22 rue Cuincampoix, cour
1912. Albumen silver print, 8 11/16 x 7 3/16" (22 x 18.2 cm)
Using a view camera set upon a tripod and glass plate negatives, Eugène Atget made more than 8,500 photographs of Paris and its environs over a career lasting more than three decades. Wandering through his native city, he captured building facades, streetscapes, architectural details, churches, shops, parks, and the occasional monument. At the time, Paris was undergoing sweeping renovations, meant to modernize the medieval city. Atget sought out the places still relatively untouched by these modernizing forces. His photographs serve, in part, as a record of old Paris.
Atget’s style of photography differed from the prevailing taste at the time. His photographs were generally in sharp focus, unlike those of his Pictorialist contemporaries. Though his modest purpose when making photographs was to create documents for other artists and craftsmen to use for their art—the sign outside of his studio read, “Documents pour artistes” (“Documents for artists”)—the trove of photographs he left behind testify to his own artistic talent.
One who uses a camera or other means to produce photographs.
An image, especially a positive print, recorded by exposing a photosensitive surface to light, especially in a camera.
A distinctive or characteristic manner of expression.
An international style of photography in the late 19th and early 20th centuries, characterized by the creation of artistic tableaus and photographs composed of multiple prints or manipulated negatives, in an effort to advocate for photography as an artistic medium on par with painting.
A previously exposed and developed photographic film or plate showing an image that, in black-and-white photography, has a reversal of tones (for example, white eyes appear black). In color photography, the image is in complementary colors to the subject (for example, a blue sky appears yellow). The transfer of a negative image to another surface results in a positive image.
Modern can mean related to current times, but it can also indicate a relationship to a particular set of ideas that, at the time of their development, were new or even experimental.
Any public-facing side of a building, often featuring decorative finishes.
Eugène Atget’s Legacy
After his death in 1927, a number of artists and journalists commented on the decidedly artistic and modern way in which Eugène Atget had photographed Paris. An article that ran in New York newspapers referred to him as “the first photographer to formulate the theory that the camera was an artistic instrument rather than a mere machine.”