Alta costura / Luz negra

“Boulevard de Strasbourg (Corsets)” (1912), Eugène Atget

“Boulevard de Strasbourg (Corsets)” (1912), Eugène Atget

GRACIELA S. SILVA |

Capturada por Eugène Atget, la atmósfera parisina desvela sus momentos cotidianos ante nosotros. El fotógrafo francés dedicó gran parte de su tiempo a buscar con su lente el instante propicio para congelar los detalles de su urbe.

“Boulevard de Strasbourg (Corsets)” (1912) muestra el crecimiento de una ciudad que aún no terminaba de consolidar su presencia como centro de la moda.

La imagen nos muestra una tienda de corsets en el Boulevard de Strasbourg, una de las tantas calles parisinas en las que las boutiques se suceden unas a otras y donde se exhibe en sus cristales las novedades del momento. Ahí, los modelos se apilan dentro de una vitrina.

Atget experimentó con su cámara en una época en la que los procesos que la regían aún no llegaban a fórmulas concretas y variaban de un modo errático; quien se dedicaba a la fotografía debía tener también el interés de experimentar con los materiales que se conocían, y probar hasta conseguir los resultados deseados.

A través de sus imágenes, es posible encontrar un registro iconográfico que presenta la época con gran acercamiento, clara muestra del ojo documentalista presentado por Atget. Amigo de los artistas surrealistas de la época, el fotógrafo nunca quiso ser considerado como representante del movimiento, pues creía que su obra se acercaba más al trabajo de registro que al arte. Sin embargo, de no ser por ese nexo, es probable que las imágenes de Atget —poco visibles en la época— hubieran quedado por siempre en el olvido.

El encuadre de “Boulevard de Strasbourg (Corsets)” muestra la vitrina de una tienda que se aísla del resto de la calle. Las hileras de ropa femenina puestas sobre los maniquíes muestran el estilo de la época y la frecuencia de su uso, pues es la principal mercancía del lugar. Aunque la mayor parte se encuentra tras el cristal, en el exterior cuelgan dos piezas. La primera resalta sobre un maniquí negro que se distingue de los del resto creando un contraste mayor; la segunda, se ha movido —quizá a causa del viento— y no permite detalle mayor que su posible color.

Las cámaras de gran formato lo acompañaron en sus travesías por las calles de París, en busca de pequeños contrastes, personificaciones, historias de personas comunes. Sin embargo, su interés por la vida cotidiana le permitió retratar una época y fijarla en sus placas de vidrio para hacerla llegar hasta nuestros días.

En aquellos años no era común el uso de iluminación adicional. Sus encuadres son capturados generalmente en exteriores y muestran la vida diurna de un París que ha dejado de existir como él, a través de su cámara, la miró.

| RMM | GSS | Luz negra | @Versalisima |

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