Porte de Gentilly, Bd Kellermann 1907

Eugène Atget made this photograph, Porte de Gentilly, Bd Kellermann, using gelatin silver printing. The tones feel very close, and the muted palette almost creates a sense of quiet observation. In that sense it speaks to me of process. It's like you are watching something unfold gradually, in that moment between the before and after. There's a quality of seeing in Atget's work that feels deeply connected to the way we experience our world. The surface has a slightly matte, almost velvety texture, and the paper adds to this sense of intimacy. The way the light filters through the trees, creating a soft and diffused effect, draws me in, and I want to reach out and touch the surface. There’s a striking contrast in the foreground between the dense tree and the sharp division between the road and the sidewalk. The eye then follows the road as it fades into the distance. Looking at this photograph I’m reminded of the paintings of Edward Hopper, the way he captures a sense of isolation and alienation in the modern city. But Atget’s work also resonates with the quiet, contemplative spirit of Agnes Martin. It’s a reminder that art is an ongoing conversation across time and across different mediums, embracing ambiguity and multiple interpretations.