Hôtel du Cardinal Dubois, 10 rue de Valois 1913

Curator: Here we have Eugène Atget's photograph, "Hôtel du Cardinal Dubois, 10 rue de Valois," taken in 1913. The sepia tones give it such a lovely antique feel. Editor: The first thing that strikes me is the sculpted figure above the window – reclining nude, almost theatrical, and that peculiar, obscured reflection in the glass. Curator: Indeed. Atget's photographic project centered on documenting the vanishing architectural details of Paris, capturing storefronts, street scenes, and in this case, the ornate sculptural elements of buildings like the Hôtel du Cardinal Dubois. Notice the crisp details in the stonework compared to the rather flat light. Editor: And the composition… the shutters framing this glimpse, forcing us to consider what’s concealed. The nude seems classical in form, yet there's something subversive about placing it above a mundane window of an ordinary building. Does that juxtaposition offer a commentary on accessibility to the ideals represented by the figure? Curator: The framing certainly lends itself to multiple interpretations. I mean, the fenestration in these older buildings is evidence of hierarchies inherent in urban spaces, class delineations manifested in who has a view. However, Atget himself maintained a somewhat detached, almost documentary approach, seemingly avoiding direct social commentary. But look closer at the window: that partially drawn curtain hints at something domestic, contrasting with the grand statement of the sculpture. Editor: The play of textures and light adds to that sense of layering meaning – rough stone, smooth skin, and the almost ghostly window reflection, which renders depth, if hazily. But how would the image been received by the French establishment, knowing that his patron, the Cardinal, held notoriously liberal views and this location was frequented by several infamous intellectuals? Curator: Knowing that the Hotel Dubois was a common site for those associated with radical politics, Atget may have been implying more that meets the eye to future viewers by deliberately capturing that sculpture. Editor: That changes things significantly. Looking beyond the photographic composition allows one to view this documentation as a pointed critique. Curator: A fascinating insight, indeed. Atget’s vision might be more layered than initially apparent. Editor: Leaving us, fittingly, with a certain level of delightful ambiguity.