Some maintain that, like a nineteenth-century photographer (Californian Carleton Watkins, for example) having sold his negatives for a profit, Atget naturally went about rephotographing familiar subjects, perhaps a little differently, to replenish his stock. Others–Szarkowski chief among them–see this as the moment when Atget, free of the nuisance of commercial assignments, even if they were self-imposed, can work “for himself” at last. It is a common enough narrative in the history of the arts that they must shake off the shackles of commercialism in order to achieve aesthetic worth, but this mirrors a favorite narrative of the curator’s still more closely. Szarkowski has always prized “vernacular” photographs, created on long-forgotten assignments, often by anonymous “journeyman” photographers, that transcend their utilitarian roles with their sheer formal elegance. In such uncut gems he has discerned clues to photography’s uniqueness, to its artless, time-bound art. As a curator, he has been a collector of these curiosities, including many Atget photographs made prior to 1920. But it is one thing to liberate an artist’s work posthumously and quite another to see the man himself set free. That Atget himself should have become an artist, as we now understand that term, in his own lifetime–even if no one was there to notice–is a wish fulfilled for Szarkowski. To prove this point, he emphatically maintains the superiority of Atget’s late work (which includes many of the studies of seventeenth-century parks Andre le Notre designed around Paris and of modern shop windows in the city). Perhaps Szarkowski feels some of the relief he remembers Abbott expressing when Hambourg showed her that several of Atget’s interiors of well-furnished bourgeois apartments had to have been made in his own home: “Oh good. I’m glad the old fellow wasn’t as poor as I thought” [5] But more than money is at stake. Hambourg’s scholarship allows Szarkowski to save Atget from the ignominy of going down in history as a lucky commercial hack.
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Some maintain that, like a nineteenth-century photographer (Californian Carleton Watkins, for example) having sold his negatives for a profit, Atget naturally went about rephotographing familiar subjects, perhaps a little differently, to replenish his stock. Others–Szarkowski chief among them–see this as the moment when Atget, free of the nuisance of commercial assignments, even if they were self-imposed, can work “for himself” at last. It is a common enough narrative in the history of the arts that they must shake off the shackles of commercialism in order to achieve aesthetic worth, but this mirrors a favorite narrative of the curator’s still more closely. Szarkowski has always prized “vernacular” photographs, created on long-forgotten assignments, often by anonymous “journeyman” photographers, that transcend their utilitarian roles with their sheer formal elegance. In such uncut gems he has discerned clues to photography’s uniqueness, to its artless, time-bound art. As a curator, he has been a collector of these curiosities, including many Atget photographs made prior to 1920. But it is one thing to liberate an artist’s work posthumously
and quite another to see the man himself set free. That Atget himself should have become an artist, as we now understand that term, in his own lifetime–even if no one was there to notice–is a wish fulfilled for Szarkowski. To prove this point, he emphatically maintains the superiority of Atget’s late work (which includes many of the studies of seventeenth-century parks Andre le Notre designed around Paris and of modern shop windows in the city). Perhaps Szarkowski feels some of the relief he remembers Abbott expressing when Hambourg showed her that several of Atget’s interiors of well-furnished bourgeois apartments had to have been made in his own home: “Oh good. I’m glad the old fellow wasn’t as poor as I thought” [5] But more than money is at stake. Hambourg’s scholarship allows Szarkowski to save Atget from the ignominy of going down in history as a lucky commercial hack.
