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Légende
Alécio de Andrade
Rue des Rosiers, Bouchers, 1975
© Alécio de Andrade. ADAGP, Paris, 2013
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© Alécio de Andrade
Alécio de Andrade (Rio de Janeiro, 1938 - Paris, 2003), Boucherie Emouna, rue des Rosiers, Paris, 1975
Photographs by Alécio de Andrade
The Jewish Marais, 1974–1975 by Alécio de Andrade
The photographer Alécio de Andrade was born in Brazil in 1938. He arrived in Paris in 1964 and lived here until he died in 2003. A poet, pianist and friend of writers and musicians, he took numerous photographs in the Marais in 1974 and 1975, then moved to rue des Rosiers in 1982.
Although the quarter he shows us was still steeped in the Ashkenazi culture of the Pletzl, dating back to the late 19th century, one can see the evolution prompted by the arrival of the North African communities. The synagogue in rue des Tournelles adopted Sephardic ritual, the study room on place des Vosges was devoted to Ashkenazi worship, and alongside Jo Goldenberg’s delicatessen and the Finkelsztajn bakery, there were shops selling North African specialities.
But Andrade’s photographic testimony is above all a spontaneous, tender and poetic vision of everyday life. He knew how to capture the looks and smiles of children and adults, the details that crystallize the humanity of a moment, and his evocation of a now bygone era reveals the life of this emblematic and then still authentic working-class district.
From 1965 to 2002, as a press reporter, Paris correspondent of the weekly Manchete and an associate member of Magnum Photos, Alécio de Andrade did numerous photo-reportages all over the world. His pictures have been published in Newsweek, Fortune, American Photographer, Géo, Le Nouvel Observateur, Le Figaro, Stern and Il Tempo, and in his native country in Jornal do Brasil and Fatos e Fotos.
Slide show
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Devant le restaurant Jo Goldenberg. Angle du 7, rue des Rosiers et du 18, rue Ferdinand Duval, 1975
Photo n°01 : © Alecio de Andrade, ADAGP, Paris, 2013
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17, rue des Rosiers, 1975
Photo n°02 : © Alecio de Andrade, ADAGP, Paris, 2013
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Boucherie Saada, 17, rue des Rosiers, 1975
Photo n°03 : © Alecio de Andrade, ADAGP, Paris, 2013
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19, rue des Rosiers, 1975
Photo n°04 : © Alecio de Andrade, ADAGP, Paris, 2013
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Rosa Tzewick, rescapée d’Auschwitz, 2e étage du 19, rue des Rosiers, 1974
Photo n°05 : © Alecio de Andrade, ADAGP, Paris, 2013
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23, rue des Rosiers. À gauche, M. Emouna, boucher, 1975
Photo n°06 : © Alecio de Andrade, ADAGP, Paris, 2013
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23 bis, rue des Rosiers, 1975
Photo n°07 : © Alecio de Andrade, ADAGP, Paris, 2013
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Boucherie Emouna, 25, rue des Rosiers, 1975
Photo n°10 : © Alecio de Andrade, ADAGP, Paris, 2013
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Boucherie Emouna, 25, rue des Rosiers, 1975
Photo n°09 : © Alecio de Andrade, ADAGP, Paris, 2013
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Boucherie Emouna, 25, rue des Rosiers, 1975
Photo n°10 : © Alecio de Andrade, ADAGP, Paris, 2013
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Charcuterie Lerner, dite « chez Klapish » 27, rue des Rosiers, 1975
Photo n°11 : © Alecio de Andrade, ADAGP, Paris, 2013
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27, rue des Rosiers, 1975
Photo n°12 : © Alecio de Andrade, ADAGP, Paris, 2013
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29, rue des Rosiers, 1975
Photo n°13 : © Alecio de Andrade, ADAGP, Paris, 2013
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29, rue des Rosiers, 1975
Photo n°14 : © Alecio de Andrade, ADAGP, Paris, 2013
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Devant la boucherie de Michel Hayot, 32, rue des Rosiers, 1975
Photo n°15 : © Alecio de Andrade, ADAGP, Paris, 2013
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Devant la boucherie de Michel Hayot, 32, rue des Rosiers, 1975
De gauche à droite, Mme Maarek et Mme Hachana Sellam
Photo n°16 : © Alecio de Andrade, ADAGP, Paris, 2013
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34, rue des Rosiers, 1975
Photo n°17 : © Alecio de Andrade, ADAGP, Paris, 2013
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34, rue des Rosiers, 1975
À gauche, M. Jacky Alter
Photo n°18 : © Alecio de Andrade, ADAGP, Paris, 2013
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Boucherie Bensimon, 40, rue des Rosiers, 1975
Photo n°19 : © Alecio de Andrade, ADAGP, Paris, 2013
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Devant les 44 et 46 rue des Rosiers, 1975
Photo n°120 : © Alecio de Andrade, ADAGP, Paris, 2013
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Boucherie Maurice Chabaat, 2, rue des Hospitalières-Saint-Gervais, 1975
Photo n°21 : © Alecio de Andrade, ADAGP, Paris, 2013
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Portrait. Angle de la rue des Rosiers et de la rue des Hospitalières-Saint-Gervais, 1975
Photo n°22 : © Alecio de Andrade, ADAGP, Paris, 2013
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Portrait. Angle de la rue des Rosiers et de la rue des Hospitalières-Saint-Gervais, 1975
Photo n°23 : © Alecio de Andrade, ADAGP, Paris, 2013
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Rue des Rosiers, 1975
Photo n°24 : © Alecio de Andrade, ADAGP, Paris, 2013
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Rue Malher, 1975
Photo n°25 : © Alecio de Andrade, ADAGP, Paris, 2013
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Devant la boulangerie Finkelsztajn, Angle du 24, rue des Rosiers et du 19, rue des Écouffes, 1975
Portant des cartons, M. Atlan
Photo n°26 : © Alecio de Andrade, ADAGP, Paris, 2013
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The “Pletzl,” the Jewish quarter in the Marais in the 1910s and 1920s
Once known to its inhabitants as the “Pletzl,” or “little square” in Yiddish (although it is unclear to which square this referred: Saint-Paul, Marché Sainte-Catherine, or rue des Hospitalières-Saint-Gervais?), the Jewish quarter in the Marais is still just as famous and emblematic today. Yet this small, rather indistinct urban nucleus clustered around rue des Rosiers was never a ghetto like others that once existed in Europe, i.e. a place reserved solely for Jews.
Early 19th-century archives tell us that there were many Judeo-Alsatian-speaking Jews living there. But it wasn’t until after 1880, with the massive influx of Jews fleeing the Russian pogroms, that the quarter acquired its characteristic physiognomy. For these immigrants, the Pletzl represented a transitional territory where Eastern traditions were perpetuated and where one could familiarise oneself with French culture.
There were inscriptions in both Cyrillic and Hebrew script on the windows of shops selling Sion wines and vodka, religious books and objects, and newspapers and books in Russian and Yiddish*.
The synagogue in rue Pavée, where worship began in October 1913, illustrates the quarter’s sense of identity: it was Agoudas Hakehilos (Union of the Communities), a society composed of Orthodox Jews of primarily Russian and Polish origin, that commissioned the architect Hector Guimard to build it, without seeking authorisation from the Paris Consistory.
* The Germanic language of the Jewish communities in Central and Eastern Europe
The prints in the exhibition were made from transparencies on glass dating from the 1910s and 1920s
Jean Levantal Donation
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