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375:, a series of photographs he took for the Bibliotéque Nationale, he included a view of 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. He contact-printed his negatives onto pre-sensitized, commercially available
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601:. Atget however did not regard himself as a Surrealist. 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." Man Ray proposed that Atget's pictures of staircases, doorways, ragpickers, and especially those with window reflections (when foreground and background mix and mannequins looks like ready to step out), had a
363:(Blue Ribbon) brand with a general purpose gelatin-silver emulsion, fairly slow, that necessitated quite long exposures, resulting in the blurring of moving subjects seen in some of his pictures. Interest in Atget's work has prompted the recent scientific analysis of Atget's negatives and prints in Parisian collections and in the Philadelphia Museum of Art.
698:, who owned a gallery in New York. Since he had difficulty selling the prints, he allowed Abbott to keep them in her possession. In the late 1960s Abbott and Levy sold the collection of Atgets to The Museum of Modern Art. As MoMA bought it, the collection contained 1415 glass negatives and nearly 8,000 vintage prints from over 4,000 distinct negatives.
841:. Abbott clearly had a copyright on the selection and arrangement of his photographs in her books, which is now owned by Commerce Graphics. 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.
429:. He made views of gardens in the areas surrounding Paris, in the summer of 1901, photographing the gardens at Versailles, a challenging subject of large scale and with combinations of natural and architectural and sculptural elements which he would revisit until 1927, learning to make balanced compositions and perspectives.
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One of the central problems associated with Atget's work is determining the balance between fiction and documentary. Atget created his photographs as utilitarian materials (documents for artists or archival images of
Parisian monuments) - their artistic status was partly the result of later readings.
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Early in the 1900s, Atget began to document “Old Paris,” reading extensively in order to sympathetically focus on Paris architecture and environments dating prior to the French
Revolution, concern over the preservation of which ensured him commercial success. He framed the winding streets to show the
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entered a partnership to preserve Atget's studio in 1930. Eighty-three prints in the Levy
Collection were made by Abbott posthumously as exhibition prints that she produced directly from Atget's glass negatives. Additionally, the Levy Collection included three of Atget's photographic albums, crafted
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photograph. Benjamin draws attention to the fact that Atget liberates photography from the aura that was characteristic of both early 19th-century photography and classical works of art in particular. Thus, Walter
Benjamin denotes the direction of research into the frame and technical arts, which he
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By the end of his career, Atget had worked methodically and concurrently on thirteen separate series of photographs including 'Landscape
Documents', 'Picturesque Paris', 'Art in Old Paris', 'Environs', 'Topography of Old Paris', 'Tuileries', 'Vielle France', 'Interiors', 'Saint Cloud', 'Versailles',
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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
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printing-out paper, or two types of matte albumen paper that he used mainly after WW1. The negative was clamped into a printing frame under glass and against a sheet of albumen photographic printing out paper, which was left out in the sun to expose. The frame permitted inspection of the print until
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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
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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. She exhibited, printed and wrote about his work, and assembled a substantial archive of writings about his portfolio by herself and others. Abbott
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By 1891 Atget advertised his business with a shingle at his door, remarked later by
Berenice Abbott, that announced “Documents pour Artistes”. Initially his subjects were flowers, animals, landscapes, and monuments; sharp and meticulous studies centred simply in the frame and intended for artists'
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When
Berenice Abbott reportedly asked him if the French appreciated his art, he responded ironically, "No, only young foreigners." While Ray and Abbott claimed to have 'discovered' him around 1925, he was certainly not the unknown 'primitive' 'tramp' or 'Douanier Rousseau of the street' that they
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At the moment, not many reliable facts from Atget’s life are known. It is believed that Atget was poor, while at the same time, there is an assumption that the photographer’s cramped financial circumstances are a myth established by later researchers in attempts to create the image of a romantic
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relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control perspective and keep vertical forms straight. The negatives show four small clear rebates (printing black) where clips held the glass in the plate-holder during
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corrected the understanding of Atget's program. It implied that the photographer was not creating a pictorial monolith, but a catalog that was part of the artistic and semantic system of his photographs. This circumstance allows us to perceive Atget’s works as an example of a specific artistic
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meaning a thumb-indexed address book or directory, but also defined, aptly in actor Atget's case, as 'a stock of plays, dances, or items that a company or a performer knows or is prepared to perform'). The book is now in the MoMA collection, and in it he recorded the names and addresses of 460
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views. Other researchers believe that the size of the archive is important in assessing his work—the entire corpus of 10 thousand photographs, and not just individual photographs. It is believed that the meaning of his activity is not only in the creation of individual images, but also in the
567:. It is not entirely clear what should be considered a master’s work—a single selected frame or a complete corpus of several thousand images. Atget's photographs highlighted the problem of the singularity of the work and questioned the possibility of its integrity and semantic completeness.
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Cartier
Bresson, A. 1987. Techniques d'Analyse Appliquées aux Photographies d'Eugène Atget Conservées dans les Collections de la Ville de Paris. ICOM committee for conservation: 8th triennial meeting, Sydney, Australia, 6–11 September 1987. The Getty Conservation Institute.
315:, an employee of the Commission on Historical Monuments and one of the top officials of the French Ministry of Culture (French), from which it follows that they sold 2,600 negatives for 10,000 francs. This is one of the largest, but not the only lifetime sales of Atget.
729:, where author Jerome Saltz analyzes historicist perspectives and considers their aesthetic implications: "(...) the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references."
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took him for; he had, since 1900, as counted by Alain
Fourquier, 182 reproductions of 158 images in 29 publications and had sold, between 1898 and 1927 and beyond the postcards he published, sometimes more than 1000 pictures a year to public institutions including the
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Vasilyeva Ekaterina. (2013) Eugene Atget and the legacy of the 19th century photographic school. / Vasilyeva E. City and Shadow. The image of the city in artistic photography of the 19th-20th centuries. Saarbrucken: Lambert Academic Publishing. p. 131-143. ISBN
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Still living in Paris, 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
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Collection of Photographs, the centerpiece of which includes 361 photographs by Atget. Many of these photographs were printed by Atget himself and purchased by Levy directly from the photographer. Others arrived in Levy's possession when he and
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Vasilyeva E. (2013) Eugene Atget and the legacy of the 19th century photographic school. / Vasilyeva E. City and Shadow. The image of the city in artistic photography of the 19th-20th centuries. Saarbrucken: Lambert Academic Publishing. p.
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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.
631:. In his understanding, Atget is a representative of a new photographic vision, and not a master of idyllic photographs of 19th-century Paris. He names Atget as the discoverer of the fragment that will become the central motif of the
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In 1926, Atget's partner Valentine died, 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”, Atget died on 4 August in 1927, in Paris.
290:, visited Atget in 1925, bought some of his photographs, and tried to interest other artists in his work. She continued to promote Atget through various articles, exhibitions and books, and sold her Atget collection to the
667:, 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,
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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.
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Atget created a comprehensive photographic record of the look and feel of nineteenth-century Paris just as it was being dramatically transformed by modernization, and its buildings were being systematically demolished.
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190:. 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
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purchased the Abbott/Levy collection of Atget's work in 1968. MoMA published a four-volume series of books based on its four successive exhibitions of Atget's life and work, between 1981 and 1985.
520:, 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.
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purchased and collected almost fifty of Atget's photographs into an album embossed with the name 'Atget', "coll. Man Ray" and a date, 1926. He published several of Atget's photographs in his
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clients; architects, interior decorators, builders and their artisans skilled in ironwork, wood panelling, door knockers, also painters, engravers, illustrators, and set designers, jewellers
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154:, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Most of his photographs were first published by
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formation of a sequential series of images. In this case, it is important to have an exceptional number of photographs (about 10 thousand), as well as the use of a systematic
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Estructura y armonía. Ciudades y arquitecturas. Tres visiones fotográficas: Eugène Atget, Berenice Abbott, Amanda Bouchenoire" (México: Greka Editions. Schedio Biblio, 2020).
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in 1930, the first overview of his photographic oeuvre and the beginning of his international fame. She also published a book with prints she made from Atget's negatives:
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Benjamin W. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (vier Fassungen 1935–1939). Erstausgabe In: Zeitschrift für Sozialforschung. 1936.
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One of the main issues related to Atget’s work is the nature and specificity of his legacy. Some researchers consider him, first of all, the author of romantic
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Atget, Eugène; Adams, William Howard; Royal Institute of British Architects; International Center of Photography; International Exhibitions Foundation (1979).
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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.
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a satisfactory exposure was achieved, then Atget washed, fixed and toned his print with gold toner, as was the standard practice when he took up photography.
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Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields.
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Although no statement by Atget about his technique or aesthetic approach survives, he did sum up his life's work in a letter to the Minister of Fine Arts;
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524:'Parisian Parks', 'Sceaux' and a smaller series on costumes and religious arts, returning to subjects after they had been put aside for many years.
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Atget's specialisation in imagery of Old Paris expanded his clientele. Amongst his scant surviving documents was his notebook, known by the word
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As the city and architecture are two main themes in Atget's photographs, his work has been commented on and reviewed together with the work of
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Atget, Eugène, 1856–1927; Aubenas, Sylvie; Le Gall, Guillaume; Bibliothèque nationale de France; Martin-Gropius-Bau (Berlin, Germany) (2007),
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bought his photographs. The latter commissioned him ca. 1906 to systematically photograph old buildings in Paris. In 1899 he moved to
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See Peter Barr's PhD dissertation "Becoming Documentary: Berenice Abbott's Photographs 1925–1939" (Boston University, 1997). Also:
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was unable to determine the ownership of the twenty Atget photographs in its collection, thus suggesting that they are technically
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is considered as the basis of the artistic program by many researchers of Atget's work. The research of Maria Morris Hamburg and
409:. The idea of a work as a community was used by Maria Morris Hamburg and John Szarkowski when preparing a landmark exhibition at
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Price, B.A. and K. Sutherland. 2005. 'Looking at Atget's and Abbott's Prints: The Photographic Materials.' In Barberie, Peter.
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In 1920–21, he sold thousands of his negatives to institutions. Financially independent, he took up photographing the parks of
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Estructura y armonia. Ciudades y arquitecturas. Tres visiones fotograficas: Eugene Atget, Berenice Abbott, Amanda Bouchenoire
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Atget then embarked on a series of picturesque views of Paris which include documentation of the small trades in his series
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in 1887, moved to the provinces and took up painting without success. When he was thirty he made his first photographs, of
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The Robert Lehman Collection, vol. I-III. 3 : [paintings] : Nineteenth- and twentieth-century paintings
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Badger, Gerry. "Eugene Atget: A Vision of Paris" British Journal of Photography 123, no 6039 (23 April 1976): 344–347.
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Szarkowski, John; Hambourg, Maria Morris; Atget, Eugène, 1856–1927; Museum of Modern Art (New York, N.Y.) (1981),
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2011:"Eugene Atget – Rights and Restrictions Information (Prints and Photographs Reading Room, Library of Congress)"
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Hambourg, M.M. 1980. Eugène Atget 1857–1927: The Structure of the Work. PhD Thesis, Columbia University. 66–74.
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Szarkowski J., Hamburg M. M. The Work of Atget: Volume 1 — 4. New York: The Museum of Modern Art, 1981—1985.
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draws attention to the fact that the central theme associated with Atget’s works is the uncertainty of the
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Benjamin W. Kleine Geschichte der Photographie // Literarische Welt, 1931, September 18 and 25, October 2.
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https://www.artic.edu/collection?q=%22Jean-Eug%C3%A8ne-Auguste%20Atget%22&department_ids=Photography
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after his death. Though he sold his work to artists and craftspeople, and became an inspiration for the
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Macchiarella, Lindsey (2017). "Early French Modernism Across Modalities: Erik Satie and Eugène Atget".
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Architecture and Cities. Three Photographic Gazes: Eugène Atget, Berenice Abbott, Amanda Bouchenoire
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Hambourg, Maria M. "The Collection." MoMA.org. Oxford University Press, n.d. Web. 22 February 2013.
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Camille Moore, An Analytical Study of Eugène Atget's Photographs at the Museum of Modern Art. In
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Barberie, Peter. "Looking at Atget" (New Haven and London, Yale University Press, 2005) p53–56
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The Albumen and Salted Paper Book: the History and Practice of Photographic Printing 1840–1895
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While being a photographer Atget still called himself an actor, giving lectures and readings.
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in 1906 and 1911 and the sale of various albums of photographs to the Bibliotèque Nationale
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He will be remembered as an urbanist historian, a genuine romanticist, a lover of Paris, a
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1398:// Art Journal, Vol. 42, No. 4, The Crisis in the Discipline (Winter, 1982), pp. 311-319.
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by the photographer himself. The most complete is an album of domestic interiors titled
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623:'s essay A Brief History of Photography (1931). Benjamin views Atget as a forerunner of
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Eugene Atget: A Selection of Photographs from the Collection of Musee Carnavalet, Paris
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Atget's photographs attracted the attention of, and were purchased by, artists such as
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This idea has been supported by researchers such as Rosalind Krauss and other experts.
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In 1890, Atget moved back to Paris and became a professional photographer, supplying
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Dana Macfarlane, 'Photography at the Threshold: Atget, Benjamin and Surrealism'. In
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of the camera, from whose work we can weave a large tapestry of French civilization.
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historic buildings in context, rather than making frontal architectural elevations.
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Intérieurs Parisiens Début du XXe Siècle, Artistiques, Pittoresques & Bourgeois
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Worswick, C. 2002. Berenice Abbott and Eugène Atget. Santa Fe, NM: Arena Editions.
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Barberie P. Looking at Atget. New Haven and London: Yale University Press, 2005.
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Davis, Douglas. "The Picasso of Photography." Newsweek 98 (1981): 88–89. Print.
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2218:(New York: International Museum of Photography at George Eastman House, 1982).
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cited a fragment of Atget’s correspondence with Paul Leon, a professor at the
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The U.S. Library of Congress has some 20 prints made by Abbott in 1956. The
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Atget quoted by Ray in Paul Hill and Ton1 Cooper, 'Interview: Man Ray'. In
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Bibliothèque numérique INHA – Fonds photographique Eugène Atget de l'ENSBA
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3 October 2012, Cultured Traveler sec.: 8. Log in. Web. 22 February 2013.
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During the Depression in the 1930s Abbott sold half of her collection to
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Atget, Eugène; Proust, Marcel, 1871–1922; Trottenberg, Arthur D (1963),
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Nesbit, M. 1992. Atget’s Seven Albums. New Haven: Yale University Press.
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on the planet Mercury is named after him, as is Rue Eugène-Atget in the
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Note reflection of Atget's tripod and camera covered by a black cloth.
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Atget's gardens : a selection of Eugene Atget's garden photographs
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to peer through various devices, or through their bare fingers, at the
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Fabrikant, Geraldine. "Paris That Awoke to Atget's Lens." Editorial.
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Harris, D. 1999. Eugène Atget: Unknown Paris. New York: The New Press
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Appropriated photographs in French surrealist periodicals, 1924–1939
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of interest to his clients, and separate from series or chronology.
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for artists: studies for painters, architects, and stage designers.
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often seen at some corners of his photographs is due to his having
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2480:"Photography View: Eugene Atget – His Art Bridged Two Centuries,"
2390:// International Journal of Cultural Studies, No. 1 (30): 30 - 38.
1730:// International Journal of Cultural Studies, No. 1 (30): 30 - 38.
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Atget's Gardens: A Selection of Eugene Atget's Garden Photographs
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collection is finished; I can say that I possess all of Old Paris
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made fourteen years earlier and showing a crowd gathered at the
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Archive of Visions – Inventory of Things: Eugene Atget's Paris
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Szarkowski J. Atget. New York: The Museum of Modern Art, 2004.
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Eugene Atget and Haunted Paris: Trees, Parks and Architecture
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Kozloff, Max. 'Abandoned and Seductive: Atget's Streets'. In
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photography, effectively making him a member of the European
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Kozloff, Max. "Abandoned and Seductive: Atget's Streets" in
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Berenice Abbott, photographer : an independent vision
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Eugene Atget: artistic biography and mythological program
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Music in Art: International Journal for Music Iconography
2204:(New Haven and London, Yale University Press, 2005) 53–56
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Eugene Atget: artistic biography and mythological program
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In 1929, eleven of Atget's photographs were shown at the
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2061:(Philadelphia: Philadelphia Museum of Art, 2005), 15–17.
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2070:"Jean-Eugène-Auguste Atget," Art Institute of Chicago,
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Atget : un photographe déjà célèbre de son vivant
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most famously in issue number 7, of 15 June 1926, his
2048:(Philadelphia: Philadelphia Museum of Art, 2005), 58.
2035:(Philadelphia: Philadelphia Museum of Art, 2005), vi.
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The Work of Art in the Age of Mechanical Reproduction
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The beginning of photography and photography of Paris
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and produced a series of photographs of prostitutes.
2232:(Albuquerque: University of New Mexico Press, 1987).
1549:(Albuquerque: University of New Mexico Press, 1987).
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The Flâneur: A Stroll Through the Paradoxes of Paris
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One of the earliest analytical texts about Atget is
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Atget's photographs: the problem of the work of art
194:and after finishing secondary education joined the
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2348:The Work of Atget: Volume 2, The Art of Old Paris
1923:, Bibliothèque nationale de France : Hazan,
727:Architecture and Cities. Three Photographic Gazes
453:, antiquarians and historians, artists including
144:; 12 February 1857 – 4 August 1927) was a French
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1221:
1835:
1396:Photography's Discursive Spaces: Landscape/View
396:Features and specifics of photographic practice
2355:The Work of Atget: Volume 3, The Ancien Régime
2256:Krase, Andreas; Adam, Hans Christian (2008) .
2173:, p. 248: this image appeared on the front of
1164:Encyclopedia of Nineteenth-Century Photography
301:
2514:
2223:Eugène Atget ou la melancolie en photographie
1161:
943:Prostitute waiting in front of her door, 1921
823:, Ministre des Beaux-Arts, November 12, 1920.
366:
2397:
2281:
2276:Atget: Magicien du vieux Paris en son époque
1942:: CS1 maint: multiple names: authors list (
1763:
1660:: CS1 maint: multiple names: authors list (
1618:: CS1 maint: multiple names: authors list (
1595:Scharf, Aaron; Scharf, Aaron, 1922– (1968),
1469:: CS1 maint: multiple names: authors list (
681:Bibliothèque Historique de la Ville de Paris
614:
244:Bibliothèque historique de la ville de Paris
2364:(New York: The Museum of Modern Art, 1985).
2360:Szarkowski, John and Maria Morris Hamburg.
2357:(New York: The Museum of Modern Art, 1983).
2353:Szarkowski, John and Maria Morris Hamburg.
2350:(New York: The Museum of Modern Art, 1982).
2346:Szarkowski, John and Maria Morris Hamburg.
2343:(New York: The Museum of Modern Art, 1981).
2339:Szarkowski, John and Maria Morris Hamburg.
2336:(New York: The Museum of Modern Art, 2000).
2225:(Nîmes: Editions Jacqueline Chambon, 1994).
691:, the Directorate of Fine Arts and others.
570:
546:program and consider them as an example of
491:Bibliotèque Historique de la Ville de Paris
238:Starting in 1898, institutions such as the
3349:London International Surrealist Exhibition
2521:
2507:
1946:) CS1 maint: numeric names: authors list (
1664:) CS1 maint: numeric names: authors list (
1622:) CS1 maint: numeric names: authors list (
1488:Le Gall, Guillaume; Holmes, Brian (1998),
1473:) CS1 maint: numeric names: authors list (
1049:"In Focus: Eugène Atget (Getty Bookstore)"
663:After Atget's death his friend, the actor
465:, well-known authors, editors, publishers
359:exposure. The glass plates were 180×240mm
42:
2398:Atget, Eugène; Wiegand, Wilfried (1998).
2362:The Work of Atget: Volume 4, Modern Times
2306:(New Haven: Yale University Press, 1992).
2230:The Privileged Eye: Essays on Photography
1816:
1768:, Abingdon, Oxon New York, NY Routledge,
1547:The Privileged Eye: Essays on Photography
1016:. London: Bloomsbury Publishing. p.
1003:
1001:
999:
643:
3344:Exposition Internationale du Surréalisme
2311:Les voitures d'Atget au musée Carnavalet
1325:2007, Volume 12, Article 28. pp. 194–210
776:. The other two albums are fragmentary.
322:
318:
169:
120:
2341:The Work of Atget: Volume 1, Old France
1740:Laxton, Susan; ProQuest (Firm) (2019),
1694:
1096:
1094:
1092:
1090:
1088:
1086:
1043:
1041:
1039:
1037:
990:
14:
3382:
2454:Atget collection in the Eastman Museum
2113:International Photography Hall of Fame
2005:
2003:
2001:
1999:
1084:
1082:
1080:
1078:
1076:
1074:
1072:
1070:
1068:
1066:
996:
863:International Photography Hall of Fame
528:Atget and the concept of a work of art
2502:
1992:. México: Greka Editions. p. 42.
1985:
1883:
1881:
1812:
1810:
1590:
1588:
1441:
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1437:
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1346:
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1127:
1125:
1123:
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1119:
1117:
1115:
1113:
1111:
1109:
1007:
483:Les Annales politiques et litteraires
227:Photography and documents for artists
139:
2469:Atget's Portfolio at Photography-now
2380:. St. Petersburg: Palmira. P. 18-24.
1267:. St. Petersburg: Palmira. P. 18-24.
1034:
533:Atget and the problem of the archive
2088:International Center of Photography
1996:
1695:McArdle, James (12 February 2019).
1323:Topics in Photographic Preservation
1063:
857:International Center of Photography
346:wooden bellows camera with a rapid
24:
1962:Berenice Abbott & Eugène Atget
1878:
1807:
1585:
1552:
1432:
1367:. Rochester: Light Impressions NY.
1341:
1328:
1302:
1288:
1210:
1106:
819:Eugène Atget, Atget, E. Letter to
605:or Surrealist quality about them.
201:
25:
3431:
3420:19th-century French photographers
3298:The Surrealist Group in Stockholm
2438:
2402:. New York: te Neues Publishing.
2211:(Paris: Collège de France, 1986).
778:Album No. 1, Jardin des Tuileries
416:
279:Later years and creative heritage
975:
963:
948:
936:
921:
909:
894:
882:
712:Berenice Abbott and Eugene Atget
548:non-logical forms in photography
342:Atget photographed Paris with a
2183:
2164:
2151:
2126:
2101:
2076:
2064:
2051:
2038:
2025:
1979:
1967:
1954:
1912:
1899:
1890:
1865:
1856:
1847:
1794:
1781:
1757:
1733:
1688:
1672:
1630:
1576:
1539:
1530:
1505:
1481:
1370:
1357:
1279:
1270:
27:French photographer (1857–1927)
2528:
2313:(Paris: Editions Carre, 1991).
2216:The Era of the French Calotype
1921:Atget : une rétrospective
1197:, Profile of Berenice Abbott,
1188:
1179:
1155:
1146:
1137:
844:
687:, Musée de Sculpture Comparé,
599:Solar eclipse of 17 April 1912
178:
174:Atget's birthplace in Libourne
13:
1:
3243:Bureau of Surrealist Research
2459:Eugène Atget at Luminous Lint
2320:(Cambridge: MIT Press, 1997).
186:was born 12 February 1857 in
115:Valentine Delafosse Compagnon
1976:Horizon Press, New York 1964
1599:, Allen Lane, p. 292n,
1166:, Taylor & Francis Ltd,
851:The Art Institute of Chicago
828:
804:13th arrondissement of Paris
165:
7:
3415:Architectural photographers
2325:The New York Times Magazine
2192:Atget: Photographe de Paris
1701:On This Date in Photography
1516:(1st ed.). Doubleday.
1185:17bis Rue Campagne-Première
704:Atget, Photographe de Paris
636:will continue in his essay
302:Atget and biographical myth
10:
3436:
2474:Rauschenberg rephotographs
2378:36 essays on photographers
2255:
2170:
2158:
2013:. Loc.gov. 22 October 2010
1872:
1804:74 (February 1975): 39–40.
1791:, 34, no. 1 (2010): 17-28.
1265:36 essays on photographers
1100:
875:
760:Philadelphia Museum of Art
367:Specifics of the technique
3369:Paranoiac-critical method
3306:
3215:
2912:
2536:
2175:La Révolution surréaliste
1744:, Duke University Press,
1559:Fourquier, Alain (2007),
1228:, Clarion Books, p.
1222:Sullivan, George (2006),
732:
615:Atget and Walter Benjamin
585:La Révolution surréaliste
508:in the 1920s, as well as
440:on its cover (the French
307:artist. In his research,
184:Jean-Eugène-Auguste Atget
111:
103:
87:
58:Jean-Eugène-Auguste Atget
53:
41:
34:
3253:Chicago Surrealist Group
3238:British Surrealist Group
2323:Russell, John. "Atget",
2138:The J. Paul Getty Museum
869:The J. Paul Getty Museum
835:U.S. Library of Congress
571:Surrealist appropriation
223:, which date from 1888.
3405:Landscape photographers
1819:Photography visionaries
1131:
714:was published in 2002.
152:documentary photography
3364:Abstract expressionism
3233:Birmingham Surrealists
2922:Maxime Moses Alexandre
2899:Radojica Živanović Noe
2564:Jacques-André Boiffard
2278:(Paris: P.A.V., 1992).
2235:Koetzle, Hans-Michel.
1986:Saltz, Jerome (2020).
1789:History of Photography
1162:Hannavy, John (2005),
1008:White, Edmund (2001).
916:Atget's Salon, c. 1910
826:
789:Bibliothèque Nationale
785:Atget, a Retrospective
677:Bibliothèque Nationale
661:
644:Recognition in America
609:Abigail Solomon Godeau
565:boundaries of the work
331:
175:
129:
3334:Surrealist techniques
3319:Surrealist automatism
3263:Fighting Cock Society
3002:Roger Gilbert-Lecomte
2987:Vratislav Effenberger
2927:Guillaume Apollinaire
1817:Warner Marien, Mary.
1764:Steer, Linda (2017),
1143:12 Rue des Beaux-Arts
930:solar eclipse of 1912
811:
787:was presented at the
647:
537:The principle of the
487:l’Art et des artistes
356:repositioned the lens
326:
319:Photographic practice
286:, while working with
173:
124:
3410:Street photographers
3400:People from Libourne
3314:Surrealist Manifesto
3268:The Firesign Theatre
3052:Comte de Lautréamont
2449:Museum of Modern Art
2384:Vasilyeva Ekaterina.
2374:Vasilyeva Ekaterina.
2327:, 13 September 1981.
2309:Reynaud, Françoise.
2304:Atget's Seven Albums
1490:Atget, life in Paris
991:Notes and references
928:People watching the
889:Rags collector, 1899
753:Museum of Modern Art
689:École des Beaux-Arts
373:Intérieurs Parisiens
292:Museum of Modern Art
3202:Marianne Van Hirtum
3177:Simon Watson Taylor
2639:Christian Dotremont
2400:Eugène Atget: Paris
2258:Paris: Eugène Atget
2177:no. 7, 15 June 1926
1684:, 2010, p. 272
1597:Art and photography
1363:Reilly, J.M. 1980.
459:Maurice de Vlaminck
377:printing-out papers
328:Avenue des Gobelins
2679:Alberto Giacometti
2669:Gordon Onslow Ford
2604:Leonora Carrington
2419:The World of Atget
2214:Buerger, Janet E.
1974:The World of Atget
1964:by Clark Worswick.
1907:The New York Times
1742:Surrealism at play
985:, Versailles, 1926
983:Hameau de la reine
723:Amanda Bouchenoire
708:The World of Atget
595:Colonne de Juillet
479:Revue Hebdomadaire
407:archival principle
332:
176:
130:
3377:
3376:
3354:Women surrealists
3324:Surrealist cinema
3172:Philippe Soupault
2804:Benjamín Palencia
2394:978-3-8484-3923-2
2331:Szarkowski, John.
2267:978-3-8365-0471-3
2245:978-3-8365-1109-4
2237:Photographers A–Z
2200:Barberie, Peter.
1930:978-2-7541-0166-0
1828:978-1-78067-475-9
1775:978-1-351-57625-3
1751:978-1-4780-0343-4
1648:978-0-02-620160-5
1639:A vision of Paris
1606:978-0-7139-0052-1
1570:978-2-9528594-0-0
1523:978-0-385-15320-1
1499:978-2-85025-641-7
1457:978-0-87070-218-1
1448:The work of Atget
1239:978-0-618-44026-9
1173:978-0-203-94178-2
1152:5 Rue de la Pitié
1132:Photographers A–Z
970:Saint-Cloud, 1924
871:– Los Angeles, CA
591:Pendant l’éclipse
455:Tsuguharu Foujita
313:Collège de France
150:and a pioneer of
119:
118:
16:(Redirected from
3427:
3329:Surrealist music
3248:Chicago Imagists
3228:Les Automatistes
3167:Louis Scutenaire
3107:Vítězslav Nezval
2947:Georges Bataille
2864:Dorothea Tanning
2849:Jindřich Štyrský
2824:Aminollah Rezaei
2719:Jacqueline Lamba
2709:Gerome Kamrowski
2654:Curt Echtermeyer
2609:Ithell Colquhoun
2523:
2516:
2509:
2500:
2499:
2484:, March 10, 1985
2413:
2299:
2290:(1–2): 309–328.
2271:
2249:Krase, Andreas.
2239:(Taschen, 2011)
2221:Buisine, Alain.
2207:Barbin, Pierre.
2202:Looking at Atget
2178:
2168:
2162:
2155:
2149:
2148:
2146:
2144:
2130:
2124:
2123:
2121:
2119:
2105:
2099:
2098:
2096:
2094:
2080:
2074:
2068:
2062:
2059:Looking At Atget
2057:Peter Barberie,
2055:
2049:
2046:Looking At Atget
2044:Peter Barberie,
2042:
2036:
2033:Looking At Atget
2031:Peter Barberie,
2029:
2023:
2022:
2020:
2018:
2007:
1994:
1993:
1983:
1977:
1971:
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1352:Looking at Atget
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1005:
979:
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913:
898:
886:
824:
685:Musée Carnavalet
659:
348:rectilinear lens
240:Musée Carnavalet
143:
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68:12 February 1857
67:
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32:
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21:
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3373:
3302:
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3142:Raymond Queneau
3137:Jacques Prévert
3127:Rastko Petrović
3087:Robert Melville
3067:Georges Limbour
3047:Philip Lamantia
2952:Monny de Boully
2914:
2908:
2894:James F. Walker
2884:Albert Valentin
2874:Kristians Tonny
2844:Martin Stejskal
2819:Toni del Renzio
2799:Wolfgang Paalen
2794:Méret Oppenheim
2774:E. L. T. Mesens
2739:Georges Malkine
2674:Esteban Francés
2634:Óscar Domínguez
2589:Jacques Brunius
2584:Emmy Bridgwater
2532:
2527:
2441:
2436:
2410:
2367:Saltz, Jerome.
2316:Rice, Shelley.
2302:Nesbit, Molly.
2268:
2190:Atget, Eugène.
2186:
2181:
2169:
2165:
2156:
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1211:
1207:, 1973), p. 77.
1205:Alfred A. Knopf
1200:The Woman's Eye
1193:
1189:
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1174:
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887:
878:
865:– St. Louis, MO
847:
831:
825:
818:
769:Berenice Abbott
735:
719:Berenice Abbott
665:André Calmettes
660:
658:Berenice Abbott
657:
646:
621:Walter Benjamin
617:
573:
561:Rosalind Krauss
556:
543:John Szarkowski
535:
530:
510:Maurice Utrillo
419:
398:
369:
337:
321:
309:John Szarkowski
304:
284:Berenice Abbott
281:
229:
204:
202:Moving to Paris
181:
168:
156:Berenice Abbott
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3339:Surreal humour
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3122:Benjamin Péret
3119:
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3102:Pierre Naville
3099:
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3057:Marcel Lecomte
3054:
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3029:
3024:
3022:Georges Hugnet
3019:
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2997:Renée Gauthier
2994:
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2851:
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2809:Roland Penrose
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2696:
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2691:
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2684:Julio González
2681:
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2649:Marcel Duhamel
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2641:
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2482:New York Times
2477:
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2440:
2439:External links
2437:
2435:
2434:
2428:
2422:
2415:
2414:
2409:978-3823803638
2408:
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2307:
2300:
2279:
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2253:
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2209:Colloque Atget
2205:
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2187:
2185:
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2163:
2150:
2134:"Eugène Atget"
2125:
2109:"Eugène Atget"
2100:
2084:"Eugène Atget"
2075:
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1995:
1978:
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859:– New York, NY
854:
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734:
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725:, in the book
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531:
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502:Marcel Duchamp
475:L’Illustration
463:Georges Braque
427:Petits Métiers
418:
417:Subject matter
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385:gelatin-silver
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104:Known for
101:
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95:(aged 70)
89:
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48:Atget, c. 1890
47:
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3197:Jacques Vaché
3195:
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3192:Tristan Tzara
3190:
3188:
3185:
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3182:André Thirion
3180:
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3132:Francis Ponge
3130:
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3110:
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3077:Joyce Mansour
3075:
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3065:
3063:
3062:Michel Leiris
3060:
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3042:Jacques Lacan
3040:
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3005:
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2982:Robert Desnos
2980:
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2968:
2967:Nicolas Calas
2965:
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2942:Jacques Baron
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2797:
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2782:
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2777:
2775:
2772:
2770:
2769:John Melville
2767:
2765:
2762:
2760:
2759:Mikuláš Medek
2757:
2755:
2754:Roberto Matta
2752:
2750:
2747:
2745:
2744:Marcel Mariën
2742:
2740:
2737:
2735:
2734:René Magritte
2732:
2730:
2729:Conroy Maddox
2727:
2725:
2722:
2720:
2717:
2715:
2712:
2710:
2707:
2705:
2702:
2700:
2697:
2695:
2692:
2690:
2689:Jane Graverol
2687:
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2677:
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2640:
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2630:
2627:
2625:
2624:Jean Dallaire
2622:
2620:
2619:Salvador Dalí
2617:
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2612:
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2607:
2605:
2602:
2600:
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2579:Fanny Brennan
2577:
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2315:
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2305:
2301:
2297:
2293:
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2277:
2274:Leroy, Jean.
2273:
2269:
2263:
2259:
2254:
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2248:
2246:
2242:
2238:
2234:
2231:
2227:
2224:
2220:
2217:
2213:
2210:
2206:
2203:
2199:
2196:
2194:(Paris, 1930)
2193:
2189:
2188:
2176:
2172:
2167:
2160:
2154:
2139:
2135:
2129:
2114:
2110:
2104:
2089:
2085:
2079:
2073:
2067:
2060:
2054:
2047:
2041:
2034:
2028:
2012:
2006:
2004:
2002:
2000:
1991:
1990:
1982:
1975:
1970:
1963:
1957:
1949:
1945:
1939:
1932:
1926:
1922:
1915:
1908:
1902:
1893:
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1868:
1859:
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1718:
1702:
1698:
1691:
1683:
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1675:
1667:
1663:
1657:
1650:
1644:
1641:, Macmillan,
1640:
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1128:
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1120:
1118:
1116:
1114:
1112:
1110:
1103:: pp. 240–246
1102:
1097:
1095:
1093:
1091:
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1085:
1083:
1081:
1079:
1077:
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1044:
1042:
1040:
1038:
1029:
1023:
1019:
1014:
1013:
1004:
1002:
1000:
995:
984:
978:
973:
966:
961:
957:
956:Grand Trianon
951:
946:
939:
934:
931:
924:
919:
912:
907:
903:
897:
892:
885:
880:
879:
870:
867:
864:
861:
858:
855:
853:, Chicago, IL
852:
849:
848:
842:
840:
836:
822:
815:
810:
807:
805:
801:
796:
794:
790:
786:
782:
779:
775:
770:
765:
762:acquired the
761:
758:In 2001, the
756:
754:
749:
747:
743:
740:
739:Film und Foto
730:
728:
724:
720:
715:
713:
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697:
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690:
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682:
678:
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568:
566:
562:
551:
549:
544:
540:
525:
521:
519:
515:
511:
507:
503:
499:
498:Henri Matisse
494:
492:
488:
484:
480:
476:
472:
468:
464:
460:
456:
452:
448:
443:
439:
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329:
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276:
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261:
259:
254:
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249:
245:
241:
236:
234:
224:
222:
218:
214:
208:
199:
197:
196:merchant navy
193:
189:
185:
172:
163:
161:
157:
153:
149:
148:
142:
134:
127:
126:Organ Grinder
123:
114:
110:
106:
102:
98:Paris, France
91:4 August 1927
90:
86:
81:
77:
73:
56:
52:
45:
40:
33:
30:
19:
3293:Refus Global
3288:Monty Python
3207:Roger Vitrac
3187:Dylan Thomas
3157:Marko Ristić
3147:Herbert Read
3032:Nelly Kaplan
3027:Alfred Jarry
3017:Irène Hamoir
3012:Julien Gracq
2957:André Breton
2932:Louis Aragon
2839:André Souris
2764:Oscar Mellor
2749:André Masson
2629:Paul Delvaux
2599:Claude Cahun
2559:Hans Bellmer
2554:Eugène Atget
2553:
2481:
2445:Eugène Atget
2430:
2424:
2418:
2399:
2368:
2361:
2354:
2347:
2340:
2333:
2324:
2317:
2310:
2303:
2287:
2283:
2275:
2257:
2250:
2236:
2229:
2222:
2215:
2208:
2201:
2191:
2184:Bibliography
2166:
2153:
2141:. Retrieved
2137:
2128:
2116:. Retrieved
2112:
2103:
2091:. Retrieved
2087:
2078:
2066:
2058:
2053:
2045:
2040:
2032:
2027:
2015:. Retrieved
1988:
1981:
1973:
1969:
1961:
1956:
1920:
1914:
1906:
1901:
1892:
1867:
1858:
1849:
1818:
1801:
1796:
1788:
1783:
1765:
1759:
1741:
1735:
1724:Vasilyeva E.
1706:11 September
1704:. Retrieved
1700:
1690:
1680:
1674:
1638:
1632:
1596:
1578:
1560:
1554:
1546:
1541:
1532:
1513:
1507:
1489:
1483:
1447:
1372:
1364:
1359:
1351:
1322:
1281:
1272:
1261:Vasilyeva E.
1224:
1199:
1190:
1181:
1163:
1157:
1148:
1139:
1053:. Retrieved
1011:
958:, Versailles
901:
839:orphan works
832:
812:
808:
800:Atget crater
797:
784:
783:
777:
773:
757:
750:
738:
736:
726:
716:
711:
707:
703:
700:
693:
673:
669:
662:
648:
618:
607:
590:
583:
580:Montparnasse
574:
557:
536:
522:
518:André Derain
495:
486:
482:
467:Armand Colin
447:René Lalique
441:
437:
435:
431:
426:
424:
420:
399:
390:
372:
370:
360:
344:large-format
341:
338:
327:
305:
296:
282:
262:
255:
252:
248:Montparnasse
237:
232:
230:
209:
205:
183:
182:
145:
133:Eugène Atget
132:
131:
125:
93:(1927-08-04)
36:Eugène Atget
29:
18:Eugene Atget
3395:1927 deaths
3390:1857 births
3082:Dušan Matić
2992:Paul Éluard
2977:René Daumal
2972:René Crevel
2913:Writers and
2869:Karel Teige
2859:Yves Tanguy
2714:Wifredo Lam
2704:Frida Kahlo
2664:Leonor Fini
2594:Luis Buñuel
2569:Bill Brandt
2544:Eileen Agar
2260:. Taschen.
2143:19 February
2118:19 February
2093:19 February
1195:Anne Tucker
1051:. Getty.edu
845:Collections
764:Julien Levy
696:Julian Levy
629:avant-garde
514:Edgar Degas
361:Bande Bleue
269:Saint-Cloud
258:World War I
213:vocal cords
179:Early years
160:surrealists
107:photography
3384:Categories
3278:Grup d'Elx
3258:Dau al Set
3112:Paul Nougé
3097:Max Morise
3092:René Ménil
2904:Unica Zürn
2779:Lee Miller
2530:Surrealism
1871:quoted in
1394:Krauss R.
1027:1582342121
902:Au Tambour
702:published
633:New Vision
625:surrealist
442:repertoire
438:Repertoire
352:vignetting
265:Versailles
64:1857-02-12
3273:The Goons
3117:Paul Păun
3072:Léo Malet
3037:Petr Král
3007:Yvan Goll
2915:theorists
2789:Joan Miró
2724:Dora Maar
2659:Max Ernst
2614:Gala Dalí
2296:1522-7464
1697:"Inconnu"
1492:, Hazan,
829:Copyright
821:Paul Léon
795:in 2007.
746:Stuttgart
294:in 1968.
233:documents
166:Biography
80:Aquitaine
3223:Acéphale
2829:Kay Sage
2549:Jean Arp
2017:20 April
1938:citation
1656:citation
1614:citation
1465:citation
1429:131-143.
1338:653–658.
1055:20 April
817:—
742:Werkbund
710:(1964).
656:—
471:Hachette
402:Parisian
242:and the
221:Beauvais
192:Bordeaux
188:Libourne
82:, France
72:Libourne
3307:Related
2814:Man Ray
2537:Artists
2447:at the
2433:, 1985.
2427:, 1979.
2421:, 1964.
2386:(2018)
2376:(2022)
2161::p. 168
1875:, p. 22
1726:(2018)
1263:(2022)
1134:: p. 17
876:Gallery
576:Man Ray
539:archive
506:Picasso
383:paper,
381:albumen
288:Man Ray
256:During
147:flâneur
137:French:
76:Gironde
3216:Groups
2406:
2294:
2264:
2243:
1927:
1825:
1802:Camera
1772:
1748:
1645:
1603:
1567:
1520:
1496:
1454:
1236:
1170:
1024:
904:, 1908
733:Legacy
651:Balzac
485:, and
451:Weller
422:use.
330:(1927)
273:Sceaux
217:Amiens
128:(1898)
112:Spouse
2879:Toyen
2334:Atget
2171:Paris
2159:Paris
1873:Paris
1101:Paris
1018:41–43
793:Paris
3359:Dada
2404:ISBN
2292:ISSN
2262:ISBN
2241:ISBN
2145:2020
2120:2020
2095:2020
2019:2013
1948:link
1944:link
1925:ISBN
1823:ISBN
1770:ISBN
1746:ISBN
1708:2019
1666:link
1662:link
1643:ISBN
1624:link
1620:link
1601:ISBN
1565:ISBN
1518:ISBN
1494:ISBN
1475:link
1471:link
1452:ISBN
1234:ISBN
1168:ISBN
1057:2013
1022:ISBN
833:The
798:The
721:and
603:Dada
516:and
504:and
469:and
461:and
449:and
411:MOMA
271:and
219:and
88:Died
54:Born
791:of
371:In
3386::
2288:42
2286:.
2136:.
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