10 intimate images of a lost, decadent 1930s Paris

8. Kiki de Montparnasse and her friends Thérèse Treise de Caro and Lily (Kiki de Montparnasse loves Lily with Thérèse Treise de Caro (around 1932))

Estate Brassai/Succession Philippe Ribeirol Copy

As well as exploring the Parisian underworld, Bussai was also in and out of bohemian art circles. “What makes Brassai unique is his ability to move effortlessly from the slums to the most exclusive salons of Paris, rubbing shoulders with the elite of the art world,” Ribeiroles says. What we see here is Kiki de Montparnasse lying on a sofa wearing a checkered dress. Painter, singer, cabaret artist, and legendary figure of the Parisian avant-garde. A former lover of Man Ray, she served as the model for some of his most iconic works, including the Violon d’Angle.

9. Magic City Dance Hall, University Avenue (Bal au Magic-City, rue de l’Université (1931))

Estate Brassai/Succession Philippe Ribeirol Copy

Some of Brassai’s most evocative photos are of the drag balls held at Magic City Dance Hall twice a year, on the eve of Shrove Tuesday and on the third Thursday of Lent, known as Michalem (mid-Lent). On such occasions, the police prefecture specifically allowed men to wear drag as part of the carnival tradition of reversing hierarchies of class and gender identity. In fact, wearing drag was sometimes not prohibited, but men wearing feminine clothing were prohibited from dancing with them. Ribeyrolls told the BBC that Brassai was introduced to the Magic City community by someone known as Antoine the Hairdresser King. Guaranteed admission with password “friend”.

10. Two-in-one suit, Magic City Dance Hall (Wearing magical city costumes (1931))

Estate Brassai/Succession Philippe Ribeirol Copy

Not all sectors of society were as open-minded as Brassai. In 1934, under pressure from far-right groups Action Française and La Liberté, the Mi Careme ball was banned. It was revived in the late 1930s, but it was generally considered a more subdued affair than its heyday. Post-war Paris would prove to be even more austere. While it may be tempting to view Brassai’s work as a conscious attempt to record an era on the brink of oblivion, Ribeirol believes this is beside the point. “Rather than being a deliberate act of preservation, his photographs are evidence of a fascination with passing people, fleeting moments, and changing atmospheres. It is this attentiveness that gives them a retrospective, melancholy aspect, as if he were unconsciously carrying within himself the memory of a world destined to disappear.”

“Brassai: The Secret Signs of Paris” is on view at the Museum of Modern Art in Stockholm until September 4th.

—

If you liked this story, Sign up for the Essential List newsletter – Hand-picked features, videos and can’t-miss news delivered to your inbox twice a week.

For more culture coverage from the BBC, follow us on facebook and Instagram.