Henri Cartier-Bresson, born on August 22, 1908, in Chanteloup-en-Brie, France, and passing away on August 3, 2004, in Céreste, France, was a pioneering figure in photography known for his mastery of candid photography and early use of 35mm film. Widely regarded as the father of modern street photography, Cartier-Bresson coined the concept of capturing the "decisive moment," a philosophy that has deeply influenced the art of photography. A co-founder of Magnum Photos in 1947, he contributed significantly to photojournalism and documentary photography. Later in life, Cartier-Bresson turned his creative focus to painting, leaving behind a legacy that continues to inspire photographers and artists worldwide.
Artist Biography: Henri Cartier-Bresson
Henri Cartier-Bresson was born on August 22, 1908, in Chanteloup-en-Brie, Seine-et-Marne, France, into a wealthy family renowned for the Cartier-Bresson thread in the textile industry. His family’s bourgeois lifestyle and his mother's Norman lineage, which included the notable Charlotte Corday, provided a backdrop for his early exposure to the arts. Cartier-Bresson grew up near Place de l'Europe and Parc Monceau in Paris, where he first experimented with photography using a Box Brownie and a 3x4 inch view camera. Although initially expected to join the family business, his artistic inclinations led him to study at École Fénelon and Lycée Condorcet, where he was influenced by English literature through a governess, Miss Kitty. His formal art education began at the age of five under his uncle, the Prix de Rome-winning painter Louis Cartier-Bresson, and continued at the Lhote Academy, where Cubist painter André Lhote guided him. This period of immersion in modern art and classical traditions, coupled with his exposure to Surrealism, profoundly shaped his photographic style. Despite frustrations with Lhote’s structured approach, Cartier-Bresson gained valuable insights into form and composition, which were further enriched by his readings of Dostoevsky, Nietzsche, and Proust.
In 1928, Cartier-Bresson briefly attended the University of Cambridge, where he studied art, literature, and English before serving in the French Army in 1930. It was during his military service that he met American expatriate Harry Crosby, who introduced him to photography and gifted him his first camera. This encounter ignited Cartier-Bresson's serious pursuit of photography. After recovering from an illness in Côte d'Ivoire and returning to France, he delved deeper into the Surrealist community and was inspired by a photograph by Martin Munkacsi to abandon painting for photography. Embracing the Leica camera, Cartier-Bresson developed his philosophy of capturing "the decisive moment," a concept that would become central to his work. His innovative approach garnered international recognition, with exhibitions in New York, Madrid, and Mexico. In 1937, he married Javanese dancer Ratna Mohini, and they settled in a modest Parisian apartment.
During World War II, Cartier-Bresson served in the French Army’s film and photo unit but was captured by the Germans and spent 35 months in a prisoner-of-war camp, making several escape attempts before eventually succeeding. Upon escape, he joined the French underground and documented the occupation and liberation of France. His post-war career was marked by significant achievements, including the documentary film Le Retour and a retrospective at the Museum of Modern Art in New York, which solidified his status as a leading photographer. In 1947, Cartier-Bresson co-founded Magnum Photos with Robert Capa, David Seymour, William Vandivert, and George Rodger. This cooperative agency allowed photographers to retain control over their work and split global assignments. Cartier-Bresson’s coverage of key historical events, such as Gandhi's funeral and the end of the Chinese Civil War, showcased his ability to capture pivotal moments. His 1952 book, Images à la sauvette (known in English as The Decisive Moment), presented 126 of his photographs and articulated his belief in capturing the essence of significant moments with precise organization. This philosophy was exemplified in his acclaimed 1954 photograph, Rue Mouffetard, Paris. Cartier-Bresson’s first French exhibition at the Pavillon de Marsan in 1955 further established his reputation. Although he retired from photography in the early 1970s to focus on drawing, Cartier-Bresson’s legacy as one of the 20th century’s most influential photographers endures, celebrated for his mastery in capturing the fleeting essence of human experience.
Technique
Henri Cartier-Bresson predominantly used a Leica 35 mm rangefinder camera with a standard 50 mm lens, occasionally opting for a wide-angle lens for landscapes, and he often obscured the camera's chrome body with black tape to reduce its visibility. Preferring fast black and white film, Cartier-Bresson valued the subtlety and spontaneity his camera allowed, which he described as giving him "the velvet hand...the hawk's eye." He avoided using flash, viewing it as intrusive, and instead believed in composing his images directly through the viewfinder, avoiding darkroom manipulation and cropping to maintain the full-frame integrity of his photographs. Though he occasionally experimented with color, his primary focus was on black and white photography. Cartier-Bresson was indifferent to the technical aspects of photography, seeing them merely as tools to communicate his vision rather than as ends in themselves. He famously tested new camera lenses by photographing ducks in urban parks, a practice he humorously referred to as his "only superstition." Renowned for his modesty and shyness, he remained largely anonymous despite his famous portraits, preferring to capture the essence of fleeting moments rather than seeking the spotlight or labeling his work as art.
Brief History of Photography
Photography's origins trace back to ancient times with the camera obscura, a device known to Aristotle and Mozi, which projected images onto surfaces through small apertures. This early principle of image projection laid the groundwork for the development of photography, but it wasn't until the early 19th century that the practical pursuit of capturing permanent images began in earnest. Nicéphore Niépce, building on the foundational work of earlier inventors like Johann Heinrich Schulze and Thomas Wedgwood, achieved a breakthrough in 1827 with his heliographic process, creating the first enduring photograph. This pivotal moment set the stage for Louis Daguerre’s enhancements, leading to the creation of the daguerreotype—a commercially viable method that democratized photography and made it accessible to a broader audience. Henri Cartier-Bresson, a seminal figure in modern photography, embraced this rich history and significantly advanced the medium. Cartier-Bresson’s revolutionary approach, which focused on capturing "the decisive moment," epitomized the evolution from Niépce’s lengthy exposure times to the instantaneous captures facilitated by subsequent technological advancements. His work represents a zenith in photography’s maturation, showcasing how the art form evolved from its rudimentary origins to a sophisticated mode of visual storytelling. The progression of digital photography marked another transformative leap in the medium. In 1957, Russell A. Kirsch and his team at the National Institute of Standards and Technology developed a binary digital version of existing technology, enabling alphanumeric characters, diagrams, and photographs to be digitized and stored in computer memory. This early digital photograph of Kirsch’s infant son Walden, with its modest resolution and stark black-and-white tones, marked the beginning of a new era. The invention of the charge-coupled device (CCD) by Willard Boyle and George E. Smith in 1969 further revolutionized imaging technology, evolving from a memory device to an imaging sensor crucial for digital cameras. The CCD was later succeeded by the active pixel sensor (APS), commonly used in today’s mobile phone cameras, which have dramatically increased photographic activity and facilitated the rise of citizen journalism. The proliferation of the web, beginning with the first photograph published online by Tim Berners-Lee in 1992, further transformed how images are shared and consumed. Platforms like Facebook, Flickr, Instagram, and Snapchat have become integral to contemporary photography, reflecting a continuous evolution from the foundational principles embraced by Cartier-Bresson to the expansive digital landscape of today.
Cuauhtemocztin Street, Mexico City, 1934 (Archive Photo) (1979) by Henri Cartier-Bresson
Henri Cartier-Bresson, Cuauhtemocztin Street, Mexico City, 1934 (Archive Photo), 1979. Photography, Analog photography / Non Manipulated Photography on Paper, 29.7cm x 42cm.
Cuauhtemocztin Street, Mexico City, 1934 (Archive Photo) is a compelling work by Henri Cartier-Bresson, captured in 1979 and released as part of a limited edition series. This analog photograph, adhering to Cartier-Bresson's ethos of non-manipulated imagery, is presented in a passe-partout frame and is accompanied by a photo stamp on the back, as well as a press service sticker, adding to its historical and archival significance. The photograph presents a poignant snapshot of life on Cuauhtemocztin Street in Mexico City. The composition centers on two women peering through hatches in a weathered wooden door, offering a rare and intimate glimpse into their world. The image highlights the subjects' social context and hinting at their marginalized status. The woman on the left stands out with her striking makeup: her eyebrows are drawn in with a black pencil, forming two thin, wide arcs that emphasize her expression and individuality. Cartier-Bresson’s ability to capture the essence of a moment is evident in this photograph. The juxtaposition of the women’s contemplative gazes and the architectural backdrop evokes a sense of both vulnerability and resilience. The photo reflects Cartier-Bresson’s signature style—his meticulous attention to the fleeting, unposed moments that reveal deeper truths about his subjects and their environments. This image not only documents a specific scene from the 1930s but also serves as a powerful testament to the human condition, rendered through Cartier-Bresson’s discerning lens.
Between Two Poses (1989) by Henri Cartier-Bresson
Henri Cartier-Bresson, Between Two Poses, 1989. Photography, Lithography / Analog photography on Paper, 34cm x 44.5cm.
Between Two Poses is a remarkable print by Henri Cartier-Bresson, released as a limited edition by Magnum Photography in 1999. This exceptional piece, part of a rare anniversary collection, is printed on high-quality BVS-PLUS paper (250g) by Schirmer/Mossel, ensuring both the preservation of Cartier-Bresson’s intricate composition and a tactile viewing experience. The photograph exemplifies Cartier-Bresson’s mastery of capturing the "decisive moment," a concept he famously championed. The print, numbered #1/100000, is a testament to his ability to encapsulate fleeting moments and the subtle interplay of light and shadow that defines his work. This anniversary edition not only celebrates Cartier-Bresson's influential career but also offers collectors and enthusiasts a tangible connection to his legacy. Between Two Poses presents a moment of transition between two distinct poses, capturing the essence of human experience with Cartier-Bresson’s signature sensitivity. The photograph offers a profound glimpse into the everyday yet extraordinary moments that Cartier-Bresson so skillfully immortalized. As an anniversary print, it stands as both a collectible treasure and a timeless piece that promises to appreciate in value while continuing to captivate and inspire.
Exhibitions in USA
In 1935, Henri Cartier-Bresson traveled to the United States for an exhibition at New York's Julien Levy Gallery, where he shared space with Walker Evans and Manuel Álvarez Bravo. Despite a challenging fashion assignment from Harper's Bazaar and a lack of experience in directing models, Cartier-Bresson’s work was published for the first time in an American magazine by Carmel Snow. During his stay in New York, he met Paul Strand, who influenced his approach to photography. Upon returning to France, Cartier-Bresson ventured into filmmaking, working with Jean Renoir on films like Partie de campagne and La Règle du jeu, and co-directing an anti-fascist film during the Spanish Civil War. His photojournalism career began in 1937 with coverage of King George VI and Queen Elizabeth’s coronation for Regards, capturing the enthusiastic crowds rather than the royals. Cartier-Bresson also worked for the French Communist paper Ce soir but remained unaffiliated with the French Communist party.
Henri Cartier-Bresson passed away on August 3, 2004, in Céreste, France, just shy of his 96th birthday, and was buried in Montjustin. His legacy encompasses over three decades of pivotal photojournalism, capturing historical events such as the Spanish Civil War, the liberation of Paris, and the fall of the Kuomintang in China, as well as iconic portraits of figures like Camus and Picasso. Known for his preference for privacy, Cartier-Bresson was rarely photographed himself and avoided the spotlight, even using a paper to obscure his face during an honorary degree ceremony at Oxford. He founded the Henri Cartier-Bresson Foundation in 2003 with his wife Martine Franck and daughter Mélanie to preserve his work, which was later relocated to Le Marais in 2018. His photograph "Behind the Gare Saint-Lazare" fetched a record $590,455 at Christie's in 2011, and his work significantly influenced the development of cinéma vérité, inspiring the National Film Board of Canada's Candid Eye series.
Selena Mattei
