HENRI CARTIER-BRESSON AT THE MOMA Henri Cartier-Bresson (1908–2004) is one of the most original, accomplished, influential, and beloved ...

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Tarascon, France, 1959 - Henri Cartier-Bresson (Black and White Photography) Signed and stamped with photographers blindstamp Silver gelatin print 16 x 20 inches Henri Cartier-Bresson (1908-2004), arguably the most significant photographer of the twentieth-century, was one of the co-founders of Magnum Photos in 1947 and champion of the “decisive moment”. He brought a new aesthetic and practice to photography, initiated modern photojournalism, and influenced countless followers.

HENRI CARTIER-BRESSON AT THE MOMA Henri Cartier-Bresson (1908–2004) is one of the most original, accomplished, influential, and beloved ...

“Your first 10,000 photographs are your worst.” Continuing our series on deconstructing iconic quotes and applying them to modern photography, today we are looking at the above quote from arguably the greatest street photographer of them all. Henri Cartier-Bresson 1908-2004 - Street and Documentary Photographer. Born in North East France, Cartier-Bresson was the master of the phrase he coined, capturing the “decisive moment.” He initially trained as an artist and was heavily inspired by the surrealist movement of the 1920s. It wasn’t until the 1930s that Cartier-Bresson took to photography, still heavily inspired by the surrealist movement, he sought to

Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modern photojournalism. He was an early adopter of 35 mm format, and the master of candid photography. He helped develop the "street photography" or "life reportage" style that has influenced generations of photographers who followed. 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 he spent part of his childhood. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, near Le Pont de l Europe (the Europe Bridge), the point where six major avenues crossed, leading out in all directions: the Rue de Berne, the Rue de St. Petersbourg, the Rue de Constantinople, the Rue de Madrid, the Rue de Vienne (Vienna), the Rue de Londres (London), and the Rue de Berlin.[1] His parents were able to provide him with financial support to develop his interests in photography in a more independent manner than many of his contemporaries. Cartier-Bresson also sketched in his spare time. As a young boy, Cartier-Bresson owned a Box Brownie, using it for taking holiday snapshots; he later experimented with a 3×4 inch view camera. He was raised in a traditional French bourgeois fashion, required to address his parents using the formal vous rather than the familiar tu. His father assumed that his son would take up the family business, but the youth was strong-willed and upset by this prospect. He attended École Fénelon, a Catholic school that prepared students to attend Lycée Condorcet. 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."[2] In 1952, Cartier-Bresson published his book Images à la sauvette, whose English edition was titled The Decisive Moment. It 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.").[8] Both titles came from publishers. Tériade, the Greek-born French publisher whom Cartier-Bresson idolized,[peacock term] gave the book its French title, Images à la Sauvette, which can loosely be 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, did the English translation of Cartier-Bresson's French preface. "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."[9] Cartier-Bresson held his first exhibition in France at the Pavillon de Marsan in the Louvre in 1955. Cartier-Bresson died in Montjustin (Alpes-de-Haute-Provence, France) on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery and was survived by his wife, Martine Franck, and daughter, Mélanie. 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 ordinary daily life, seemingly unimportant moments captured and then gone. Cartier-Bresson was a photographer who hated to be photographed and treasured his privacy above all. Photographs of Cartier-Bresson do exist, but they 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.[2] 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.[12] 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. en.wikipedia.org/wiki/Henri_Cartier-Bresson

Happy Birthday, Henri Cartier-Bresson!

Andrew Sweigart writes how he has been influenced by Henri Cartier-Bresson, the father of Street Photography as many call him.

The Museum of Fine Arts in Boston has acquired Howard Greenberg’s extensive collection of photographs, including 447 works by 191 artists capturing defining images of the Great Depression and many original prints used for publication in Life magazine

Biographie - Fondation Henri Cartier-Bresson

Henri Cartier-Bresson (1908 – 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 conceived of photography as capturing a decisive moment. His work has influenced many photographers. These impressive black and white photos will prove that why Henri was one of the most talented artists of street photography.

Albert Camus, Paris, 1944. Coney Island, New York, 1946. Romania, 1975. Naples, Italy, 1960. A football game, Michigan vs. Northwestern, 1960. At the Le Mans Auto Race, France, 1966. Uzbekistan, 1954. Visitors from kolkhozy to the eleventh-century Alaverdi monastery, 1972. Improvised canteen for…

Оригинал взят у altsakh в Анри Картье-Брессон: 10 советов от классика фотографии Анри Картье Брессон один из самых выдающихся фотографов XX веков, основоположник жанра фоторепортажа и фотожурналистики в целом, признанный при жизни гений фотографии. Его творчество по сей день представляет…