Genius Loci de Paris"... The term "Genius Loci" means "the atmosphere of the land" or "the spirit of the land", The new image overlaps the photo taken by Atget in 1900 and the photo taken in 2019. Rue des Ursins, 4th arrondissement/Rue des Ursins,4e Paris Looking northwest from the steps leading down to 1 rue des Ursins from Rue des Haut Flars, a street along the Seine at the eastern end of the Ile de la Cité, Paris. You can see the street Eulsan, which curves gently to the left. Atget/Azier photographed this street in 1900; Atget/Azier's photograph shows the cobbled street surface and large carts and wheelbarrows on the street. The large tree on the right of the street is not yet in place, and the pavilion in the background accentuates the Yulsan Street. The past and the present are mixed in the same picture, creating an image that transcends time and space. ◆Support (backing), materials (colorants, etc.), technique, etc. The support (backing) is a low-gloss paper specially designed for photographic inkjet printing. The support (backing) is made of a low-gloss paper specially designed for photographic inkjet printing, and output by a printer using 10-color pigment ink. （The Yulsan Street area, where this work was shot, still retains much of the atmosphere of the time when Atget took the photographs. In particular, the street itself remains as it was in those days, and the building on the left has been somewhat renovated, but still retains the atmosphere of those days. The cylindrical structure with a poster on the right side of the photo of Atget is a public restroom for men. In Paris, this was called an "escargot. The "escargot" at this location remained until the 1960s. There is also a small park in front of the building at the back right of the screen. There were no trees there at that time, but now there are large trees that cover the building, creating a pleasant pathway. Incidentally, Yulsan Street is about 110 meters long. The street corner photographs taken by Ager have the address of the location where the photograph was taken written on the back of the print. Fortunately, many of the street numbers still remain, and the street scenes often remain to some extent as they were in those days. However, the atmosphere there is quite different, and one is forced to wonder what Atget felt there. Many of his street corner photographs are taken with a large-format camera that uses a glass dry plate to correct the perspective of the buildings. The use of this function corrects the way the tops of buildings appear narrower than they are. Since the cameras we are currently using do not have a "blurring" function, the images I take are corrected on the computer to bring them closer to the images of Atget. After overlaying the images of Eugene Atget and myself, I then created a composite image by emphasizing the symbolic elements that remained in the two images. Eugene Atget (1857 - 1927) was a French photographer. Born in Bordeaux in 1857, he moved to Paris in 1878 and entered a theater school, but dropped out due to military service. In 1890, he returned to Paris to sell his "documentaries for artists. He restarted his life as a photographer. His systematic photographs of the old Paris streets were purchased not only by painters but also by the Bibliothèque de Paris and the Musée Carnavalet. After his death, Man Ray's assistant, Berenice Abbott, collected his works and sold them to the Museum of Modern Art in New York in 1968. In 1968, they were sold to the Museum of Modern Art in New York, and his work was widely disseminated to the public.
