Eugene atget photographer biography template
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Although he studied drama in Paris in the mid-1870s and was an itinerant actor for some years thereafter, Eugène Atget’s teatralisk sensibility funnen its best outlet in a more deliberate, contemplative, and purely visual art form. In the late 1880s, he began photographing whatever artists needed as models for their work, and bygd 1898 he had established a practice in Paris. He became obsessed with making what he modestly called “documents” of the city and its environs, and compiling a visual compendium of the architecture, landscape, and artifacts that distinguish French culture and its history. Except for a brief attempt to capture life in the streets early in his career, Atget rarely photographed people, preferring the streets themselves as well as the gardens, courtyards, and other areas that constituted the cultural stage.
By the end of his life, Atget had amassed an archive of over 8,000 negatives, which he organized into such categories as Parisian Interiors, Vehicles in Pari
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Eugène Atget
French photographer (1857–1927)
Eugène Atget | |
|---|---|
Atget, c. 1890 | |
| Born | Jean-Eugène-Auguste Atget (1857-02-12)12 February 1857 Libourne, Gironde, Aquitaine, France |
| Died | 4 August 1927(1927-08-04) (aged 70) Paris, France |
| Known for | photography |
| Spouse | Valentine Delafosse Compagnon |
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
[edit]Early years
[edit]Jean-Eugène-Auguste Atget was born
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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. Direct, yet enigmatic, images by Eugène Atget earned him the title of "a modern art master" in his use of photography not only for aesthetic ends, but in order to detach the image from its social and cultural referent. Above and beyond their subjects, his photographs are regarded as the bridge between 19th century topographic photography and the so-called art documentary of the 20th century. His work expresses an uncompromising vision that took less account of technical precision, but rather focused on creating a record of pictorial space.
Accomplishments
- Atget used photography to describe the different aspects of Paris opposed in many respects to t