{"id":1382,"date":"2022-09-18T23:15:15","date_gmt":"2022-09-19T04:15:15","guid":{"rendered":"https:\/\/tomarlacalle.com\/?p=1382"},"modified":"2022-09-30T19:12:51","modified_gmt":"2022-10-01T00:12:51","slug":"eugene-atget","status":"publish","type":"post","link":"https:\/\/tomarlacalle.com\/en\/eugene-atget\/","title":{"rendered":"Eug\u00e8ne Atget"},"content":{"rendered":"

Eug\u00e8ne Atget<\/strong> is one of the most influential photographers of all time although unintentionally and unknowingly, his work, mainly topographical and documentary, centered around the \u2018old Paris\u2019 of the late 19th and early 20th century, recording all the places that were about to disappear due to the urban redevelopment of the older neighborhoods. His way of recording the streets, architecture and shop windows, his composition and the sense of place of his photographs were the greatest of influences on other photographic geniuses who would come later, such as. Walker Evans<\/strong>\u00a0o\u00a0Berenice Abbott<\/a>.<\/strong><\/p>\n

Atget was born on February 12, 1857 in Libourne, near Bordeaux (France). His father was a coachbuilder. When he was 2 years old, they moved to Bordeaux, where his father found work as a traveling salesman. When he was 5 years old, his father died. Shortly after his mother died, his maternal grandparents took care of him. His grandparents gave him a good secondary education and when he finished his studies, he enlisted in the Navy, thanks to which he traveled to Africa and South America. At the age of 21 he went to live in Paris, where he wanted to make a living as an actor.<\/p>\n

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At the age of 33 he returned to Paris and decided to devote himself professionally to photography. Well to \u00abdocuments\u00bb, as he used to say, he hung a sign on his door that said \u00abDocuments for artists\u00bb<\/strong>. Two years later, at the age of 35, he published an advertisement in a magazine in which he said that his specialties were \u00ablandscapes, animals, flowers and monuments\u00bb.\u00bb<\/strong>. He said that he performed \u00abdocuments\u00bb<\/strong> y \u00abclose-ups for artists\u00bb.\u00bb<\/strong> as well as reproductions of paintings. \u00abI move around,\u00bb he reported in the ad. From that period is his work \u2018Landscapes. Documents\u2019.\u2019<\/strong>. In 1897, when he reached his forties, he began to systematically photograph the motif that would occupy the rest of his life: Paris<\/strong>.<\/p>\n

At the age of 40, with a bulky large-format camera (18x24cm) and an angular lens, which gave an exaggerated perspective and a great depth of field, he began to systematically photograph the neighborhoods of Paris and started his series \u2018Small trades\u2019.\u2019<\/strong> (Petits M\u00e9tiers), which 6 years later was published and led him to sell copies of his works to libraries and museums in Paris.<\/p>\n

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It is possible that his main legacy is the influence that Atget exerted on other photographers who imitated and surpassed him, although his work has a brilliance of its own that was far ahead of the photography of his time and what could be expected of the photography of his time. His photographs give a perfect sense of place, thanks to the use of angular, Atget could include close elements or a good perspective of the ground, which gave his photographs an almost presential perspective for the viewer. Although he always catalogued his works as \u2018documents\u2019 devoid of art, his photographs took care of the composition, the straightness of the architectural lines and a light that emphasized the texture of what he was documenting. In that year 1897, at the age of 40, he began his series \u2018Art in old Paris\u2019<\/strong> y \u2018Paris Picturesque\u2019.<\/strong><\/p>\n

In 1899, at the age of 42, he moved to the Montparnasse district, where he set up his laboratory and archive. He would live there permanently until his death. Two years later, between the ages of 44 and 45, he dedicated himself to photographing the facades, balconies and houses of Paris. In 1903, at the age of 46, he was photographing courtyards, staircases and churches, both inside and out. But he did not give up his passion for the theater. Although he did not act, between 1904 and 1913, until he was 56 years old, he combined his work as a photographer with the lectures on theater that he gave at universities. At that time he photographed staircases, chimneys and palaces of the seventeenth and seventeenth centuries. He also photographed old Paris on behalf of the Biblioth\u00e8que Historique de la Ville de Paris.<\/p>\n

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In 1925 the American photographer\u00a0Berenice Abbott<\/a>, She began to visit him periodically in his studio and bought some of his photographs. They became close friends and it was she who made his work known to the world. Only a year after meeting Abbott, who became very involved with his work and admired him, his wife died and he stopped taking pictures. In 1926 Man Ray decided to reproduce four of his photographs in the magazine La R\u00e9volution Surrealiste, but he did not want to appear in the credits because he considered that they were \u00absimply documents that I make\u201d: one of his best-known phrases and that classify him as a shy genius.<\/p>\n

In 1927, at the age of 70, one year after the death of his wife, the photographer Berenice Abbott<\/a> took him to his studio and took his last portrait. After a few months of photographic drought, due to the death of his wife, at the age of 70, he picked up his camera again, but that same summer he contracted an illness and died on August 4, 1927.<\/p>\n

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After his death, his stepson and wife having already passed away and having no children, his best friend took charge of his estate and sold 2,000 of his negatives to the Commission des Monuments Historiques de Paris. A year after his death, the photographer\u00a0Berenice Abbott<\/a>, With the financial help of Julien Levy, he bought the rest of his work: 1,300 negatives and some 5,000 prints. His work is mainly known thanks to Berenice Abbot, who during the last years of Atget's life frequented his studio and devoted much of her life to trying to have his genius recognized. It was Abbott's acquisition of Atget's work a year after his death that allowed his photographs to end up in the MOMA forty years later.<\/p>\n

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Eug\u00e8ne Atget es uno de los fot\u00f3grafos m\u00e1s influyentes de todos los tiempos aunque sin pretenderlo y sin saberlo, su obra, principalmente topogr\u00e1fica y documental, se [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":1387,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[22,19],"tags":[],"class_list":["post-1382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-maestros-fotografos","category-recomendaciones"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/tomarlacalle.com\/wp-content\/uploads\/2022\/09\/1146C92B-17CC-4BDB-9112-7522E7CAE1AD-925-000003B621FCFA35-4243506724-1502398390665.webp","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/posts\/1382","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/comments?post=1382"}],"version-history":[{"count":0,"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/posts\/1382\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/media\/1387"}],"wp:attachment":[{"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/media?parent=1382"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/categories?post=1382"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomarlacalle.com\/en\/wp-json\/wp\/v2\/tags?post=1382"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}