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Eugène Atget"A l'exactitude" boutique de cordonnerie, 93 rue Broca, 5ème arr. Neg. no. 1398 1915
1915
About the Item
Albumen print on thin photographic paper (printed out from glass plate); 8 5/8 x 7 inches (219 x 178 mm). Marked by the photographer in pencil on verso "Vieille maison, 93 Rue Broca 1398". There is a 3mm tear and slight abrasion on bottom right corner,negative number inscribed by Atget in the upper left corner, plate clips present in this albumen print, as customary. Atget negative number 1398.
[Musée Carnavalet, Histoire de Paris: inv. no. PH3974]
Condition: Very good
One of many shops in Paris' 5ème Arrondissement, this is one of many hundreds of photographs that make up Atget's project to document the buildings and life of old Paris. The photos were grouped in albums titled "Vieux Paris Pittoresque et disparu" and purchased by the Musée Carnavalet/Histoire de Paris and the Bibliothèque historique de la ville de Paris. In 1920 Atget sold an extensive collection of photos as well as 2600 glass plates for the "Art in Old Paris" series to the Service Photographique des Monuments Historiques, and they are currently held by the French Ministry of Culture at the Médiathèque du patrimoine et de la photographie in Yvelins, near Versailles.
Eugène Atget (1857 – 1927) was a pioneer of documentary photography and it is estimated that he made 8000 to 10000 photographs. He began as an actor and took up photography in the late 1880s just before moving to Paris. With his large-format wooden bellows camera he set out to document the life and architecture of the city. He became and inspiration to the Surrealist artists who found genius in some of his highly contrasted images of store windows and details of Paris city life, although Atget himself never considered himself a Surrealist and stated in numerous occasions that his photographs were purely documentary. He was championed by the American photographer Berenice Abbot (1898 – 1991) and the American collector/gallerist Julien Levy (1906 – 1981) who were both introduced to Atget by Man Ray (1890 – 1976). Unfortunately Atget he did not live to see the wide acclaim his work later received. After his death in 1927 Berenice Abbot purchased the contents of his workroom (1300 glass plate negatives and 7000 prints assembled in albums) and brought the collection to NY in 1929. She enlisted Levy's silent financial backing and devoted much of her time to printing from Atget's glass negatives, using the same techniques that she had seen Atget use in his studio. Abbott and Levy promoted Atget's work through exhibitions of old and new prints, as well as articles and catalogs and finally sold the entire collection of photographs and glass plates to the Museum of Modern Art in New York in 1969. Levy's private collection of Atget prints was donated to the Philadelphia Museum of Art.
- Creator:Eugène Atget (1857-1927, French)
- Creation Year:1915
- Dimensions:Height: 8.5 in (21.59 cm)Width: 7 in (17.78 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:
Eugène Atget
Eugene Atget (1857- 1927) took up photography in the late 1880s, turning his camera on Paris in 1898. He captured Parisian streetscapes, shop fronts, and architectural details in a straight, documentary style, in contrast to the Pictorialist trend at the time. Atget made beautiful and sensitive documents and by the early 1920s, up until his death, Atget's works became increasingly expressive, metaphorical, and were championed by the Surrealists for their poetic and haunting mood. Thanks to the support of American photographer Berenice Abbott (1898- 1991), French photographer Eugene Atget became recognized as one of the great early modern photographers. He recorded Old Paris and Atget’s lifespan corresponded with urban planner Haussmann and his famous transformation of Paris into a modern city. Atget documented Paris painstakingly on meanderings throughout the City of Light into the 20th Century. Berenice Abbott is famous for her black-and-white photographs of New York City. She also created a large body of portraits that she made in Paris. Abbott found inspiration in the Parisian streetscapes of Eugene Atget, an influence that would carry over into her work and the series “Changing New York” (1935-38). A major body of Abbott’s work was made during the Works Progress Administration/Federal Art Project."
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