" before their abolition.
His framings and light treatment explore new perspectives in photography that allowed for both recording the historical documents of the world, and also subtly commented on the images represented. His compositions avoid famous landsmarks in order to focus on a smaller scale, sharing his own sense of vision.
Paradoxically, he invented an innovative documentary aesthetic by using an old-fashioned wooden camera with a rapid rectilinear lens and the 18x24cm glass negatives that were common at this time. The combined weight of the equipment was around 20 kilos, a burden that Atget had to constantly carry with him when he explored the streets of old Paris by foot, descending the metro staircases, or when he travelled out to the suburbs by train. Ironically, in light of this burdensome camera, his work is associated with the modern figure of the carefree flâneur.
Considering himself an artisan, Atget has become one of a cardinal references in the Surrealist art movement, while at the same time Man Ray and Berenice Abbott helped reveal his importance to photography. He destabilizes the fixed categories of photographic realism and art, combining and contrasting both dream-like qualities and documentary purposes.
More than any previous photographer, and probably even artist, Atget fullfilled Charles Baudelaire's maxim: "That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity - that is to say, the unexpected, surprise and astonishment - are an essential part and characteristic of beauty."
Atget made 10,000 negatives from which he produced and sold an estimated 25,000 prints to individuals and institutions. His system for organizing this massive archive consists of classifying his work not by date or places but by topics such as landscapes, architectures, portraits or interiors.
Eugène Atget Photo

Jean Eugène Auguste Atget was born in Libourne (France) to working-class parents, Jean-Eugène Atget, a carriage maker and saddler, and Clara-Adeline Atget. His father changed careers to be a traveling salesman only to die a few years later on business. Shortly after, his mother, Clara, died as well. Faced with a harsh and unforgiving childhood, which left him orphaned at the age of five-years-old, he was raised by his elderly grandparents, Victoire and Auguste Hourlier, who lived in Bordeaux, France. Atget soon joined the seafaring life as a cabin boy.

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