Perhaps scarcely a human being knew today the French photographer Atget, who moved to the turn from the nineteenth to the twentieth century, his massive camera equipment on a cart through Paris, and those houses, streets, and neighborhoods that are documented, the goods are released for demolition would not have taken care of Berenice Abbott to his work. In Paris, she was friends with him, sir, after his death, the estate looked after him and later at the Museum of Modern Art in New York conveys, which he learned to international fame. Her portrait of the photographer as a grumpy old man that still defines our idea of him.
Freddy Long
editor in the features section, responsible for the “trip sheet”.
F. A. Z.
Perhaps, but never met before today, hardly a person Berenice Abbott, she wouldn’t have suggested atget’s perfunctory, great work to similar work in New York, especially Manhattan, to accept. That was the end of the twenties, as it had come after the stock market crash and the following economic crisis to a standstill in the city and of all the places the two epochs of each other met. Here, the high-cars and sleek limousines, and horse-drawn vehicles, of the loading surface household goods were sold. Along the Boulevards, the sky clouds strut scratch, in the streets, however, Emma-stores, mom-and-behind ornate grilles.
