Jump to content

Eugène Atget: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
→‎Photographic practice: detail on practice
Line 51: Line 51:
Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields.<ref>Hambourg, Maria M. "The Collection." MoMA.org. Oxford University Press, n.d. Web. 22 Feb. 2013.</ref> He sold photos of landscapes, flowers, and other pleasantries to other artists. It was not until 1897 that Atget started a project he would continue for the rest of his life—his Old Paris collection.
Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields.<ref>Hambourg, Maria M. "The Collection." MoMA.org. Oxford University Press, n.d. Web. 22 Feb. 2013.</ref> He sold photos of landscapes, flowers, and other pleasantries to other artists. It was not until 1897 that Atget started a project he would continue for the rest of his life—his Old Paris collection.


Atget photographed Paris with a [[large format camera|large-format]] wooden bellows camera with a rapid [[rectilinear lens]], an instrument that was fairly current when he took it up, but which he continued to use even when hand-held and more efficient large-format cameras became available. The images were exposed and developed as 180×240mm gelatin glass plate “Bande Bleue” (Blue Ribbon) general purpose negatives, with a fairly slow emulsion that necessitated quite long exposures that resulted in blurring of moving subject seen in some of his pictures. He contact-printed his negatives onto pre-sensitized, commercially available printing out papers. In ''Intérieurs Parisiens'', a series of photographs he took for the Bibliotéque Nationale, he included his own simple darkroom with trays for processing negatives and prints, a safelight, and printing frames. After taking a photograph, Atget would develop, wash, and fix his negative, then assign the negative to one of his filing categories with the next consecutive number that he would write the negative number in graphite on the verso of the negative and also scratch it into the emulsion. The negative was clamped into a printing frame under glass and against a sheet of photographic printing out paper, which was left out in the sun to expose. The frame permitted inspection of the print until a satisfactory exposure was achieved, then Atget washed, fixed and toned his print. Atget did not use an enlarger, and all of his prints are the same size as their negatives. Prints would be numbered and labelled on their backs in pencil then inserted by the corners into four slits cut in each page of albums. Additional albums were assembled based on a specific themes that might be of interest to his clients, and separate from series or chronology.
Atget photographed Paris with a [[large format camera|large-format]] wooden bellows camera with a rapid [[rectilinear lens]]. The images were exposed and developed as 18x24cm glass dry plates.


Between 1897 and 1927, Atget captured the old Paris in his pictures. His photographs show the city in its various facets: narrow lanes and courtyards in the historic city center with its old buildings, of which some were soon to be demolished, magnificent palaces from before World War II, bridges and quays on the banks of the [[Seine]], and shops with their window displays. He photographed stairwells and architectural details on the façades and took pictures of the interiors of apartments. His interest also extended to the environs of Paris.
Between 1897 and 1927, Atget captured the old Paris in his pictures. His photographs show the city in its various facets: narrow lanes and courtyards in the historic city center with its old buildings, of which some were soon to be demolished, magnificent palaces from before World War II, bridges and quays on the banks of the [[Seine]], and shops with their window displays. He photographed stairwells and architectural details on the façades and took pictures of the interiors of apartments. His interest also extended to the environs of Paris.
Line 57: Line 57:
In addition to architecture and the urban environment, he also photographed street-hawkers, small tradesmen, rag collectors and prostitutes, as well as fairs and popular amusements in the various districts. The outlying districts and peripheral areas, in which the poor and homeless sought shelter, also furnished him with pictorial subjects.
In addition to architecture and the urban environment, he also photographed street-hawkers, small tradesmen, rag collectors and prostitutes, as well as fairs and popular amusements in the various districts. The outlying districts and peripheral areas, in which the poor and homeless sought shelter, also furnished him with pictorial subjects.


Distinguishing characteristics of Atget's photography include a wispy, drawn-out sense of light due to his long exposures, a fairly wide view that suggested space and ambiance more than surface detail, and an intentionally limited range of scenes avoiding the bustling modern Paris that was often around the corner from the nostalgia-steeped nooks he preferred. The emptiness of most of his streets and the sometimes blurred figures in those with people are partly due to his already antiquated technique, including extended exposure times which required that many of his images be made in the early morning hours before pedestrians and traffic appeared.
Distinguishing characteristics of Atget's photography include a wispy, drawn-out sense of light due to his long exposures,{{citation needed}} a fairly wide view that suggested space and ambiance more than surface detail, and an intentionally limited range of scenes avoiding the bustling modern Paris that was often around the corner from the nostalgia-steeped nooks he preferred. The emptiness of most of his streets and the sometimes blurred figures in those with people are partly due to his already antiquated technique, including extended exposure times which required that many of his images be made in the early morning hours before pedestrians and traffic appeared.


The mechanical [[vignetting]] often seen at some corners of his photographs is due to his having [[View camera#Rise and fall|repositioned the lens]] relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control the image. He often said, "I have done little justice to the Great City of Paris", as a comment on his career.
The optical [[vignetting]] often seen at some corners of his photographs is due to his having [[View camera#Rise and fall|repositioned the lens]] relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control the image. He often said, "I have done little justice to the Great City of Paris", as a comment on his career.{{citation needed}}


Atget's photographs attracted the attention of, and were purchased by, artists such as [[Henri Matisse]] and [[Pablo Picasso|Picasso]] in the 1920s, as well as [[Maurice Utrillo]], [[Edgar Degas]]<ref name=":0">{{Citation | author1=Sullivan, George | title=Berenice Abbott, photographer : an independent vision | publication-date=2006 | page=49 | publisher=Clarion Books | isbn=978-0-618-44026-9 }}</ref> and [[André Derain]], some of whose views are seen from identical vantage-points at which Atget took pictures, and were likely made with the assistance of his photographs bought from the photographer for a few cents.<ref>{{Citation | title=The Robert Lehman Collection, vol. I-III. 3 : [paintings] : Nineteenth- and twentieth-century paintings | page=272 | publication-date=2010 | url=https://trove.nla.gov.au/work/236688711 }}</ref><ref>{{Cite web|url=https://onthisdateinphotography.com/2019/02/12/february-12-inconnu/|title=Inconnu|last=McArdle|first=James|date=2019-02-12|website=On This Date in Photography|language=en|url-status=live|archive-url=|archive-date=|access-date=2019-09-11}}</ref>
Atget's photographs attracted the attention of, and were purchased by, artists such as [[Henri Matisse]] and [[Pablo Picasso|Picasso]] in the 1920s, as well as [[Maurice Utrillo]], [[Edgar Degas]]<ref name=":0">{{Citation | author1=Sullivan, George | title=Berenice Abbott, photographer : an independent vision | publication-date=2006 | page=49 | publisher=Clarion Books | isbn=978-0-618-44026-9 }}</ref> and [[André Derain]], some of whose views are seen from identical vantage-points at which Atget took pictures, and were likely made with the assistance of his photographs bought from the photographer for a few cents.<ref>{{Citation | title=The Robert Lehman Collection, vol. I-III. 3 : [paintings] : Nineteenth- and twentieth-century paintings | page=272 | publication-date=2010 | url=https://trove.nla.gov.au/work/236688711 }}</ref><ref>{{Cite web|url=https://onthisdateinphotography.com/2019/02/12/february-12-inconnu/|title=Inconnu|last=McArdle|first=James|date=2019-02-12|website=On This Date in Photography|language=en|url-status=live|archive-url=|archive-date=|access-date=2019-09-11}}</ref>

Revision as of 13:07, 11 September 2019

Eugène Atget
Born
Jean-Eugène-Auguste Atget

(1857-02-12)12 February 1857
Libourne, Gironde, Aquitaine, France
Died4 August 1927(1927-08-04) (aged 70)
Paris, France
NationalityFrench
Known forphotography
SpouseValentine Delafosse Compagnon
Organ Grinder (1898)

Eugène Atget (French: [adʒɛ]; 12 February 1857 – 4 August 1927) was a French flâneur[1] and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization.[1] Most of his photographs were first published by Berenice Abbott after his death.[2] Though he sold his work to artists and craftspeople, and became an inspiration for the surrealists, he did not live to see the wide acclaim his work would eventually receive.[2]

Biography

Atget's birthplace in Libourne

Jean-Eugène-Auguste Atget was born 12 February 1857 in Libourne. His father, carriage builder Jean-Eugène Atget, died in 1862, and his mother, Clara-Adeline Atget née Hourlier died shortly after; he was an orphan at age seven. He was brought up by his maternal grandparents in Bordeaux and after finishing secondary education joined the merchant navy.[3][4]

Atget moved to Paris in 1878. He failed the entrance exam for acting class but was admitted when he had a second try. Because he was drafted for military service he could attend class only part-time, and he was expelled from drama school.[3][4]

Still living in Paris,[5] he became an actor with a travelling group, performing in the Paris suburbs and the provinces. He met actress Valentine Delafosse Compagnon, who became his companion until her death. He gave up acting because of an infection of his vocal cords in 1887, moved to the provinces and took up painting without success. When he was thirty he made his first photographs, of Amiens and Beauvais, which date from 1888.[3][4]

In 1890, Atget moved back to Paris[6] and became a professional photographer, supplying documents for 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 Paris bought his photographs. The latter commissioned him ca. 1906 to systematically photograph old buildings in Paris. In 1899 he moved to Montparnasse.[3] [8]

While being a photographer Atget still also called himself an actor, giving lectures and readings.[3]

During World War I Eugène Atget temporarily stored his archives in his basement for safekeeping and almost completely gave up photography. Valentine's son Léon was killed at the front.[3]

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

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.[3] She continued to promote Atget through various articles, exhibitions and books, and sold her Atget collection to the Museum of Modern Art in 1968.[9]

In 1926, Atget's partner Valentine died,[10]and before he saw the full-face and profile portraits that Abbott took of him in 1927, showing him “slightly stooped…tired, sad, remote, appealing”,[11] Eugène Atget died on August 4th in 1927, in Paris.[10][12]

Photographic practice


Avenue des Gobelins (1927)

Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields.[13] He sold photos of landscapes, flowers, and other pleasantries to other artists. It was not until 1897 that Atget started a project he would continue for the rest of his life—his Old Paris collection.

Atget photographed Paris with a large-format wooden bellows camera with a rapid rectilinear lens, an instrument that was fairly current when he took it up, but which he continued to use even when hand-held and more efficient large-format cameras became available. The images were exposed and developed as 180×240mm gelatin glass plate “Bande Bleue” (Blue Ribbon) general purpose negatives, with a fairly slow emulsion that necessitated quite long exposures that resulted in blurring of moving subject seen in some of his pictures. He contact-printed his negatives onto pre-sensitized, commercially available printing out papers. In Intérieurs Parisiens, a series of photographs he took for the Bibliotéque Nationale, he included his own simple darkroom with trays for processing negatives and prints, a safelight, and printing frames. After taking a photograph, Atget would develop, wash, and fix his negative, then assign the negative to one of his filing categories with the next consecutive number that he would write the negative number in graphite on the verso of the negative and also scratch it into the emulsion. The negative was clamped into a printing frame under glass and against a sheet of photographic printing out paper, which was left out in the sun to expose. The frame permitted inspection of the print until a satisfactory exposure was achieved, then Atget washed, fixed and toned his print. Atget did not use an enlarger, and all of his prints are the same size as their negatives. Prints would be numbered and labelled on their backs in pencil then inserted by the corners into four slits cut in each page of albums. Additional albums were assembled based on a specific themes that might be of interest to his clients, and separate from series or chronology.

Between 1897 and 1927, Atget captured the old Paris in his pictures. His photographs show the city in its various facets: narrow lanes and courtyards in the historic city center with its old buildings, of which some were soon to be demolished, magnificent palaces from before World War II, bridges and quays on the banks of the Seine, and shops with their window displays. He photographed stairwells and architectural details on the façades and took pictures of the interiors of apartments. His interest also extended to the environs of Paris.

In addition to architecture and the urban environment, he also photographed street-hawkers, small tradesmen, rag collectors and prostitutes, as well as fairs and popular amusements in the various districts. The outlying districts and peripheral areas, in which the poor and homeless sought shelter, also furnished him with pictorial subjects.

Distinguishing characteristics of Atget's photography include a wispy, drawn-out sense of light due to his long exposures,[citation needed] a fairly wide view that suggested space and ambiance more than surface detail, and an intentionally limited range of scenes avoiding the bustling modern Paris that was often around the corner from the nostalgia-steeped nooks he preferred. The emptiness of most of his streets and the sometimes blurred figures in those with people are partly due to his already antiquated technique, including extended exposure times which required that many of his images be made in the early morning hours before pedestrians and traffic appeared.

The optical vignetting often seen at some corners of his photographs is due to his having repositioned the lens relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control the image. He often said, "I have done little justice to the Great City of Paris", as a comment on his career.[citation needed]

Atget's photographs attracted the attention of, and were purchased by, artists such as Henri Matisse and Picasso in the 1920s, as well as Maurice Utrillo, Edgar Degas[11] and André Derain, some of whose views are seen from identical vantage-points at which Atget took pictures, and were likely made with the assistance of his photographs bought from the photographer for a few cents.[14][15]

Surrealist appropriation

Man Ray, who lived on the same street as Atget in Paris, the rue Campagne-Première in Montparnasse purchased and collected almost fifty of Atget's into an album embossed with the name 'Atget', "coll. Man Ray" and a date, 1926.[16] He published several of Atget's photographs in his La Révolution surréaliste;[3][4] most famously in issue number 7, of June 15, 1926, his Pendant l’éclipse made fourteen years earlier and showing a crowd gathered at the Colonne de Juillet to peer through various devices, or through their bare fingers, at the Solar eclipse of April 17, 1912. Atget however did not regard himself as a Surrealist.[17][18] When Ray asked Atget if he could use his photo, Atget said: "Don't put my name on it. These are simply documents I make."[19] Man Ray proposed that Atget's pictures of staircases, doorways, ragpickers, and especially those with window reflections and mannequins, had a Dada or Surrealist quality about them.[20]

Recognition in America

He will be remembered as an urbanist historian, a genuine romanticist, a lover of Paris, a Balzac of the camera, from whose work we can weave a large tapestry of French civilization.

— Berenice Abbott[21]

After Atget's death his friend, the actor André Calmettes, sorted his work into two categories; 2,000 records of historic Paris, and photographs of all other subjects. The former, he gave to the French government; the others he sold to the American photographer Berenice Abbott,[22] with financial support by Julien Levy.[3][4][23]

Atget created a comprehensive photographic record of the look and feel of nineteenth-century Paris just as it was being dramatically transformed by modernization,[24] and its buildings were being systematically demolished.[25]

When Berenice Abbott reportedly asked him if the French appreciated his art, he responded, "No, only young foreigners."[1] While Ray and Abbott claimed to have 'discovered' him around 1925,[2] he was not unknown and had, since 1900, 182 reproductions of 158 images in 29 publications and had sold, between 1898 and 1927, sometimes more than 1000 pictures a year to public institutions including the Bibliothèque Nationale, Bibliothèque Historique de la Ville de Paris, Musée Carnavalet, Musée de Sculpture Comparé, École des Beaux-Arts, the Directorate of Fine Arts and others.[26]

The publication of his work in the United States after his death and the promotion of his work to English-speaking audiences was due to Berenice Abbott.[2] She exhibited, printed and wrote about his work, and assembled a substantial archive of writings about his portfolio by herself and others.[27] Abbott published Atget, Photographe de Paris in 1930, the first overview of his photographic oeuvre and the beginning of his international fame.[3] [4] She also published a book with prints she made from Atget's negatives: The World of Atget (1964).[28] Berenice Abbott and Eugene Atget was published in 2002.[22]

Legacy

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

The U.S. Library of Congress has some 20 prints made by Abbott in 1956.[29] The Museum of Modern Art purchased the Abbott/Levy collection of Atget's work in 1968.[3] [4] MoMA published a four-volume series of books based on its four successive exhibitions of Atget's life and work, between 1981 and 1985.[30]

In 2001, the Philadelphia Museum of Art acquired the Julien Levy Collection of Photographs, the centerpiece of which includes 361 photographs by Atget.[31] Many of these photographs were printed by Atget himself and purchased by Levy directly from the photographer. Others arrived in Levy's collection when he and Berenice Abbott entered a partnership to preserve Atget's studio in 1930. Eighty-three prints in the Levy's collection were made by Abbott posthumously as exhibition prints that she produced directly from Atget's glass negatives.[32] Additionally, the Levy collection included three of Atget's photographic albums, crafted by the photographer himself.[33] The most complete is an album of domestic interiors titled Intérieurs Parisiens Début du XXe Siècle, Artistiques, Pittoresques & Bourgeois. The other two albums are fragmentary. Album No. 1, Jardin des Tuileries has only four pages still intact, and the other lacks a cover and title but contains photographs from numerous Parisian parks. In total, the Philadelphia Museum of Art holds approximately 489 objects attributed to Atget.

Atget, a Retrospective was presented at the Bibliothèque Nationale of Paris in 2007.

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

Although no statement by Atget about his technique or aesthetic approach survives,[20] he did sum up his life's work in a letter to the Minister of Fine Arts;

For more than 20 years I have been working alone and of my own initiative in all the old streets of Old Paris to make a collection of 18 × 24cm photographic negatives: artistic documents of beautiful urban architecture from the 16th to the 19th centuries…today this enormous artistic and documentary collection is finished; I can say that I possess all of Old Paris

— Eugène Atget, Atget, E. Letter to Paul Léon, Ministre des Beaux-Arts, November 12, 1920.

The U.S. Library of Congress was unable to determine the ownership of the twenty Atget photographs in its collection,[29] thus suggesting that they are technically orphan works. Abbott clearly had a copyright on the selection and arrangement of his photographs in her books, which is now owned by Commerce Graphics.[29] The Library also stated that the Museum of Modern Art, which owns the collection of Atget's negatives, reported that Atget had no heirs and that any rights on these works may have expired.[29]

Notes and references

  1. ^ a b c White, Edmund (2001). The Flâneur: A Stroll Through the Paradoxes of Paris. London: Bloomsbury Publishing. p. 41–43. ISBN 1582342121.
  2. ^ a b c d "In Focus: Eugène Atget (Getty Bookstore)". Getty.edu. Retrieved 2013-04-20.
  3. ^ a b c d e f g h i j k l m n Paris: pp. 240–246
  4. ^ a b c d e f g h i Photographers A–Z: p. 17
  5. ^ 12 Rue des Beaux-Arts
  6. ^ 5 Rue de la Pitié
  7. ^ Hannavy, John (2005), Encyclopedia of Nineteenth-Century Photography, Taylor & Francis Ltd, ISBN 978-0-203-94178-2
  8. ^ 17bis Rue Campagne-Première
  9. ^ Anne Tucker, Profile of Berenice Abbott, The Woman's Eye (Alfred A. Knopf, 1973), p. 77.
  10. ^ a b Paris: pp. 240–246
  11. ^ a b Sullivan, George (2006), Berenice Abbott, photographer : an independent vision, Clarion Books, p. 49, ISBN 978-0-618-44026-9
  12. ^ Photographers A–Z: p. 17
  13. ^ Hambourg, Maria M. "The Collection." MoMA.org. Oxford University Press, n.d. Web. 22 Feb. 2013.
  14. ^ The Robert Lehman Collection, vol. I-III. 3 : [paintings] : Nineteenth- and twentieth-century paintings, 2010, p. 272
  15. ^ McArdle, James (2019-02-12). "Inconnu". On This Date in Photography. Retrieved 2019-09-11.{{cite web}}: CS1 maint: url-status (link)
  16. ^ Laxton, Susan; ProQuest (Firm) (2019), Surrealism at play, Duke University Press, ISBN 978-1-4780-0343-4
  17. ^ Steer, Linda (2017), Appropriated photographs in French surrealist periodicals, 1924-1939, Abingdon, Oxon New York, NY Routledge, ISBN 978-1-351-57625-3
  18. ^ Dana Macfarlane, 'Photography at the Threshold: Atget , Benjamin and Surrealism'. In History of Photography, 34, no. 1 (2010): 17-28.
  19. ^ Atget quoted by Ray in Paul Hill and Ton1 Cooper, 'Interview: Man Ray'. In Camera 74 (February 1975): 39-40.
  20. ^ a b Barberie, Peter. "Looking at Atget" (New Haven and London, Yale University Press, 2005) p53–56
  21. ^ quoted in Paris, p. 22
  22. ^ a b Worswick, C. 2002. Berenice Abbott and Eugène Atget. Santa Fe, NM: Arena Editions.
  23. ^ Figures are inconclusive as to how much Abbott acquired. Paris, p. 246: 1300 negatives and 5000 prints. Photographers A–Z, p. 17: 7800 negatives, 1400 prints.
  24. ^ Davis, Douglas. "The Picasso of Photography." Newsweek 98 (1981): 88–89. Print.
  25. ^ Fabrikant, Geraldine. "Paris That Awoke to Atget's Lens." Editorial. The New York Times 3 Oct. 2012, Cultured Traveler sec.: 8. Log in. Web. 22 Feb. 2013.
  26. ^ Atget, Eugène, 1856-1927; Aubenas, Sylvie; Le Gall, Guillaume; Bibliothèque nationale de France; Martin-Gropius-Bau (Berlin, Germany) (2007), Atget : une rétrospective, Bibliothèque nationale de France : Hazan, ISBN 978-2-7541-0166-0{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  27. ^ See Peter Barr's PhD dissertation "Becoming Documentary: Berenice Abbott's Photographs 1925–1939" (Boston University, 1997). Also: Berenice Abbott & Eugène Atget by Clark Worswick.
  28. ^ The World of Atget Horizon Press, New York 1964
  29. ^ a b c d "Eugene Atget – Rights and Restrictions Information (Prints and Photographs Reading Room, Library of Congress)". Loc.gov. 2010-10-22. Retrieved 2013-04-20.
  30. ^ Szarkowski, John; Hambourg, Maria Morris; Atget, Eugène, 1856-1927; Museum of Modern Art (New York, N.Y.) (1981), The work of Atget, Museum of Modern Art ; Boston : Distributed by New York Graphic Society, ISBN 978-0-87070-218-1{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  31. ^ Peter Barberie, Looking At Atget (Philadelphia: Philadelphia Museum of Art, 2005), vi.
  32. ^ Peter Barberie, Looking At Atget (Philadelphia: Philadelphia Museum of Art, 2005), 58.
  33. ^ Peter Barberie, Looking At Atget (Philadelphia: Philadelphia Museum of Art, 2005), 15-17.
  34. ^ Note reflection of Atget's tripod and camera covered by a black cloth. Paris:p. 168
  35. ^ Paris, p. 248: this image appeared on the front of La Révolution surréaliste no. 7, 15 June 1926

Bibliography

  • Atget, Eugène. Atget: Photographe de Paris (Paris, 1930)
  • Badger, Gerry. "Eugene Atget: A Vision of Paris" British Journal of Photography 123, no 6039 (Apr. 23, 1976): 344–347.
  • Barberie, Peter. Looking at Atget (New Haven and London, Yale University Press, 2005) 53–56
  • Barbin, Pierre. Colloque Atget (Paris: Collège de France, 1986).
  • Buerger, Janet E. The Era of the French Calotype (New York: International Museum of Photography at George Eastman House, 1982).
  • Buisine, Alain. Eugène Atget ou la melancolie en photographie (Nîmes: Editions Jacqueline Chambon, 1994).
  • Kozloff, Max. "Abandoned and Seductive: Atget's Streets" in The Privileged Eye: Essays on Photography (Albuquerque: University of 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 Christian (2008) [2000]. Paris: Eugène Atget. Taschen. ISBN 978-3-8365-0471-3.
  • Leroy, Jean. Atget: Magicien du vieux Paris en son époque (Paris: P.A.V., 1992).
  • Nesbit, Molly. Atget's Seven Albums (New Haven: Yale University Press, 1992).
  • Reynaud, Françoise. Les voitures d'Atget au musée Carnavalet (Paris: Editions Carre, 1991).
  • Rice, Shelley. Parisian Views (Cambridge: MIT Press, 1997).
  • Russell, John. "Atget", The New York Times Magazine, September 13, 1981.
  • Szarkowski, John. Atget (New York: The Museum of Modern Art, 2000).
  • Szarkowski, John and Maria Morris Hamburg. The Work of Atget: Volume 1, Old France (New York: The Museum of Modern Art, 1981).
  • Szarkowski, John and Maria Morris Hamburg. The Work of Atget: Volume 2, The Art of Old Paris (New York: The Museum of Modern Art, 1982).
  • Szarkowski, John and Maria Morris Hamburg. The Work of Atget: Volume 3, The Ancien Régime (New York: The Museum of Modern Art, 1983).
  • Szarkowski, John and Maria Morris Hamburg. The Work of Atget: Volume 4, Modern Times (New York: The Museum of Modern Art, 1985).
  • Atget, Eugène; Wiegand, Wilfried (1998). Eugène Atget: Paris. New York: te Neues Publishing. ISBN 978 3823803638.
  • The World of Atget, 1964.
  • Atget's Gardens: A Selection of Eugene Atget's Garden Photographs, 1979.
  • Eugene Atget: A Selection of Photographs from the Collection of Musee Carnavalet, Paris, 1985.
Wikimedia Commons has media related to Eugène Atget.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Eugène_Atget&oldid=915139757"