EugÃÆ'¨ne Atget ( French: Ã, [ad ??] ; February 12 1857 - August 4, 1927) was a French florist and documentary photographer pioneer, noting his determination to document all the architecture and streets of Paris before their disappearance into modernization. Most of his photographs were first published by Berenice Abbott after his death. An inspiration to surrealists and other artists, his genius was recognized only by a handful of young artists in the last two years of his life, and he did not live to see the widespread recognition his work finally accepted.
Video Eugène Atget
Biography
Jean-EugÃÆ'¨ne-Auguste Atget was born February 12, 1857 in Libourne. His father, Jean-Eugène Atget's wagoner, died in 1862, and his mother, Clara-Adeline Atget nà © e Hourlier died shortly thereafter. He was raised by grandparents from Bordeaux and after completing secondary education joined the merchant navy.
Atget moved to Paris in 1878. He failed an entrance exam for an acting class but was accepted when he tried a second. Because he was conscripted, he could attend classes only part-time, and he was expelled from drama school.
Still living in Paris, he became an actor with a travel group, performing on the outskirts of Paris and the province. She meets actress Valentine Delafosse Compagnon, who became her friend until her death. She gave up acting because of her vocal cords infection in 1887, moved to the province and took the painting without success. His first photographs, Amiens and Beauvais, dates from 1888.
In 1890, Atget moved back to Paris and became a professional photographer, providing document for artists: a study for painters, architects, and stage designers.
Beginning in 1898, institutions such as Musà © à © e Carnavalet and BibliothÃÆ'¨que historique de la ville de Paris bought his photographs. The latter commissioned him ca. 1906 to photograph the old building systematically in Paris. In 1899 he moved to Montparnasse.
As a photographer, Atget also called himself an actor, giving lectures and reading.
During World War I Eugène Atget kept his archives in his basement for safekeeping and almost completely gave up photography. Son of Valentine LÃÆ' Â © on killed in front.
In 1920-21, he sold thousands of negatives to the institution. Financially independent, he took photographing the parks of Versailles, Saint-Cloud and Sceaux and produced a series of photographs of prostitutes.
Berenice Abbott, while working with Man Ray, visited Atget in 1925, bought some of his photographs, and tried to interest other artists in his work. He continued to promote Atget through various articles, exhibitions and books, and sold his Atget collection to the Museum of Modern Art in 1968.
In 1926, Valentine died, and Man Ray published several photos of Atget in his book La RÃ © volution surrÃÆ'Â © aliste.
Abbott took a portrait of Atget in 1927. Eugène Atget died August 4, 1927 in Paris.
Maps Eugène Atget
Photography practice
Atget took photography in the late 1880s, around that time photography experienced an unprecedented expansion in commercial and amateur fields. He sells photographs of sights, flowers, and other niceties to other artists. It was not until 1897 that Atget began a project that he would continue for the rest of his life-his Old Paris collection.
Atget photographed Paris with a large-format wooden bellows camera with fast rectilinear lenses. The pictures were exposed and developed as 18x24cm glass dry plates.
Between 1897 and 1927 Atget captured old Paris in his photographs. His photographs show cities in various aspects: narrow lanes and courtyards in the historic city center with old buildings, some of which were soon destroyed, magnificent palaces from before World War II, bridges and docks on the banks of the Seine. , and stores with their storefronts. He photographed stairs and architectural details in faÃÆ'§ades and took pictures of the interior of the apartment. His interest also extends to the Parisian neighborhood.
In addition to urban architecture and environment, he also photographed street vendors, small traders, clothing collectors and prostitutes, as well as popular exhibitions and entertainment in various districts. The remote districts and suburbs, where the poor and the homeless seek refuge, also provide picture lessons.
Distinguishing features of Atget's photography include a thin sense of light due to its long exposure, a fairly broad view that suggests space and atmosphere over surface detail, and deliberately limited scenes to avoid the often bustling modern Paris. around the corner from a nostalgic angle she likes. The vacuum of most of the way and the sometimes vague figure in people with people is partly due to outdated techniques, including extended lighting time requiring lots of pictures to be made the morning before pedestrians and traffic arise.
The vignetting technique that is often seen in some corners of the photographs is because it repositions the lens relative to the camera plate - utilizing one of the features of the bows view camera as a way to improve perspective and control the image. He often said, "I have done little justice for the Great City of Paris", as a commentary on his career.
Atget photographs attracted the attention of artists such as Man Ray, Andrà © Ã… © Derain, Henri Matisse, and Picasso in the 1920s. Man Ray not only bought some photos of Atget but used Over Eclipse for the surreal magazine cover la RÃÆ'  © volution surrÃÆ'  © aliste. When he asks Atget if he can use his picture Atget says: "Do not put my name on it, it's just the document I made." Man Ray says that Atget's photos of stairs, doors, ragpickers, and especially those that have reflections and window mannequins, have a Chest or Surreal qualities about them. Man Ray is a neighbor of Atget - they live on the same street - and offer to lend him his modern camera, but Atget declines the offer, preferring to use older techniques.
His death was largely unknown when outside the circle of curators who had bought his album and made them buried, mostly invisible. "This enormous artistic and documentary collection has been completed", he wrote about his life's work in 1920, although he did not stop working at this point.
Legacy
He will be remembered as an urbanist historian, a true romantisis, a Paris lover, a Balzac from a camera, who from his work we can weave a great tapestry of French civilization.
Atget created a remarkable photographic record of the look and feel of 19th-century Paris exactly as it was dramatically altered by modernization, and its building was systematically destroyed.
Atget has published almost no work before its "genius was first recognized" by Man Ray and Berenice Abbott, two young American photographers working in Paris at the time. When Berenice Abbott reportedly asked him if the French appreciated his art, he replied, "No, only young strangers." His discovery by Ray and Abbott occurred around 1925, just two years before his death, and Berenice Abbott first published most of his work in the United States only after his death. He exhibits, prints and writes about his work, and collects important archives of his portfolio of writings by himself and others. Abbott published Atget, Photographe de Paris in 1930, the first picture of his photography oeuvre and the beginning of his international fame. He also published a book with a printout he made of the negative Atget: The World of Atget (1964). Berenice Abbott and Eugene Atget were published in 2002.
After Atget's death in 1927, his remaining archive was split. 2000 negatively donated to a Paris institution, with the remainder bought by Berenice Abbott with financial support by Julien Levy.
In 1929, eleven photos of Atget were shown at the Werkbund Film and Photo exhibition in Stuttgart.
The US Library of Congress has about 20 prints created by Abbott in 1956. The Museum of Modern Art purchased the Atget Abbott/Levy collection in 1968. In 1985, MoMA completed the publication of four book volumes based on four consecutive exhibits on life and work Atget.
Atget, Retrospective was presented at the BibliothÃÆ'¨que Nationale of Paris in 2007.
The Atget crater on planet Mercury is named after him, as is Rue Eugenne Atget in Paris's 13th arrondissement.
Atget never said or wrote anything about his work, so as not to leave an artistic statement.
Copyright
The US Congress Library can not determine the possession of twenty Atget photographs in its collection, thus indicating that they are technically orphaned. Abbott clearly owns the copyright of the selection and arrangement of his photographs in his books, now owned by Commerce Graphics. The Library also states that the Museum of Modern Art, which has a negative collection of Atget, reports that Atget has no heirs and that any rights to these works may have expired.
Gallery
Notes and references
Bibliography
External links
- Eugène Atget in the Museum of Modern Art
- Collection atget at Eastman Museum
- Eugène Atget on Luminous Lint
- Eugene Atget and Haunted Paris: Trees, Parks, and Architectures
- Atget's Portfolio in Photography-now
- Rauschenberg rephotographs, a project to reconstruct some photos of Atget almost 100 years later
- "Photograph Landscape: Eugene Atget - The Art of Bridging Two Ages," New York Times , March 10, 1985
- BibliothÃÆ'¨que numÃÆ' Â © rique INHA - Fonds photographique Eugène Atget de l'ENSBA
Source of the article : Wikipedia
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