Eugene Atget Appreciation

[cliveh]

How about this: -

 

[snusmumriken]

How about this: -

View attachment 393862

You go first.

 

[cliveh]

OK, well the entire composition for me is made by the pattern of highlight details coupled with the centre of interest in the girls expression. Just like many of Bresson pictures, it has echos of shapes in the lattice iron work. The fading to the right and odd letters adds questions as to how they may read. Look how the window reflection cuts across the girls face at eye level enhancing the centre of interest. In short I would loved to have taken a picture like this, as it absolutely beautiful and intriguing.

 

[snusmumriken]

Do you believe the fading to the right is deliberate, or just a happy accident that helps divorce the photograph from a specific location? I mean, this is not a photograph of yet another door in Paris, because the waitress gives it a dreamy mood, and I suspect we are probably more interested in the mood than the door. I wonder what it was for Atget. I wonder whether he asked the girl to stand there, or if he seized the moment with his great slow camera? For him, was it another record of a fine door, with added artistry; or did he believe that he was capturing a passing moment of stillness? I think that will always remain ambiguous.

 

[Don_ih]

the fading to the right

is a light leak. He may have been in a hurry pulling out the slide. He may have been in a hurry setting up, actually - he didn't rectify the verticals.

Clive - I agree with what you said about the reflection reaching the girl's head. It's a highlight of the photo.

 

[nikos79]

Yesterday I went to see a show together with @Cor featuring (many) prints by the Séeberger brothers. Photographed at 18x24 and 13x18cm and enlarged onto bromide paper, the subject matter overlapped strongly with that of Atget. Stylistically, it's more varied, and the prominently featuring posing figures are a fundamental difference. But one particular series featuring back-alleys and view of tannery works could have been made by Atget, if not for the different printing technique. Same subject matter, same era, same format much of the time, and in several instances, the same compositional choices. One key difference is the technical superiority of the Seeberger images from an objective viewpoint - they are pretty much immaculate. This says little of course about the subjective appreciation of technical choices/outcome that may not be objectively optimal.

Thanks for bringing them into our attention, I have never heard of them. Is there any online link where we can explore their photo archive?

 

[koraks]

Is there any online link where we can explore their photo archive?

I'm not sure; I only did a very quick search and most of what I find is the information on the exhibition we saw: https://www.carnavalet.paris.fr/en/exhibitions/revoir-paris
There are a few samples on that page, but not the work that is closest visually and in terms of subject matter to Atget's.

 

[Pieter12]

An excerpt from a recent interview with Jean-Jacques Naudet, editor-in-chief of the French online journal L’Oeil de laPhotographie.

Early in his career at PHOTO magazine, he was assigned to interview Romeo Martinez. (Romeo Martinez): “What do you know about Atget?” I said, ”Atget. Great photographer, loved by the Surrealists and the one who made us remember the old Paris.”

He said, “Tell me about Atget and the prostitutes?” and I didn’t know anything about Atget and the prostitutes. “So, maybe one day we will meet again, but next time try to know better about Atget and the prostitutes. If you don’t know about Atget and the prostitutes, you will never know anything about photography.

 

[nikos79]

An excerpt from a recent interview with Jean-Jacques Naudet, editor-in-chief of the French online journal L’Oeil de laPhotographie.

Early in his career at PHOTO magazine, he was assigned to interview Romeo Martinez. (Romeo Martinez): “What do you know about Atget?” I said, ”Atget. Great photographer, loved by the Surrealists and the one who made us remember the old Paris.”

He said, “Tell me about Atget and the prostitutes?” and I didn’t know anything about Atget and the prostitutes. “So, maybe one day we will meet again, but next time try to know better about Atget and the prostitutes. If you don’t know about Atget and the prostitutes, you will never know anything about photography.

I’m not sure I understand. Are you saying that photographing prostitutes the way he did — with respect, neutrality, and a documentary approach — is essential to understanding his entire body of work? That feels like a bit of an overstatement. One could say the same about how Bresson or Brassaï photographed prostitutes, each in their own style. I don’t see any hidden meaning in Atget’s approach that would fundamentally change the perception of his entire body of work — or of photography as a whole. But who knows, maybe I’m wrong too, like the editor!

 

[Pieter12]

I’m not sure I understand. Are you saying that photographing prostitutes the way he did — with respect, neutrality, and a documentary approach — is essential to understanding his entire body of work? That feels like a bit of an overstatement. One could say the same about how Bresson or Brassaï photographed prostitutes, each in their own style. I don’t see any hidden meaning in Atget’s approach that would fundamentally change the perception of his entire body of work — or of photography as a whole. But who knows, maybe I’m wrong too, like the editor!

I’m not saying anything, just citing a quote.

 

[nikos79]

I’m not saying anything, just citing a quote.

Sorry to correct myself I don't quite understand Romeo Martinez
Tried to find the whole interview but is on some subscription content in NY times.
Do you happen to have it?

 

[Pieter12]

Sorry to correct myself I don't quite understand Romeo Martinez
Tried to find the whole interview but is on some subscription content in NY times.
Do you happen to have it?

The quote I have was taken from an interview with Jean-Jacques Naudet on L'Oeil de la Photographie. He was recalling a conversation with Romeo. It is possible that interchange might have been included in his interview with Romeo which would have been published in PHOTO magazine.

 

[nikos79]

The quote I have was taken from an interview with Jean-Jacques Naudet on L'Oeil de la Photographie. He was recalling a conversation with Romeo. It is possible that interchange might have been included in his interview with Romeo which would have been published in PHOTO magazine.

I found that interview too and Romeo Martinez stated the following:
"Only morons talk about Atget without mentioning the importance of prostitutes in his work. Without them, his photos are incomprehensible"
Too bad I cannot read the whole interview (it is under paywall)

 

[DREW WILEY]

Guess I'm a moron; but that's nothing new. So there's no sense me getting enlightened by someone else's nonsense.

 

[nikos79]

Guess I'm a moron; but that's nothing new. So there's no sense me getting enlightened by someone else's nonsense.

Socrates would be proud — admitting you know nothing is the first step to wisdom. Refusing other people’s nonsense? That’s the graduation ceremony


Still I am super curious to find the rest of the talk to see what mr Romeo meant in that arrogant statement.

 

[Alex Benjamin]

Guess I'm a moron; but that's nothing new. So there's no sense me getting enlightened by someone else's nonsense.

We should start a club, 'caus seems like I'm a moron too.

(I'm betting Môssieur Martinez doesn't have much consideration for people who end their sentences with a proposition either)

 

[snusmumriken]

We should start a club, 'caus seems like I'm a moron too.

(I'm betting Môssieur Martinez doesn't have much consideration for people who end their sentences with a proposition either)

The League of Morons? It has a certain ring to it.

 

[koraks]

I found that interview too and Romeo Martinez stated the following:
"Only morons talk about Atget without mentioning the importance of prostitutes in his work. Without them, his photos are incomprehensible"
Too bad I cannot read the whole interview (it is under paywall)

Well, this is how headlines & teasers work. Journalism involves the (not so) subtle of taking quotes out of context, and if possible, opportunistically translating them for optimum effect.

 

[Don_ih]

We should start a club, 'caus seems like I'm a moron too.

(I'm betting Môssieur Martinez doesn't have much consideration for people who end their sentences with a proposition either)

'Too" is an adverb in that sentence.

 

[Alex Benjamin]

'Too" is an adverb in that sentence.

Dang. I'm even more moronic than I thought...

 

[snusmumriken]

Here’s an article giving some background:
https://live-legacy-admin.nypl.org/blog/2015/03/06/eugene-atget-public-eye

I can’t say it has given me any insight on the rest of Atget’s work.

 

[Pieter12]

Here’s an article giving some background:
https://live-legacy-admin.nypl.org/blog/2015/03/06/eugene-atget-public-eye

I can’t say it has given me any insight on the rest of Atget’s work.

Maybe not, but the author Lucy (nee Luc) Sante is quite astute. Her/his The Factory of Facts is a favorite book in my collection.

 

[snusmumriken]

Maybe not, but the author Lucy (nee Luc) Sante is quite astute. Her/his The Factory of Facts is a favorite book in my collection.

Sure, I have no criticism of the article, which was very informative and interesting. It was Martinez’ claim - that the prostitute story is the key to understanding Atget/photography in general - that didn’t work for me.

 

[lecarp]

The League of Morons? It has a certain ring to it.

Maybe the new Linked Ring or F64?

And, while I am being moronic, who is this Romeo and why should his opinion mean diddly?

Seems we are all Prostitutes in one form or the other.

 

[Pieter12]

Sure, I have no criticism of the article, which was very informative and interesting. It was Martinez’ claim - that the prostitute story is the key to understanding Atget/photography in general - that didn’t work for me.

I would give some validity to Martinez's comments as he was a well-respected collector and editor of Camera magazine for over 10 years. Some comments about him:

“Martinez is, in my humble opinion, the father confessor of many photographers who came to him begging for absolution. His greatest sin is never having asked them for any offerings for his worship of photography. He knows each of us better than we know ourselves.”--Henri Cartier-Bresson

“It is impossible to over-estimate the influence of Romeo Martinez on the development of contemporary photography. Through his years as the editor of Camera, he gave photographers of all ages, nationalities, and persuasions a showcase in the magazine. He lavished on us, his friends and collaborators, his understanding of the medium, his passionate interest and advocacy of photographic or (our) personal causes, his knowledge of printing techniques, his taste and intuition.”--Cornell Capa