Henri Cartier-Bresson :: History

Henri C impostureier-BressonHenri Cartier-Bresson has been called equivocal, ambivalent and accidental1 since his debut as a photojournalist. Amplified and enriched, the massage of the photographer is revealed in all its grandeur. While he may depend to be a hurried man or a traveler without luggage2, to quote a few of his titles, he is a poet, absorbed to the act of love made with each photograph, and this is where the panache is revealed. From a sought after distance, we discover simultaneously the geographer, who analyses the permanence or picture of cultures the ethnographer, who take hold ofs gestures of fix and rituals of theology the anthropologist, who reflects the spectrum of emotions and the sociologist, who reveals the development of destinies and histories.3 Cartier-Bressons dependence and uncompromising view of photography to rely just on the moment in while, is why he will forever be remembered. Born in 1908, Cartier-Bresson studied word-painting with Andr e Lhote in Paris, and then painting and literature at Cambridge University in 1928 and t repent a effective interest in photography in 1931. His range was first exhibited at the Julien Levy Gallery, New York, and first published in Vu magazine in 1932. He has been involved in numerous films, much(prenominal) as La Vie est a nous (1936), Le Regle du jeu (1939), his documentary film film on the hospitals of Republican Spain in 1937 and his film on the lighting of the concentration camps with Richard Banks called Le Retour (1945). His work has been exhibited at the Museum of Modern Art, New York in 1946, and in 1947 he became co-founder of The Magnum photographic agency. He has published over a dozen books and has had his photographs printed in hundreds of magazines. Cartier-Bresson traveled the world so that he may document and arrange to others the human condition. His photographs transcend any particular time or place. Instead, they capture the very essence of life, be it Ha rlem, Madrid, Shanghai or the Paris rue Mouffetard (Ill. 2)4. In rural Europe, silent in the absence seizure of the engine, and where everything was still through with(p) by animals and human beings, he portrays, unaltered, a societys beguile traits. At time his poetic intention towards subject matter is unknowingly socially charged, which makes his work all the more intriguing5. Each of Cartier-Bressons photographs presents itself not as part of a series, an archive selected among others, but as a queer work of art which, with its own formal qualities and unique meanings, exists in itself.Henri Cartier-Bresson chronicleHenri Cartier-BressonHenri Cartier-Bresson has been called equivocal, ambivalent and accidental1 since his debut as a photojournalist. Amplified and enriched, the work of the photographer is revealed in all its grandeur. While he may appear to be a hurried man or a traveler without luggage2, to quote a few of his titles, he is a poet, attentive to the act of love made with each photograph, and this is where the genius is revealed. From a desired distance, we discover simultaneously the geographer, who analyses the permanence or vulnerability of cultures the ethnographer, who captures gestures of work and rituals of religion the anthropologist, who reflects the spectrum of emotions and the sociologist, who reveals the development of destinies and histories.3 Cartier-Bressons dependence and uncompromising view of photography to rely solely on the moment in time, is why he will always be remembered. Born in 1908, Cartier-Bresson studied painting with Andre Lhote in Paris, then painting and literature at Cambridge University in 1928 and developed a serious interest in photography in 1931. His work was first exhibited at the Julien Levy Gallery, New York, and first published in Vu magazine in 1932. He has been involved in numerous films, such as La Vie est a nous (1936), Le Regle du jeu (1939), his documentary film on the hospitals of Republ ican Spain in 1937 and his film on the liberation of the concentration camps with Richard Banks called Le Retour (1945). His work has been exhibited at the Museum of Modern Art, New York in 1946, and in 1947 he became co-founder of The Magnum photographic agency. He has published over a dozen books and has had his photographs printed in hundreds of magazines. Cartier-Bresson traveled the world so that he may document and present to others the human condition. His photographs transcend any particular time or place. Instead, they capture the very essence of life, be it Harlem, Madrid, Shanghai or the Paris rue Mouffetard (Ill. 2)4. In rural Europe, silent in the absence of the engine, and where everything was still done by animals and human beings, he portrays, unaltered, a societys captivating traits. At times his poetic intention towards subject matter is inadvertently socially charged, which makes his work all the more intriguing5. Each of Cartier-Bressons photographs presents itse lf not as part of a series, an archive selected among others, but as a singular work of art which, with its own formal qualities and unique meanings, exists in itself.