Brassaï captured the dualities of Parisian nightlife in empty night-bound streets and bustling cabarets. In one series, seen across the gallery, he photographed patrons of a café sitting in a booth with a mirror behind them, uncannily reflecting another side of themselves. Although he protested that he was not a surrealist, Brassaï contributed to six of the first seven issues of Minotaure, the movement’s journal in the mid-1930s. He commented: “They considered my photographs ‘surrealist,’ because they revealed a ghostly, unreal Paris, drowned in the night and the fog.”
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