Posts Tagged ‘French documentary photography

07
Aug
20

Text: “Atget’s shadow,” on his Paris photographs

August 2020

 

Eugène Atget (French, 1857-1927) 'Fontaine des Quatre-Parties-du-Monde, Jardin Marco Polo, Paris' 1907

 

Eugène Atget (French, 1857-1927)
Fontaine des Quatre-Parties-du-Monde, Jardin Marco Polo, Paris
1907
Albumen silver print

 

 

Atget’s shadow

A delicious posting on the work of the French photographer Eugène Atget (1857-1927). Atget’s photographs bridge the gap between subjective and objective representation – on the one hand extolling the subjective quality of art as an expression of the artist’s inner self; but on the other, providing a rejection of artistic consciousness, his objective “documents for artists” appealing to the Surrealists who used his images in publications such as Révolution Surréaliste.

In their presence, the photographs of Atget proffer an intimate in/tension (intention) – between representation and abstraction, documentary and modern, ordinary and dream. His photography, “which focussed on seemingly ordinary sights on the streets of Paris – a door knocker, a mannequin, a window rail – is seen as a forerunner of Surrealist and modern approaches to photography.”1

Further, “The critic and philosopher Walter Benjamin famously invoked crime scenes in discussing Atget’s photographs. He was pointing to their emptiness, their clinical attention to details of the urban landscape, their absolute rejection of the sentimental and the grandiose. … In Atget’s Paris, “the city is evacuated, like an apartment that hasn’t yet found its new tenant,” Benjamin wrote.”2

And yet, there is always something of the artist in every photograph, no matter how criminal the raping of time.

Thinking of my latest body of work “A Day in the Tiergarten”, my current research into parks and photographers, and then looking at Atget’s photographs of parks, I believe that the “park” with Atget takes some of its meaning from the ownership of the parks and the royalty / citizen system that was in place at the time AND what that might allow. Here is the photographer bearing his heavy camera like a tramp on the road, wandering in an empty domain owned by a higher power – and using its magnificence to discover more about the self searching vagabond.

Sometimes the question: “is there anyone here” is answered like Cocteau in Beauty and the Beast, and the answer is: “yes there is – yourself” says the (objective) camera. Sometimes, in other ways, the photographer goes nearly crazy with the possibilities of photography: what is the truth about my presence, the presence of a rock, or the sky? Yes, there is you, but in saying that it opens up all these other (subjective) possibilities. The options of inserting ourselves into representation, into what photography can hold, drives us crazy.

As Lee Friedlander observes, “The photographs of these places … are a hint, just a blink at a piece of the real world. At most, an aphrodisiac.”

Dr Marcus Bunyan

 

  1. “Surrealism did not always involve the strange and absurd. For example, the photography of Eugène Atget (1857-1927), which focussed on seemingly ordinary sights on the streets of Paris – a door knocker, a mannequin, a window rail – is seen as a forerunner of Surrealist and modern approaches to photography…Only a year before his death, in 1926, Atget was approached by Man Ray for approval to use his photograph, L’Eclipse – Avril 1912 for the front cover of the publication La Révolution Surréaliste. Despite protestations that, “these are simply documents I make”, Atget’s rejection of artistic self-consciousness combined with his pictures of an old, often hauntingly deserted Paris, appealed to Surrealists.”Anonymous. “Surrealist photography,” on the V&A website [Online] Cited 07/08/2020
  2. Anonymous. “Atget’s Paris, 100 years later,” on the Art Daily website 31/05/2020

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Please click on the photographs for a larger version of the image.

 

 

“The subject itself,” he wrote of landscape, “is simply perfect, and no matter how well you manage as a photographer, you will only ever give a hint as to how good the real thing is. We photographers don’t really make anything: we peck at the world and try to find something curious or wild or beautiful that might fit into what the medium of photography can hold.”

“The photographs of these places,” he added, “are a hint, just a blink at a piece of the real world. At most, an aphrodisiac.”

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Lee Friedlander

 

 

Eugène Atget (French, 1857-1927) 'Ancien Hotel dit de Sartine – 21 rue du Cherche-Midi, Paris' 1906

 

Eugène Atget (French, 1857-1927)
Ancien Hotel dit de Sartine – 21 rue du Cherche-Midi, Paris
1906
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Ancien Monastère des Bénédictins Anglais, 269 rue Saint-Jacques. Paris 5' 1900

 

Eugène Atget (French, 1857-1927)
Ancien Monastère des Bénédictins Anglais, 269 rue Saint-Jacques. Paris 5
1900
Albumen silver print

 

Eugène Atget. 'Hôtel du Maréchal de Tallard, 78 rue des Archives' c. 1898-1905

 

Eugène Atget (French, 1857-1927)
Hôtel du Maréchal de Tallard, 78 rue des Archives
c. 1898-1905
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Grille de l'ancien pavillon de chasse de Philippe-Égalité (Hospice Debrousse), 148 rue de Bagnolet. Paris 20' 1900

 

Eugène Atget (French, 1857-1927)
Grille de l’ancien pavillon de chasse de Philippe-Égalité (Hospice Debrousse), 148 rue de Bagnolet. Paris 20
1900
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Heurtoir, 19bis Rue Tournefort' 1906

 

Eugène Atget (French, 1857-1927)
Heurtoir, 19bis Rue Tournefort
1906
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Heurtoir, St. Étienne du Mont (Cherub Door Knocker)' 1909

 

Eugène Atget (French, 1857-1927)
Heurtoir, St. Étienne du Mont (Cherub Door Knocker)
1909
Albumen silver print

 

Eugène Atget (France 1857-1927) 'Heurtoir, 6 rue du Parc Royal' c. 1901-1914

 

Eugène Atget (French, 1857-1927)
Heurtoir, 6 rue du Parc Royal
c. 1901-1914
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'L'Oranger (with Shadow of Photographer and His Camera)' 1900

 

Eugène Atget (French, 1857-1927)
L’Oranger (with Shadow of Photographer and His Camera)
1900
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

 

The critic and philosopher Walter Benjamin famously invoked crime scenes in discussing Atget’s photographs. He was pointing to their emptiness, their clinical attention to details of the urban landscape, their absolute rejection of the sentimental and the grandiose.

As Benjamin observed, Atget established a beneficial “distance between man and his environment.” And Lima’s haunting updated recreations confirm the long-dead photographer’s disquieting insight – Paris doesn’t care about your presence. It is indifferent, and will certainly go on without you.

You can feel joy at standing on a Paris street, but the feeling is not reciprocated.

Atget, who was born in 1857, initially tried unsuccessfully at acting and painting. In 1890, he set up shop as a photographer, in order – as a sign over his door said – to provide “Documents for Artists.” He knew that painters needed images as models for their work, and he set about furnishing them.

For nearly three decades, he trudged through the city, bearing his heavy tripod and documenting a Paris of narrow streets and grime-covered low buildings that was already disappearing.

In 1920, Atget wrote: “I can say that I possess all of Old Paris.”

The world was mostly indifferent to Atget’s work until, several years before his death in 1927, he met a young American photographer, Berenice Abbott, who was working as an assistant to the artist Man Ray. She photographed him, wrote about him, acquired many of his prints and promoted him relentlessly for 50 years.

Today, Atget is recognised as a major figure in the history of photography.

The empty Paris of his prints looms out of the half-light of what seems like perpetual fog. His buildings are independent of people. They don’t even need them. Paris, the message seems to be, continues. It does not care about the individual presence. The city is not sentimental about humankind.

True, traces of humanity are ever-present in his pictures – torn advertising posters, artisanal shop signs, bins of vegetables, rows of boots. But these are only reminders that the city might once have been inhabited. And there are few people in the images to confirm this.

In Atget’s Paris, “the city is evacuated, like an apartment that hasn’t yet found its new tenant,” Benjamin wrote.

Compare that with the images from today. The occasional masked figures are incidental to the landscape. That they wear masks, hiding part of their faces, is a further denial of their humanity.

The “picturesque” – which Atget shunned, as Benjamin points out – is more difficult to avoid…”

Anonymous. “Atget’s Paris, 100 years later,” on the Art Daily website 31/05/2020

 

Eugène Atget (French, 1857-1927) 'Notre Dame (Stalles), Paris' 1905

 

Eugène Atget (French, 1857-1927)
Notre Dame (Stalles), Paris
1905
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Notre Dame, Paris' 1906

 

Eugène Atget (French, 1857-1927)
Notre Dame, Paris
1906
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Quai d'Anjou, Paris' 1910

 

Eugène Atget (French, 1857-1927)
Quai d’Anjou, Paris
1910
Albumen silver print

 

Eugène Atget. 'Saint-Cloud' 1926

 

Eugène Atget (French, 1857-1927)
Saint-Cloud
1926
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Rue des Lombards, Paris' 1910

 

Eugène Atget (French, 1857-1927)
Rue des Lombards, Paris
1910
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Vigne (Grape Vine)' 1920

 

Eugène Atget (French, 1857-1927)
Vigne (Grape Vine)
1920
Albumen silver print

 

 

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24
Oct
12

Exhibition: ‘Eugène Atget: Old Paris’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 24th August – 4th November 2012

 

Eugène Atget. 'Fireplace, Hôtel Matignon, former Austrian embassy, 57 rue de Varenne, 7th arrodissement' 1905

 

Eugène Atget (French, 1857-1927)
Fireplace, Hôtel Matignon, former Austrian embassy, 57 rue de Varenne, 7th arrodissement
1905
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

 

“… I have assembled photographic glass negatives… in all the old streets of Old Paris, artistic documents showing the beautiful civil architecture from the 16th to the 19th century. The old mansions, historic or interesting houses, beautiful façades, lovely doors, beautiful panelling, door knockers, old fountains, stylish staircases (wrought iron and wood) and interiors of all the churches in Paris… This enormous documentary and artistic collection is now finished. I can say that I possess the whole of Old Paris.”

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Eugène Atget 1920

 

“The first time I saw photographs by Eugène Atget was in 1925 in the studio of Man Ray in Paris. Their impact was immediate and tremendous. There was a sudden flash of recognition – the shock of realism unadorned. The subjects were not sensational, but nevertheless shocking in their very familiarity. The real world, seen with wonderment and surprise, was mirrored in each print.”

.
Berenice Abbott 1964

 

Spaces That Matter…

[In revelatio, in revelation] the photographers trained eye is perhaps more of a hindrance than may at first be thought. The photographer may struggle with, “a sense of intense inevitability, insofar as this kind of image seems to be one that the photographer ‘could not not photograph’.”9 Awareness may become a double bind for the photographer. It may force the photographer to photograph because he can do nothing else, because he is aware of the presence of ‘punctum’ within a space, even an empty ‘poetic space’, but this awareness may then blind him, may ossify the condition of revealing through his directed gaze, unless he is very attentive and drops, as Harding says, “memory and imagination and desire, and just take what’s given.”10 The object, as Baudrillard notes,”isolates itself and creates a sense of emptiness … and then it irradiates this emptiness,”11 but this irradiation of emptiness does require an awareness of it in order to stabilise the transgressive fluctuations of the ecstasy of photography (which are necessarily fluid), through the making of an image that, as Baudrillard notes, “may well retrieve and immobilise subjective and objective punctum from their ‘thunderous surroundings’.”12 Knowledge of awareness is a key to this immobilisation and image making. The philosopher Krishnamurti has interesting things to say about this process, and I think it is worth quoting him extensively here:

“Now with that same attention I’m going to see that when you flatter me, or insult me, there is no image, because I’m tremendously attentive … I listen because the mind wants to find out if it is creating an image out of every word, out of every contact. I’m tremendously awake, therefore I find in myself a person who is inattentive, asleep, dull, who makes images and gets hurt – not an intelligent man. Have you understood it at least verbally? Now apply it. Then you are sensitive to every occasion, it brings its own right action. And if anybody says something to you, you are tremendously attentive, not to any prejudices, but you are attentive to your conditioning. Therefore you have established a relationship with him, which is entirely different from his relationship with you. Because if he is prejudiced, you are not; if he is unaware, you are aware. Therefore you will never create an image about him. You see the difference?”13

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Now apply this attention to the awareness of the photographer. If he does not create images that are prejudice, could this not stop a photographer ‘not not’ photographing because he sees spaces with clarity, not as acts of performativity, spaces of ritualised production overlaid with memory, imagination, desire, and nostalgia?

Here an examination of the work of two photographers is instructive. The first, the early 20th century Parisian photographer Eugène Atget, brings to his empty street and parkscapes visions that elude the senses, visions that slip between dreaming and waking, between conscious and subconscious realms. These are not utopian spaces, not felicitous spaces that may be grasped and defined with the nostalgic fixity of spaces we love,14 but spaces of love that cannot be enclosed because Atget made no image of them.

I believe Atget moved his photographs onto a different spatio-temporal plane by not being aware of making images, aware-less-ness, dropping away the appendages of image making (technique, reality, artifice, reportage) by instinctively placing the camera where he wanted it, thus creating a unique artistic language. His images become a blend of the space of intimacy and world-space as he strains toward, “communion with the universe, in a word, space, the invisible space that man can live in nevertheless, and which surrounds him with countless presences.”15 These are not just ‘localised poetics’16 nor a memento of the absent, but the pre-essence of an intimate world space re-inscribed through the vision (the transgressive glance not the steadfast gaze) of the photographer. Atget is not just absent or present, here or there,17 but neither here nor there. His images reverberate (retentir), in Minkowski’s sense of the word, with an essence of life that flows onward in terms of time and space independent of their causality.18”

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Dr Marcus Bunyan

Excerpt from the paper Spaces That Matter: Awareness and Entropia in the Imaging of Place (2002). Read the full paper…

 

Endnotes

9. Barthes, Roland. Camera Lucida. (trans. Richard Howard). New York: Hill and Wang, 1981, p. 47, quoted in Zurbrugg, Nicholas. “‘Apocalyptic’? ‘Negative’? ‘Pessimistic’?: Baudrillard, Virilio, and techno-culture,” in Koop, Stuart (ed.,). Photography Post Photography. Melbourne: Centre for Contemporary Photography, 1995, p. 79.

10. See Endnote 2. I believe that this form of attentiveness to present experience is not the same as Featherstone’s fragmentation of time into affect-charged experiences of the presentness of the world in postmodern culture. “Postmodern everyday culture is … a culture of stylistic diversity and heterogeneity (comprising different parts or qualities), of an overload of imagery and simulations which lead to a loss of the referent or sense of reality. The subsequent fragmentation of time into a series of presents through a lack of capacity to chain signs and images into narrative sequences leads to a schizophrenic emphasis on vivid, immediate, isolated, affect-charged experiences of the presentness of the world – of intensities.”
Featherstone, Mike. Consumer Culture and Postmodernism. London: Sage Publications, 1991, p. 124.

11. Baudrillard, Jean. The Transparency of Evil. (trans. James Benedict). London: Verso, 1993, quoted in Zurbrugg, Nicholas. “‘Apocalyptic’? ‘Negative’? ‘Pessimistic’?: Baudrillard, Virilio, and techno-culture,” in Koop, Stuart (ed.,). Photography Post Photography. Melbourne: Centre for Contemporary Photography, 1995, p. 80.

12. Baudrillard, Jean. The Art of Disappearance. (trans. Nicholas Zurbrugg). Brisbane: Institute of Modern Art, 1994, p.9, quoted in Zurbrugg, Nicholas. “‘Apocalyptic’? ‘Negative’? ‘Pessimistic’?: Baudrillard, Virilio, and techno-culture,” in Koop, Stuart (ed.,). Photography Post Photography. Melbourne: Centre for Contemporary Photography, 1995, p. 83.

13. Krishnamurti. Beginnings of Learning. Harmondsworth: Penguin Books, 1978, pp. 130-131.

14. Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. xxxv.

15. Ibid., p. 203.

16. Palmer, Daniel. “Between Place and Non-Place: The Poetics of Empty Space,” in Palmer, Daniel (ed.,). Photofile Issue 62 (‘Fresh’). Sydney: Australian Centre for Photography, April 2001, p. 47.

17. Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. 212.

18. See the editor’s note by Gilson, Etienne (ed.,) in Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. xvi.

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Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in this posting. Please click on the photographs for a larger version of the image.

 

 

Eugène Atget. 'Boulevard de Strasbourg' 1912

 

Eugène Atget (French, 1857-1927)
Boulevard de Strasbourg
1912
Albumen photograph
George Eastman House, International Museum of Photography and Film, Rochester

 

Eugène Atget. 'Cabaret au Tambour, 62 quai de la Tournelle, 5th arrodissement' 1908

 

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

 

Eugène Atget. 'Street vendor, place Saint-Médard, 5th arrondissement' September 1898

 

Eugène Atget (French, 1857-1927)
Street vendor, place Saint-Médard, 5th arrondissement
September 1898
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. "'Spring', by the sculptor François Barois, jardin des Tuileries, 1st arrondissement" 1907

 

Eugène Atget (French, 1857-1927)
‘Spring’, by the sculptor François Barois, jardin des Tuileries, 1st arrondissement
1907
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

 

The first comprehensive exhibition in Australia of Eugène Atget’s (1857-1927) work will showcase over 200 photographs primarily from the more than 4000 strong collection of Musée Carnavalet, Paris with the important inclusion of Atget’s work, as compiled by Man Ray, from the collection of George Eastman House, Rochester, USA.

Atget was considered a commercial photographer who sold what he called ‘documents for artists’, ie. photographs of landscapes, close-up shots, genre scenes and other details that painters could use as reference. As soon as Atget turned his attention to photographing the streets of Paris, his work attracted the attention of leading institutions such as Musée Carnavalet and the Bibliothèque Nationale which became his principal clients. It is in these photographs of Paris that we find the best of Atget, the artist who shows us a city remote from the clichés of the Belle Époque. Atget’s images of ‘old Paris’ depict areas that had not been touched by Baron Haussmann’s 19th century modernisation program of the city. We see empty streets and buildings, details that usually pass unnoticed, all presented as rigorous, original compositions that offer a mysterious group portrait of the city.

The exhibition is organised into 11 sections that correspond to the thematic groupings used by Atget himself. They are: small trades, Parisian types and shops 1898-1922; the streets of Paris 1898-1913; ornaments 1900-1921; interiors 1901-1910; vehicles 1903-1910; gardens 1898-1914; the Seine 1900-1923; the streets of Paris 1921-1924; and outside the city centre 1899-1913.

The equipment and techniques deployed by Atget link him to 19th-century photography. He had an 18 x 24 cm wooden, bellows camera which was heavy and had to be supported on a tripod. The use of glass plates allowed Atget to capture every tiny detail with great precision. Also traditional was his printing method, usually on albumen paper made light-sensitive with silver nitrate, exposed under natural light and subsequently gold-tinted. Atget’s vision of photography was, however, an astonishingly modern one. The photographs selected by Man Ray, who met Atget in the 1920s, indicate the immediate interest that the work aroused among the Surrealists because of the composition, ghosting, reflections, and its very mundanity. The first to appreciate his talents and importance as an artist were the photographer Berenice Abbott and Man Ray himself, both of whom lobbied to preserve Atget’s photographs.

As a result, he inspired artists and photographers such as Brassaï, the Surrealists, Walker Evans and Bernd & Hilla Becher amongst many others, and he can also be considered a starting-point for 20th-century documentary photography.

Press release from the AGNSW website

 

Eugène Atget. 'The former Collège de Chanac, 12 rue de Bièvre, 5th arrondissement' 1900

 

Eugène Atget (French, 1857-1927)
The former Collège de Chanac, 12 rue de Bièvre, 5th arrondissement
August 1900
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. 'Rue de l'Hôtel de Ville' 1921

 

Eugène Atget (French, 1857-1927)
Rue de l’Hôtel de Ville
1921
Gelatin silver photograph
22.8 x 17.7 cm
Collection Art Gallery of New South Wales

 

Eugène Atget. 'Rue de l'Hôtel de Ville' 1921 (detail)

 

Eugène Atget (French, 1857-1927)
Rue de l’Hôtel de Ville (detail)
1921
Gelatin silver photograph
22.8 x 17.7cm
Collection Art Gallery of New South Wales

 

Eugène Atget. 'Rue Hautefeuille, 6th arrondissement' 1898

 

Eugène Atget (French, 1857-1927)
Rue Hautefeuille, 6th arrondissement
1898
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. 'Shop sign, au Rémouleur' 1899

 

Eugène Atget (French, 1857-1927)
Shop sign, au Rémouleur on the corner of the rue des Nonnains-d’Hyères and rue de l’Hôtel-de-Ville, 4th arrondissement
July 1899
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

 

Art Gallery of New South Wales
Art Gallery Road, The Domain
Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

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17
Jul
12

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' September 1900

 

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]
Septembre 1900
Tirage sur papier albuminé
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

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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. 'La Conciergerie et la Seine, brouillard en hiver, 1er arrondissement' 1923

 

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
Tirage sur papier albuminé mat
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

 

Eugène Atget. 'Rue Hautefeuille, 6e arrondissement' 1898

 

Eugène Atget (French, 1857-1927)
Rue Hautefeuille, 6e arrondissement
1898
Tirage sur papier albuminé
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

 

Eugène Atget. 'Fontaine de l’Observatoire, par le sculpteur Carpeaux, jardin Marco-Polo, vue prise vers le jardin du Luxembourg, 6e arrondissement' 1902

 

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
Tirage sur papier albuminé
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. 'Chanteuse de rue et joueur d’orgue de Barbarie' 1898

 

Eugène Atget (French, 1857-1927)
Chanteuse de rue et joueur d’orgue de Barbarie
[Street singer and organ player of Barbary]
1898
Tirage sur papier albuminé
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

 

Eugène Atget. 'Marchand ambulant, place Saint-Médard, 5e arrondissement' Septembre 1899

 

Eugène Atget (French, 1857-1927)
Marchand ambulant, place Saint-Médard, 5e arrondissement
[Peddler, Place Saint-Médard, 5th District]
Septembre 1899
Tirage sur papier albuminé
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

 

Eugène Atget. 'Cabaret "Au Port Salut," marchande de coquillages, rue des Fossés-Saint-Jacques, 5e arrondissement' 1903

 

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
Tirage sur papier albuminé collé sur carton gris bleu
Paris, musée Carnavalet
© Eugène Atget / Musée Carnavalet / Roger-Viollet

 

Eugène Atget. 'Rue Asseline' 1924-1925

 

Eugène Atget (French, 1857-1927)
Rue Asseline
1924-1925
Aristotype à la gélatine
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

Open every day from 10am to 6pm,
except Mondays and public holidays

Carnavalet Museum website

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26
Jun
12

Exhibition: ‘Eugène Atget: As Paris Was’ at Ticho House, the Museum of Israel, Jerusalem

Exhibition dates: 23rd March – 30th June 2012

 

Eugène Atget. 'Saint-Cloud' Nd

 

Eugène Atget (French, 1857-1927)
Saint-Cloud
Nd
Albumen print

 

 

Some Atget photographs that I have never seen before makes this posting all the more pleasurable. The pendulous nature of the sea monster, like a leg hanging over the edge of a table (can’t u just feel the weight of it!); the oppressive solidity of the wall on the left hand side of Coin des rues Poulletier et Saint-Louis-en-l’île (c. 1915); and the two undated photographs of Saint-Cloud: the dark, spidery presence of the tree in winter and the absolute recognition of the visual escape point in the reflection of trees in pond. Magnificent.

Marcus

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

 

Eugène Atget. 'Saint-Cloud' Nd

 

Eugène Atget (French, 1857-1927)
Saint-Cloud
Nd
Albumen print

 

Eugène Atget. 'Bagatelle' 1926

 

Eugène Atget (French, 1857-1927)
Bagatelle
1926
Albumen print

 

 

The photographic oeuvre of Eugène Atget (1857-1927) has become a landmark in the history of the medium, and his works are recognised as an integral part of the canon of documentary photography. His subject matter was Paris with its houses, streets, parks, and castles – interior and exterior details of architecture being transformed by modernity. His fame came decades later; however his enduring legacy in the field is still discernible worldwide. This exhibition of Atget’s photographs of Paris, the first ever in Israel.

The Israel Museum, Jerusalem has announced  the acquisition of 200 photographs by the pioneering French documentary photographer Eugène Atget, gifted by Pamela and George Rohr, New York, and an anonymous donor, New York. These works add an important new dimension to the Museum’s exceptional photography holdings, encompassing over 55,000 works from the earliest days of photography to contemporary times.

Seventy of these newly gifted works will be presented in Eugène Atget: As Paris Was, an exhibition at Ticho House, the Israel Museum’s historic venue in downtown Jerusalem, featuring Atget’s images of Paris from the mid-1890s until 1927. Marking the first ever presentation of the photographer’s work in Israel, the exhibition is curated by Nissan Perez, Horace and Grace Goldsmith Senior Curator in the Museum’s Noel and Harriette Levine Department of Photography.

French photographer Eugène Atget is recognised internationally for his integral role in the canon of documentary photography. After working as a sailor, actor, and painter for almost thirty years, he embarked on a self-assigned mission to document French life, culture, and history in and around Paris. He chose houses, streets, parks, and castles as his subjects, capturing interior and exterior details of architecture being transformed by modernity. Without any official recognition, this enterprise yielded a massive visual compendium of nearly 10,000 photographs that Atget loosely designated as “documents pour artistes” (documents for artists), created by means of anachronistic technology and an antiquated camera.

“We are deeply grateful to our donors for this generous gift of so important a trove of works by Eugène Atget, a pivotal figure in the history of photography,” said James S. Snyder, Anne and Jerome Fisher Director of the Israel Museum. “We are proud to be sharing Atget’s unique vision with Israeli audiences for the first time and in the resonant setting of our historic Ticho House, which also juxtaposes turn-of-the-last century Jerusalem with its encroaching modernity.”

“Atget’s photographs of Paris, including those featured in Eugène Atget: As Paris Was, do not depict the city as a bustling modern metropolis,” said exhibition curator Nissan Perez. “He trained his lens on the older, often decaying buildings and parks. The scenes he captured, mostly devoid of human presence, express desolation and solitude, reminiscent of an empty stage awaiting the actors’ entrance.”

Press release from the Museum of Israel, Jerusalem website

 

Eugène Atget. 'Poupées, 63 rue de Sèvres' 1910-11

 

Eugène Atget (French, 1857-1927)
Poupées, 63 rue de Sèvres
1910-11
Albumen print

 

Eugène Atget. 'Hôtel, 1 rue des Prouvaires et 54 rue Saint-Honoré' 1912

 

Eugène Atget (French, 1857-1927)
Hôtel, 1 rue des Prouvaires et 54 rue Saint-Honoré
1912
Albumen print

 

Eugène Atget. 'Coin des rues Poulletier et Saint-Louis-en-l'île' c. 1915

 

Eugène Atget (French, 1857-1927)
Coin des rues Poulletier et Saint-Louis-en-l’île
c. 1915
Albumen print

 

Eugène Atget (French, 1857-1927) 'Gargouille, cour du Louvre' 1902

 

Eugène Atget (French, 1857-1927)
Gargouille, cour du Louvre
1902
Albumen print

 

 

Ticho House
10 HaRav Agan Street, Jerusalem
(near Zion Square)
Phone: 02-645-3746

Ticho House hours:
Sunday – Thursday 12pm – 8pm
Friday and holiday eves 10am – 2pm
Saturday closed

Ticho Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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