10 intimate photos of lost and decaying Paris in the 1930s

8. Kiki de Montparnasse with her friends Therese Therese de Caro and Lily (Kiki de Montparnasse with her friends Therese Therese de Caro and Lily (c. 1932))

Copy of Brassaï’s estate/succession of Philippe Ribeirol

At the same time that Brassaï was exploring the underworld in Paris, he was also hanging out in bohemian artistic circles. “What makes Brassai unique is his ability to move effortlessly from the slums to the most exclusive salons in Paris while meeting the artistic elite,” says Rebeiroles. Kiki de Montparnasse, a painter, singer, cabaret artist and legendary figure of the Parisian avant-garde, is shown here reclining on a sofa in a checkered dress. She was once Man Ray’s mistress, and was the model for many of his most famous works including Le Violon d’Ingres.

9. Magic City Ballroom, University Street (Pal or Magic City, University Street (1931))

Copy of Brassaï’s estate/succession of Philippe Ribeirol

Some of Brassay’s most evocative images are the raffle balls held twice annually on the eve of Shrove Tuesday and the third Thursday in Lent, known as Mi-Carême (Mid-Lent), in the Magic-City Ballroom. On these occasions, the police department gave special permission for men to wear drag as part of the Carnival tradition of reversing hierarchies of class or gender identity. Although wearing drag clothing was not actually prohibited at other times, men would dance together when dressed in feminine clothing. Rebeiroles told the BBC that Brassai was introduced to the Magic City community through a character known as Antoine, the King of Hairdressers. The password “friend” is guaranteed to enter.

10. Two-in-one suit, Magic City Ballroom (Costume for two, Bal Do Magic City (1931))

Copy of Brassaï’s estate/succession of Philippe Ribeirol

Not all segments of society were as open as Brassaï. In 1934, the Mi-Carême ball was banned after pressure from the far-right groups Action Française and La Liberté. Although it made a comeback in the late 1930s, it was generally considered quieter than in its heyday. Post-war Paris will be more narrow. Although it may be tempting to view Brassai’s work as a conscious attempt to document an era on the verge of oblivion, Ribeirol believes this is missing the point. “His photographs are not so much a deliberate act of preservation as a testament to his fascination with passing people, fleeting moments, and changing atmospheres. It is this interest that gives his photographs a sad, retrospective dimension, as if they unwittingly carried within them the memory of a world destined to disappear.”

Brassai: The Secret Signs of Paris is on view at the Moderna Museum in Stockholm until September 4.

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