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364:, 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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590:. 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
352:(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.
687:, 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.
830:. 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.
418:. 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
556:. 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.
304:, 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.
718:, 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.
620:. 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.
279:, 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
656:, 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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179:. 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.
509:, 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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143:, 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
478:. Institutional collectors of Old Paris documents, including archives, schools, and museums were also a keen clientele and brought him commercial success, with commissions from the
339:, 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 optical
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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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513:'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
398:. 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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2000:"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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1387:// 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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612:'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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2207:(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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2469:"Photography View: Eugene Atget – His Art Bridged Two Centuries,"
2379:// International Journal of Cultural Studies, No. 1 (30): 30 - 38.
1719:// 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
2193:(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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2050:(Philadelphia: Philadelphia Museum of Art, 2005), 15–17.
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2059:"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
2037:(Philadelphia: Philadelphia Museum of Art, 2005), 58.
2024:(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.
2221:(Albuquerque: University of New Mexico Press, 1987).
1538:(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
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2337:The Work of Atget: Volume 2, The Art of Old Paris
1912:, Bibliothèque nationale de France : Hazan,
716:Architecture and Cities. Three Photographic Gazes
442:, antiquarians and historians, artists including
133:; 12 February 1857 – 4 August 1927) was a French
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1210:
1824:
1385:Photography's Discursive Spaces: Landscape/View
385:Features and specifics of photographic practice
2344:The Work of Atget: Volume 3, The Ancien Régime
2245:Krase, Andreas; Adam, Hans Christian (2008) .
2162:, p. 248: this image appeared on the front of
1153:Encyclopedia of Nineteenth-Century Photography
290:
2503:
2212:Eugène Atget ou la melancolie en photographie
1150:
932:Prostitute waiting in front of her door, 1921
812:, Ministre des Beaux-Arts, November 12, 1920.
355:
2386:
2270:
2265:Atget: Magicien du vieux Paris en son époque
1931:: CS1 maint: multiple names: authors list (
1752:
1649:: CS1 maint: multiple names: authors list (
1607:: CS1 maint: multiple names: authors list (
1584:Scharf, Aaron; Scharf, Aaron, 1922– (1968),
1458:: CS1 maint: multiple names: authors list (
670:Bibliothèque Historique de la Ville de Paris
603:
233:Bibliothèque historique de la ville de Paris
2353:(New York: The Museum of Modern Art, 1985).
2349:Szarkowski, John and Maria Morris Hamburg.
2346:(New York: The Museum of Modern Art, 1983).
2342:Szarkowski, John and Maria Morris Hamburg.
2339:(New York: The Museum of Modern Art, 1982).
2335:Szarkowski, John and Maria Morris Hamburg.
2332:(New York: The Museum of Modern Art, 1981).
2328:Szarkowski, John and Maria Morris Hamburg.
2325:(New York: The Museum of Modern Art, 2000).
2214:(Nîmes: Editions Jacqueline Chambon, 1994).
680:, the Directorate of Fine Arts and others.
559:
535:program and consider them as an example of
480:Bibliotèque Historique de la Ville de Paris
227:Starting in 1898, institutions such as the
3338:London International Surrealist Exhibition
2510:
2496:
1935:) CS1 maint: numeric names: authors list (
1653:) CS1 maint: numeric names: authors list (
1611:) CS1 maint: numeric names: authors list (
1477:Le Gall, Guillaume; Holmes, Brian (1998),
1462:) CS1 maint: numeric names: authors list (
1038:"In Focus: Eugène Atget (Getty Bookstore)"
652:After Atget's death his friend, the actor
454:, well-known authors, editors, publishers
348:exposure. The glass plates were 180×240mm
31:
2387:Atget, Eugène; Wiegand, Wilfried (1998).
2351:The Work of Atget: Volume 4, Modern Times
2295:(New Haven: Yale University Press, 1992).
2219:The Privileged Eye: Essays on Photography
1805:
1757:, Abingdon, Oxon New York, NY Routledge,
1536:The Privileged Eye: Essays on Photography
1005:. London: Bloomsbury Publishing. p.
992:
990:
988:
632:
3333:Exposition Internationale du Surréalisme
2300:Les voitures d'Atget au musée Carnavalet
1314:2007, Volume 12, Article 28. pp. 194–210
765:. The other two albums are fragmentary.
311:
307:
158:
109:
2330:The Work of Atget: Volume 1, Old France
1729:Laxton, Susan; ProQuest (Firm) (2019),
1683:
1085:
1083:
1081:
1079:
1077:
1075:
1032:
1030:
1028:
1026:
979:
3371:
2443:Atget collection in the Eastman Museum
2102:International Photography Hall of Fame
1994:
1992:
1990:
1988:
1073:
1071:
1069:
1067:
1065:
1063:
1061:
1059:
1057:
1055:
985:
852:International Photography Hall of Fame
517:Atget and the concept of a work of art
2491:
1981:. México: Greka Editions. p. 42.
1974:
1872:
1870:
1801:
1799:
1579:
1577:
1430:
1428:
1426:
1424:
1335:
1333:
1322:
1320:
1306:
1304:
1302:
1300:
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1202:
1116:
1114:
1112:
1110:
1108:
1106:
1104:
1102:
1100:
1098:
996:
472:Les Annales politiques et litteraires
216:Photography and documents for artists
128:
2458:Atget's Portfolio at Photography-now
2369:. St. Petersburg: Palmira. P. 18-24.
1256:. St. Petersburg: Palmira. P. 18-24.
1023:
522:Atget and the problem of the archive
2077:International Center of Photography
1985:
1684:McArdle, James (12 February 2019).
1312:Topics in Photographic Preservation
1052:
846:International Center of Photography
335:wooden bellows camera with a rapid
13:
1951:Berenice Abbott & Eugène Atget
1867:
1796:
1574:
1541:
1421:
1356:. Rochester: Light Impressions NY.
1330:
1317:
1291:
1277:
1199:
1095:
808:Eugène Atget, Atget, E. Letter to
594:or Surrealist quality about them.
190:
14:
3420:
3409:19th-century French photographers
3287:The Surrealist Group in Stockholm
2427:
2391:. New York: te Neues Publishing.
2200:(Paris: Collège de France, 1986).
767:Album No. 1, Jardin des Tuileries
405:
268:Later years and creative heritage
964:
952:
937:
925:
910:
898:
883:
871:
701:Berenice Abbott and Eugene Atget
537:non-logical forms in photography
331:Atget photographed Paris with a
2172:
2153:
2140:
2115:
2090:
2065:
2053:
2040:
2027:
2014:
1968:
1956:
1943:
1901:
1888:
1879:
1854:
1845:
1836:
1783:
1770:
1746:
1722:
1677:
1661:
1619:
1565:
1528:
1519:
1494:
1470:
1359:
1346:
1268:
1259:
16:French photographer (1857–1927)
2517:
2302:(Paris: Editions Carre, 1991).
2205:The Era of the French Calotype
1910:Atget : une rétrospective
1186:, Profile of Berenice Abbott,
1177:
1168:
1144:
1135:
1126:
833:
676:, Musée de Sculpture Comparé,
588:Solar eclipse of 17 April 1912
167:
163:Atget's birthplace in Libourne
1:
3232:Bureau of Surrealist Research
2448:Eugène Atget at Luminous Lint
2309:(Cambridge: MIT Press, 1997).
175:was born 12 February 1857 in
104:Valentine Delafosse Compagnon
1965:Horizon Press, New York 1964
1588:, Allen Lane, p. 292n,
1155:, Taylor & Francis Ltd,
840:The Art Institute of Chicago
817:
793:13th arrondissement of Paris
154:
7:
3404:Architectural photographers
2314:The New York Times Magazine
2181:Atget: Photographe de Paris
1690:On This Date in Photography
1505:(1st ed.). Doubleday.
1174:17bis Rue Campagne-Première
693:Atget, Photographe de Paris
625:will continue in his essay
291:Atget and biographical myth
10:
3425:
2463:Rauschenberg rephotographs
2367:36 essays on photographers
2244:
2159:
2147:
2002:. Loc.gov. 22 October 2010
1861:
1793:74 (February 1975): 39–40.
1780:, 34, no. 1 (2010): 17-28.
1254:36 essays on photographers
1089:
864:
749:Philadelphia Museum of Art
356:Specifics of the technique
3358:Paranoiac-critical method
3295:
3204:
2901:
2525:
2164:La Révolution surréaliste
1733:, Duke University Press,
1548:Fourquier, Alain (2007),
1217:, Clarion Books, p.
1211:Sullivan, George (2006),
721:
604:Atget and Walter Benjamin
574:La Révolution surréaliste
497:in the 1920s, as well as
429:on its cover (the French
296:artist. In his research,
173:Jean-Eugène-Auguste Atget
100:
92:
76:
47:Jean-Eugène-Auguste Atget
42:
30:
23:
3242:Chicago Surrealist Group
3227:British Surrealist Group
2312:Russell, John. "Atget",
2127:The J. Paul Getty Museum
858:The J. Paul Getty Museum
824:U.S. Library of Congress
560:Surrealist appropriation
212:, which date from 1888.
3394:Landscape photographers
1808:Photography visionaries
1120:
703:was published in 2002.
141:documentary photography
3353:Abstract expressionism
3222:Birmingham Surrealists
2911:Maxime Moses Alexandre
2888:Radojica Živanović Noe
2553:Jacques-André Boiffard
2267:(Paris: P.A.V., 1992).
2224:Koetzle, Hans-Michel.
1975:Saltz, Jerome (2020).
1778:History of Photography
1151:Hannavy, John (2005),
997:White, Edmund (2001).
905:Atget's Salon, c. 1910
815:
778:Bibliothèque Nationale
774:Atget, a Retrospective
666:Bibliothèque Nationale
650:
633:Recognition in America
598:Abigail Solomon Godeau
554:boundaries of the work
320:
164:
118:
3323:Surrealist techniques
3308:Surrealist automatism
3252:Fighting Cock Society
2991:Roger Gilbert-Lecomte
2976:Vratislav Effenberger
2916:Guillaume Apollinaire
1806:Warner Marien, Mary.
1753:Steer, Linda (2017),
1132:12 Rue des Beaux-Arts
919:solar eclipse of 1912
800:
776:was presented at the
636:
526:The principle of the
476:l’Art et des artistes
345:repositioned the lens
315:
308:Photographic practice
275:, while working with
162:
113:
3399:Street photographers
3389:People from Libourne
3303:Surrealist Manifesto
3257:The Firesign Theatre
3041:Comte de Lautréamont
2438:Museum of Modern Art
2373:Vasilyeva Ekaterina.
2363:Vasilyeva Ekaterina.
2316:, 13 September 1981.
2298:Reynaud, Françoise.
2293:Atget's Seven Albums
1479:Atget, life in Paris
980:Notes and references
917:People watching the
878:Rags collector, 1899
742:Museum of Modern Art
678:École des Beaux-Arts
362:Intérieurs Parisiens
281:Museum of Modern Art
3191:Marianne Van Hirtum
3166:Simon Watson Taylor
2628:Christian Dotremont
2389:Eugène Atget: Paris
2247:Paris: Eugène Atget
2166:no. 7, 15 June 1926
1673:, 2010, p. 272
1586:Art and photography
1352:Reilly, J.M. 1980.
448:Maurice de Vlaminck
366:printing-out papers
317:Avenue des Gobelins
2668:Alberto Giacometti
2658:Gordon Onslow Ford
2593:Leonora Carrington
2408:The World of Atget
2203:Buerger, Janet E.
1963:The World of Atget
1953:by Clark Worswick.
1896:The New York Times
1731:Surrealism at play
974:, Versailles, 1926
972:Hameau de la reine
712:Amanda Bouchenoire
697:The World of Atget
584:Colonne de Juillet
468:Revue Hebdomadaire
396:archival principle
321:
165:
119:
3366:
3365:
3343:Women surrealists
3313:Surrealist cinema
3161:Philippe Soupault
2793:Benjamín Palencia
2383:978-3-8484-3923-2
2320:Szarkowski, John.
2256:978-3-8365-0471-3
2234:978-3-8365-1109-4
2226:Photographers A–Z
2189:Barberie, Peter.
1919:978-2-7541-0166-0
1817:978-1-78067-475-9
1764:978-1-351-57625-3
1740:978-1-4780-0343-4
1637:978-0-02-620160-5
1628:A vision of Paris
1595:978-0-7139-0052-1
1559:978-2-9528594-0-0
1512:978-0-385-15320-1
1488:978-2-85025-641-7
1446:978-0-87070-218-1
1437:The work of Atget
1228:978-0-618-44026-9
1162:978-0-203-94178-2
1141:5 Rue de la Pitié
1121:Photographers A–Z
959:Saint-Cloud, 1924
860:– Los Angeles, CA
580:Pendant l’éclipse
444:Tsuguharu Foujita
302:Collège de France
139:and a pioneer of
108:
107:
3416:
3318:Surrealist music
3237:Chicago Imagists
3217:Les Automatistes
3156:Louis Scutenaire
3096:Vítězslav Nezval
2936:Georges Bataille
2853:Dorothea Tanning
2838:Jindřich Štyrský
2813:Aminollah Rezaei
2708:Jacqueline Lamba
2698:Gerome Kamrowski
2643:Curt Echtermeyer
2598:Ithell Colquhoun
2512:
2505:
2498:
2489:
2488:
2473:, March 10, 1985
2402:
2288:
2279:(1–2): 309–328.
2260:
2238:Krase, Andreas.
2228:(Taschen, 2011)
2210:Buisine, Alain.
2196:Barbin, Pierre.
2191:Looking at Atget
2167:
2157:
2151:
2144:
2138:
2137:
2135:
2133:
2119:
2113:
2112:
2110:
2108:
2094:
2088:
2087:
2085:
2083:
2069:
2063:
2057:
2051:
2048:Looking At Atget
2046:Peter Barberie,
2044:
2038:
2035:Looking At Atget
2033:Peter Barberie,
2031:
2025:
2022:Looking At Atget
2020:Peter Barberie,
2018:
2012:
2011:
2009:
2007:
1996:
1983:
1982:
1972:
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1341:Looking at Atget
1337:
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902:
887:
875:
813:
674:Musée Carnavalet
648:
337:rectilinear lens
229:Musée Carnavalet
132:
127:
83:
57:12 February 1857
56:
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3131:Raymond Queneau
3126:Jacques Prévert
3116:Rastko Petrović
3076:Robert Melville
3056:Georges Limbour
3036:Philip Lamantia
2941:Monny de Boully
2903:
2897:
2883:James F. Walker
2873:Albert Valentin
2863:Kristians Tonny
2833:Martin Stejskal
2808:Toni del Renzio
2788:Wolfgang Paalen
2783:Méret Oppenheim
2763:E. L. T. Mesens
2728:Georges Malkine
2663:Esteban Francés
2623:Óscar Domínguez
2578:Jacques Brunius
2573:Emmy Bridgwater
2521:
2516:
2430:
2425:
2399:
2356:Saltz, Jerome.
2305:Rice, Shelley.
2291:Nesbit, Molly.
2257:
2179:Atget, Eugène.
2175:
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1200:
1196:, 1973), p. 77.
1194:Alfred A. Knopf
1189:The Woman's Eye
1182:
1178:
1173:
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867:
854:– St. Louis, MO
836:
820:
814:
807:
758:Berenice Abbott
724:
708:Berenice Abbott
654:André Calmettes
649:
647:Berenice Abbott
646:
635:
610:Walter Benjamin
606:
562:
550:Rosalind Krauss
545:
532:John Szarkowski
524:
519:
499:Maurice Utrillo
408:
387:
358:
326:
310:
298:John Szarkowski
293:
273:Berenice Abbott
270:
218:
193:
191:Moving to Paris
170:
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145:Berenice Abbott
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2471:New York Times
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2428:External links
2426:
2424:
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2404:
2403:
2398:978-3823803638
2397:
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2307:Parisian Views
2303:
2296:
2289:
2268:
2261:
2255:
2242:
2236:
2222:
2215:
2208:
2201:
2198:Colloque Atget
2194:
2187:
2184:
2176:
2174:
2171:
2169:
2168:
2152:
2139:
2123:"Eugène Atget"
2114:
2098:"Eugène Atget"
2089:
2073:"Eugène Atget"
2064:
2052:
2039:
2026:
2013:
1984:
1967:
1955:
1942:
1918:
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848:– New York, NY
843:
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733:exhibition in
723:
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714:, in the book
644:
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631:
605:
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561:
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544:
541:
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491:Marcel Duchamp
464:L’Illustration
452:Georges Braque
416:Petits Métiers
407:
406:Subject matter
404:
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374:gelatin-silver
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130:[adʒɛ]
106:
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93:Known for
90:
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84:(aged 70)
78:
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59:
46:
44:
40:
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37:Atget, c. 1890
36:
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15:
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3270:
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3189:
3187:
3186:Jacques Vaché
3184:
3182:
3181:Tristan Tzara
3179:
3177:
3174:
3172:
3171:André Thirion
3169:
3167:
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3159:
3157:
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3149:
3147:
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3121:Francis Ponge
3119:
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3066:Joyce Mansour
3064:
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3057:
3054:
3052:
3051:Michel Leiris
3049:
3047:
3044:
3042:
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3034:
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3031:Jacques Lacan
3029:
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2999:
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2992:
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2979:
2977:
2974:
2972:
2971:Robert Desnos
2969:
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2957:
2956:Nicolas Calas
2954:
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2929:
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2876:
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2764:
2761:
2759:
2758:John Melville
2756:
2754:
2751:
2749:
2748:Mikuláš Medek
2746:
2744:
2743:Roberto Matta
2741:
2739:
2736:
2734:
2733:Marcel Mariën
2731:
2729:
2726:
2724:
2723:René Magritte
2721:
2719:
2718:Conroy Maddox
2716:
2714:
2711:
2709:
2706:
2704:
2701:
2699:
2696:
2694:
2691:
2689:
2686:
2684:
2681:
2679:
2678:Jane Graverol
2676:
2674:
2671:
2669:
2666:
2664:
2661:
2659:
2656:
2654:
2651:
2649:
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2641:
2639:
2636:
2634:
2631:
2629:
2626:
2624:
2621:
2619:
2616:
2614:
2613:Jean Dallaire
2611:
2609:
2608:Salvador Dalí
2606:
2604:
2601:
2599:
2596:
2594:
2591:
2589:
2586:
2584:
2581:
2579:
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2574:
2571:
2569:
2568:Fanny Brennan
2566:
2564:
2561:
2559:
2556:
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2546:
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2541:
2539:
2536:
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2513:
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2405:
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2318:
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2311:
2308:
2304:
2301:
2297:
2294:
2290:
2286:
2282:
2278:
2274:
2269:
2266:
2263:Leroy, Jean.
2262:
2258:
2252:
2248:
2243:
2241:
2237:
2235:
2231:
2227:
2223:
2220:
2216:
2213:
2209:
2206:
2202:
2199:
2195:
2192:
2188:
2185:
2183:(Paris, 1930)
2182:
2178:
2177:
2165:
2161:
2156:
2149:
2143:
2128:
2124:
2118:
2103:
2099:
2093:
2078:
2074:
2068:
2062:
2056:
2049:
2043:
2036:
2030:
2023:
2017:
2001:
1995:
1993:
1991:
1989:
1980:
1979:
1971:
1964:
1959:
1952:
1946:
1938:
1934:
1928:
1921:
1915:
1911:
1904:
1897:
1891:
1882:
1873:
1871:
1863:
1857:
1848:
1839:
1830:
1828:
1819:
1813:
1809:
1802:
1800:
1792:
1786:
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1749:
1742:
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1732:
1725:
1718:
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1709:
1707:
1691:
1687:
1680:
1672:
1671:
1664:
1656:
1652:
1646:
1639:
1633:
1630:, Macmillan,
1629:
1622:
1614:
1610:
1604:
1597:
1591:
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1578:
1568:
1561:
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1349:
1342:
1336:
1334:
1323:
1321:
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1307:
1305:
1303:
1301:
1299:
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1262:
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1224:
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1203:
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1190:
1185:
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1147:
1138:
1129:
1122:
1117:
1115:
1113:
1111:
1109:
1107:
1105:
1103:
1101:
1099:
1092:: pp. 240–246
1091:
1086:
1084:
1082:
1080:
1078:
1076:
1074:
1072:
1070:
1068:
1066:
1064:
1062:
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1039:
1033:
1031:
1029:
1027:
1018:
1012:
1008:
1003:
1002:
993:
991:
989:
984:
973:
967:
962:
955:
950:
946:
945:Grand Trianon
940:
935:
928:
923:
920:
913:
908:
901:
896:
892:
886:
881:
874:
869:
868:
859:
856:
853:
850:
847:
844:
842:, Chicago, IL
841:
838:
837:
831:
829:
825:
811:
804:
799:
796:
794:
790:
785:
783:
779:
775:
771:
768:
764:
759:
754:
751:acquired the
750:
747:In 2001, the
745:
743:
738:
736:
732:
729:
728:Film und Foto
719:
717:
713:
709:
704:
702:
698:
694:
688:
686:
681:
679:
675:
671:
667:
661:
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655:
643:
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630:
628:
623:
619:
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570:
566:
557:
555:
551:
540:
538:
533:
529:
514:
510:
508:
504:
500:
496:
492:
488:
487:Henri Matisse
483:
481:
477:
473:
469:
465:
461:
457:
453:
449:
445:
441:
437:
432:
428:
423:
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382:
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367:
363:
353:
351:
346:
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338:
334:
329:
318:
314:
305:
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288:
284:
282:
278:
274:
265:
263:
259:
255:
250:
248:
243:
240:
238:
234:
230:
225:
223:
213:
211:
207:
203:
197:
188:
186:
185:merchant navy
182:
178:
174:
161:
152:
150:
146:
142:
138:
137:
131:
123:
116:
115:Organ Grinder
112:
103:
99:
95:
91:
87:Paris, France
80:4 August 1927
79:
75:
70:
66:
62:
45:
41:
34:
29:
22:
19:
3282:Refus Global
3277:Monty Python
3196:Roger Vitrac
3176:Dylan Thomas
3146:Marko Ristić
3136:Herbert Read
3021:Nelly Kaplan
3016:Alfred Jarry
3006:Irène Hamoir
3001:Julien Gracq
2946:André Breton
2921:Louis Aragon
2828:André Souris
2753:Oscar Mellor
2738:André Masson
2618:Paul Delvaux
2588:Claude Cahun
2548:Hans Bellmer
2543:Eugène Atget
2542:
2470:
2434:Eugène Atget
2419:
2413:
2407:
2388:
2357:
2350:
2343:
2336:
2329:
2322:
2313:
2306:
2299:
2292:
2276:
2272:
2264:
2246:
2239:
2225:
2218:
2211:
2204:
2197:
2190:
2180:
2173:Bibliography
2155:
2142:
2130:. Retrieved
2126:
2117:
2105:. Retrieved
2101:
2092:
2080:. Retrieved
2076:
2067:
2055:
2047:
2042:
2034:
2029:
2021:
2016:
2004:. Retrieved
1977:
1970:
1962:
1958:
1950:
1945:
1909:
1903:
1895:
1890:
1881:
1856:
1847:
1838:
1807:
1790:
1785:
1777:
1772:
1754:
1748:
1730:
1724:
1713:Vasilyeva E.
1695:11 September
1693:. Retrieved
1689:
1679:
1669:
1663:
1627:
1621:
1585:
1567:
1549:
1543:
1535:
1530:
1521:
1502:
1496:
1478:
1472:
1436:
1361:
1353:
1348:
1340:
1311:
1270:
1261:
1250:Vasilyeva E.
1213:
1188:
1179:
1170:
1152:
1146:
1137:
1128:
1042:. Retrieved
1000:
947:, Versailles
890:
828:orphan works
821:
801:
797:
789:Atget crater
786:
773:
772:
766:
762:
746:
739:
727:
725:
715:
705:
700:
696:
692:
689:
682:
662:
658:
651:
637:
607:
596:
579:
572:
569:Montparnasse
563:
546:
525:
511:
507:André Derain
484:
475:
471:
456:Armand Colin
436:René Lalique
430:
426:
424:
420:
415:
413:
409:
388:
379:
361:
359:
349:
333:large-format
330:
327:
316:
294:
285:
271:
251:
244:
241:
237:Montparnasse
226:
221:
219:
198:
194:
172:
171:
134:
122:Eugène Atget
121:
120:
114:
82:(1927-08-04)
25:Eugène Atget
18:
3384:1927 deaths
3379:1857 births
3071:Dušan Matić
2981:Paul Éluard
2966:René Daumal
2961:René Crevel
2902:Writers and
2858:Karel Teige
2848:Yves Tanguy
2703:Wifredo Lam
2693:Frida Kahlo
2653:Leonor Fini
2583:Luis Buñuel
2558:Bill Brandt
2533:Eileen Agar
2249:. Taschen.
2132:19 February
2107:19 February
2082:19 February
1184:Anne Tucker
1040:. Getty.edu
834:Collections
753:Julien Levy
685:Julian Levy
618:avant-garde
503:Edgar Degas
350:Bande Bleue
258:Saint-Cloud
247:World War I
202:vocal cords
168:Early years
149:surrealists
96:photography
3373:Categories
3267:Grup d'Elx
3247:Dau al Set
3101:Paul Nougé
3086:Max Morise
3081:René Ménil
2893:Unica Zürn
2768:Lee Miller
2519:Surrealism
1860:quoted in
1383:Krauss R.
1016:1582342121
891:Au Tambour
691:published
622:New Vision
614:surrealist
431:repertoire
427:Repertoire
341:vignetting
254:Versailles
53:1857-02-12
3262:The Goons
3106:Paul Păun
3061:Léo Malet
3026:Petr Král
2996:Yvan Goll
2904:Theorists
2778:Joan Miró
2713:Dora Maar
2648:Max Ernst
2603:Gala Dalí
2285:1522-7464
1686:"Inconnu"
1481:, Hazan,
818:Copyright
810:Paul Léon
784:in 2007.
735:Stuttgart
283:in 1968.
222:documents
155:Biography
69:Aquitaine
3212:Acéphale
2818:Kay Sage
2538:Jean Arp
2006:20 April
1927:citation
1645:citation
1603:citation
1454:citation
1418:131-143.
1327:653–658.
1044:20 April
806:—
731:Werkbund
699:(1964).
645:—
460:Hachette
391:Parisian
231:and the
210:Beauvais
181:Bordeaux
177:Libourne
71:, France
61:Libourne
3296:Related
2803:Man Ray
2526:Artists
2436:at the
2422:, 1985.
2416:, 1979.
2410:, 1964.
2375:(2018)
2365:(2022)
2150::p. 168
1864:, p. 22
1715:(2018)
1252:(2022)
1123:: p. 17
865:Gallery
565:Man Ray
528:archive
495:Picasso
372:paper,
370:albumen
277:Man Ray
245:During
136:flâneur
126:French:
65:Gironde
3205:Groups
2395:
2283:
2253:
2232:
1916:
1814:
1791:Camera
1761:
1737:
1634:
1592:
1556:
1509:
1485:
1443:
1225:
1159:
1013:
893:, 1908
722:Legacy
640:Balzac
474:, and
440:Weller
411:use.
319:(1927)
262:Sceaux
206:Amiens
117:(1898)
101:Spouse
2868:Toyen
2323:Atget
2160:Paris
2148:Paris
1862:Paris
1090:Paris
1007:41–43
782:Paris
3348:Dada
2393:ISBN
2281:ISSN
2251:ISBN
2230:ISBN
2134:2020
2109:2020
2084:2020
2008:2013
1937:link
1933:link
1914:ISBN
1812:ISBN
1759:ISBN
1735:ISBN
1697:2019
1655:link
1651:link
1632:ISBN
1613:link
1609:link
1590:ISBN
1554:ISBN
1507:ISBN
1483:ISBN
1464:link
1460:link
1441:ISBN
1223:ISBN
1157:ISBN
1046:2013
1011:ISBN
822:The
787:The
710:and
592:Dada
505:and
493:and
458:and
450:and
438:and
400:MOMA
260:and
208:and
77:Died
43:Born
780:of
360:In
3375::
2277:42
2275:.
2125:.
2100:.
2075:.
1987:^
1929:}}
1925:{{
1869:^
1826:^
1810:.
1798:^
1705:^
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