앙리 카르티에 브레송 (Henri Cartier Bresson) 사진작가

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사자자리 원숭이띠 출생-사망1908년 8월 22일, 프랑스 - 2004년 8월
1947 매그넘 포토즈 설립
1981 프랑스 국립사진대상

 

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앙리 카르티에 브레송 프랑스의 사진작가 [Henri Cartier-Bresson]

출생 - 사망 1908.08.22. ~ 2004.08.03.

2004.8 수많은 '결정적 순간'을 목격했던 그의 눈을 감고 평온히 숨을 거두다

앙리 카르티에 브레송(이하 HCB)은 1908년 8월 22일 파리 인근에서 5남매의 맏이로 태어났다. 부농인 카르티에(Cartier) 가문과 제조업자인 브레송(Bresson) 가문의 혼인으로 탄생한 카르티에 브레송(Cartier-Bresson) 가문은 대대로 면사 제조공장을 운영해 막대한 재산을 모았는데, 20세기 초만 해도 프랑스에서는 집집마다 카르티에 브레송 상표의 실을 사용했을 정도였다. 아버지는 가업을 물려받아 공장을 운영했지만, 이른 나이에 전사한 삼촌은 전업 화가였으므로 HCB의 예술적 재능 역시 집안 내력일 가능성이 크다.

프랑스 해방의 기쁨을 생상한 사진으로 남기면서 본격 포토저널리즘 입문

바칼로레아(대학입학자격시험)에 세 번이나 연거푸 낙방한 직후, HCB는 대학 진학을 포기하고 예술 쪽 진로를 모색하기로 작정했다. 저명한 미술 교육가인 앙드레 로트에게 2년간 개인지도를 받으며 예술적 재능을 계발한 HCB는 당시 대두하던 초현실주의에 열광하여 앙드레 브르통을 비롯한 그 운동의 핵심 인물들과 교제한다. 1931년에 아프리카의 코트디부아르를 여행하며 이국적인 풍물을 촬영한 것이 본격적으로 사진과 인연을 맺는 계기가 되었다. 이듬해에 구입한 신제품 라이카 휴대용 카메라는 크기가 작고 조작이 간편해서 HCB가 ‘결정적 순간’을 포착하는 데 기여한 일등공신으로 평가된다.

1933년에 HCB는 어느 잡지의 요청으로 스페인을 취재함으로써 전업 사진작가의 길에 접어들었고, 미국에서 첫 개인전을 열며 고국보다 오히려 해외에서 먼저 인정받는다. 그러나 HCB는 이 시점에서 갑작스레 사진을 그만 두고 영화 쪽으로 진로를 바꾸려고 시도한다. 이후 그는 영화감독 장 르누아르 밑에서 조감독으로 제작 실무를 배우는 한편, <게임의 규칙>을 비롯한 몇 편에서는 작은 배역도 맡아 출연한다. 1936년에 HCB는 인도네시아 출신의 무용수 라트나 모히니와 결혼했고, 스페인 내전 당시에는 영화감독 신분으로 다큐멘터리 영화 <삶의 승리>를 제작한다.

제2차 세계대전 발발과 함께 징집된 HCB는 종군 사진작가로 활동하다가 1940년 6월 22일에 독일군의 포로가 되어 하이델베르크 인근의 수용소에 수감된다. 1943년 2월 10일 HCB는 세 번째 시도 끝 탈출에 성공, 귀국하여 도피 생활에 들어간다. 1944년에 파리가 해방되자 HCB는 그 환희와 감격의 순간을 생생한 사진으로 남기며 본격적으로 포토저널리즘의 세계에 입문한다. 1946년에는 뉴욕 현대미술관(MoMA)에서 HCB의 회고전이 열렸는데, 원래는 미술관 측 관계자가 HCB가 제2차 세계대전 중에 전사한 줄로 잘못 알고 ‘유고전’을 준비한 것이 계기였다는 에피소드가 있다.

앙리 카르티에 브레송과 그의 사진예술관을 가리키는 대명사 '결정적 순간'

1947년에 뉴욕 맨해튼에서는 매그넘 포토스라는 이름의 사진 전문 에이전시가 창립된다. 사진작가의 권익을 지키기 위한 공조조직이 필요하다고 생각한 저명한 사진작가 로버트 카파의 주도로, 그의 절친한 친구인 HCB와 침(데이비드 세이무어)이 의기투합해 창립 멤버가 되었다. 이후 필립 할스만, W. 유진 스미스 같은 저명한 사진가들이 속속 가담함으로써, 매그넘 포토스는 당대 최고 사진작가들의 공동체로 명성을 얻게 되었다. 1948년 1월 30일, 인도에서 취재 중인 HCB가 간디를 만나고 돌아온 지 불과 1시간도 지나지 않아서 간디 암살 사건이 벌어진다. 전 세계의 이목이 집중된 가운데 간디의 장례식을 취재함으로써, HCB는 물론이고 그의 사진 저작권을 관리하는 매그넘 포토스의 주가도 껑충 뛰어오른다. 이후 HCB는 파키스탄과 버마(미얀마)를 거쳐 국민당과 공산당의 내전이 막바지에 접어든 중국을 취재하고 돌아왔으며, 3년 동안의 아시아 체재는 국제적으로 HCB의 명성을 확립시킨 계기가 되었다.
 1952년 HCB는 20년 간 찍은 사진 중 126장을 골라 <재빠른 이미지>라는 제목의 책으로 펴내며, 여기에 ‘결정적 순간(L'instant décisif)’이라는 제목의 서문을 덧붙였다. 어떤 상황이나 인물의 진수라 할 만한 순간을 직관적으로 포착하는 것의 중요성을 강조한 이 서문은 역사상 가장 뛰어난 사진예술론 가운데 하나로 평가되었다. 나아가 이 책의 미국판이 아예 <결정적 순간>(The Decisive Moment)이라는 제목으로 출간되면서, ‘결정적 순간’이란 개념은 HCB와 그의 사진예술관을 가리키는 대명사가 되었다. 냉전 시대에 HCB는 프랑스 국적자라는 점을 적극 활용하여 외부와 단절된 공산국가를 연이어 방문했다.

1954년에 서방 사진작가로는 최초로 소련을 방문했고, 1958년에는 다시 중국을, 1963년에는 쿠바를 방문했다. 그 와중에 매그넘 포토스에는 큰 변화가 있었다. 로버트 카파와 침이 전장 취재 도중에 연이어 사망하자, 유일한 생존 창립 멤버가 된 HCB가 자연스레 매그넘의 좌장으로 추대된 것이다. 하지만 매그넘 내부에서는 예술성과 상업성의 조화와 공존에 관한 논란과 갈등이 끊이지 않았고, 1966년에 이르러 HCB는 결국 매그넘을 탈퇴하고 만다. 이 당시에는 그의 사생활에도 큰 변화가 있었다. 30년간 함께 살았던 부인 라트나와 합의 이혼하고, 매그넘 소속의 사진작가인 마르틴 프랭크와 재혼했던 것이다. 1970년에 HCB는 사진작가로서의 활동을 중단한다는 폭탄선언을 한다. 물론 그의 주머니에는 항상 라이카가 들어 있었지만, 예전처럼 공식적으로 사진 작품을 발표하는 일은 사실상 없었다. 대신 그는 젊은 시절의 관심을 되살려 데생 작업에 전념했고, 비록 사진만큼의 격찬은 받지 못했지만 개인전을 여는 등 나름대로는 활발한 활동을 펼쳤다.

사진을 예술의 반열에 올려놓은 위대한 사진작가
1970년에 사진작가로서의 활동을 접고 젊은 시절의 관심을 되살려 데생 작업에 전념.개인전을 여는등 활발한 활동을 펼쳤다.

HCB가 본격적으로 사진작가의 길에 뛰어든 1930년대에만 해도 사진은 아직 완전한 예술적 지위를 확보하지 못하고 있었다. 이런 상황에서 HCB는 만 레이, 앙드레 케르테즈, 외젠 앗제 등의 뒤를 이어 사진을 예술의 반열에 올려놓은 주역 가운데 하나로 평가된다. 미술사가 E. H. 곰브리치는 <서양미술사>에 사진 작품으로는 유일하게 수록된 HCB의 작품 <아킬라 데글리 아브루치>(1952)를 가리켜 “많은 공을 들여서 부지런히 그린 그림에 필적할 만하다”고 평가했다. <영혼의 시선>의 서문에서 제라르 마세는 HCB를 가리켜 “자(尺)를 지니지 않은 기하학자임과 동시에 사격의 명수”라고 단언했다. 하나같이 ‘결정적 순간’을 포착하는 HCB의 능력을 강조한 표현이다.

피에르 아술린은 한술 더 떠서 “사진작가는 소매치기”라고 주장한다. “그는 드라마의 현장에 슬그머니 잠입해서 생생한 모습을 포착한 다음, 자기가 영혼을 빼앗을 사람들에게서 떨어져 뒷걸음친다. (…) HCB는 심지어 정물사진을 찍을 때조차 발끝으로 살그머니 접근한다.” 일각에서는 HCB가 포착한 ‘결정적 순간’이 그저 행운의 소산이라고 깎아 내리는 주장도 있었다. 가령 간디가 암살되기 직전에 인도에 있었고, 국민당 정부가 무너지기 직전에 중국에 있었으며, 그 외에 수없이 많은 ‘결정적 순간’들을 포착할 수 있는 행운을 누리지 않았더라면, 그의 사진이 지금처럼 각광받지는 못했으리라는 주장이다.

하지만 아술린은 HCB의 ‘행운’보다 ‘노력’에 주목하라고 지적한다. “그가 보이는 집중력은 타고난 것이 아니라 훈련에 의해서 얻어진 것이다. 그는 재능보다는 노력을 믿으며, 다재다능한 재주꾼을 불신하는 사람이다.” 가령 어느 행인이 빗물로 생겨난 웅덩이를 훌쩍 뛰어넘는 순간을 포착한 한 장의 사진을 찍기 위해 HCB는 카메라를 들고 그 근처에서 하루 온종일 잠복했다는 일화가 있다. 물론 그의 독특한 사진에서 ‘행운’의 입김을 완전히 무시할 수야 없을 것이다. 하지만 아술린의 말마따나 HCB의 진정한 탁월함은 언제 찾아올지 모를 그런 ‘행운’을 움켜쥐기 위해 항상 긴장을 늦추지 않고 ‘노력’했다는 점이 아니었을까.

“간혹 만족스럽지 않아 뭔가 일어나길 꼼짝 않고 기다리는 경우도 있고, 어떤 때는 모든 일이 엉망이 되어 사진 한 장도 찍지 못하게 되는 경우도 있다. 그러다, 예를 들어 누군가가 지나가면 카메라 파인더로 그의 행적을 쫓아가다가, 기다리고 기다려서 마침내 찰칵! 그러고는 가방에 뭔가 채워 넣었다는 느낌을 갖고 떠난다. 나중에 사진에서(…)셔터를 누른 바로 그 순간 본능적으로 정확한 기하학적 구도를 고정시켰다는 것을 알게 될 것이다. 우리는 항시 구성에 관심을 갖고 있어야 한다. 그러나 사진을 찍는 순간 그것은 직관적일 수밖에 없다. 우리로서는 일시적인 순간을 포착하려 애쓰는데, 연관되어 있는 모든 상호관계는 항상 움직이는 것이니 말이다.”
‘결정적 순간’ 중에서

"사진은 영원을 밝혀준 바로 그 순간을 영원히 포획하는 단두대이다"
"누군가가 지나가면 카메라 파인더로 그의 행적을 쫓아가다가, 기다리고 기다려서 마침내 찰칵!그러고는 가방에 뭔가 채워 넣었다는 느낌을 갖고 떠난다."

‘결정적 순간’을 포착한 HCB의 사진은 이미 세계에 내재한 자연스러운 질서가 우리 눈앞에 드러난다는 점에서 감동을 자아낸다. 아술란에 따르면 HCB는 일반적인 사진보다는 이처럼 우연에서 비롯된 사진을 더욱 좋아했고, 연출된 사진에 대해서는 혐오감을 감추지 못했다. 가령 HCB는 미나마타의 참상을 고발한 W. 유진 스미스의 유명한 사진 <목욕하는 우에무라 토모코>조차도 연출된 사진이라는 이유로 비판을 서슴지 않았다. 그는 테크닉보다는 스타일을 중시했으며, 컬러 사진보다는 흑백 사진을 선호했고, 플래시를 “야만적인 행위”라며 지극히 혐오했으며 카메라는 평생 라이카만을 고집했다.

HCB의 명성에는 그의 완벽주의도 중요한 역할을 했다. 노르망디 상륙작전 당시 로버트 카파가 목숨 걸고 찍은 사진 대부분이 현상 과정에서의 실수로 망가져서 겨우 11장만이 살아남았다는 사례에서 볼 수 있듯이, 당시로서는 사진작가의 실수보다도 현상기술자의 실수 때문에 사진을 망치는 경우가 비일비재했다. HCB는 평생 가까운 친구가 운영하는 전문 현상소에만 필름을 맡겼으며, 나아가 자신의 사진을 일부만 확대하거나 편집하는 행위를 일절 금지했으며, 심지어 일부 사진에서는 내용의 왜곡을 방지하려 자신이 직접 쓴 설명(캡션)까지도 고스란히 싣도록 요구했다.

HCB는 초상사진 분야에서도 뛰어난 작품을 여럿 남겼지만, 정작 본인은 남의 사진에 찍히는 것을 극구 피했고, 심지어 자화상 사진도 거의 찍지 않았다. ‘결정적 순간’을 포착하기 위해 항상 은밀하고도 신속하게 움직여야 하는 사진작가로서는 이런저런 사진에 등장해서 얼굴이 팔려서는 안 된다는 특유의 지론 때문이었다.

2004년 8월 3일, HCB는 수많은 ‘결정적 순간’을 목격했던 그의 눈을 감고 평온히 숨을 거둔다. 96세 생일이 20일도 채 남지 않은 상황이었다. 그의 묘비에는 다음과 같은 글이 적혀 있다. “세월은 어김없이 흘러서, 오직 우리의 죽음만이 붙잡을 수 있을 따름이다. 사진은 영원을 밝혀준 바로 그 순간을 영원히 포획하는 단두대이다.”

[네이버 지식백과] 앙리 카르티에 브레송 [Henri Cartier-Bresson] - 프랑스의 사진작가 (인물세계사)

 

.2. 두산백과 >>

카르티에 브레송[Henri Cartier-Bresson]

요약 프랑스의 사진가. 라이카 사진술의 대표적 존재이며, 현대의 포토저널리즘에 큰 영향을 주었다. 서민의 일상성을 포착하여 역사의 저변에 주목하게 하는 것과 정확한 공간처리에 따른 순간묘사의 절묘함이 작품의 특징이다. 1947년 R.캐퍼 등과 함께 매그넘포토즈를 창립하였다. 

출생-사망 1908.8.22 ~ 2004.8.3

국적 프랑스

활동분야 예술

주요작품
《결정적 순간》(1954) 《유럽인》(1955) 《두 개의 중국》(1955)

라이카(leica) 사진술의 대표적 존재이며, 현대의 포토저널리즘에 큰 영향을 주었다. '라이카를 자기 눈의 연장(延長)'으로 사용하는 방법론에 투철하여, 1933년 뉴욕에서 연 최초의 개인전에서 주목받은 뒤, 스냅사진 미학(美學)의 확립에 힘써왔다. 1954년 첫 사진집 《결정적 순간》은 1931년경부터 촬영하기 시작한 걸작집이며, 이로써 거장의 위치를 굳혔다.

그의 작풍의 특색은, 어떠한 극적 사건의 경우에도 서민의 일상성(日常性)을 정성스럽게 취재하여 역사의 저변에 주목하게 한 점과, 정확한 공간처리로 뒷받침된 순간묘사(瞬間描寫)의 절묘함에 있다. 1947년 R.캐퍼 등과 함께 우수한 보도사진가들을 모아 매그넘포토즈를 창립하였다. 1955년 사진작가로서는 최초로 루브르박물관에서 개인전을 열었다. 1975년에는 옥스퍼드대학교에서 명예박사학위를 받았다. 대표적 사진집으로는 《유럽인》(1955) 《두 개의 중국》(1955) 《카르티에브레송의 세계》(1969) 등이 있다.

 

역참조항목

결정적 순간, 보도사진, 사진, 매그넘, 케르테츠, 프리들랜더, 조지 로저

[네이버 지식백과] 카르티에 브레송 [Henri Cartier-Bresson] (두산백과)

 

3. 위키백과 >>

앙리 카르티에 브레송

 

4.  From Wikipedia, the free encyclopedia >>

Henri Cartier-Bresson

From Wikipedia, the free encyclopedia

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. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. His work has influenced many photographers.

Early life

Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of five children. 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. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, Rue de Lisbonne, near Place de l'Europe and Parc Monceau. His parents supported him financially so Henri could pursue photography more freely than his contemporaries. Henri also sketched.

Young Henri took holiday snapshots with a Box Brownie; he later experimented with a 3×4 inch view camera. 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.

Cartier-Bresson attended École Fénelon, a Catholic school that prepared students for the Lycée Condorcet. A governess called "Miss Kitty" who came from across the Channel, instilled in him the love of - and competence in - the English language.[2] The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him, "Let's have no disorder in your studies!". Cartier-Bresson said, "He used the informal 'tu', which usually meant you were about to get a good thrashing. But he went on, 'You're going to read in my office.' Well, that wasn't an offer he had to repeat."[3]

Painting

After trying to learn music, Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter. But the painting lessons were cut short when uncle Louis was killed in World War I.

In 1927 Cartier-Bresson entered a private art school and the Lhote Academy, the Parisian studio of the Cubist painter and sculptor André Lhote. 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. Cartier-Bresson also studied painting with society portraitist Jacques Émile Blanche. During this period, he read Dostoevsky, Schopenhauer, Rimbaud, Nietzsche, Mallarmé, Freud, Proust, Joyce, Hegel, Engels and Marx. 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: Jan van Eyck, Paolo Uccello, Masaccio, Piero della Francesca. Cartier-Bresson regarded Lhote as his teacher of "photography without a camera."

Surrealists photography influence

Although Cartier-Bresson became frustrated with Lhote's "rule-laden" approach to art, the rigorous theoretical training later helped him identify and resolve problems of artistic form and composition in photography. In the 1920s, 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 1924, was a catalyst for this paradigm shift[vague]. Cartier-Bresson began socializing with the Surrealists at the Café Cyrano, in the Place Blanche. 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...approached the street: with a voracious appetite for the usual and unusual...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.[4]

Cartier-Bresson matured artistically in this stormy cultural and political atmosphere. 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

From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge, where he became bilingual.[5] In 1930, during conscription in the French Army at Le Bourget near Paris, he remembered, "And I had quite a hard time of it, too, because I was toting Joyce under my arm and a Lebel rifle on my shoulder."[3]

Receives first camera

In 1929, Cartier-Bresson's air squadron commandant placed him under house arrest for hunting without a licence. 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.[6] They spent their time together taking and printing pictures at Crosby's home, Le Moulin du Soleil (The Sun Mill), near Paris in Ermenonville, France.[7]:163[8] Crosby later said Cartier-Bresson "looked like a fledgling, shy and frail, and mild as whey." Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931.[9]

Escape to Africa

Two years after Harry Crosby died by suicide, Cartier-Bresson's affair with Caresse Crosby ended in 1931, leaving him broken-hearted. During conscription he read Conrad's Heart of Darkness. This gave him the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa.[9] He survived by shooting game and selling it to local villagers. From hunting, he learned methods which he later used in photography. On the Côte d'Ivoire, he contracted blackwater fever, which nearly killed him. 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. Although Cartier-Bresson took a portable camera (smaller than a Brownie Box) to Côte d'Ivoire, only seven photographs survived the tropics.[10]

Photography
Cartier-Bresson's first Leica
Returning to France, Cartier-Bresson recuperated in Marseille in late 1931 and deepened his relationship with the Surrealists. He became inspired by a 1930 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."[11]

He acquired the Leica camera with 50 mm lens in Marseilles that would accompany him for many years. 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. Restless, he photographed in Berlin, Brussels, Warsaw, Prague, Budapest and Madrid. His photographs were first exhibited at the Julien Levy Gallery in New York in 1932, and subsequently at the Ateneo Club in Madrid. In 1934 in Mexico, he shared an exhibition with Manuel Álvarez Bravo. In the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively.

In 1934, 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. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa.[12]

United States exhibits[edit]

Cartier-Bresson traveled to the United States in 1935 with an invitation to exhibit his work at New York's Julien Levy Gallery. He shared display space with fellow photographers Walker Evans and Manuel Álvarez Bravo. 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. While in New York, he met photographer Paul Strand, who did camerawork for the Depression-era documentary The Plow That Broke the Plains.

Filmmaking[edit]

When he returned to France, Cartier-Bresson applied for a job with renowned French film director Jean Renoir. He acted in Renoir's 1936 film Partie de campagne and in the 1939 La Règle du jeu, for which he played a butler and served as second assistant. 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 200 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 1937 when he covered the coronation of King George VI and Queen Elizabeth,[13] 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.

Marriage[edit]

In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini.[9] They lived in a fourth-floor servants' flat in Paris at 19, rue Neuve-des-Petits-Champs (now rue Danielle Casanova), a large studio with a small bedroom, kitchen, and bathroom where Cartier-Bresson developed film. Between 1937 and 1939 Cartier-Bresson worked as a photographer for the French Communists' evening paper, Ce Soir. With Chim and Capa, Cartier-Bresson was a leftist, but he did not join the French Communist party.

World War II service[edit]

When World War II broke out in September 1939, Cartier-Bresson joined the French Army as a Corporal in the Film and Photo unit. During the Battle of France, in June 1940 at St. Dié in the Vosges Mountains, he was captured by German soldiers and spent 35 months in prisoner-of-war camps doing forced labor under the Nazis. 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 1943, 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.

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 1947) 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 1947 together with the publication of his first book, The Photographs of Henri Cartier-Bresson. Lincoln Kirstein and Beaumont Newhall wrote the book's text.

Magnum photos[edit]

In early 1947, Cartier-Bresson, with Robert Capa, David Seymour, William Vandivert and George Rodger founded Magnum Photos. Capa's brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members. Rodger, who had quit Life in London after covering World War II, would cover Africa and the Middle East. 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. Maria Eisner managed the Paris office and Rita Vandivert, Vandivert's wife, managed the New York office and became Magnum's first president.

Cartier-Bresson achieved international recognition for his coverage of Gandhi's funeral in India in 1948 and the last stage of the Chinese Civil War in 1949. 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. In Shanghai, he often worked in the company of photojournalist Sam Tata, whom Cartier-Bresson had previously befriended in Bombay.[14] From China, he went on to Dutch East Indies (Indonesia), where he documented the gaining of independence from the Dutch. In 1950, Cartier-Bresson had traveled to the South India. He had visited Tiruvannamalai, a town in the Indian State of Tamil Nadu and photographed the last moments of Ramana Maharishi, Sri Ramana Ashram and its surroundings.[15] A few days later he also visited and photographed Sri Aurobindo, Mother and Sri Aurobindo Ashram, Pondicherry.[16]

Magnum's mission was to "feel the pulse" of the times and some of its first projects were People Live Everywhere, Youth of the World, Women of the World and The Child Generation. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images.

The Decisive Moment

In 1952, Cartier-Bresson published his book Images à la sauvette, whose English-language edition was titled The Decisive Moment, although the French language title actually translates as "images on the sly" or "hastily taken images", [17][18][19] Images à la sauvette included a portfolio of 126 of his photos from the East and the West. The book's cover was drawn by Henri Matisse. For his 4,500-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. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.").[20]

Both titles came from Tériade, the Greek-born French publisher whom Cartier-Bresson admired. He gave the book its French title, Images à la Sauvette, loosely translated as "images on the run" or "stolen images." Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, translated Cartier-Bresson's French preface into English.

"Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. 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. "Oop! The Moment! Once you miss it, it is gone forever."[21]

Cartier-Bresson held his first exhibition in France at the Pavillon de Marsan in the Louvre in 1955.

Later career

Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, and the Soviet Union. He became the first Western photographer to photograph "freely" in the post-war Soviet Union.

In 1962, on behalf of Vogue, he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani (hosted by his friend Costantino Nivola), San Leonardo di Siete Fuentes, and Cagliari.[22]

Cartier-Bresson withdrew as a principal of Magnum (which still distributes his photographs) in 1966 to concentrate on portraiture and landscapes.

In 1967, he was divorced from his first wife of 30 years, Ratna "Elie". In 1968, 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 1970.[23] The couple had a daughter, Mélanie, in May 1972.

Cartier-Bresson retired from photography in the early 1970s, and by 1975 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 and painting. He held his first exhibition of drawings at the Carlton Gallery in New York in 1975.

Death and legacy

Cartier-Bresson died in Céreste (Alpes-de-Haute-Provence, France)[24] on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery nearby in Montjustin[25]and was survived by his wife, Martine Franck, and daughter, Mélanie.[26]

Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish civil war, the liberation of Paris in 1944, the 1968 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. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. 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 1975, he held a paper in front of his face to avoid being photographed.[3] In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous.[27]

Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. 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 2003, he created the Henri Cartier-Bresson Foundation with his wife and daughter to preserve and share his legacy.

Cinéma vérité

Cartier-Bresson's photographs were also influential in the development of cinéma vérité film. In particular, he is credited as the inspiration for the National Film Board of Canada's early work in this genre with its 1958 Candid Eye series.[

Technique

Cartier-Bresson almost always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes.[29] He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye."[30]

He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand."[29]

He believed in composing his photographs in the viewfinder, not in the darkroom. 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.[3] He insisted that his prints be left uncropped so as to include a few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture.

Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color.[dubious – discuss] He disliked developing or making his own prints[3] and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing".[31] Technical aspects of photography were valid for him only where they allowed him to express what he saw:

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. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing.

— Henri Cartier-Bresson[20]

He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens.[32]

Cartier-Bresson is regarded as one of the art world's most unassuming personalities.[33] He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied to his photographs. Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon.

In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv.

— Henri Cartier-Bresson

 

Publications
1947: The Photographs of Henri Cartier-Bresson. Text by Lincoln Kirstein. New York: Museum of Modern Art.
1952: The Decisive Moment. Texts and photographs by Cartier-Bresson. Cover by Henri Matisse. New York: Simon & Schuster. French edition 2014: Göttingen: Steidl. ISBN 978-3869307886. Facsimile edition. First edition, 2014. Third edition, 2018. Includes booklet with an essay by Clément Chéroux, "A Bible for Photographers".

1954: Les Danses à Bali. Texts by Antonin Artaud on Balinese theater and commentary by Béryl de Zoete Paris: Delpire. German edition.
1955: The Europeans. Text and photographs by Cartier-Bresson. Cover by Joan Miró. New York: Simon & Schuster. French edition.
1955: People of Moscow. London: Thames & Hudson. French, German and Italian editions.
1956: China in Transition. London: Thames & Hudson. French, German and Italian editions.
1958: Henri Cartier-Bresson: Fotografie. Prague and Bratislava: Statni nakladatelstvi krasné. Text by Anna Farova.
1963: Photographs by Henri Cartier-Bresson. New York: Grossman Publisher. French, English, Japanese and Swiss editions.
1964: China. Photographs and notes on fifteen months spent in China. Text by Barbara Miller. New York: Bantam. French edition.
1966: Henri Cartier-Bresson and the Artless Art. Text by Jean-Pierre Montier. Translated from the French L'Art sans art d'Henri Cartier-Bresson by Ruth Taylor. New York: Bulfinch Press.
1968: The World of HCB. New York: Viking Press. French, German and Swiss editions.
1969: Man and Machine. Commissioned by IBM. French, German, Italian and Spanish editions.
1970: France. Text by François Nourissier. London: Thames & Hudson. French and German editions.
1972: The Face of Asia. Introduction by Robert Shaplen. New York and Tokyo: John Weatherhill; Hong Kong: Orientations. French edition.
1973: About Russia. London: Thames & Hudson. French, German and Swiss editions.
1976: Henri Cartier-Bresson. Texts by Cartier-Bresson. History of Photography Series. History of Photography Series. French, German, Italian, Japanese and Italian editions.
1979: Henri Cartier-Bresson Photographer. Text by Yves Bonnefoy. New York: Bulfinch. French, English, German, Japanese and Italian editions.
1983: Henri Cartier-Bresson. Ritratti = Henri Cartier-Bresson. Portraits. Texts by André Pieyre de Mandiargues and Ferdinando Scianna, "I Grandi Fotografi". Milan: Gruppo Editoriale Fabbri. English and Spanish editions.
1985: Henri Cartier-Bresson en Inde. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson. Text by Yves Véquaud. Paris: Centre National de la Photographie. English edition.
Photoportraits. Texts by André Pieyre de Mandiargues. London: Thames & Hudson. French and German editions.

1987: Henri Cartier-Bresson. The Early Work. Texts by Peter Galassi. New York: Museum of Modern Art. French edition.
Henri Cartier-Bresson in India. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson, texts by Yves Véquaud. London: Thames & Hudson. French edition.

1989: L'Autre Chine. Introduction by Robert Guillain. Collection Photo Notes. Paris: Centre National de la Photographie.
Line by Line. Henri Cartier-Bresson’s drawings. Introduction by Jean Clair and John Russell. London: Thames & Hudson. French and German editions.

1991: America in Passing. Introduction by Gilles Mora. New York: Bulfinch. French, English, German, Italian, Portuguese and Danish editions.
Alberto Giacometti photographié par Henri Cartier-Bresson. Texts by Cartier-Bresson and Louis Clayeux. Milan: Franco Sciardelli.

1994: A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. London: Thames & Hudson. French, German and Japanese editions.
Double regard. Drawings and photographs. Texts by Jean Leymarie. Amiens: Le Nyctalope. French and English editions.
Mexican Notebooks 1934–1964. Text by Carlos Fuentes. London: Thames & Hudson. French, Italian, and German editions.
L'Art sans art. Text de Jean-Pierre Montier. Paris: Editions Flammarion. English, German and Italian editions.

1996: L'Imaginaire d'après nature. Text by Cartier-Bresson. Paris: Fata Morgana. German and English editions'
1997: Europeans. Texts by Jean Clair. London: Thames & Hudson. French, German, Italian and Portuguese editions.
1998: Tête à tête. Texts by Ernst H. Gombrich. London: Thames & Hudson. French, German, Italian and Portuguese editions.
1999: The Mind's Eye. Text by Cartier-Bresson. New York: Aperture. French and German editions.
1999: Henri Cartier-Bresson: A Biography. Text by Pierre Assouline, translated by David Wilson. London: Thames and Hudson.
2001: Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. London: Thames & Hudson. French, German and Italian editions.
2003: The Man, the Image and the World. Texts by Philippe Arbaizar, Jean Clair, Claude Cookman, Robert Delpire, Jean Leymarie, Jean-Noel Jeanneney and Serge Toubiana. London: Thames & Hudson, 2003. German, French, Korean, Italian and Spanish editions.
2006: An Inner SIlence: The portraits of Henri Cartier-Bresson, New York: Thames & Hudson. Texts by Agnès Sire and Jean-Luc Nancy.
2017: Henri Cartier-Bresson Fotógrafo. Delpire.

Filmography

Films directed by Cartier-Bresson

Cartier-Bresson was second assistant director to Jean Renoir in 1936 for La vie est à nous and Une partie de campagne, and in 1939 for La Règle du Jeu.
1937: Victoire de la vie. Documentary on the hospitals of Republican Spain: Running time: 49 minutes. Black and white.
1938: L’Espagne Vivra. Documentary on the Spanish Civil War and the post-war period. Running time: 43 minutes and 32 seconds. Black and white.
1938 Avec la brigade Abraham Lincoln en Espagne, Henri Cartier-Bresson ja Herbert Kline. Running time 21 minutes. Black and white.
1944–45: Le Retour. Documentary on prisoners of war and detainees. Running time: 32 minutes and 37 seconds. Black and white.
1969–70: Impressions of California. Running time: 23 minutes and 20 seconds. Color.
1969–70: Southern Exposures. Running time: 22 minutes and 25 seconds. Color.

Films compiled from photographs by Cartier-Bresson
1956: A Travers le Monde avec Henri Cartier-Bresson. Directed by Jean-Marie Drot and Henri Cartier-Bresson. Running time: 21 minutes. Black and white.
1963: Midlands at Play and at Work. Produced by ABC Television, London. Running time : 19 minutes. Black and white.
1963–65: Five fifteen-minute films on Germany for the Süddeutscher Rundfunk, Munich.
1967: Flagrants délits. Directed by Robert Delpire. Original music score by Diego Masson. Delpire production, Paris. Running time: 22 minutes. Black and white.
1969: Québec vu par Cartier-Bresson / Le Québec as seen by Cartier-Bresson. Directed by Wolff Kœnig. Produced by the Canadian Film Board. Running time: 10 minutes. Black and white.
1970: Images de France.
1991: Contre l'oubli : Lettre à Mamadou Bâ, Mauritanie. Short film directed by Martine Franck for Amnesty International. Editing : Roger Ikhlef. Running time: 3 minutes. Black and white.
1992: Henri Cartier-Bresson dessins et photos. Director: Annick Alexandre. Short film produced by FR3 Dijon, commentary by the artist. Running time: 2 minutes and 33 seconds. Color.
1997: Série "100 photos du siècle": L'Araignée d'amour: broadcast by Arte. Produced by Capa Télévision. Running time: 6 minutes and 15 seconds. Color.

Films about Cartier-Bresson
"Henri Cartier-Bresson, point d'interrogation" by Sarah Moon, screened at Rencontres d'Arles festival in 1994
Henri Cartier-Bresson: L'amour Tout Court (70 mins, 2001. Interviews with Cartier-Bresson.)
Henri Cartier-Bresson: The Impassioned Eye (72 mins, 2006. Late interviews with Cartier-Bresson.)

Exhibitions
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1933 Cercle Atheneo, Madrid
1933 Julien Levy Gallery, New York
1934 Palacio de Bellas Artes, Mexico City (with Manuel Alvarez Bravo)
1947 Museum of Modern Art, New York, Martin-Gropius-Bau, Berlin, Germany; Museum of Modern Art, Rome, Italy; Dean Gallery, Edinburgh; Museum of Modern Art, New York City; Museo Nacional de Bellas Artes, Santiago, Chile
1952 Institute of Contemporary Arts, London
1955 Retrospektive – Musée des Arts décoratifs, Paris
1956 Photokina, Cologne, Germany
1963 Photokina, Cologne, Germany
1964 The Phillips Collection, Washington
1965–1967 2nd retrospective, Tokyo, Musée des Arts Décoratifs, Paris, New York, London, Amsterdam, Rome, Zurich, Cologne and other cities.
1970 En France – Grand Palais, Paris. Later in the US, USSR, Australia and Japan
1971 Les Rencontres d'Arles festival. Movies screened at Théatre Antique.
1972 Les Rencontres d'Arles festival. "Flagrant Délit " (Production Delpire) screened at Théatre Antique.
1974 Exhibition about the USSR, International Center of Photography, New York
1974–1997 Galerie Claude Bernard, Paris
1975 Carlton Gallery, New York
1975 Galerie Bischofberger, Zurich, Switzerland
1980 Portraits – Galerie Eric Franck, Geneva, Switzerland
1981 Musée d'Art Moderne de la Ville de Paris, France
1982 Hommage à Henri Cartier-Bresson – Centre National de la Photographie, Palais de Tokyo, Paris
1983 Printemps Ginza – Tokyo
1984 Osaka University of Arts, Japan
1984–1985 Paris à vue d’œil – Musée Carnavalet, Paris
1985 Henri Cartier-Bresson en Inde – Centre National de la Photographie, Palais de Tokyo, Paris
1985 Museo de Arte Moderno de México, Mexico
1986 L'Institut Français de Stockholm
1986 Pavillon d'Arte contemporanea, Milan, Italy
1986 Tor Vergata University, Rome, Italy
1987 Museum of Modern Art, Oxford, UK (drawings and photography)
1987 Early Photographs – Museum of Modern Art, New York
1988 Institut Français, Athen, Greece
1988 Palais Lichtenstein, Vienna, Austria
1988 Salzburger Landessammlung, Austria
1988 Group exhibition: "Magnum en Chine" at Rencontres d'Arles, France.
1989 Chapelle de l'École des Beaux-Arts, Paris
1989 Fondation Pierre Gianadda, Martigny, Switzerland (drawings and photographs)
1989 Mannheimer Kunstverein, Mannheim, Germany (drawings and photography)
1989 Printemps Ginza, Tokyo, Japan
1990 Galerie Arnold Herstand, New York
1991 Taipei Fine Arts Museum, Taiwan (drawings and photographs)
1992 Centro de Exposiciones, Saragossa and Logrono, Spain
1992 Hommage à Henri Cartier-Bresson – International Center of Photography, New York
1992 L'Amérique – FNAC, Paris
1992 Musée de Noyers-sur-Serein, France
1992 Palazzo San Vitale, Parma, Italy
1993 Photo Dessin – Dessin Photo, Arles, France
1994 "Henri Cartier-Bresson, point d'interrogation" by Sarah Moon screened at Rencontres d'Arles festival, France.
1994 Dessins et premières photos – La Caridad, Barcelona, Spain
1995 Dessins et Hommage à Henri Cartier-Bresson – CRAC (Centre Régional d’Art Contemporain) Valence, Drome, France
1996 Henri Cartier-Bresson: Pen, Brush and Cameras – The Minneapolis Institute of Arts, US
1997 Les Européens – Maison Européenne de la Photographie, Paris
1997 Henri Cartier-Bresson, dessins – Musée des Beaux-Arts, Montreal
1998 Galerie Beyeler, Basel, Switzerland
1998 Galerie Löhrl, Mönchengladbach, Germany
1998 Howard Greenberggh Gallery, New York
1998 Kunsthaus Zürich, Zurich, Switzerland
1998 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
1998 Line by Line – Royal College of Art, London
1998 Tête à Tête – National Portrait Gallery, London
1998–1999 Photographien und Zeichnungen – Baukunst Galerie, Cologne, Germany
2003–2005 Rétrospective, Bibliothèque Nationale, Paris; La Caixa, Barcelona; Martin Gropius Bau, Berlin; Museum of Modern Art, Rome; Dean Gallery, Edinburgh; Museum of Modern Art, New York; Museo Nacional de Bellas Artes, Santiago, Chile
2004 Baukunst Galerie, Cologne
2004 Martin-Gropius-Bau, Berlin
2004 Museum Ludwig, Cologne
2008 Henri Cartier-Bresson's Scrapbook Photographs 1932-46, National Media Museum, Bradford, UK
2008 National Gallery of Modern Art, Mumbai, India
2008 Santa Catalina Castle, Cadiz, Spain
2009 Musée de l'Art Moderne, Paris
2010 Museum of Modern Art, New York
2010 The Art Institute of Chicago, Chicago
2011 Museum of Design Zürich[34]
2011 High Museum of Art, Atlanta, GA
2011 Maison de la Photo, Toulon, France
2011 Kunstmuseum Wolfsburg, Germany
2011 Queensland Art Gallery, Brisbane, Australia
2011-2012 KunstHausWien, Vienna, Austria
2014 Centre Georges Pompidou, Paris.[35]
2015 Palacio de Bellas Artes, Mexico City[36]
2015 Ateneum, Helsinki
2017 Leica Gallery, San Francisco.[37]
2017 Museo Botero/Banco de la Republica, Bogota Colombia

Collections
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Cartier-Bresson's work is held in the following public collections:
Bibliothèque Nationale de France, Paris, France
De Menil Collection, Houston, Texas, US
University of Fine Arts, Osaka, Japan
Victoria and Albert Museum, London, United Kingdom
Maison Européenne de la Photographie, Paris, France
Musée Carnavalet, Paris, France
Museum of Modern Art, New York City[38]
The Art Institute of Chicago, Illinois, US[39]
Jeu de Paume, Paris, France[39]
J. Paul Getty Museum, Los Angeles
Institute for Contemporary Photography, New York City
The Philadelphia Art Institute, Philadelphia, Pennsylvania, US
The Museum of Fine Arts, Houston, US
Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan
Museum of Modern Art, Tel Aviv, Israel[39]
Moderna Museet, Stockholm, Sweden[39]

Awards
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1948: Overseas Press Club of America Award
1953: The A.S.M.P. Award
1954: Overseas Press Club of America Award
1959: The Prix de la Société française de photographie
1960: Overseas Press Club of America Award
1964: Overseas Press Club of America Award
1967: The Cultural Award from the German Society for Photography (DGPh), with Edwin H. Land[40]
1981: Grand Prix National de la Photographie
1982: Hasselblad Award
2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook

External links

Wikimedia Commons has media related to Henri Cartier-Bresson.

Wikiquote has quotations related to: Henri Cartier-Bresson

• Fondation Henri Cartier-Bresson
• Cartier-Bresson's portfolio at Magnum Photos
• Magnum Photos
• Special Report: Henri Cartier-Bresson (1908–2004) – by Eamonn McCabe in The Guardian
• Henri Cartier-Bresson at Find a Grave
• Tête à Tête: Portraits by Henri Cartier-Bresson at the National Portrait Gallery, Washington DC
• Tête à Tête: Special Feature by Washington Post of the Exhibition by Henri Cartier-Bresson
• Henri Cartier-Bresson at the Metropolitan Museum of Art, NY
• Henri Cartier-Bresson (1908 – 2004): When photography becomes art
• List of links concerning Cartier-Bresson on ArtCyclopedia
• "John Berger pays tribute to his good friend", in The Observer.
• Henri Cartier-Bresson's Cats

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