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Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. His photographs, many of ...
Eugène Atget: Nôtre Dame, 1922 Nagy formátumú (18x24 cm) fakamerát és üvegnegatívot használt, hogy minél részletgazdagabban örökíthesse meg a várost. Sok fényképe a hajnali órákban készült, a szórt fény és a széles látószög alkalmazása miatt különös hangulatot kölcsönözve az ábrázolt tereknek.
Biografia. Atget va néixer el 12 de febrer de 1857 a Liborna.El seu pare, el constructor de carruatges Jean-Eugène Atget, va morir el 1862, i la seva mare, Clara-Adeline Atget, de soltera Hourlier, va morir poc després; va quedar orfe als set anys. Va ser criat pels seus avis materns a Bordeus i després d'acabar l'educació secundària es va incorporar a la marina mercant.
Although he studied drama in Paris in the mid-1870s and was an itinerant actor for some years thereafter, Eugène Atget’s theatrical sensibility found its best outlet in a more deliberate, contemplative, and purely visual art form.
21 de feb. de 2024 · Eugène Atget never called himself a photographer; instead he preferred "author-producer." A private, almost reclusive man, Atget first tried his hand at painting and acting, then began to photograph vieux Paris (Old Paris) in 1898. He photographed in part to create "documents," as he called his photographs, of architecture and urban views, but he supported himself by selling these photographs ...
27 de may. de 2021 · Eugène Atget. Atelier Editions Xavier Barral, 2021. 224 páginas. 42 euros. Puedes seguir a BABELIA en Facebook y Twitter , o apuntarte aquí para recibir nuestra newsletter semanal .
Summary of Eugène Atget. A photograph shows the inside of the display of a clothing store like a parody of a theatrical space, where the photographer plays with ambiguity: while the vitrine triggers desire, the glass physically isolates the consumer who contemplates his own reflection mingled with the spectacle of the commodity.
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