Cover image for Berenice Abbott, Eugene Atget.
Berenice Abbott, Eugene Atget.
Atget, Eugène, 1857-1927.
First edition.
Publication Information:
Santa Fe, N.M. : Arena Editions, [2002]

Physical Description:
163 pages : chiefly illustrations, portraits ; 28 cm
General Note:
"Details Abbott's rare prints of Atget's of the few instances of one great photographer printing another great photographer's work"--dust jacket.
Acknowledgements -- Introduction -- Abbott & Atget / by Clark Worwick -- The world of Atget / by Bernice Abbott -- Colophon.
Subject Term:
Format :


Call Number
Material Type
Home Location
Item Holds
TR654 .A197 2002 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



Eugene Atgets photographs of Paris between 1898 and 1927 form the bedrock of an American modernist photographic vision. In 1927, Berenice Abbott, one of the centurys most renowned photographers in her own right, became the largest collector of Atgets work when she purchased his estate. For the next 40 years (19291969), Abbott devoted much of her creative life to popularizing the work of Atget. Representing her vision of Atgets tapestry of Parisian life, this book reproduces and discusses the rare prints created by Abbott from Atget negatives one of the few instances of one great photographer printing another great photographers work. Over 100 duotone photos are featured, some of which Abbott developed from previously unpublished Atget negatives. The Atget prints are ... a rare and subtle perception, and represent perhaps the earliest expression of true photographic art. Ansel Adams

Reviews 2

Library Journal Review

Eugene Atget, the "Balzac of the camera" and a beloved chronicler of Paris from 1898 to 1927, was the master of giving an objective view of the city's poor. New York photographer Berenice Abbott bought all of the prints and negative plates in Atget's estate in 1927, and for 40 years she printed from his negatives, produced new copies of old prints, cataloged, treasured, and promoted the collection. This carefully produced volume is a brilliant window into the art of photography and the beauty that Atget revealed in an earlier Paris. It contains an excellent essay by Worswick, a photographic historian and collector, who tells the tale of Abbott's acquisition and devotion to the Atget collection. Worswick details the long story of Abbott's obsession and her struggle to sell the treasure to a proper collector. It builds to a happy ending with the eventual appreciation and wide exhibition of the photographs. This piece and Abbott's 18-page text outlining her passion for these quiet black-and-white photographs make a solid contribution to photo history. Recommended for all collections.-David Bryant, New Canaan P.L., CT (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Photographs by Frenchman Atget (1857-1927) are a cornerstone of modernist photography, and many books reproduce them, notably a four-volume set from the Museum of Modern Art by John Szarkowski and Maria Morris Hambourg, The Work of Atget (1981-85; v. 2, CH, Mar'83). On Atget's death, Abbott (1898-1991), an American photographer working in Paris, acquired his estate. Seeking to popularize his work, she sold the collection to MoMA. This book is mostly about the Atget-Abbott relationship. The introduction by Clark Worswick, consulting curator at the Peabody Essex Museum, focuses on how Abbott came to possess the collection, how she brought it to the attention of photographers and museums, and how she printed many of its unprinted negatives. Many of her prints are the only ones of several images, and of the book's 100 reproductions, a third are previously unpublished. In 1964, Abbott published The World of Atget with 176 plates. An edited version of her text in that work appears here. The reproductions are of high quality, in black-and-white rather than sepia, the color closest to Atget's originals, but duplicating Abbott's printing. Although a handsome book, given what has already been published, it is more for scholars of Atget than those seeking an introduction to his work. Upper-division undergraduates through faculty. P. C. Bunnell emeritus, Princeton University