Henri Cartier-Bresson: Michel Gabriel, Rue Mouffetard, The photo that I am going to analyse is taken by the famous French photographer, Henri Cartier-Bresson, in He was famous for his candid photography, which was later developed as another kind of art – ‘Street photography’. Exhibit: Photos by Henri Cartier-Bresson. A show at New York's Museum of Modern Art explores the many facets of photography's most protean talent. Henri Cartier Bresson was a French documentary photographer whereas Terence Donovan was a British fashion photographer this is the most obvious and clarifying reason for . The following essay concerns the description of the Museum of Modern Art. Reportedly, the Museum of Modern Art (MoMA) is undeniably one of the richest and most remarkable venues of modern and contemporary art. . Henri Cartier-Bresson Henri Cartier-Bresson is to be considered one of the world’s major photographers of the 20 century. (Biography Channel “Henri Cartier-Bresson) He was born on August 22, in Chanteloupe, goodessay.pw grew up in a wealthy family in Paris, France.
- A Photograph of Cartier-Bresson
- Henri Cartier Bresson’s Biography
- Henri Cartier-Bresson: The Modern Century - Essay Example
- Henri Cartier-Bresson
His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits.
His mother's family were cotton merchants and landowners from Normandy , where Henri spent part of his childhood. His parents supported him financially so Henri could pursue photography more freely than his contemporaries.
He was raised in traditional French bourgeois fashion, and was required to address his parents with formal vous rather than tu. His father assumed that his son would take up the family business, but Henri was strong-willed and also feared this prospect. A governess called "Miss Kitty" who came from across the Channel, instilled in him the love of - and competence in - the English language.
Cartier-Bresson said, "He used the informal 'tu', which usually meant you were about to get a good thrashing.
A Photograph of Cartier-Bresson
But he went on, 'You're going to read in my office. But the painting lessons were cut short when uncle Louis was killed in World War I. Lhote's ambition was to integrate the Cubists' approach to reality with classical artistic forms; he wanted to link the French classical tradition of Nicolas Poussin and Jacques-Louis David to Modernism.
Lhote took his pupils to the Louvre to study classical artists and to Paris galleries to study contemporary art. Cartier-Bresson's interest in modern art was combined with an admiration for the works of the Renaissance masters: Cartier-Bresson regarded Lhote as his teacher of "photography without a camera.
In the s, schools of photographic realism were popping up throughout Europe but each had a different view on the direction photography should take. The Surrealist movement, founded in , was a catalyst for this paradigm shift[ vague ]. He met a number of the movement's leading protagonists, and was drawn to the Surrealist movement's technique of using the subconscious and the immediate to influence their work.
The historian Peter Galassi explains: The Surrealists approached photography in the same way that Aragon and Breton The Surrealists recognized in plain photographic fact an essential quality that had been excluded from prior theories of photographic realism. They saw that ordinary photographs, especially when uprooted from their practical functions, contain a wealth of unintended, unpredictable meanings.
But, although he knew the concepts, he couldn't express them; dissatisfied with his experiments, he destroyed most of his early paintings. Cambridge and army[ edit ] From to , Cartier-Bresson studied art, literature, and English at the University of Cambridge , where he became bilingual. Cartier-Bresson met American expatriate Harry Crosby at Le Bourget , who persuaded the commandant to release Cartier-Bresson into his custody for a few days.
The two men both had an interest in photography, and Harry presented Henri with his first camera. During conscription he read Conrad 's Heart of Darkness. From hunting, he learned methods which he later used in photography. While still feverish, he sent instructions to his grandfather for his own funeral, asking to be buried in Normandy, at the edge of the Eawy forest while Debussy 's String Quartet was played. He became inspired by a photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika.
Titled Three Boys at Lake Tanganyika , this captured the freedom, grace and spontaneity of their movement and their joy at being alive.
That photograph inspired him to stop painting and to take up photography seriously. He explained, "I suddenly understood that a photograph could fix eternity in an instant. The anonymity that the small camera gave him in a crowd or during an intimate moment was essential in overcoming the formal and unnatural behavior of those who were aware of being photographed.
He enhanced his anonymity by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography—the ability to capture the world in its actual state of movement and transformation. In the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively. In , Cartier-Bresson met a young Polish intellectual, a photographer named David Szymin who was called "Chim" because his name was difficult to pronounce.
Szymin later changed his name to David Seymour.
The two had much in common culturally. Carmel Snow of Harper's Bazaar gave him a fashion assignment, but he fared poorly since he had no idea how to direct or interact with the models. Nevertheless, Snow was the first American editor to publish Cartier-Bresson's photographs in a magazine. Renoir made Cartier-Bresson act so he could understand how it felt to be on the other side of the camera.
Cartier-Bresson also helped Renoir make a film for the Communist party on the families, including his own, who ran France. During the Spanish civil war , Cartier-Bresson co-directed an anti-fascist film with Herbert Kline , to promote the Republican medical services. Photojournalism start[ edit ] Cartier-Bresson's first photojournalist photos to be published came in when he covered the coronation of King George VI and Queen Elizabeth ,  for the French weekly Regards.
He focused on the new monarch's adoring subjects lining the London streets, and took no pictures of the king. His photo credit read "Cartier", as he was hesitant to use his full family name. During the Battle of France , in June at St. He twice tried and failed to escape from the prison camp, and was punished by solitary confinement. His third escape was successful and he hid on a farm in Touraine before getting false papers that allowed him to travel in France.
In France, he worked for the underground, aiding other escapees and working secretly with other photographers to cover the Occupation and then the Liberation of France. In , he dug up his beloved Leica camera, which he had buried in farmland near Vosges.
At the end of the war he was asked by the American Office of War Information to make a documentary, Le Retour The Return about returning French prisoners and displaced persons.
Henri Cartier Bresson’s Biography
Toward the end of the War, rumors had reached America that Cartier-Bresson had been killed. His film on returning war refugees released in the United States in spurred a retrospective of his work at the Museum of Modern Art MoMA instead of the posthumous show that MoMA had been preparing. The show debuted in together with the publication of his first book, The Photographs of Henri Cartier-Bresson.
Lincoln Kirstein and Beaumont Newhall wrote the book's text. Capa's brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members. Chim, who spoke a variety of European languages, would work in Europe. Cartier-Bresson would be assigned to India and China. Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had an assignment.
Cartier-Bresson achieved international recognition for his coverage of Gandhi 's funeral in India in and the last stage of the Chinese Civil War in He covered the last six months of the Kuomintang administration and the first six months of the Maoist People's Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was falling to the communists.
Henri Cartier-Bresson: The Modern Century - Essay Example
In Shanghai, he often worked in the company of photojournalist Sam Tata , whom Cartier-Bresson had previously befriended in Bombay. In , Cartier-Bresson had traveled to the South India. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images. The book's cover was drawn by Henri Matisse. For his 4,word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz , "Il n'y a rien dans ce monde qui n'ait un moment decisif" "There is nothing in this world that does not have a decisive moment".
Cartier-Bresson applied this to his photographic style. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said. Once you miss it, it is gone forever. He became the first Western photographer to photograph "freely" in the post-war Soviet Union.
In , on behalf of Vogue , he went to Sardinia for about twenty days. In , he was divorced from his first wife of 30 years, Ratna "Elie". In , he began to turn away from photography and return to his passion for drawing and painting.
He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck , thirty years younger than himself, in Cartier-Bresson retired from photography in the early s, and by no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out.
He returned to drawing, mainly using pencil, pen and ink,  and to painting. He held his first exhibition of drawings at the Carlton Gallery in New York in No cause of death was announced. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish civil war, the liberation of Paris in , the student rebellion in Paris, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the Berlin Wall, and the deserts of Egypt.
But many of his most renowned photographs, such as Behind the Gare St. Lazare, are of seemingly unimportant moments of ordinary daily life.
Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant. When he accepted an honorary degree from Oxford University in , he held a paper in front of his face to avoid being photographed. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again.
In , he created the Henri Cartier-Bresson Foundation in Paris with his wife, the Belgian photographer Martine Franck and his daughter to preserve and share his legacy . In , the foundation relocated  from the Montparnasse district to Le Marais . In particular, he is credited as the inspiration for the National Film Board of Canada 's early work in this genre with its Candid Eye series.
With fast black and white film and sharp lenses, he was able to photograph events unnoticed. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation.
Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. Constant new discoveries in chemistry and optics are widening considerably our field of action.
It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique.