Henri cartier bresson biography term papers
The Extraordinary Vision of Henri Cartier-Bresson.
Author’s Note:
In this post as with others I have drawn heavily on the best sources I could find. In the case of Henri Cartier-Bresson it is Pierre Assouline. He is the author of the book, “Henri Cartier-Bresson: A Biography.” His wonderful book is the only biography I could find on Cartier-Bresson but it was more then enough. His personal friendship with Cartier-Bresson gave him an insight rarely seen in biographies. I based a lot of the structure of this sketch off of his biography. He really made this mythical figure come alive for me and I really connected to Pierre’s work. If you get a chance to pick up his book, you won’t be disappointed.[1]
“I am a visual man. I watch, watch, watch. I understand things through my eyes.”[2]
I love, love, love Henri Cartier-Bresson. I’m not sure we would have been friends in life but I love his vision. I can sit for hours looking at his images and discover new things every time. If I had to rank my favorite photographers, he would be up there with W Eugene Smith, Eikoh Hosoe and Sebastian Salgado. The man was brilliant!!
Henri Cartier-Bresson
In Pierre Assouline’s book, He says this about his friend.
To people who know a bit about everything, he was Cartier-Bresson. To those in the profession, HCB was enough. His intimate circle preferred the surrealist wink of his ‘En rit Ca-Bre, while others referred to Henri as if there were only one. All of them have their own ideas as to who he was. Each of these helps to illuminate the tinge of madness, the genius, and the darker side. All of us contribute our own truth, since all who knew him have captured a part of the man who was our friend. My view is a mosaic of all these ideas. Biographers and portrait artists, however, are go-betweens, forced to mediate inadequately between the subject and the rest of the world in order to assuage everyone’s understandable curiosity.
This l Born in Chanteloup, Seine-et-Marne, in 1908, Henri Cartier-Bresson developed a strong fascination with painting early on, particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica, his camera of choice thereafter, and began a lifelong passion for photography. He had his first exhibition at the Julien Levy Gallery in New York in 1933. He later made films with Jean Renoir. Taken prisoner of war in 1940, he escaped on his third attempt in 1943 and subsequently joined an underground organization to assist prisoners and escapees. In 1945, he photographed the Liberation of Paris with a group of professional journalists, then filmed the documentary Le Retour (The Return). In 1947, with Robert Capa, George Rodger, David “Chim” Seymour, and William Vandivert, he founded Magnum Photos. After three years spent traveling in the East, he returned to Europe in 1952, where he published his first book, Images à la Sauvette (published in English as The Decisive Moment). He explained his approach to photography in these terms, “for me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously… It is by economy of means that one arrives at simplicity of expression.” From 1968, he began to curtail his photographic activities, preferring to concentrate on drawing and painting. In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson received an extraordinary number of prizes, awards, and honorary doctorates. He died at his home in Provence on August 3, 2004, a few weeks short of his 96th birthday. Document Type : Original Article Authors Graduate Master in Cinema and Theater, University of Art, Tehran, Iran. Assis tant Professor, Department of Cinema and Theater, University of Art, Tehran, Iran. http://dx.doi.org/10.29252/rahpooyesoore.6.3.25 Abstract < p >In 1952, A book titled “The Decisive Moment” was published in New York which became a turning point for both documentary photography and photojournalism. This book which was contained mostly with Henri Cartier-Bresson’s photos soon brought the title “father of modern photojournalism’ to its own author and caused many to be absorbed by his approach of capturing photos. The idea was about the possibility and try to capture a moment in which both form and meaning would coalesce in the in highest accord possible and the photographer was supposed to catch a very fleeting moment that was inevitably unique and unrepeatable. However, the contradictions between Cartier-Bresson’s role as a photojournalist or documentary photographer and his artistic vision and his artistic stem caused some ambiguities in understanding his approach and technique. On one hand, he was a photojournalist whose photos were published in magazines as reportages of the contemporary events alongside with being the Cofounder of Magnum Photos together with photographers like Robert Capa, on the other side his artistic vision had a deep tendency toward Surrealism which was at odds with his professional role demands. Also as many of the knowledge about Decisive moment was from Cartier Bresson’s various interviews or quotations published randomly in magazines or newspapers, the problem with understanding the moment he describes faces more difficulties as his own declarations sometimes have contradictions with each other and one may deny the other t French photographer (1908–2004) Henri Cartier-Bresson Henri in 1972 Chanteloup-en-Brie, France Céreste, France Ratna Mohini Henri Cartier-Bresson (French:[ɑ̃ʁikaʁtjebʁɛsɔ̃]; 22 August 1908 – 3 August 2004) was a French artist and humanist photographer considered a master of candid photography, and an early user of 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. Cartier-Bresson was one of the founding members of Magnum Photos in 1947. In the 1970s, he largely discontinued his photographic work, instead opting to paint. Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France. 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 mother was descended from Charlotte Corday. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, Rue de Lisbonne, near Place de l'Europe and Parc Monceau. Since his parents were providing financial support, Henri pursued 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 woul A Study on Henri Cartire-Bresson’s Decisive Moment with Emphasis on Surrealism Efficacy in His Artistic Vision ……. Research Paper
Henri Cartier-Bresson
Born (1908-08-22)22 August 1908 Died 3 August 2004(2004-08-03) (aged 95) Burial place Montjustin, France Alma mater Lycée Condorcet, Paris Occupations Spouses Children 1 Awards Early life