In relation to these issues Atget’s album proves to be dialectical, at once seeming to present the interior as a signifier of human life, personality, and individuality, even while undermining such notions and exposing them as illusory. The interior was often praised as a site of self-expression, but in its late nineteenth-century guise-as a site of unfettered accumulation-it provoked many critiques. Though from a slightly later period, Atget’s photographs display the accumulation of furniture, objects, and styles that were characteristic of fin de siècle French interiors. In doing so he added to the imagery, ever increasing in nineteenth-century France and elsewhere, of the domestic interior. In 1910 Eugène Atget photographed various private interiors, some of which he assembled into an album entitled Intérieurs Parisiens, début du XXe siècle, artistiques, pittoresques, et bourgeois. Gold-toned gelatin silverprint, University of Michigan Museum of Art, 1974/1.109. This version is one photograph of a portfolio of 20 printed by Berenice Abbott from glass negatives made by Atget. Eugène Atget, Worker's Interior, Rue de Romainville (Intérieur ouvrier, rue de Romainville), image from page 28 of the album Intérieurs Parisiens.
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