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ISBN: 9780500290521 0500290520 Year: 2012 Publisher: London Thames & Hudson
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"The 20th century was that of the image, and the legendary photographer Henri Cartier-Bresson, born in 1908, was the eye of the century. His life story and the interpretation of his work reveal first and foremost the history of a vision"--Jacket.
Photographers --- Cartier-Bresson, Henri, --- Cartier-Bresson, Henri
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ISBN: 9780500544303 0500544301 Year: 2014 Publisher: New York, N.Y. Thames & Hudson
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Henri Cartier-Bresson's work embraced art, politics, revolution, and war. But more powerful than any of these overarching themes was his evident concern for the human individual at every social level. This lavishly illustrated monograph - published to accompany France's first major retrospective since the photographer's death in 2004 - traces Cartier-Bresson's development as a photographer, activist, journalist, and artist. In addition to some of Cartier-Bresson's best-known photographs, included here are many seldom seen or unpublished images and some rarities in color as well as black-and-white. From his earliest photographs in Paris in the 1920s and Africa in the 1930s, Cartier-Bresson's capacity to conjure coherence and harmony out of a chaotic world appears effortless and innate - a deep-centered attitude rather than a merely learned technique. His observations of the effects of poverty and revolution around the world led directly to his pioneering photojournalism and to his co-founding of Magnum Photos. He became renowned for his penetrating portraits of the most prominent figures of his time, becoming, in the words of his biographer Pierre Assouline, 'the eye of the century." -- Publisher.
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Year: 1980 Publisher: Paris: Créatis,
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...Je continue à penser qu'en effet l'un des thèmes principaux de l'oeuvre de Cartier-Bresson (et que l'analyse des "erreurs" commises dans "Provisions le dimanche matin" permet de révéler) est la situation de conflit entre l'art et la réalité et, en conséquence, un certain septicisme, une méfiance du photographe face à la photographie... La certitude et le doute qu'on trouve dans Cartier-Bresson ne sont pas des traits propres à son caractère mais des composants (contradictoires et antagonistes) de toute activité artistique... De là surgissent les deux forces antagonistes qui organisent l'univers de tout artiste, et donc celui de Cartier-Bresson comme la station orbitale dont la trajectoire doit être soigneusement calculée pour l'empêcher aussi bien de se perdre dans l'espace que de venir s'écraser sur la surface du globe; l'oeuvre de Cartier-Bresson s'ordonne autour de ces deux sentiments: celui de l'inutilité absolue de son travail (ce qui l'amène à considérer avec méfiance ses instruments, et c'est pourquoi il coupe le pied de l'enfant dans "Provisions le dimanche matin") et d'autre part, la conviction que l'activité artistique, parmi toutes les possibilités, est la seule qui lui permet aujourd'hui encore de partager le destin des hommes...
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Year: 1992 Publisher: London : Thames and Hudson,
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Year: 1989 Publisher: Paris : Arthaud,
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