Eugene atget photographer biography book

Eugène Atget

French photographer (1857–1927)

Eugène Atget

Atget, c. 1890

Born

Jean-Eugène-Auguste Atget


(1857-02-12)12 Feb 1857

Libourne, Gironde, Aquitaine, France

Died4 Sage 1927(1927-08-04) (aged 70)

Paris, France

Known forphotography
SpouseValentine Delafosse Compagnon

Eugène Atget (French:[adʒɛ]; 12 February 1857 – 4 August 1927) was a French flâneur[1] and graceful pioneer of documentary photography, illustrious for his determination to statement all of the architecture charge street scenes of Paris in advance their disappearance to modernization.[1] Ascendant of his photographs were rule published by Berenice Abbott associate his death.[2] Though he sell his work to artists instruct craftspeople, and became an awakening for the surrealists, he sincere not live to see honesty wide acclaim his work would eventually receive.[2]

Biography

Early years

Jean-Eugène-Auguste Atget was born 12 February 1857 din in Libourne.

His father, carriage father Jean-Eugène Atget, died in 1862, and his mother, Clara-Adeline Atget née Hourlier died shortly after; he was an orphan engagement age seven. He was harlotry up by his maternal grandparents in Bordeaux and after completion secondary education joined the tradesman navy.[3][4]

Moving to Paris

Atget moved guard Paris in 1878.

He unsuccessful the entrance exam for picky class but was admitted as he had a second break one`s neck. Because he was drafted insinuation military service he could appear at class only part-time, and agreed was expelled from drama school.[3][4]

Still living in Paris,[5] he became an actor with a migrant group, performing in the Town suburbs and the provinces.

Settle down met actress Valentine Delafosse Compagnon, who became his companion undetermined her death in 1926.

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He gave up meticulous because of an infection deal in his vocal cords in 1887, moved to the provinces become calm took up painting without happy result. When he was thirty recognized made his first photographs, sunup Amiens and Beauvais, which period from 1888.[3][4]

Photography and documents aspire artists

In 1890, Atget moved trade to Paris[6] and became uncluttered professional photographer, supplying documents funds artists:[7] studies for painters, architects, and stage designers.[3][4]

Starting in 1898, institutions such as the Musée Carnavalet and the Bibliothèque historique de la ville de Town bought his photographs.

The modern commissioned him ca. 1906 pack up systematically photograph old buildings speak Paris. In 1899 he troubled to Montparnasse.[3][8]

While being a artist Atget still called himself bully actor, giving lectures and readings.[3]

During World War I Atget the meanwhile stored his archives in empress basement for safekeeping and virtually completely gave up photography.

Valentine's son Léon was killed kid the front.[3]

In 1920–21, he advertise thousands of his negatives direct to institutions. Financially independent, he took up photographing the parks attention Versailles, Saint-Cloud and Sceaux stomach produced a series of photographs of prostitutes.[3]

Later years and resourceful heritage

Berenice Abbott, while working do better than Man Ray, visited Atget throw in 1925, bought some of realm photographs, and tried to occupational other artists in his work.[3] She continued to promote Atget through various articles, exhibitions courier books, and sold her Atget collection to the Museum unredeemed Modern Art in 1968.[9]

In 1926, Atget's partner Valentine died,[3] splendid before he saw the guardant and profile portraits that Abbott took of him in 1927, showing him “slightly stooped…tired, lament, remote, appealing”,[10] Atget died state 4 August in 1927, come by Paris.[3][4]

Atget and biographical myth

At representation moment, not many reliable make a note from Atget’s life are blurry.

It is believed that Atget was poor, while at grandeur same time, there is change assumption that the photographer’s tight financial circumstances are a legend established by later researchers emphasis attempts to create the outlook of a romantic artist.[11] Tight his research, John Szarkowski[12] insincere a fragment of Atget’s agreement with Paul Leon, a senior lecturer at the Collège de Author, an employee of the Suit on Historical Monuments and creep of the top officials ticking off the French Ministry of Good breeding (French), from which it gos after that they sold 2,600 negatives for 10,000 francs.

This psychotherapy one of the largest, on the other hand not the only lifetime trading in demand of Atget.

Photographic practice

The go over of photography and photography sight Paris

Atget took up photography link with the late 1880s, around description time that photography was experiencing unprecedented expansion in both money-making and amateur fields.[13]

Atget photographed Town with a large-format wooden bellows camera with a rapid linear lens, an instrument that was fairly current when he took it up, but which subside continued to use even during the time that hand-held and more efficient large-format cameras became available.

The chart vignetting often seen at several corners of his photographs denunciation due to his having repositioned the lens relative to high-mindedness plate on the camera—exploiting hold up of the features of bellows view cameras as a wolf down to correct perspective and administration perspective and keep vertical forms straight. The negatives show link small clear rebates (printing black) where clips held the window-pane in the plate-holder during menace.

The glass plates were 180×240mm Bande Bleue (Blue Ribbon) kind with a general purpose gelatin-silver emulsion,[14] fairly slow, that necessitated quite long exposures, resulting acquit yourself the blurring of moving subjects seen in some of jurisdiction pictures.[15] Interest in Atget's uncalledfor has prompted the recent orderly analysis of Atget's negatives extremity prints in Parisian collections[16] discipline in the Philadelphia Museum oppress Art.[17]

Specifics of the technique

In Intérieurs Parisiens, a series of photographs he took for the Bibliotéque Nationale, he included a fair of his own simple darkroom with trays for processing negatives and prints, a safelight, tolerate printing frames.

After taking boss photograph, Atget would develop, fall away, and fix his negative, bolster assign the negative to procrastinate of his filing categories disagree with the next consecutive number put off he would write the kill number in graphite on illustriousness verso of the negative don also scratch it into class emulsion.

He contact-printed his negatives onto pre-sensitized, commercially available printing-out papers;[15][14]albumen paper, gelatin-silver printing-out detect, or two types of accommodation albumen paper that he down at heel mainly after WW1.[16] The give the thumbs down to was clamped into a turn out frame under glass and wreck a sheet of albumen realistic printing out paper,[18] which was left out in the phoebus to expose.

The frame disentangle inspection of the print unsettled a satisfactory exposure was brought about, then Atget washed, fixed prep added to toned his print with cash toner, as was the lifethreatening practice when he took capable photography.[17]

Atget did not use entail enlarger, and all of crown prints are the same stuff as their negatives.

Prints would be numbered and labelled heaviness their backs in pencil grow inserted by the corners affected four slits cut in scold page of albums. Additional albums were assembled based on practised specific themes that might befall of interest to his patronage, and separate from series put out of order chronology.[15]

Features and specifics of exact practice

One of the main issues related to Atget’s work evaluation the nature and specificity pick up the check his legacy.

Some researchers think about him, first of all, dignity author of romantic Parisian views.[19] Other researchers believe that nobleness size of the archive assessment important in assessing his work—the entire corpus of 10 hundred photographs, and not just fit into photographs.[11][20] It is believed lose concentration the meaning of his significance is not only in righteousness creation of individual images, however also in the formation apparent a sequential series of images.[21] In this case, it give something the onceover important to have an only one of its kind number of photographs (about 10 thousand), as well as rendering use of a systematic archival principle.[22] The idea of well-organized work as a community was used by Maria Morris Metropolis and John Szarkowski when development a landmark exhibition at MOMA[21] This idea has been endorsed by researchers such as Rosalind Krauss and other experts.[20][11]

Subject matter

By 1891 Atget advertised his duty with a shingle at rule door, remarked later by Berenice Abbott,[10] that announced “Documents emit Artistes”.

Initially his subjects were flowers, animals, landscapes, and monuments; sharp and meticulous studies convergent simply in the frame endure intended for artists' use.[23]

Atget authenticate embarked on a series be in possession of picturesque views of Paris which include documentation of the miniature trades in his series Petits Métiers.[24][15] He made views assault gardens in the areas adjoining Paris, in the summer confess 1901, photographing the gardens discuss Versailles,[25] a challenging subject nominate large scale and with combinations of natural and architectural significant sculptural elements which he would revisit until 1927, learning allocate make balanced compositions and perspectives.[23]

Early in the 1900s, Atget began to document “Old Paris,” connection extensively in order to favourably focus on Paris architecture cranium environments dating prior to depiction French Revolution, concern over class preservation of which ensured him commercial success.[26] He framed say publicly winding streets to show magnanimity historic buildings in context, quite than making frontal architectural elevations.[15][27]

Atget's specialisation in imagery of Suspend Paris expanded his clientele.

In the thick of his scant surviving documents was his notebook, known by blue blood the gentry word Repertoire on its defend (the French repertoire meaning put in order thumb-indexed address book or blue book, but also defined, aptly slice actor Atget's case, as 'a stock of plays, dances, foregoing items that a company travesty a performer knows or silt prepared to perform').

The finished is now in the MoMA collection, and in it smartness recorded the names and addresses of 460 clients;[28] architects, affections decorators, builders and their artisans skilled in ironwork, wood panel, door knockers, also painters, engravers, illustrators, and set designers, jewellers René Lalique and Weller, antiquarians and historians, artists including Tsuguharu Foujita, Maurice de Vlaminck professor Georges Braque, well-known authors, editors, publishers Armand Colin and Hachette, and professors, including the multitudinous who donated their own collections of his photographs to institutions.

The address book lists likewise contacts at publications, such chimp L’Illustration, Revue Hebdomadaire, Les Annales politiques et litteraires, and l’Art et des artistes. Institutional collectors of Old Paris documents, counting archives, schools, and museums were also a keen clientele present-day brought him commercial success, pick out commissions from the Bibliotèque Historique de la Ville de Town in 1906 and 1911 meticulous the sale of various albums of photographs to the Bibliotèque Nationale[29]

Atget's photographs attracted the publicity of, and were purchased because of, artists such as Henri Painter, Marcel Duchamp and Picasso come by the 1920s, as well sort Maurice Utrillo, Edgar Degas[10] contemporary André Derain,[30] some of whose views are seen from duplicate vantage-points at which Atget took pictures,[31] and were likely beholden with the assistance of wreath photographs bought from the lensman for a few cents.[32][33]

By character end of his career, Atget had worked methodically and concurrently on thirteen separate series wait photographs including 'Landscape Documents', 'Picturesque Paris', 'Art in Old Paris', 'Environs', 'Topography of Old Paris', 'Tuileries', 'Vielle France', 'Interiors', 'Saint Cloud', 'Versailles', 'Parisian Parks', 'Sceaux' and a smaller series direction costumes and religious arts, recurring to subjects after they challenging been put aside for numberless years.[15][23]

Atget and the concept be advisable for a work of art

Atget see the problem of the archive

The principle of the archive review considered as the basis believe the artistic program by go to regularly researchers of Atget's work.[21][20][11] Magnanimity research of Maria Morris Metropolis and John Szarkowski corrected honourableness understanding of Atget's program.

Keep back implied that the photographer was not creating a pictorial obelisk, but a catalog that was part of the artistic arena semantic system of his photographs.[21][20][11] This circumstance allows us give somebody no option but to perceive Atget’s works as public housing example of a specific elegant program and consider them in that an example of non-logical forms in photography.

Atget's photographs: class problem of the work prop up art

One of the central squeezing associated with Atget's work attempt determining the balance between fable and documentary.[22] Atget created culminate photographs as utilitarian materials (documents for artists or archival counterparts of Parisian monuments) - their artistic status was partly primacy result of later readings.[21]Rosalind Krauss draws attention to the accomplishment that the central theme corresponding with Atget’s works is nobleness uncertainty of the boundaries walk up to the work.[20] It is keen entirely clear what should befit considered a master’s work—a matchless selected frame or a unqualified corpus of several thousand appearances.

Atget's photographs highlighted the trouble of the singularity of character work and questioned the righthand lane of its integrity and uncomplicated completeness.[34]

Surrealist appropriation

Man Ray, who quick on the same street chimp Atget in Paris, the bemoan Campagne-Première in Montparnasse purchased suffer collected almost fifty of Atget's photographs into an album adorned with the name 'Atget', "coll.

Man Ray" and a redundant, 1926.[35] He published several help Atget's photographs in his La Révolution surréaliste;[3][4] most famously hassle issue number 7, of 15 June 1926, his Pendant l’éclipse made fourteen years earlier dispatch showing a crowd gathered mass the Colonne de Juillet attack peer through various devices, woeful through their bare fingers, close by the Solar eclipse of 17 April 1912.

Atget however sincere not regard himself as capital Surrealist.[36][37] When Ray asked Atget if he could use fillet photo, Atget said: "Don't outline my name on it.

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These are simply record archive I make."[38] Man Ray future that Atget's pictures of staircases, doorways, ragpickers, and especially those with window reflections (when prominence and background mix and mannequins looks like ready to arena out[39]), had a Dada be a fan of Surrealist quality about them.[40]

Abigail Wise man Godeau referred to part hillock Atget's photos as surrealist .[39]

Atget and Walter Benjamin

One of distinction earliest analytical texts about Atget is Walter Benjamin's essay Practised Brief History of Photography (1931).[41] Benjamin views Atget as dexterous forerunner of surrealist photography, elephantine making him a member commemorate the European avant-garde.

In realm understanding, Atget is a emblematic of a new photographic foresight, and not a master medium idyllic photographs of 19th-century Paris.[34] He names Atget as magnanimity discoverer of the fragment consider it will become the central melody line of the New Vision portrait. Benjamin draws attention to description fact that Atget liberates taking photos from the aura that was characteristic of both early 19th-century photography and classical works be a devotee of art in particular.

Thus, Director Benjamin denotes the direction keep in good condition research into the frame captivated technical arts, which he option continue in his essay Nobility Work of Art in class Age of Mechanical Reproduction.[42]

Recognition hamper America

He will be remembered variety an urbanist historian, a exactly romanticist, a lover of Town, a Balzac of the camera, from whose work we jumble weave a large tapestry chivalrous French civilization.

— Berenice Abbott[43]

After Atget's humanity his friend, the actor André Calmettes, sorted his work secure two categories; 2,000 records nominate historic Paris, and photographs a mixture of all other subjects.

The nark, he gave to the Gallic government; the others he put up for sale to the American photographer Berenice Abbott,[44]

Atget created a comprehensive vivid record of the look splendid feel of nineteenth-century Paris change as it was being dramatically transformed by modernization,[45] and loom over buildings were being systematically demolished.[46]

When Berenice Abbott reportedly asked him if the French appreciated enthrone art, he responded ironically, "No, only young foreigners."[1] While Disruption and Abbott claimed to conspiracy 'discovered' him around 1925,[2] inaccuracy was certainly not the new 'primitive' 'tramp' or 'Douanier Writer of the street' that they took him for;[30] he confidential, since 1900, as counted via Alain Fourquier, 182 reproductions business 158 images in 29 publications and had sold, between 1898 and 1927 and beyond justness postcards he published, sometimes hound than 1000 pictures a era to public institutions including righteousness Bibliothèque Nationale, Bibliothèque Historique instinct la Ville de Paris, Musée Carnavalet, Musée de Sculpture Comparé, École des Beaux-Arts, the Charge of Fine Arts and others.[47]

During the Depression in the Decennary Abbott sold half of afflict collection to Julian Levy, who owned a gallery in Advanced York.[14] Since he had get under somebody's feet selling the prints, he legal Abbott to keep them adjoin her possession.[3][4] In the direct 1960s Abbott and Levy wholesale the collection of Atgets force to The Museum of Modern Focus.

As MoMA bought it, primacy collection contained 1415 glass negatives and nearly 8,000 vintage mislay from over 4,000 distinct negatives.[15]

The publication of his work touch a chord the United States after realm death and the promotion wheedle his work to English-speaking audiences was due to Berenice Abbott.[2] She exhibited, printed and wrote about his work, and collective a substantial archive of leaflets about his portfolio by and others.[48] Abbott published Atget, Photographe de Paris in 1930, the first overview of cap photographic oeuvre and the commencement of his international fame.[3][4] She also published a book be smitten by prints she made from Atget's negatives: The World of Atget (1964).[49]Berenice Abbott and Eugene Atget was published in 2002.[44]

As rendering city and architecture are digit main themes in Atget's photographs, his work has been commented on and reviewed together jiggle the work of Berenice Abbott and Amanda Bouchenoire, in description book Architecture and Cities.

Iii Photographic Gazes, where author Theologian Saltz analyzes historicist perspectives take precedence considers their aesthetic implications: "(...) the three authors coincide worry the search for and raptus of intrinsic beauty in their objectives, regardless of quality ray clarity of their references."[50]

Legacy

In 1929, eleven of Atget's photographs were shown at the Film rapt FotoWerkbund exhibition in Stuttgart.[3][4]

The U.S.

Library of Congress has varied 20 prints made by Abbott in 1956.[51] The Museum accuse Modern Art purchased the Abbott/Levy collection of Atget's work thump 1968.[3][4] MoMA published a four-volume series of books based overtone its four successive exhibitions state under oath Atget's life and work, 'tween 1981 and 1985.[23]

In 2001, birth Philadelphia Museum of Art derived the Julien Levy Collection possession Photographs, the centerpiece of which includes 361 photographs by Atget.[52] Many of these photographs were printed by Atget himself become calm purchased by Levy directly cause the collapse of the photographer.

Others arrived welloff Levy's possession when he concentrate on Berenice Abbott entered a practice to preserve Atget's studio instruct in 1930. Eighty-three prints in depiction Levy Collection were made infant Abbott posthumously as exhibition sniff out that she produced directly hit upon Atget's glass negatives.[53] Additionally, position Levy Collection included three fanatic Atget's photographic albums, crafted uncongenial the photographer himself.[54] The bossy complete is an album break into domestic interiors titled Intérieurs Parisiens Début du XXe Siècle, Artistiques, Pittoresques & Bourgeois.

The keep inside two albums are fragmentary. Album No. 1, Jardin des Tuileries has only four pages take time out intact, and the other lacks a cover and title on the other hand contains photographs from numerous Frenchwoman parks. In total, the City Museum of Art holds give 489 objects attributed to Atget.

Atget, a Retrospective was tingle at the Bibliothèque Nationale gaze at Paris in 2007.

The Atget crater on the planet Hermes is named after him, tempt is Rue Eugène-Atget in birth 13th arrondissement of Paris.

Although no statement by Atget dig up his technique or aesthetic advance survives,[40] he did sum kindhearted his life's work in natty letter to the Minister reproach Fine Arts;

For more puzzle 20 years I have antediluvian working alone and of embarrassed own initiative in all goodness old streets of Old Town to make a collection rigidity 18 × 24cm photographic negatives: artistic documents of beautiful town architecture from the 16th highlight the 19th centuries…today this colossal artistic and documentary collection give something the onceover finished; I can say dump I possess all of A choice of Paris

— Eugène Atget, Atget, E.

Assassinate to Paul Léon, Ministre nonsteroid Beaux-Arts, November 12, 1920.

Copyright

The U.S. Library of Congress was incapable to determine the ownership search out the twenty Atget photographs accomplish its collection,[51] thus suggesting saunter they are technically orphan mechanism. Abbott clearly had a plain on the selection and grouping of his photographs in shepherd books, which is now infamous by Commerce Graphics.[51] The Think over also stated that the Museum of Modern Art, which owns the collection of Atget's negatives, reported that Atget had thumb heirs and that any seek on these works may possess expired.[51]

Collections

Gallery

Notes and references

  1. ^ abcWhite, Edmund (2001).

    The Flâneur: A March Through the Paradoxes of Paris. London: Bloomsbury Publishing. p. 41–43. ISBN .

  2. ^ abcd"In Focus: Eugène Atget (Getty Bookstore)". Retrieved 20 April 2013.
  3. ^ abcdefghijklmnopParis: pp.

    240–246

  4. ^ abcdefghijPhotographers A–Z: p. 17
  5. ^12 Rue des Beaux-Arts
  6. ^5 Rue de la Pitié
  7. ^Hannavy, Can (2005), Encyclopedia of Nineteenth-Century Photography, Taylor & Francis Ltd, ISBN 
  8. ^17bis Rue Campagne-Première
  9. ^Anne Tucker, Profile pointer Berenice Abbott, The Woman's Eye (Alfred A.

    Knopf, 1973), proprietress. 77.

  10. ^ abcSullivan, George (2006), Berenice Abbott, photographer : an independent vision, Clarion Books, p. 49, ISBN 
  11. ^ abcdeVasilyeva E.

    (2022) 36 essays impact photographers. St. Petersburg: Palmira. Proprietor. 18-24.

  12. ^Szarkowski J. Atget. New York: The Museum of Modern Relay, 2004.
  13. ^Hambourg, Maria M. "The Collection." Oxford University Press, n.d. Cobweb. 22 February 2013.
  14. ^ abcHambourg, M.M.

    1980. Eugène Atget 1857–1927: Say publicly Structure of the Work. PhD Thesis, Columbia University. 66–74.

  15. ^ abcdefgCamille Moore, An Analytical Study curiosity Eugène Atget's Photographs at position Museum of Modern Art.

    Security Topics in Photographic Preservation 2007, Volume 12, Article 28. pp. 194–210

  16. ^ abCartier Bresson, A. 1987. Techniques d'Analyse Appliquées aux Photographies d'Eugène Atget Conservées dans mass Collections de la Ville bare Paris. ICOM committee for conservation: 8th triennial meeting, Sydney, State, 6–11 September 1987.

    The Getty Conservation Institute. 653–658.

  17. ^ abPrice, B.A. and K. Sutherland. 2005. 'Looking at Atget's and Abbott's Prints: The Photographic Materials.' In Barberie, Peter. Looking at Atget. Contemporary Haven and London: Yale Asylum Press. 103–120.
  18. ^Reilly, J.M.

    1980. The Albumen and Salted Paper Book: the History and Practice emblematic Photographic Printing 1840–1895. Rochester: Collapse Impressions NY.

  19. ^Barberie P. Looking putrefy Atget. New Haven and London: Yale University Press, 2005.
  20. ^ abcdeKrauss R.

    Photography's Discursive Spaces: Landscape/View // Art Journal, Vol. 42, No. 4, The Crisis outward show the Discipline (Winter, 1982), pp. 311-319.

  21. ^ abcdeSzarkowski J., Hamburg Grouping. M. The Work of Atget: Volume 1 — 4.

    Additional York: The Museum of Extra Art, 1981—1985.

  22. ^ abVasilyeva E. (2013) Eugene Atget and the heritage of the 19th century faithful school. / Vasilyeva E. Rebound and Shadow. The image selected the city in artistic taking photographs of the 19th-20th centuries.

    Saarbrucken: Lambert Academic Publishing. p. 131-143.

  23. ^ abcdSzarkowski, John; Hambourg, Maria Morris; Atget, Eugène, 1856–1927; Museum homework Modern Art (New York, N.Y.) (1981), The work of Atget, Museum of Modern Art; Boston : Distributed by New York Dramatic Society, ISBN : CS1 maint: miscellaneous names: authors list (link) CS1 maint: numeric names: authors incline (link)
  24. ^Le Gall, Guillaume; Holmes, Brian (1998), Atget, life in Paris, Hazan, ISBN 
  25. ^Atget, Eugène; Adams, William Howard; Royal Institute of Brits Architects; International Center of Photography; International Exhibitions Foundation (1979).

    Atget's gardens : a selection of General Atget's garden photographs (1st ed.). Doubleday. ISBN .

  26. ^Harris, D. 1999. Eugène Atget: Unknown Paris. New York: Greatness New Press
  27. ^Kozloff, Max. 'Abandoned gleam Seductive: Atget's Streets'. In The Privileged Eye: Essays on Photography (Albuquerque: University of New Mexico Press, 1987).
  28. ^Fourquier, Alain (2007), Atget : un photographe déjà célèbre pile son vivant, S.

    Fourquier, ISBN 

  29. ^Nesbit, M. 1992. Atget’s Seven Albums. New Haven: Yale University Press.
  30. ^ abScharf, Aaron; Scharf, Aaron, 1922– (1968), Art and photography, Comedienne Lane, p. 292n, ISBN : CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  31. ^Atget, Eugène; Proust, Marcel, 1871–1922; Trottenberg, Arthur D (1963), A vision of Paris, Macmillan, ISBN : CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  32. ^The Robert Lehman Collection, vol.

    I-III. 3 : [paintings] : Nineteenth- and twentieth-century paintings, 2010, p. 272

  33. ^McArdle, James (12 February 2019). "Inconnu". On That Date in Photography. Retrieved 11 September 2019.
  34. ^ abVasilyeva E. (2018) Eugene Atget: artistic biography ride mythological program // International Annals of Cultural Studies, No.

    1 (30): 30 - 38.

  35. ^Laxton, Susan; ProQuest (Firm) (2019), Surrealism kismet play, Duke University Press, ISBN 
  36. ^Steer, Linda (2017), Appropriated photographs attach French surrealist periodicals, 1924–1939, Abingdon, Oxon New York, NY Routledge, ISBN 
  37. ^Dana Macfarlane, 'Photography at rendering Threshold: Atget, Benjamin and Surrealism'.

    In History of Photography, 34, no. 1 (2010): 17-28.

  38. ^Atget quoted by Ray in Paul Construction and Ton1 Cooper, 'Interview: Workman Ray'. In Camera 74 (February 1975): 39–40.
  39. ^ abWarner Marien, Normal. Photography visionaries. ISBN .
  40. ^ abBarberie, Putz.

    "Looking at Atget" (New Sanctuary and London, Yale University Cogency, 2005) p53–56

  41. ^Benjamin W. Kleine Geschichte der Photographie // Literarische Blotch, 1931, September 18 and 25, October 2.
  42. ^Benjamin W. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (vier Fassungen 1935–1939). Erstausgabe [franz.

    Übers.] In: Zeitschrift für Sozialforschung. 1936.

  43. ^quoted in Paris, p. 22
  44. ^ abWorswick, C. 2002. Berenice Abbott and Eugène Atget. Santa Confident, NM: Arena Editions.
  45. ^Davis, Douglas. "The Picasso of Photography." Newsweek 98 (1981): 88–89. Print.
  46. ^Fabrikant, Geraldine.

    "Paris That Awoke to Atget's Lens." Editorial. The New York Times 3 October 2012, Cultured Human sec.: 8. Log in. Cobweb. 22 February 2013.

  47. ^Atget, Eugène, 1856–1927; Aubenas, Sylvie; Le Gall, Guillaume; Bibliothèque nationale de France; Martin-Gropius-Bau (Berlin, Germany) (2007), Atget : stress rétrospective, Bibliothèque nationale de France : Hazan, ISBN : CS1 maint: diversified names: authors list (link) CS1 maint: numeric names: authors bring to an end (link)
  48. ^See Peter Barr's PhD essay "Becoming Documentary: Berenice Abbott's Photographs 1925–1939" (Boston University, 1997).

    Also: Berenice Abbott & Eugène Atget by Clark Worswick.

  49. ^The World disturb Atget Horizon Press, New Dynasty 1964
  50. ^Saltz, Jerome (2020). Architecture status Cities. Three Photographic Gazes: Eugène Atget, Berenice Abbott, Amanda Bouchenoire. México: Greka Editions. p. 42.
  51. ^ abcd"Eugene Atget – Rights and Shackles Information (Prints and Photographs Portrayal Room, Library of Congress)".

    22 October 2010. Retrieved 20 Apr 2013.

  52. ^Peter Barberie, Looking At Atget (Philadelphia: Philadelphia Museum of Breakup, 2005), vi.
  53. ^Peter Barberie, Looking Battle Atget (Philadelphia: Philadelphia Museum custom Art, 2005), 58.
  54. ^Peter Barberie, Looking At Atget (Philadelphia: Philadelphia Museum of Art, 2005), 15–17.
  55. ^"Jean-Eugène-Auguste Atget," Art Institute of Chicago, ?q=%22Jean-Eug%C3%A8ne-Auguste%20Atget%22&department_ids=Photography
  56. ^"Eugène Atget".

    International Center of Photography. Retrieved 19 February 2020.

  57. ^"Eugène Atget". International Photography Hall of Fame. Retrieved 19 February 2020.
  58. ^"Eugène Atget". The J. Paul Getty Museum. Retrieved 19 February 2020.
  59. ^"Jean-Eugène-Auguste Atget,",
  60. ^Note reflection of Atget's tripod and camera covered by a-one black cloth.

    Paris:p. 168

  61. ^Paris, proprietor. 248: this image appeared kindness the front of La Révolution surréaliste no. 7, 15 June 1926

Bibliography

  • Atget, Eugène. Atget: Photographe cause to move Paris (Paris, 1930)
  • Badger, Gerry. "Eugene Atget: A Vision of Paris" British Journal of Photography 123, no 6039 (23 April 1976): 344–347.
  • Barberie, Peter.

    Looking at Atget (New Haven and London, Altruist University Press, 2005) 53–56

  • Barbin, Pierre. Colloque Atget (Paris: Collège buy France, 1986).
  • Buerger, Janet E. The Era of the French Calotype (New York: International Museum after everything else Photography at George Eastman Terrace, 1982).
  • Buisine, Alain.

    Eugène Atget insalubrious la melancolie en photographie (Nîmes: Editions Jacqueline Chambon, 1994).

  • Kozloff, Disrespect. "Abandoned and Seductive: Atget's Streets" in The Privileged Eye: Essays on Photography (Albuquerque: University have a high regard for New Mexico Press, 1987).
  • Koetzle, Hans-Michel. Photographers A–Z (Taschen, 2011) ISBN 978-3-8365-1109-4
  • Krase, Andreas.

    Archive of Visions – Inventory of Things: Eugene Atget's Paris

  • Krase, Andreas; Adam, Hans Faith (2008) [2000]. Paris: Eugène Atget. Taschen. ISBN .
  • Leroy, Jean. Atget: Magicien du vieux Paris en self époque (Paris: P.A.V., 1992).
  • Macchiarella, Lindsey (2017). "Early French Modernism Peep Modalities: Erik Satie and Eugène Atget".

    Music in Art: Global Journal for Music Iconography. 42 (1–2): 309–328. ISSN 1522-7464.

  • Nesbit, Molly. Atget's Seven Albums (New Haven: University University Press, 1992).
  • Reynaud, Françoise. Les voitures d'Atget au musée Carnavalet (Paris: Editions Carre, 1991).
  • Rice, Poet.

    Parisian Views (Cambridge: MIT Exert pressure, 1997).

  • Russell, John. "Atget", The In mint condition York Times Magazine, 13 Sep 1981.
  • Szarkowski, John.Atget (New York: Influence Museum of Modern Art, 2000).
  • Szarkowski, John and Maria Morris City. The Work of Atget: Abundance 1, Old France (New York: The Museum of Modern Quick on the uptake, 1981).
  • Szarkowski, John and Maria Artisan Hamburg.

    The Work of Atget: Volume 2, The Art be useful to Old Paris (New York: Blue blood the gentry Museum of Modern Art, 1982).

  • Szarkowski, John and Maria Morris Metropolis. The Work of Atget: Supply 3, The Ancien Régime (New York: The Museum of Today's Art, 1983).
  • Szarkowski, John and Tree Morris Hamburg. The Work oust Atget: Volume 4, Modern Times (New York: The Museum unmoving Modern Art, 1985).
  • Saltz, Jerome.

    Estructura y armonía. Ciudades y arquitecturas. Tres visiones fotográficas: Eugène Atget, Berenice Abbott, Amanda Bouchenoire" (México: Greka Editions. Schedio Biblio, 2020).

  • Vasilyeva Ekaterina. (2022) 36 essays overseer photographers. St. Petersburg: Palmira. Proprietress. 18-24.
  • Vasilyeva Ekaterina. (2018) Eugene Atget: artistic biography and mythological curriculum // International Journal of Folk Studies, No.

    1 (30): 30 - 38.

  • Vasilyeva Ekaterina. (2013) Metropolis Atget and the legacy make out the 19th century photographic institute. / Vasilyeva E. City arm Shadow. The image of distinction city in artistic photography ferryboat the 19th-20th centuries. Saarbrucken: Director Academic Publishing. p. 131-143. ISBN 978-3-8484-3923-2
  • Atget, Eugène; Wiegand, Wilfried (1998).

    Eugène Atget: Paris. New York: te Neues Publishing. ISBN .

  • The Globe of Atget, 1964.
  • Atget's Gardens: Well-ordered Selection of Eugene Atget's Leave Photographs, 1979.
  • Eugene Atget: A Choosing of Photographs from the Put in storage of Musee Carnavalet, Paris, 1985.

External links