![]() ![]() He stayed a year and traveled throughout Ivory Coast, Cameroon, Togo, and along the Niger River toward the colonized territory then called “French Sudan” (today Mali). In 1930, he took his first significant trip to Africa. During this time, he also made several series of nude women, some of which might be read today as objectifying but he developed a more respectful approach towards his female subjects in later years. Eugéne Atget and André Breton inspired him to reconsider how he looked at the familiar, and his work from the early thirties shows their influence: dummies and mannequins in shop windows, reflections in vitrines, and expressions of absurdity, irony, and humor. Though he was considered a shy person, it seems that he knew everyone, which enabled him to catch intimate frames of many great people of his time: there’s the photograph from 1961 of Alberto Giaccometti crossing the road in Rue d’Alésia, Paris, while lifting his coat over his head to keep dry from the pouring rain, or the mysterious frame of Jean-Paul Sartre standing with Jean Pouillon on the Pont des Arts on a very foggy day in 1946.Ĭhéroux’s presentation reveals how he first learned to see the world through the eyes and the philosophy of the Surrealists, whom he encountered in the mid-twenties in Paris. ![]() He was never just passing by-in fact, he tended to linger as long as he could. But when looking into Cartier-Bresson’s biography, one can see that he was never a one-night stand photographer. The long-standing focus on his extraordinary ability to capture these moments has implied that it was mainly the fraction of a second that matters. The exhibition makes clear it was not a coincidence that he was always in what, in retrospect, seemed as to be the right place in the right time. While Cartier-Bresson’s most noted and loved photographs are on view, they are accompanied by lesser-known images for instance, those related to his experiences in filmmaking, first as Jean Renoir’s assistant and second director, and later as a documentary-film director during and after WW2.įirst paid holidays, Ile-de-France, 1936 © Henri Cartier-Bresson/Magnum Photos Most of the prints are small and black-and-white, some vintage, and invite the viewer to step in closely to consider the process involved in the making of each photograph the effect is to dissuade hurried consideration. and the third period begins with the foundation of Magnum Photos, in 1947, and ends in the early 1970s, when he retired from photography and re-embraced drawing. The first, 1926–35, is mostly marked by early, Surrealist photographs made during his travels the second, from 1936 to 1946, is distinguished by his return from the U.S. Three main time periods frame these sections. The exhibition consists of seven thematic, chronologically arranged sections that each reveals a different character: Cartier-Bresson as a potential draughtsman, as a Surrealist, as a communist in his worldview, as an activist, and even as a Zen Buddhist. Livorno, Tuscany, Italy, 1933 © Henri Cartier-Bresson/Magnum Photos ![]()
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