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Exhibition: ‘Eugène Atget, Paris’ at the Carnavalet Museum, Paris

Exhibition dates: 25th April – 29th July 2012

Eugène Atget (French, 1857-1927)
Heurtoir à tête de lion, hôtel de la Monnaie, quai Conti, 6e arrondissement
(Lion head knocker, Hotel Monnaie, Quai Conti, 6th District)
September 1900
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet/ Roger-Viollet

More photographs from the master, including some of the less well known figurative work. The exhibition has been rating its socks off, with long queues and people being stopped from entering until the crowds inside have dissipated, so that people can actually see the small prints. Being a Leo the image of the lion’s head (Heurtoir à tête de lion, 1900, above) is my favourite in the posting, which is why it’s at the top. Owning an Atget. It has a nice ring to it. Just imagine owning this Atget. I would be in a spin for days!

Dr Marcus Bunyan

Many thankx to the Carnavalet Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Eugène Atget (French, 1857-1927)
Chevet de l’église Saint-Séverin, rue Saint-Jacques, 5ème arrondissement, Paris
1908
Albumen paper print
Musée Carnavalet, Histoire de Paris
CC0 Paris Musées / Musée Carnavalet – Histoire de Paris

Eugène Atget (French, 1857-1927)
La Conciergerie et la Seine, brouillard en hiver, 1er arrondissement
(The Conciergerie and the Seine, fog in winter, 1st district)
1923
Print on matte albumen paper
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Coin de la rue Valette et Pantheon, 5e arrondissement, matinee de mars
1925
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Le Dôme, boulevard Montparnasse
June 1925
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Rue Hautefeuille, 6e arrondissement
1898
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Fontaine de l’Observatoire, par le sculpteur Carpeaux, jardin Marco-Polo, vue prise vers le jardin du Luxembourg, 6e arrondissement
(Fountain of the Observatory, by the sculptor Carpeaux, Marco Polo Garden, view towards the Luxembourg gardens, the sixth borough)
1902
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Cabaret au Tambour, 62 quai de la Tournelle, 5th arrodissement
1908
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

In spring 2012, the Carnavalet Museum presents the Parisian work of one of the most famous photographers of the 20th century, Eugène Atget (Libourne, 1857 – Paris, 1927). The exhibition proposes a selection of 230 prints created in Paris between 1898 and 1927 from the collections of the Carnavalet Museum, in addition to those of the George Eastman House in Rochester and the collections of the Fundación Mapfre in Madrid.

This retrospective, which brings together some well-known images and others previously unseen, paints an unusual portrait of the capital, far from the clichés of the Belle Époque. Visitors will discover the streets of the Paris of old, the gardens, the quays of the Seine, the former boutiques and the travelling salesmen. Atget’s photographs also reveal the changes in his processes: when he started out, this self-taught photographer tried to bring together landscapes and motifs and then images of Paris streets, in order to sell them to artists as models. It was when he dedicated himself to the streets of Paris that he attracted the attention of prestigious institutions such as the Carnavalet Museum and the National Library, which were to become his main clients until the end of his life.

In addition, one room in the exhibition is dedicated to the presentation of a series of 43 photograph prints, collected in the 1920s by the American artist Man Ray. This album, which is currently kept in Rochester (United States), allows visitors to gain a better understanding of Atget’s influence on the Surrealists. Reflecting on Atget’s prints, the public will also discover the work of Emmanuel Pottier (Meslaydu-Maine, 1864 – Paris, 1921), his practically unknown contemporary who, like other photographers, explored the subject of picturesque Paris.

Press release from the Carnavalet Museum website

Eugène Atget (French, 1857-1927)
Hôtel des abbés de Fecamp, 3 rue Hautefeuille, 6ème arrondissement, Paris
1902
Albumen paper print
Musée Carnavalet, Histoire de Paris
CC0 Paris Musées / Musée Carnavalet – Histoire de Paris

Eugène Atget (French, 1857-1927)
Porte d’Asnières (gate), Cité Valmy (17th arr.), chiffonniers (rag-and-bone men)
1913
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget is known for his views of Paris streets and parks from the early 20th century. Equipped with a tripod, an 18 x 24 cm camera, glass plates with the same dimensions and a black cover, he captured street scenes, beautiful façades or out-of-the-way courtyards. The Carnavalet Museum was one of his first clients and conserves over 9,100 prints by this photographer.

In 1913, Atget became interested in a section of Paris that was scheduled to disappear. This was the “Zone”, unbuildable land that extended beyond the old fortifications built under Louis Philippe between 1841 and 1844. From the beginning, this area was the totally illegal refuge for the poorest of the poor, in particular day labourers and ragmen. They lived there and developed their activities of collection and sorting. Atget’s photos reveal the precarious circumstances of the families that lived and worked in these insalubrious lodgings, without dwelling on their misery. A place with a sulfurous and disquieting reputation, the Zone is represented without pathos or romanticism.

Text from the Carnavalet website

Eugène Atget (French, 1857-1927)
Chanteuse de rue et joueur d’orgue de Barbarie
(Street singer and organ player of Barbary)
1898
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Marchand ambulant, place Saint-Médard, 5e arrondissement
(Peddler, Place Saint-Médard, 5th District)
Septembre 1899
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Chiffonier (Ragpicker)
1899
Albumen paper print
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
Cabaret “Au Port Salut,” marchande de coquillages, rue des Fossés-Saint-Jacques, 5e arrondissement
(Cabaret “At Port Salut,” Merchant of shells, Rue des Fosses-Saint-Jacques, 5th District)
1903
Albumen print mounted on blue grey cardboard
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

Eugène Atget (French, 1857-1927)
“Hotel des Deux Lions”, rue des Ursins, 4ème arrondissement, Paris
1923
Musée Carnavalet, Histoire de Paris
CC0 Paris Musées / Musée Carnavalet – Histoire de Paris

Eugène Atget (French, 1857-1927)
Rue Asseline
1924-1925
Gelatin aristotype
Collection Man Ray 1926
© Eugène Atget/Album de Man Ray, George Eastman House

Carnavalet Museum
23, rue de Sévigné
75003 Paris
Phone: 01 44 59 58 58

Tuesday – Sunday 10am – 6pm,
except Mondays and public holidays

Carnavalet Museum website

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Exhibition: ‘William Eggleston, Paris’ at Fondation Cartier, Paris

Exhibition dates: 4th April – 21st June, 2009

William Eggleston (American, b. 1939)
Untitled from the Paris series
2006-2008
Colour print
27.9 x 35.6cm
Series of 32 works: 27 colour prints, 4 diptychs and 1 painting
Commission for the exhibition William Eggleston, Paris, Fondation Cartier pour l’art contemporain, Paris, 2009
Gift of the artist 2009
© Eggleston Artistic Trust, Memphis

Perhaps it’s just me, but I seem to have become a little jaded towards the recent photographs of William Eggleston.

Other than the green reflection of lights in rainwater (above) the photographs seem to have lost their unique voice, the social insight that gave his earlier work it’s zing – provocative images that challenged how we live through a meditation on subject matter, construction of space, and tone of “colour”. How the colour that surrounds us inflects our very being.

In these photographs it feels like there has been little development in his style over the years with a consequent lessening of their visual impact. Now Eggleston’s colour just feels like a party trick, performed by rote with little consequential meaning to either the colour or the image. Perhaps the way we look at the world (and how we picture it) has finally overtaken the director’s prescient creative vision – his auteurship, his authorship.

Dr Marcus Bunyan

Many thankx to the Fondation Cartier for allowing me to publish the photographs in the posting.

“In Eggleston’s best work, the work that made him famous, color is intrinsic to the meaning of the photograph. Its not simply a garnish to draw the eye. His best photographs are not ‘about’ the color; they are about larger issues that the color is used in the service of. This is whats missing in his Paris pictures. The color here is pure ornament, eye candy to seduce you into forgetting that the picture has nothing to say.”

Anonymous. “William Eggleston Mails It In From Paris,” on the Leicaphilia website April 21, 2014 [Online] Cited 06/02/2019

William Eggleston (American, b. 1939) 'Untitled', Paris series, 2006-2008

William Eggleston (American, b. 1939)
Untitled from the Ωris series
2006-2008
Colour print
27.9 x 35.6cm
Series of 32 works: 27 colour prints, 4 diptychs and 1 painting
Commission for the exhibition William Eggleston, Paris, Fondation Cartier pour l’art contemporain, Paris, 2009
Gift of the artist 2009
© Eggleston Artistic Trust, Memphis

For the last three years, American photographer William Eggleston has photographed the city of Paris as part of a commission for the Fondation Cartier pour l’art contemporain. Taken throughout different seasons, these new images by one of the fathers of colour photography portray the local and the cosmopolitan, the glamorous and the gritty, the everyday and the extraordinary.

This exhibition also provides an exceptional occasion to bring together William Eggleston’s distinctive pictures and his recent paintings, an unknown aspect of his work that has never before been presented to the public.

Text from the Fondation Cartier website

William Eggleston (American, b. 1939)
Untitled from the Paris series
2006-2008
Colour print
35.6 x 27.9cm
Series of 32 works: 27 colour prints, 4 diptychs and 1 painting
Commission for the exhibition William Eggleston, Paris, Fondation Cartier pour l’art contemporain, Paris, 2009
Gift of the artist 2009
© Eggleston Artistic Trust, Memphis

William Eggleston’s recent book Paris, published by Steidl and commissioned by Foundation Cartier, is a collective body of work that comprises his oeuvre of color drawings and recent Paris photographs. Similar to Ben Shahn, Charles Scheeler, Diego Rivera, Man Ray, Robert Rauschenberg and Ed Ruscha, Eggleston has reached out beyond photography to express his creative talents.

The photographs and drawings are intertwined throughout the book, creating an interesting visual cadence. The page spreads illustrate various layout designs, including a single image of either a photograph or drawing on a spread, pairs of drawings and photographs and pairs of drawing facing a photograph. All of the drawings and photographs are contained within the boundaries of the page. …

We know mostly of Eggleston’s photographs, but from the dating on one of the drawings included in this book, we can determine that Eggleston has been working with the drawing medium since 1968. It is interesting to speculate as to how one medium may have influenced the other for Eggleston. As an example, the earlier photographs by Shahn and Scheeler seem to have had an influence on how these two artists subsequently worked their framing, pictorial space, mass & line quality in their subsequent paintings.

The Paris photographs that Eggleston made of graffiti or his tight framing in conjunction with a longer lens to compress the pictorial space are visually similar in style to his drawings. The subjects he photographs are framed to create similar vibrant color masses and lines as his drawing, abstracting reality into basic graphic components. …

Eggleston’s photographs are constructed like spontaneous glances; partial views of what might be consider a traditional subject, creating color abstractions of lines, patterns and mass. Trees, pipes, people, walls, garbage, décor, wall paper, display windows are bisected and truncated, with edges and lines following out of the photographs borders. These images seem to be created by a restless and nervous energy.

With these drawings, paintings and photographs, Eggleston shows a interesting handling of these mediums and offers an insight as to how influential the period of Abstract Expressionism is to his photographic process.

Extract from Douglas Stockdale. “William Eggleston – Paris,” on The PhotoBook Journal website September 12, 2009 [Online] Cited 06/02/2019