Eugène Atget：我可以说我拥有旧巴黎的全部

日期：2021-10-19 作者：Aipunyc 分类： 2021 浏览：284

Eugène Atget 1857年2月出生于利布尔纳Libourne，是一位纪实摄影的先驱，以决心记录在巴黎变得现代化之前的所有建筑和街道而闻名。

Eugène Atget was born in February 1857 in Libourne, a pioneer documentary photographer who was dedicated to recording all the architecture and streets of Paris before it become modernized.

Eugène Atget 很早就成为了孤儿，1878年移居巴黎，作为一个旅行团的演员在巴黎等地演出。后来，因为声带感染放弃了演艺事业，离开巴黎从事绘画工作。Eugène Atget 在30岁时拍摄了第一张照片，1890年又回到巴黎成为专业摄影师，1906年开始系统拍摄巴黎的老建筑。

Eugène Atget was orphanized at a young age, he moved to Paris in 1878 as an actor of a tour group. He gave up his career later because of a vocal cord infection and left Paris to work on visual arts. Atget photographed his first photo at the age of 30, he went back to Paris in 1890 to become a professional photographer. In 1906, he began shooting old buildings in Paris systematically.

Eugène Atget的照片中的元素不可避免地与我们现在的生活相去甚远，但有些却是预言性的——狭窄的房子、诱人的商店、奇怪的汽车，以及地平线上不合比例的工业剪影。然而欣慰的是，在这些“现代”的景观中也能找到古色古香的元素: 临时小屋的蔓藤初生，光线充斥着街道。

Elements from Atget's photos are unavoidable different from our lives, but they are predictive——cramped houses, tempting shops, strange cars, and disproportional industrial silhouettes on the horizon. However, even in these "contemporary" scenes, antique elements also exist: vines growing on a shortly used hut, and lights flood the streets.

对于Eugène Atget来说，生活的进步可能不比他装有人物的旋转木马照片含义更多。他日出时开始工作，永远对花木感兴趣，常研究前辈们的作品，因为他们的创造证明了与周围世界的和谐（这种证明可以是一个小动作，就像一块铺好的铺路石）。通过关注自然和文化的连续性，Eugène Atget相信现代化的时代不会是全新的，旧的生活不会完全消失。

For Eugène Atget, the improvement of life might not be as meaningful as the photos of people on the carousel. He worked when the sun rises, had always been interested in plants, he often study masterworks because their creation gave evidence to the harmony of the surrounding world(this kind of proof may be a small move, like a paved roadstone). By focusing on nature and culture's continuity, Atget believed modernized time will not be brand new, old lives will not disappear completely.

Eugène Atget 的作品“有弹性”但不失稳重，专注于“未考虑的细节”和“事物的偶然相遇”，最后，在繁杂中创造出新的秩序。

Atget's works are "elastic" but steady, focusing on "unconsidered details" and "the occasional encounters of things," and at last, creating a new order from chaos.

Eugène Atget 对世界物理之美的强烈、相对直接的关注——它的形状，经常在新近看到的具有统一性的并置中揭示，以及揭示这些形式的光——以及他不愿为他的作品赋予重大意义。

Eugène Atget's strong, straightforward attention to the physical beauty of the world——its shapes, often revealed in novel juxtapositions that have a unity notwithstanding, and the light that demonstrated these forms ——and his reluctance to give large meanings to his works.

Eugène Atget的照片被认为是大多数摄影师本能信仰的最高表达——相信特定场景的重要性，一种与相机精确转录的独特能力相匹配的意义——以及对理论化的犹豫，由完全记录的特殊性所带来的阻力所助长的厌恶情绪。

Atget's photos are recognized as a supreme expression of most photographer's instinctive faith —— a belief in the importance of specific scenes, a significance fittingly matched to the unique power of the camera for precise transcription —— and a hesitancy to theorize, a sense of disgust caused by the resistance offered from such fully recorded specificity.

这是一幅静物图：顶部可能是一个旧的梳妆台，被物体堆成金字塔形——大小各一张椅子、鞋子、巨人和矮人照片在一起。小照片是镶框的，看起来更加抽象是因为采用了高对比的印刷，可能暗示一种艺术性，放置在没有镶框大照片的前面，尽管小照片很清晰，但是，掩盖了大照片里的矮人是站在凳子上的；在所有物体上方，挂着一个灯，因为是阳光下，所以，虽有优美的形状（令人回味的水果？或是一滴眼泪）却什么也没有照亮，仅仅是为了构图完整；沿着图片的三边是板条和组合板的边界，这是舞台的边缘；全黑的背景。

This is a still object photo; the top might be an old dressing table, piled up by many objects into a pyramid——chairs in different sizes, shoes, photos of giants and dwarfs. Small photos were framed, it looks more abstract because it used a high-contrast printing, which might imply a kind of art, was put in front of the unframed big photo. Although the small photo is clear, it covered up the fact that the dwarf was standing on the chair; above all the object hung a light bulb, because it is under the sunshine, having a nice shape(like an evocative fruit? or a drop of tear), it brightened nothing, it was just used for the completeness of composition; along the three borders of the photo is a barrier of lath and composition board, this is the edge of the stage; the background is fully dark.

再欣赏这幅美丽的作品，它有丰富的色调、复杂的形状，和反思性的理解。

Just one more appreciation for this beautiful photograph, it has rich tonalities, complicated shapes, and reflexive understanding.

Eugène Atget创造了 19 世纪巴黎的外观和感觉的全面摄影记录，去世后，他的朋友、演员Andre Calmettes将他的作品分为两类：2,000 条历史悠久的巴黎记录，以及其他主题的照片;分别给了法国政府和卖给了其他人。

Atget created the full recording of Paris of the 19th century on appearance and feeling. After he passed away, his friend, actor Andre Calmettes categorized his works into two groups: more than 2000 historical recordings of Paris, and other topics; they are partly given to the French government and sold to others.

20 多年来，我一直在巴黎老街的所有老街上独自工作，收集 18 × 24 厘米的底片：16 至 19 世纪美丽城市建筑的艺术文献……今天这个艺术和文献的收藏完成了；我可以说我拥有旧巴黎的全部。

— Eugène Atget, Atget, E. 写给 Paul Léon 的信，Ministre des Beaux-Arts，1920 年 11 月 12 日。

“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 collection is finished; I can say I possess all of Old Paris.”

— Eugène Atget, Atget, E. Letter to Paul Léon,Ministre des Beaux-Arts, November 12, 1920.