He was fascinated with the new technology of live television broadcasting and combines technological layers in this single, complex image. $18.00 shipping. Gelatin Silver Print - The J. Paul Getty Museum, Los Angeles, California. Place de l'Europe is one of Cartier-Bresson's most successful images. On the Place Du Tertre, Montmartre, Paris, 1952 - Henri Cartier-Bresson . Mexico City, Mexico Diagonal to the figure is a poster featuring a finely-drawn image of a female dancer leaping gracefully into the air. Henri Cartier-Bresson is a French humanist photographer, widely considered to be a pioneer in the field of street photography and acclaimed for his mastery of candid photography. Maison Européenne de la Photographie, Paris, France As a young boy Cartier-Bresson read the literature of the day by authors such as Dostoyevsky, Rimbaud,… 1979 Henri Cartier-Bresson: Photographe, Delpire éditeur, France; Henri Cartier-Bresson Cartier-Bresson’s black-and-white photos are among the most iconic in photography, including his powerful images of some of the major political moments in the 20th century. 1959 Prix de la Société Française de Photographie And never did he combine the two better than on the day in 1932 when he pointed his Leica camera through a fence behind Paris’ Saint-Lazare train station. Chicago, USA; Carnegie Institute, Pittsburgh, USA; Virginia Museum of Fine Arts, The group stands in for the millions of Chinese citizens who queued up throughout the country. 1969/70 Southern Exposures, 22′, color (Henri Cartier-Bresson Messico 1934-1964) Federico Motta Editore, Italy Birla House, India documents a visibly shocked Prime Minister of India, Jawaharlal Nehru, announcing the death of Mahatma Gandhi to the crowd outside his home. There is something Christ-like in the crossed arms, conveying suffering or conversely, a peculiar sort of intimate, self-embracing. 1998 Tête à Tête, Gallimard, France; Thames & Hudson, UK; (Gli Europei) Peliti Associati, Italy Pacific Press Service, Japan This photo reveals Cartier-Bresson's witty side. 1970 Henri Cartier-Bresson: En France – Galeries nationales du Grand Palais, Paris It was that of the poet Ezra Pound in Venice in 1971, a year before his death at 87. In this portrait of his friend, the Swiss painter and sculptor, Alberto Giacometti, taken in the Maeght Gallery, the artist unconsciously mimics the subjects of his own work. The claustrophobic character of this image, captured so succinctly by Cartier-Bresson is all too real as the photo was taken before ten lives were lost in the suffocating crush. Taking pride in capturing “the decisive moment,“ Cartier-Bresson intimately captured portraits and scenes, both mundane and historic, around the world. City Art Gallery, Leeds, UK; Museum of Modern Art, Oxford, UK It was an extremely challenging shot for Cartier-Bresson who never used a flash. Thames & Hudson, UK, Schirmer & Mosel, Germany (Henri Cartier-Bresson: Photographer) Bulfinch, USA; game show called, To Tell the Truth, one of several question-and-answer televised contests popular with audiences in the late 1950s. Thames & Hudson, UK; Viking Press, USA 1984 Paris à vue d’oeil – Musée Carnavalet, Paris, France 1984/85 Photographs by Henri Cartier-Bresson from Mexico, 1934 and 1963 – He was influenced by his father, a respected and wealthy textile merchant and his uncle, an accomplished painter. The Museum of Fine Arts, Houston, USA In fact, his photos are the last ones ever taken of Gandhi. Gelatin silver print - Museum of Modern Art, New York, New York, Hyéres, France is an example of Cartier-Bresson's commitment to a sense of geometry and order. Thames & Hudson, UK; Simon & Schuster, USA Cartier-Bresson received an extraordinary number of prizes, awards, and honorary doctorates. Cartier-Bresson captures the chaos of the turbulent transition years of 1948-49 in Shanghai. Stadtisches Museum, Leverkusen, Germany; Kunstverein München, Munich, Cartier-Bresson manages to convey his friend's characteristic nervousness at the same time that he imposes a sense of elegance on this scene: the figures move in tandem, there is a kind of partnership brought about by resemblance between the artist and his works. Bulfinch, USA; (Europaër) Schirmer & Mosel, Germany; 1963 China as photographed by Henri Cartier-Bresson, Bantam Books, USA 54k Followers, 358 Following, 77 Posts - See Instagram photos and videos from Henri Cartier-Bresson (@_henricartierbresson) Leonardo Arte, Italy National Gallery of Modern Art, New Delhi, India Gelatin Silver Print - Metropolitan Museum of Art, New York City, NY. Born in Chanteloup-en-Brie, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism.Â, In 1932, after spending a year in the Ivory Coast, he discovered the Leica – his camera of choice after that moment – and began a life-long passion for photography.Â, A Brief History of California’s Wildfires, Magnum photographers capture the landscape, Witnessing the Storming of the US Capitol, Inside the World of a Photobook Publisher, Contact Sheet Print: Plants Werner Bischof, Professional Practice Series: Developing Personal Projects, Creative Documentary and Photojournalism with Magnum Photos and Spéos, Build trust with subjects in these 17 lessons, Vintage Poster: Henri Cartier-Bresson Europeans – Hayward Gallery, 1998. 📖 “La Chine dans un Miroir”, Claude Roy (dir. The voyeuristic nature of the photographer's vantage point - peering at the children from beyond the bombed-out wall - adds a more complex, psychological dimension to the image: the children become, in a sense, actors on a stage. This photo would also come to embody what he later described as the "decisive moment" - that instant a photographer decides to press the shutter and the event it memorializes. 1939 La Règle du Jeu (The Rules of the Game), assistant to Jean Renoir 1994 Paris à vue d’oeil, Le Seuil, France; (A Propos de Paris) Thames & Hudson, 1987 Henri Cartier-Bresson in India, Thames & Hudson, UK, USA The photo actually documents a busy Giacometti installing the exhibition showcasing the two celebrated sculptures, Grande Femme Debout (Large Standing Woman) and L'Homme Qui Marche (Walking Man). New York, relying on the centuries old painting trope of "a picture within a picture," presents three separate stories in a single image. 1938 L’Espagne vivra, 43′, b&w 1989 L’Autre Chine, Centre National de la Photographie, France Dotan first tried to find contact sheets of the photo. The snapshot of a man gleefully hopping over a flooded area in Paris captures the moment just before the man's heel hits the water. Italy Federico Motta Editore, Italy USA 1981 Grand Prix National de la Photographie (Mexican Notebooks 1934-1964) Thames & Hudson, UK; 1985 Photoportraits, Gallimard, France; Thames & Hudson, UK, USA; In 1947, with Robert Capa, George Rodger, David ‘Chim’ Seymour and William Vandivert, he founded Magnum Photos. The Metropolitan Museum of Art. Cartier-Bresson took Hyéres while on vacation in the Cote d'Azure region. In the text, Henri Cartier-Bresson describes his conception of photography briefly, but touching all its key aspects (color, technique, composition, sequence, etc.). Although HCB was, unquestionably, a key figure in the development of what would become known as street photography, his role may not have been as intentional as we sometimes like to believe. 1975 Deutsche Gesellschaft für Photographie Award In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson's early exposure to and education in painting heavily informed the way he viewed the world and conceived of photographic composition. Throughout his childhood, Cartier-Bresson was interested in the arts. His dramatic black-and-white works are among the most iconic images of … The television in the foreground represents the contestant as the viewer at home sees him on their television. Thames & Hudson, UK, Schirmer & Mosel, Germany; Cartier-Bresson was instead swept up in the Surrealist movement, inspired by the different schools of photography that were popping up around Europe in the 1920s. 1954/56 D’une Chine à l’autre, Delpire éditeur, France; (China in Transition) Ugo Mulas - Photography, from January 15th to April 24th 2016 Hong Kong; (Visage d’Asie) éditions du Chêne, France Pavillon de Marsan, Paris, France; Kunstgewerbemuseum, Zürich, Switzerland; Gelatin Silver Print - Met, New York, New York. The Leica allowed the photographer to interact with the surroundings and to… Cartier-Bresson was aware that, if the subjects in the snapshot knew they were being photographed, spontaneity would be compromised. This photograph, shot during a trip to Mexico in 1934, exemplifies the heavy influence of Surrealism on Cartier-Bresson's work, an influence that endured, resurfacing at times as late as the 1960s. Jusqu’à sa réouverture, la Fondation HCB propose de redécouvrir ses Perles des Archives, régu… Thames & Hudson, UK; (From One China to Another) Universe, USA New York, USA, Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan Musée de l’Elysée, Lausanne, Switzerland; ICP, New York, USA; Bulfinch, USA; Schirmer & Mosel, Germany; 1954 Les Danses à Bali, Delpire éditeur, France National Portrait Gallery, Washington D.C., USA The improvements in camera technology allowed for such images to be made and this progress is celebrated in Cartier-Bresson's photographs. 1955 Moscou vu par Henri Cartier-Bresson, Delpire Editeur, France; (People of Moscow) Explore {{searchView.params.phrase}} by color family {{familyColorButtonText(colorFamily.name)}} 1947 Vintage WILLIAM FAULKNER Writer Rat Terrier Dog HENRI CARTIER-BRESSON Photo. On Buddhism. 1987 Henri Cartier-Bresson – The Early Work, The Museum of Modern Art, New York, USA Schirmer & Mosel, Germany Ordinarily, he avoided adjusting his work after originally framing a shot and instead embraced unmediated chance encounters, an aesthetic preference and practice that made him one of the founders of street photography. 1969 Les Français, éditions Rencontre, Switzerland 1985/88 Henri Cartier-Bresson en Inde – CNP, Palais de Tokyo, Paris, France; Until its reopening, the Fondation HCB offers to rediscover its Pearls from the Archive… 1968 Flagrants délits – Photographies de Henri Cartier-Bresson, Delpire éditeur, 1952 Photographs by Henri Cartier-Bresson – Institute of Contemporary Arts, London, 1935 Documentary & Anti-Graphic Photography – Photographs by Cartier-Bresson Silver Gelatin. 1969 L’homme et la machine, commissioned by IBM, éditions du Chêne, France; The cascading or layered visual effect of the photograph is echoed in the narrative. You will miss some of the most remembered photos of Cartier-Bresson: the man in the bicycle and the spiral stairs, the two «voyeurs»...But there is a lot to be amaze. 1937 Victoire de la Vie (with Herbert Kline), 49′, b&w After three years he had spent travelling in the East, in 1952, he returned to Europe, where he published his first book. Museum of Modern Art, Tel Aviv, Israel ", Gelatin Silver Print - Museum of Modern Art, New York, New York. Every photographer has to make a choice when to pre… USA The Philadelphia Art Institute, Philadelphia, USA 1985 Henri Cartier-Bresson en Inde, Centre National de la Photographie, France As I mentioned earlier in the introduction of this article that many people have … Victoria & Albert Museum, London, UK In what became his trademark style of casually walking around town looking for subject matter or perching in opportune vantage points, he chose a spot at the top of a staircase from which he could peer down on a small turn in the road. In 1947, he formed Magnum Photos, a photography cooperative, with Robert Capa and others. Musée d’Art moderne de la Ville de Paris, Paris, France With this image, he succeeded in capturing what the Surrealist Andre Breton described as the consummate photograph: when '"shadow and prey mingled in a unique flash. Hyde Park, London - Henri Cartier-Bresson (Black and White Photography), 1938. Germany; Bremer Kunsthalle, Bremen, Germany; Staatliche Landesbildstelle 1970 Vive la France, Robert Laffont, France; (Cartier-Bresson’s France) Cartier-Bresson had joined the French Army as a corporal in the Film and Photo unit in 1939 but had been captured by German soldiers a year later. 1973 A propos de l’URSS, éditions du Chêne, France; (About Russia) 1955 Les Européens, Verve, France; (The Europeans) Simon & Schuster, USA Henri Cartier-Bresson took many portrait pictures during his life, but his wife, Martine Franck accompanied him to just one — probably atypical — portrait session. It’s Martin from All About Street Photography, and today I want to talk about Henri Cartier-Bresson’s iconic photo of a cyclist, titled Hyères, France. 1989 Trait pour trait, Arthaud, France; (Line by Line: Henri Cartier-Bresson’s Drawings) 1974 A propos de l’URSS 1953-1974 – ICP, New York, USA Modern motion is celebrated by the fact that it is forever stopped, the leaping man will never hit the puddle, the split-second image is permanently frozen in time. Henri Cartier-Bresson (French: [kaʁtje bʁɛsɔ̃]; August 22, 1908 – August 3, 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. 1935 Fotografias: Cartier-Bresson, Alvarez Bravo – Palacio de Bellas Artes de Mexico, or Best Offer. 1991 L’Amérique Furtivement, Le Seuil, France; (America in Passing) Bulfinch, USA; of Modern Art, New Delhi, India 2006 Portraits par Henri Cartier-Bresson, Thames & Hudson, France; 1986 Novecento Premio Behind Gare Saint Lazare was taken in 1932, in the early years of Cartier-Bresson’s career. Henri Cartier-Bresson (French: [kaʁtje bʁɛsɔ̃]; 22 August 1908 – 3 August 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. Cartier-Bresson had in fact been sent on assignment by the left-wing Paris newspaper, Ce Soir, to document the workers' movement. – Bibliothèque Nationale de France, Paris, France; Premium Poster: FRANCE. 1969 Photographs by Henri Cartier-Bresson – Victoria & Albert Museum, London, UK; or Best Offer. The ambiguity of the picture space is a testament to Cartier-Bresson's engagement with Surrealism, of which visual puzzles were a major feature. 1982 Photo Poche, Centre National de la Photographie, France