Learn about Eugene Atget's photography in a discussion by John Szarkowski
Photographer and curator John Szarkowski discussing the photographs of Eugène Atget, from the documentary Speaking of Art: John Szarkowski on Eugène Atget (2004).
Checkerboard Film Foundation (A Britannica Publishing Partner)
-
Encyclopædia Britannica, Inc.Hishikawa Moronobu's Beauty Looking Back exemplifies the changing lifestyles of Japan's Tokugawa period.
-
Encyclopædia Britannica, Inc.An overview of Renaissance architecture.
-
Encyclopædia Britannica, Inc.Art can be a way to remember, to resist, and to reclaim what was once taken.Media Editors: Michele Metych , Lauren Sims
-
Encyclopædia Britannica, Inc.Learn more about life on the plains with the photography of Frank Sadorus.
-
© American Chemical Society (A Britannica Publishing Partner)Learn about the chemistry of early photographic processes.
-
Checkerboard Film Foundation (A Britannica Publishing Partner)Harry Callahan discussing his start in photography and the first time he viewed an Ansel Adams print, from the documentary Harry Callahan: Eleanor and Barbara (1983).
-
Checkerboard Film Foundation (A Britannica Publishing Partner)Photographer and curator John Szarkowski discussing his craft, from the documentary John Szarkowski: A Life in Photography (1998).
Transcript
JOHN SZARKOWSKI: While serving what might be described as a simple and utilitarian role, Atget learned to photograph with such intuitive and autographic flexibility that his work seems to represent a qualitative change in the history of photography. It was possible for Atget to return again and again to his favorite motifs, for he knew that an infinite number of pictures was potential in them. And he knew that none of these pictures was true in the sense that shared a privileged identity with the object photographed. He did not confuse his--his subject with the object. He understood that the true subject was defined by and was identical with the picture. Atget's--Atget's mind was, I think, a Modernist mind: it worked not from but towards a formal ideal. Its conception of form was not nuclear but galactic, relative, plural, provisional, and potential. He practiced photography not to express what he knew and felt but to discover what he might know and feel.