Henri Cartier-Bresson

Henri Cartier-Bresson (French: [kaʁtje bʁɛsɔ̃ ]; 22 August

1908 – 3 August 2004) was a French humanist photographer
Henri Cartier-Bresson
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.[1]

Cartier-Bresson was one of the founding members of Magnum

Photos in 1947.[2] In the 1970s he took up drawing—he had
studied painting in the 1920s.

Contents
Early life
Painting
Surrealists photography influence
Cambridge and army
Receives first camera Born 22 August 1908
Escape to Africa Chanteloup-en-Brie,
Photography France
United States exhibits Died 3 August 2004 (aged 95)
Filmmaking Céreste, France
Photojournalism start Burial Montjustin, France
Marriage place
World War II service Alma mater Lycée Condorcet, Paris
Magnum Photos Occupation Photographer and
The Decisive Moment painter
Later career Spouse(s) Ratna Mohini
(m. 1937; div. 1967)
Death and legacy
Cinéma vérité Martine Franck (m. 1970)
Children 1
Technique
Awards Grand Prix National de la
Publications
Photographie in 1981
Filmography
Hasselblad Award in
Films directed by Cartier-Bresson
1982
Films compiled from photographs by Cartier-Bresson
Films about Cartier-Bresson
Exhibitions
Collections
Awards
References
Sources
External links

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. His mother was descended from Charlotte Corday.[3] 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.[4] 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."[5]

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. 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.[6]

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.[7] 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."[5]

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.[8] 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.[9]:163[10] 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.[11]

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.[11] 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.[12]

Photography

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."[13]

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
Cartier-Bresson's first Leica
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.[14]

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
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

Cartier-Bresson's first photojournalist photos to be published came in 1937 when he covered the coronation of
King George VI and Queen Elizabeth,[15] 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
In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini.[11] 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. In 1967, he was divorced from
Ratna "Elie".

In 1970 Cartier-Bresson married Magnum photographer Martine Franck [25] and in May 1972, the couple had
a daughter, Mélanie.

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. 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
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.[16]
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.[17] A few days later he also visited and photographed Sri Aurobindo, Mother
and Sri Aurobindo Ashram, Pondicherry.[18]

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",[19][20][21] 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,
1952 US edition of Cartier-
photography is the simultaneous recognition, in a fraction of a second, of the
Bresson's 1952 book The
significance of an event as well as of a precise organization of forms which
Decisive Moment (Images à
give that event its proper expression.").[22] la sauvette).

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."[23]

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
Photograph of Alberto
his first exhibition in France at the Pavillon de Marsan in the Louvre Museum
Giacometti by Cartier-
in 1955.
Bresson

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. 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.[24]

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. 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.[25] 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, mainly using pencil, pen and ink,[26] and to 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)[27] on August 3, 2004, aged 95. No cause
of death was announced. He was buried in the local cemetery nearby in Montjustin[28]and was survived by his
wife, Martine Franck, and daughter, Mélanie.[29]

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.[5] 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.[30]

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 in Paris with his wife, the Belgian photographer
Martine Franck and his daughter to preserve and share his legacy.[31] In 2018, the foundation relocated[32]
from the Montparnasse district to Le Marais.[33]

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.[34]

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.[35] 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."[36]

He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in
your hand."[35]

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.[5] 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. He
disliked developing or making his own prints[5] and showed a considerable lack of interest in the process of
photography in general, likening photography with the small camera to an "instant drawing".[37] 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[22]

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.[38]

Cartier-Bresson is regarded as one of the art world's most unassuming personalities.[39] 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[22]

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.
ISBN 978-0670786640
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. ISBN 978-0821207567
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.
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. ISBN 978-0870702624
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. ISBN 978-0821220641
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.
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.
2005:
Henri Cartier-Bresson: The Mind's Eye: Writings on Photography and Photographers,
Aperture; 1st edition. ISBN 978-0893818753
Henri Cartier-Bresson: Masters of Photography Series, Aperture; Third edition. ISBN 978-
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. ISBN 978-0870707780
2015: Henri Cartier-Bresson: The Decisive Moment, Steidl; Pck Slp Ha edition. ISBN 978-
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.
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
1933 Cercle Ateneo, Madrid[40]
1933 Julien Levy Gallery, New York[41]
1934 Palacio de Bellas Artes, Mexico City (with Manuel Alvarez Bravo)[42]
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[43]
1952 Institute of Contemporary Arts, London
1955 Retrospektive – Musée des Arts décoratifs, Paris[44]
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.[45]
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[46]
1974–1997 Galerie Claude Bernard, Paris
1975 Carlton Gallery, New York[47]
1975 Galerie Bischofberger, Zurich, Switzerland
1980 Brooklyn Museum, New York [48]
1980 Photographs, Art Institute of Chicago [49]
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 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 [50]
1998–1999 Photographien und Zeichnungen – Baukunst Galerie, Cologne, Germany
2003–2005 Rétrospective, Bibliothèque nationale de France, Paris;[51] 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 [52]
2010 The Art Institute of Chicago, Chicago
2011 Museum of Design Zürich[53]
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.[54]
2015 Palacio de Bellas Artes, Mexico City[55]
2015 Ateneum, Helsinki
2017 Leica Gallery, San Francisco.[56]
 2017 Museo Botero/Banco de la Republica, Bogota Colombia
2018 International Center of Photography, New York [57]

Collections
Cartier-Bresson's work is held in the following public collections:

Bibliothèque Nationale de France, Paris, France

De Menil Collection, Houston, Texas, US[58]
Foundation Henri Cartier-Bresson, Paris, France
University of Fine Arts, Osaka, Japan[59]
Victoria and Albert Museum, London, United Kingdom[60]
Maison Européenne de la Photographie, Paris, France[61]
Musée Carnavalet, Paris, France[62]
Museum of Modern Art, New York City[63]
The Art Institute of Chicago, Illinois, US[64]
Jeu de Paume, Paris, France[64]
J. Paul Getty Museum, Los Angeles[65]
Institute for Contemporary Photography, New York City
The Philadelphia Art Institute, Philadelphia, Pennsylvania, US[66]
The Museum of Fine Arts, Houston, US[67]
Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan
Museum of Modern Art, Tel Aviv, Israel[64]
Moderna Museet, Stockholm, Sweden[64]
International Photography Hall of Fame, St.Louis, Missouri[68]

Awards
1948: Overseas Press Club of America Award[69]
1953: The A.S.M.P. Award[70]
1954: Overseas Press Club of America Award[71]
1959: The Prix de la Société française de photographie[72]
1960: Overseas Press Club of America Award
1964: Honorary Fellowship of the Royal Photographic Society[73]
1964: Overseas Press Club of America Award
1967: The Cultural Award from the German Society for Photography (DGPh), with Edwin H.
Land[74]
1981: Grand Prix National de la Photographie
1982: Hasselblad Award[75]
2003: Lifetime Achievement Award from the Lucie Awards[76]
2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook[77]

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Awards. Retrieved 1 April 2019.
77. "Henri Cartier-Bresson Scrapbook, 2006 Nadar Award" (http://www.virusphoto.com/951-scrapb
ook-dhenri-cartier-bresson-prix-nadar-2006-a.html). Virus Photo. Retrieved 1 April 2019.

Sources
Assouline, P. (2005). Henri Cartier-Bresson: A Biography. London: Thames & Hudson.
Galassi, Peter (2010). Henri Cartier-Bresson: the Modern Century. London: Thames & Hudson.
 Montier, J. (1996). Portrait: First Sketch. Henri Cartier-Bresson and the Artless Art (p. 12). New
York: Bulfinch Press.
Warren, J (2005), Encyclopedia of Twentieth-Century Photography. Routledge

External links
Fondation Henri Cartier-Bresson (http://www.henricartierbresson.org/)
Cartier-Bresson's portfolio (http://www.magnumphotos.com/henricartierbresson) at Magnum
Photos
Magnum Photos (http://www.magnumphotos.com)
Special Report: Henri Cartier-Bresson (1908–2004) (https://www.theguardian.com/artanddesig
n/2004/aug/05/photography.henricartierbresson) – by Eamonn McCabe in The Guardian
Henri Cartier-Bresson (https://www.findagrave.com/memorial/9268330) at Find a Grave
Tête à Tête: Portraits by Henri Cartier-Bresson at the National Portrait Gallery, Washington DC
(https://web.archive.org/web/20051204090738/http://www.npg.si.edu/exh/cb/)
Henri Cartier-Bresson at the Metropolitan Museum of Art, NY (https://www.metmuseum.org/toa
h/hd/cabr/hd_cabr.htm)
Henri Cartier-Bresson (1908 – 2004): When photography becomes art (http://www.lecouperet.n
et/hcb/en/)
"John Berger pays tribute to his good friend (http://arts.guardian.co.uk/cartierbresson/story/0,14
921,1278477,00.html)", in The Observer.
Henri Cartier-Bresson's Cats (http://www.thegreatcat.org/the-cat-in-art-and-photos-2/cats-in-art-
20th-century/henri-cartier-bresson-1908-2004-french/)

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