40 Fascinating Photos of Paris Street Scenes in the Mid-20th Century

In the mid-20th century, the streets of Paris were alive with a unique blend of history and modernity. Wide boulevards designed by Baron Haussmann in the 19th century still framed the city, but the daily rhythm reflected a changing world. Classic café terraces spilled out onto sidewalks, where Parisians gathered for coffee, conversation, and cigarettes, while flower vendors, newspaper stands, and street performers added vibrancy to everyday life.

The streets were filled with a mix of iconic automobiles, such as the Citroën Traction Avant or the 2CV, mingling with bicycles and pedestrians. Fashionable men and women, often dressed in tailored suits, dresses, and hats, embodied the elegance of the era. Markets, bookstalls along the Seine, and bustling intersections revealed the timeless charm of Paris, even as it embraced modernity in art, cinema, and culture.

These mid-century street scenes capture not only the beauty and romance of the French capital, but also a moment in time when tradition and innovation coexisted, making Paris a symbol of style, creativity, and everyday life in Europe. These fascinating photos capture street scenes of Paris in the 1950s and 1960s.

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40 Fascinating Black and White Photos That Capture Paris Street Scenes in 1973

Street scenes of Paris in the 1970s capture a city in transition—where timeless charm met changing times. From the cobbled alleys of Montmartre to the busy cafés along Boulevard Saint-Germain, the streets buzzed with everyday life: vintage cars, newspaper kiosks, smoky brasseries, and pedestrians in flared trousers and trench coats.

These fascinating photos were taken by Peter Marshall on a stay of several weeks in Paris in August 1973 “when with my wife I walked around most of the city and a little outside taking photographs in what as my first real photographic project. They include both holiday snaps and more serious photographic work.”

Metro Autobus, Paris, August 1973

Barges and Pont des Arts, Paris, August 1973

By Pont Neuf, Paris, August 1973

Exit from Palais Royal, Paris, August 1973

Flea market, Paris, August 1973

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Mugshot of Vincenzo Perugia, the Thief of the ‘Mona Lisa’

Mugshot of Vincenzo Perugia, the Italian man who stole the Mona Lisa out of the Louvre Museum in Paris. Perugia claimed he completed the act out of patriotism, insisting the painting belonged in Leonardo da Vinci’s home country, Italy, and not France.

The police record of Vincenzo Peruggia in 1909, two years before the theft of Mona Lisa. (Photo by Roger Viollet via Getty Images)

Vincenzo Peruggia, an Italian handyman who had previously worked at the Louvre, stole the Mona Lisa on August 21, 1911. He entered the museum dressed in a worker’s smock, hid in a closet overnight, and then, while the museum was closed, removed the painting from its frame and walked out with it hidden under his smock.

Peruggia kept the Mona Lisa hidden in a false-bottom trunk in his Paris apartment for two years. During this time, the theft caused a sensation, and even famous artists like Pablo Picasso were questioned as suspects.

Peruggia’s motive, he claimed, was patriotic: he believed the Mona Lisa had been stolen from Italy by Napoleon and wanted to return it to its homeland. However, Leonardo da Vinci had actually sold the painting to King Francis I of France centuries earlier.

Peruggia was finally caught in December 1913 when he attempted to sell the painting to an art dealer in Florence, Italy, named Alfredo Geri. Geri, along with Giovanni Poggi, the director of the Uffizi Gallery, authenticated the painting and then alerted the police, leading to Peruggia's arrest at his hotel.

Peruggia was put on trial in Florence and, due to his claimed patriotic motives, received a lenient sentence, serving only seven months in jail. The theft, ironically, propelled the Mona Lisa to unprecedented global fame.

40 Amazing Photos of the Construction of the Paris Métro (1899–1911)

The building of the Paris Métro, officially known as Le Métro de Paris, began in 1899 and continued until 1911. This major infrastructure project marked the beginning of one of the most iconic urban transit systems in the world.

The work was led by French civil engineer Fulgence Bienvenüe, who is often referred to as “Le Père du Métro” — The Father of the Paris Métro. His vision and leadership were key to creating a fast, efficient, and modern subway system that would serve the growing needs of Paris’s population.

Thanks to his efforts, the Paris Métro became a symbol of innovation and urban mobility, setting the standard for public transportation in cities around the globe. Here’s a remarkable set of photos documenting the construction of the Paris Métro between 1899 and 1911.

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Iconic Photographs of Debbie Harry Performing With Blondie at Le Stadium in Paris, 1978

Debbie Harry performed with Blondie at Le Stadium in Paris in 1978 during the band’s rise to international fame. This performance was part of Blondie’s European tour in support of their Plastic Letters album, released in early 1978. At the time, Blondie was gaining major traction in Europe—particularly in the UK and France—before fully breaking through in the U.S. with Parallel Lines later that year.

Debbie Harry, already becoming a fashion and punk icon, appeared on stage in her signature look: bleach-blonde hair, striking makeup, and edgy, glam-punk outfits. Photographs from this specific performance in Paris by photographers like Christian Rose and Jean Louis Rancure showing Harry in her iconic style, which was already establishing her as a punk and new wave icon.

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Amedeo Modigliani Moving His Studio, Paris, 1913

This photograph, taken in 1913 by an unknown photographer, captures a pivotal moment in the life of Italian painter Amedeo Modigliani (1884–1920). He was moving from his apartment on rue du Delta in Paris’s 9th arrondissement to a new residence on rue Drancourt in the 18th arrondissement. Modigliani, renowned for his distinctive portraits and nudes, was a prominent figure in the modernist art movement of the early 20th century.

At the time of the move, Modigliani was deeply embedded in the artistic community of Montmartre, a vibrant hub of avant-garde creativity in Paris. This neighborhood, home to notable figures like Pablo Picasso, Guillaume Apollinaire, and Henri Toulouse-Lautrec, profoundly influenced Modigliani’s work. His signature style, blending influences from post-impressionism, African art, and Venetian Renaissance portraiture, began to attract more attention during this period.

Despite facing financial struggles throughout his life, Modigliani’s reputation steadily grew, and his elongated portraits eventually gained widespread acclaim after his death. In 1913, however, he remained relatively unknown beyond his artistic peers. His life at that time was marked by poverty, fragile health, and relentless dedication to his craft.

This relocation to rue Drancourt symbolizes a pivotal search for stability and personal growth. Despite enduring hardships, Modigliani continued to create some of his most iconic works, underscoring the resilience and determination often required of artists.

South of France in 1974 Through Wonderful Color Photos

The South of France in the 1970s was a sun-drenched blend of old and new. Imagine lavender fields and ancient villages bathed in a warm, languid atmosphere. Days revolved around long lunches, the hum of cicadas, and petanque games.

Fashion was bohemian chic—flowing dresses and linen shirts. While tourism grew, bringing more diverse visitors, the region held onto its core charm: a place to slow down and savor life’s simple pleasures.

These wonderful photos were taken by Peter Marshall from a holiday in Spring in Aix-en-Provence, including visits to -de-Provence, Marseille, Arles etc. in Spring 1974.

Street vendor, Marseille harbour, Spring 1974

Palm Sunday, Provence, Spring 1974

Ampitheatre, Arles, Provence, Spring 1974

Avenue, Provence, Spring 1974

Boats in Marseille harbour, Spring 1974

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The Stilt-Walking Shepherds of Landes

The stilt shepherds of Landes were a unique group of shepherds in the Landes region of southwestern France, known for walking on stilts while tending their flocks. This distinctive practice flourished primarily in the 18th and 19th centuries and is deeply tied to the landscape and cultural history of the area.

The Landes region was historically a vast, marshy heathland—wet, uneven, and filled with scrub vegetation. Walking through such terrain was slow and difficult, especially for shepherds who had to cover large distances to manage their flocks. To solve this, they used stilts, called échasses, which allowed them to walk faster across rough terrain, stay dry above the soggy ground and thick underbrush. Perched comfortably atop this tripod configuration, a shepherd was afforded an elevated view to keep track of his sheep and watch for wolves.

The people of Landes were trained in stilt walking from a young age, and were capable of astonishing dexterity and balance, easily running, hopping and even bending down to pluck flowers.

Stilt walking gradually died out in Landes in the late 19th century as the planting of forests and draining of marshland changed the terrain, but it is still practiced in local folk performances.

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Stolen Jim Morrison Graveside Bust Found by Chance After 37 Years

A memorial bust of American singer Jim Morrison that was stolen from his grave 37 years ago has been found by chance, according to French police.

The tomb of Jim Morrison in 1985, before the theft of the bust designed by Mladen Mikulin.

The statue of The Doors frontman was recovered in Paris during an investigation conducted by its financial and anti-corruption arm that was unrelated to the original theft.

Morrison's grave has long been a site for fans of the rock band to pay their respects in an unusual way - graffiti sprawls across neighboring gravestones in the poet's corner of the famous Père-Lachaise cemetery, which also houses the tombs of Edith Piaf and Oscar Wilde.

Little information has been released about the investigation and no suspects have been named in the theft of the statue of the singer, who died in 1971.

40 Vintage Snaps Reveal Paris Street Life in the Late 1950s

Paris in the late 1950s was a city of contrasts—romantic, restless, and on the edge of modern change. Postwar recovery gave way to a vibrant cultural scene: Cafés buzzed with existentialist debates, jazz spilled from Saint-Germain clubs, and fashion houses like Dior set global trends.

The streets were alive with Citroën cars and the scent of Gauloises cigarettes. Bohemian artists still thrived in Montmartre, even as tensions from the Algerian War stirred unrest. Paris remained timeless yet forward-looking—a city suspended between memory and modernity.

Discovered by Shane Egan, these vintage snapshots show street scenes of Paris in 1959.

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Wonderful Photos Reveal the Charm of 1950s Paris Streets

Paris in the 1950s bustled with charm—cobblestone streets echoed with the hum of vintage cars, café terraces brimmed with Parisians in trench coats sipping espresso, and accordion music drifted from Montmartre’s corners.

The scent of fresh bread mingled with Gauloises smoke, while flower vendors and newsboys added color to the misty mornings. Life moved with a quiet elegance beneath wrought-iron balconies and the ever-present silhouette of the Eiffel Tower.

These wonderful photos beautifully preserve the rhythm and charm of Parisian street life in the 1950s.

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Vali Myers Dancing in a Jazz Club, Paris, 1950

When people asked Val Myers what her ambition was, she laughed. “Why must everybody have a set ambition?” She asked. “I merely want to live, to dance, to get as much out of life as possible, to experience as many things and feel as many feelings as possible. I’m not like the other girls. I don’t expect anything from life, or from anybody, for that matter. That is really my whole philosophy. Older people can’t grasp this. But they can’t expect much more from young people today because the whole world is unsettled and the future so uncertain.”

Vali never danced in a professional stage show. She preferred the tiny square-footage cleared for her in little clubs such as l’Escale on the Rue Monsieur-le-Prince, or the Rose Rouge; on Saturday she would invariably turn up at the vast ballroom of the Bal Nègre on the Rue Blomet—there to dance hour after hour with the Senegalese, dancers from the Cameroons, from Martinique, taking them on one after the other and leaving them staggered with exhaustion.

Her dancing is remarkable – a sinuous shuffling, bent-kneed, her shoulders and hands moving at trembling speed to the drumbeats. She wears blue jeans, a man’s shirt pulled in at the waist by a wide black belt, and worn red ballet slippers that she often kicks off to dance in flat-splayed bare feet. Her audience, almost always men, stare at her rather than watch.

A friend explains it as follows: “I watched her dance and I never heard the music. I said to her ‘Man, how can you dance like that? You must be a missing link.’ And that was it. Like I guess Kiki of Montparnasse was for those people in the twenties, Vali was the same for us. You saw in her the personalization of something torn and loose and deep-down primitive in all of us—and, Man, you could see it moving right around in front of you in ballet slippers and a man’s shirt.”

Vali Myers (August 2, 1930 – February 12, 2003) was an Australian artist, dancer, and bohemian icon — famous for her intense, otherworldly artworks and her equally intense, free-spirited life.

Born in Sydney, she grew up in a strict environment but quickly broke away, moving to Melbourne as a teenager, where she became a professional modern dancer. Seeking a wider stage, she left Australia in the late 1940s for Europe, eventually settling in Paris.

In Paris during the 1950s, Vali lived in extreme poverty but became a magnetic figure on the Left Bank. Her wild red hair, heavily lined eyes, tattoos, and fierce independence set her apart — she was like a living artwork herself. She became a muse and friend to major artists and writers like Jean Cocteau, Jean Genet, Tennessee Williams, and Ed van der Elsken. However, she wasn’t just a muse: she was a serious artist. Her intricate ink drawings and paintings, filled with fantastical creatures, spiritual symbolism, and dreamlike landscapes, gained her critical acclaim later in life.

After Paris, she lived for many years in a remote valley near Positano, Italy, where she rehabilitated wild animals and continued her art in almost complete isolation. Later, she returned to Melbourne, Australia, continuing to create and exhibit art until her death.

(Photos by Ed van der Elsken, Paris 1950-54, from Love on the Left Bank)