L'Exposition universelle de 1900 ouvre ses portes dans un Paris au sommet de sa gloire, plus brillant et fastueux que jamais. En proie � une effervescence artistique et litt�raire, la capitale attire ainsi plus de cinquante millions de visiteurs. Mais les frivolit�s de la Belle �poque ne s'�tendent pas au Paris populaire dont les petits m�tiers tiennent encore le pav�. Les plus grands photographes de l'�poque donnent ainsi � voir la Ville Lumi�re et sa sœur de l'ombre.

L'Exposition universelle de 1900 ouvre ses portes dans un Paris au sommet de sa gloire, plus brillant et fastueux que jamais. En proie � une effervescence artistique et litt�raire sans pareille, r�gnant sur la mode et les �l�gances, la capitale attire ainsi plus de cinquante millions de visiteurs avides d'en humer la l�gende. Mais les frivolit�s de la Belle �poque ne s'�tendent pas au Paris populaire dont les petits m�tiers tiennent encore le pav�.
Les plus grands photographes de l'�poque – Lartigue, Atget, G�niaux, les fr�res S�eberger et Neurdein, Puyo, Stieglitz – donnent � voir cet �ge d'or comme ses oubli�s, la Ville Lumi�re et sa sœur de l'ombre.

The World Fair in 1900 opened when Paris was in its prime and more radiant than ever. Boasting an unparalleled artistic and literary buzz and trend-setting fashion and style, Paris drew fifty million visitors eager to live the legend. The frivolity of the Belle �poque, however, didn't extend to Paris' working classes who were hard at work, peddling on the streets.
Lartigue, Atget, G�niaux, the S�eberger and Neurdein brothers, Puyo, Stieglitz... Amateurs and the most famous photographers of the " gilded age " alike reveal the brilliance and the dark side of the City of Light.

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