Street Photography: From Atget to Cartier-Bresson
Street photography is perhaps the best-loved and most widely known of all photographic genres, with names like Cartier-Bresson, Brassai and Doisneau familiar even to those with a fleeting knowledge of the medium. Yet what exactly is street photography? From what viewpoint does it present its subjects, and how does this viewpoint differ from that of documentary photography? Looking closely at the work Atget, Kertesz, Bovis, Rene-Jacques, Brassai, Doisneau, Cartier- Bresson and more, this elegantly written book unpicks Parisian street photography's complex relationship with parallel literary trends -- from Baudelaire to Soupault -- as well as its more evident affinity with Impressionist art. Street Photography reveals the genre to be poetic, even "picturesque," looking not to the type but to the individual, not to the reality of the street but to its "romance."
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aesthetic already anamorphosis Andre Kertesz argue Barthes Baudelaire Baudelaire's become blind field boulevard Bovis's Brassai building cafe Caillebotte's camera Cartier-Bresson chance Chapter colour composition Constantin Guys distinction documentary photography duration Eugene Atget eye-frame face fait divers figure frame Germaine Krull girl gossip graffiti Gustave Caillebotte hand Hotel iconic imaginary imagination Impressionist indexicality instant instantaneousness involuntary involuntary memory Kertesz kind language light London look Mac Orlan Marcel Bovis meaning memory mirrors monument n.pag newsvendor nickname nude optical painter painting paradox Paris by Night Parisian past pavement peculiarly perception photograph photojournalism picture picturesque portrait pose prostitutes rayographs reality relates relationship Robert Doisneau seems sense sensory shadows significance social space spectator street photography studio suggest support-frame Surrealist swings temporal things tramps transformation unconscious urban viewer vision visual Walker Evans wall window woman women words