The Fondation HCB presents a remarkable set of prints by Eugène Atget, whose poetic documentary works have left their mark on the medium’s history
This exhibition is the fruit of long research efforts jointly undertaken by the two institutions throughout the musée Carnavalet – Histoire de Paris’ collections. The result is an outstanding presentation of the œuvre of Eugène Atget (1857-1927), a unique figure and photography pioneer.

Above all an artisan, Atget’s prolific output of photographs was intended for artists and lovers of the old Paris; he rose to fame posthumously. A forerunner of modernity is seen in his work by art critics and photographers, among them Henri Cartier-Bresson, whose early work sought to imitate Atget.

First acknowledged in the United States and by the French surrealist scene before finding acclaim with succeeding generations of photographers, Atget still exerts unprecedented influence in the 21st century, though the reception of his work remains mixed. Bearing a view camera and glass plates, he often captured his subject at dawn. For almost thirty years, he sought to make a collection of the Paris of his time. He also explored city limits, what is known as “the zone”. Today, his images of nearly‑deserted streets, storefronts, and courtyards evidence urban change at the turn of the 20th century. Beyond its documentary aspects, Atget’s photography expresses a deep aesthetic sensibility, illustrating the incalculable contribution he made to the medium. As Paris changed, Atget’s work method evolved accordingly, becoming more and more sensitive to the light and to atmospheric effects. This devotion to detail (using a modest subject matter), in contrast to the triumphant pictorialism of the time, is also singularly modern, allowing a notion of pleasure to surface—one which is rarely mentioned in reference to Atget.

From the most classical architecture to the most remote courtyards, Atget, more interested in the city, obsessively depicted a Paris marked by history, offering his prints to painters and libraries. Characters that show up in the frame blend into the background.
Atget said little to nothing about his own work. Reported statements served to define his project as essentially documentary, but it was his direct, poetic approach that fascinated many of his contemporaries. This produced a contradictory commentary on his unusual œuvre.

The exhibition is organized by the musée Carnavalet – Histoire de Paris, Paris-Musées, and the Fondation Henri Cartier-Bresson. The musée Carnavalet – Histoire de Paris houses a collection of over 9,000 prints by Atget, the largest archive on the photographer. The exhibition Eugène Atget – Voir Paris presents a selection of around 150 of the artist’s original prints.

Accompanying the exhibition is a book entitled Atget – Voir Paris, published by Atelier EXB.

Curators

Anne de Mondenard, Head of the Photography and Digital Images Department, musée Carnavalet – Histoire de Paris
Agnès Sire, Artistic director, Fondation HCB