Cartier-Bresson was one of the founding members of Magnum Photos in 1947.[4] In the 1970s, he largely[clarification needed] discontinued his photographic work, instead opting to paint.
Early life
Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France.[3] 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.[5][3]
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.[1]
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.[6] 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."[7]
Painting
He studied painting when he was just 5 years old, taking an apprenticeship in his uncle Louis' studio. After trying to learn music, Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter and winner of the Prix de Rome in 1910. But his painting lessons were cut short when uncle Louis was killed in World War I.[8]
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.
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.[9]
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.[10] In 1930, he was conscripted into the French Army and stationed at Le Bourget near Paris, a time about which he later remarked: "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."[7]
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.[11] 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.[12]: 163 [13] 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.[14]
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.[14] 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.[15]
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."[16]
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 1933, 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.[17]
United States exhibits
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
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 served as second assistant and played a butler. 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
Cartier-Bresson's first photojournalist photos to be published came in 1937 when he covered the coronation of King George VI and Queen Elizabeth,[18] 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.
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.
Marriage
In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini.[14] 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.
World War II service
When World War II broke out in September 1939, Cartier-Bresson joined the French Army as a Corporal in the film and photo unit of the French Third Army.[19] 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[citation needed]. He twice tried and failed to escape from the prison camp, and was punished by solitary confinement[citation needed]. His third escape was successful and he hid on a farm in Touraine before getting false papers that allowed him to travel in France[citation needed]. 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[citation needed]. In 1943, he dug up his beloved Leica camera, which he had buried in Vosges farmland [citation needed].
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[citation needed]. His film spurred a retrospective of his work at the Museum of Modern Art (MoMA) , that would later tour the country. The show debuted in 1947 accompanied by the publication of his first book, The Photographs of Henri Cartier-Bresson.Lincoln Kirstein and Beaumont Newhall wrote the book's texts.[20]
Magnum Photos
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 being liberated by the communists. In Shanghai, he often worked in the company of photojournalist Sam Tata, whom Cartier-Bresson had previously befriended in Bombay.[21] 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.[22] A few days later he also visited and photographed Sri Aurobindo, Mother and Sri Aurobindo Ashram, Pondicherry.[23]
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
1952 US edition of Cartier-Bresson's 1952 book The Decisive Moment (Images à la sauvette)
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",[24][25][26] 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 Volume 2 of the Memoirs of 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").[27] 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.").[28]
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."[29]
The photo Rue Mouffetard, Paris, taken in 1954, has since become a classic example of Cartier-Bresson's ability to capture a decisive moment. He held his first exhibition in France at the Pavillon de Marsan in 1955.
Later career
Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, Portugal and the Soviet Union. While traveling in China in 1958, Cartier-Bresson documented the construction of the Ming Tombs Reservoir.[30] 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.[31]
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 (known as "Elie"). In 1968, he began to turn away from photography and return to his passion for drawing and painting.[33] 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.[34] The couple had a daughter, Mélanie, in May 1972. 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)[35] on 3 August 2004, 19 days before his 96th birthday. No cause of death was announced. He was buried in the local cemetery nearby in Montjustin[36] and was survived by his wife, Martine Franck, and daughter, Mélanie.[37]
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 fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the May 1968 events in Paris, the Berlin Wall. 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 Saint-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.[7]
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.[38]
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.
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.[43]
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.[44] 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 formattwin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye."[45]
He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand."[44]
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.[7] 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 experiments in color. He disliked developing or making his own prints[7] and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing".[46] 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.
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.[47]
Cartier-Bresson is regarded as one of the art world's most unassuming personalities.[48] 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.
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. ISBN978-3869307886. Facsimile edition. First edition, 2014. Third edition, 2018. Includes booklet with an essay by Clément Chéroux, "A Bible for Photographers".
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.
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. ISBN978-0821207567
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.
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. ISBN978-0821220641
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.
Henri Cartier-Bresson: The Mind's Eye: Writings on Photography and Photographers, Aperture; 1st edition. ISBN978-0893818753
Henri Cartier-Bresson: Masters of Photography Series, Aperture; Third edition. ISBN978-0893817442
2006: An Inner SIlence: The portraits of Henri Cartier-Bresson, New York: Thames & Hudson. Texts by Agnès Sire and Jean-Luc Nancy.
2010: Henri Cartier-Bresson: The Modern Century, The Museum of Modern Art, New York; Reprint edition. ISBN978-0870707780
2015: Henri Cartier-Bresson: The Decisive Moment, Steidl; Pck Slp Ha edition. ISBN978-3869307886
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.
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.)
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[52]
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 Greenberg 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 [60]
1998–1999 Photographien und Zeichnungen – Baukunst Galerie, Cologne, Germany
2003–2005 Rétrospective, Bibliothèque nationale de France, Paris;[61] 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
2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook[89]
References
^ abEditors, Biography com. "Henri Cartier-Bresson". Biography. Archived from the original on 18 October 2022. Retrieved 18 October 2022. {{cite web}}: |last= has generic name (help)
^ abc"Henri Cartier-Bresson". International Center of Photography. 26 February 2022. Archived from the original on 18 October 2022. Retrieved 18 October 2022.
^"'The Photographs of Henri Cartier-Bresson". The Museum of Modern Art. 2017. Retrieved 17 March 2024. With installation views, digitized (PDF) press release, master checklist and exhibition catalogue.
^Dessureault, Pierre (1988). The Tata Era/L'Époque Tata. Ottawa: Canadian Museum of Contemporary Photography. pp. 22–24.
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