TRACES: Henri Cartier-Bresson
Today is the occasion to bear in mind the French photograper, Henri Cartier-Bresson (22/8/1908-3/8/2004). He is regarded as a pioneer of candid and street photography but he is also well-known for having produced some of the most compelling photographic portraits of notables ranging from Jean-Paul Sartre and Leonard Bernstein to Marilyn Monroe and Malcolm X. This column is a tribute to artists, living or dead, who have left their mark in Contemporary Art. Through documents or interviews, starting with: moments and memories, we reveal out from the past-unknown sides of big personalities, who left their indelible traces in time and history…
By Dimitris Lempesis
Henri Cartier-Bresson was born and attended school in a village not far from Paris. In 1927–28 he studied in Paris with André Lhote, an artist and critic associated with the Cubist movement. Lhote implanted in him a lifelong interest in painting, a crucial factor in the education of his vision. In 1929 Cartier-Bresson went to the University of Cambridge, where he studied literature and painting. As a boy, Cartier-Bresson had been initiated into the mysteries of the simple Brownie snapshot camera. But his first serious concern with the medium occurred about 1930, after seeing the work of two major 20tH Century photographers, Eugène Atget and Man Ray. Making use of a small allowance, he traveled in Africa in 1931, where he lived in the bush, recording his experiences with a miniature camera. There he contracted blackwater fever, necessitating his return to France. The portability of a small camera and the ease with which one could record instantaneous impressions must have struck a sympathetic chord, for in 1933 he purchased his first 35-mm Leica. The use of this type of camera was particularly relevant to Cartier-Bresson. It lent itself not only to spontaneity but to anonymity as well. So much did Cartier-Bresson wish to remain a silent, and even unseen, witness, that he covered the bright chromium parts of his camera with black tape to render it less visible, and he sometimes hid the camera under a handkerchief. In 1937 Cartier-Bresson produced a documentary film, his first, on medical aid in the Spanish Civil War. The date also marked his first reportage photographs made for newspapers and magazines. His enthusiasm for filmmaking was further gratified when, from 1936 to 1939, he worked as an assistant to the film director Jean Renoir in the production of “Une Partie de campagne“ and “La Règle du jeu”. As a photographer he felt indebted to the great films he saw as a youth. They taught him, he said, to choose precisely the expressive moment, the telling viewpoint. The importance he gave to sequential images in still photography may be attributed to his preoccupation with film. In 1940, during World War II, Cartier-Bresson was taken prisoner by the Germans. He escaped in 1943 and the following year participated in a French underground photographic unit assigned to record the German occupation and retreat. In 1945 he made a film for the U.S. Office of War Information, “Le Retour” which dealt with the return to France of released prisoners of war and deportees. Though Cartier-Bresson’s photographs had been exhibited in 1933 in the Julien Levy Gallery in New York City, a more important tribute was paid to him in 1947, when a one-man exhibition was held in MoMA. In that same year, Cartier-Bresson, in partnership with Robert Capa, David Seymour, William Vandivert and George Rodger, founded the cooperative photo agency known as Magnum Photos. The organization offered periodicals global coverage by some of the most talented photojournalists of the time. Under the aegis of Magnum, Cartier-Bresson concentrated more than ever on reportage photography. The following three years found him in India, China, Indonesia, and Egypt. This material and more, taken in the 1950s in Europe, formed the subjects of several books published between 1952 and 1956. Such publications helped considerably to establish Cartier-Bresson’s reputation as a master of his craft. One of them, and perhaps the best known, “Images à la sauvette”, contains what is probably Cartier-Bresson’s most comprehensive and important statement on the meaning, technique, and utility of photography. The title refers to a central idea in his work (the decisive moment) the elusive instant when, with brilliant clarity, the appearance of the subject reveals in its essence the significance of the event of which it is a part, the most telling organization of forms. Later books include “Cartier-Bresson’s France” (1971), “The Face of Asia” (1972), and “About Russia” (1974). He was singularly honoured by his own country in 1955, when a retrospective exhibition of 400 of his photographs was held at the Museum of Decorative Arts in Paris and was then displayed in Europe, the United States, and Japan before the photographs were finally deposited in the Bibliothèque Nationale de Paris. In 1963 he photographed in Cuba; in 1963–64, in Mexico; and in 1965, in India. The French filmmaker Louis Malle recalled that, during May 1968, Cartier-Bresson appeared with his 35-mm camera and, despite the explosive activities, took photographs at the rate of only about four per hour. In the late 1960s Cartier-Bresson began to concentrate on making motion pictures, including “Impressions of California” (1969) and “Southern Exposures” (1971). He believed that still photography and its use in pictorial magazines was, to a large extent, being superseded by television. On principle, he always avoided developing his own prints, convinced that the technical exigencies of photography were a harmful distraction. Similarly, he directed the shooting of films and did not wield the camera himself. With this medium, however, he was no longer able to work unobtrusively by himself. Cartier-Bresson devoted his later years to drawing.
