Characteristics of Atget’s photography James Borcoman makes a number of interesting observations about Atget’s work including ideas about montage and shape.
Montage
‘Atget also made the startling discovery that the world creates its own montage of objects through a kind of "layering" just waiting for the photographer's lens. Such photographs as Avenue des Gobelins, 1925, pose questions about reality by shifting contexts and creating ambiguities through the layering of window reflections.’
Shape
‘Atget's prints are often known for their deep shadows and washed-out highlights, large enough in size to create broad abstract shapes. Although it has been assumed that these were the product of careless printing techniques, it is remarkable how such shapes operate as strong formal elements within his pictures.’
‘Atget's prints are often known for their deep shadows and washed-out highlights, large enough in size to create broad abstract shapes. Although it has been assumed that these were the product of careless printing techniques, it is remarkable how such shapes operate as strong formal elements within his pictures.’
And finally...’ Just the right portion of asymmetry was always introduced by Atget, a concept which a recent study of his work interprets as the possible influence of the asymmetrical symmetry of Rococo composition.’
References
I forgot to note in my last blog that the references that I have used in my research on Atget are:
I forgot to note in my last blog that the references that I have used in my research on Atget are:
Borcoman, J. "Masters of Photography: Eugene Atget." http://www.masters-of-photography.com/A/atget/atget_articles3.htmlAccessed 7/4/10
Golden, R. (2001). C20th Photography. London, Carlton books.
Rosenblum, N. (1997). A World History of Photography. New York London Paris, Abbeville Press.
"Eugene Atget." from http://en.wikipedia.org/wiki/Eug%C3%A8ne_Atget. Accessed 7/4/10
Excellent work Anne
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