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Henri Cartier Bresson Biography |
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Childhood Henri Cartier-Bresson was born in Chanteloup-en-Brie, near Paris, France, the eldest of five children. His father was a wealthy textile manufacturer, who liked to sketch in his spare time. At one time, almost every French sewing kit was stocked with "Cartier-Bresson" thread. On his mother's side were cotton merchants and landowners from Normandy, where he spent part of his childhood. The Cartier-Bresson family lived in a grand bourgeois neighborhood of Paris, near the Europe Bridge. They provided him with the financial support to develop his interests in photography in a more independent manner than many of his contemporaries. As a young boy, he owned a Box Brownie, using it for taking holiday snapshots and later experimented with a 3 x 4 inch view camera. He was raised in a traditional French bourgeois fashion. He was required to address his parents as " vous", rather than the familiar " tu". His father assumed that Henri would take up the family business, but Henri was headstrong and was "strongly appalled" by the prospect. The early years Henri was educated in Paris. He attended the École Fénelon, a Catholic school. Henri was introduced to the feel of oil painting by his Uncle Louis, a gifted painter. "Painting has been my obsession from the time that my 'mythical father', my father's brother, led me into his studio during the Christmas holidays in 1913, when I was five years old. There I lived in the atmosphere of painting; I inhaled the canvases." Uncle Louis taught him painting for a short while before he was killed during World War I. In 1927, at the age of 19, he entered a private art school and the Paris studio of the Cubist and sculptor André Lhote, the Lhote Academy (in the Rue d'Odessa in the Montparnasse district). Lhote's ambition was to unify the Cubist's approach to reality with classical artistic forms. Lhote tried to link the French classical tradition of Poussin and David to Modernism. Henri also studied painting with society portraitist Jacques Emile Blanche. While painting, Cartier-Bresson read Fyodor Dostoevsky, Arthur Schopenhauer, Arthur Rimbaud, Friedrich Nietzsche, Stéphane Mallarmé, Sigmund Freud, Marcel Proust, James Joyce, Georg Wilhelm Friedrich Hegel, Friedrich Engels and Karl Marx. Lhote took his pupils to the Louvre Museum to study classical artists and to Parisian galleries to study contemporary art. Henri's interest in modern art was combined with an admiration for the works of the Renaissance—of masterpieces from Jan van Eyck, Paolo Uccello, Masaccio and Piero della Francesca. Henri often regarded Lhote as his teacher of photography without a camera. Gradually, Henri began to feel uncomfortable with Lhote's "rule-laden" approach to art. Henri's rigorous theoretical training would later help him to confront and resolve problems of artistic form and composition in photography. At the time, schools of photographic realism were founded throughout Europe. Each school had a differing concept on how photography should develop. The photography revolution had begun, "Crush tradition! Photograph things as they are!" The Surrealist movement founded in 1924 was a big driver of this change in approach. While still studying at Lhote's studio, Henri began socializing with the Surrealists at the Café Cyrano, in the Place Blanche. He met a number of the movement's leading protagonists. Henri was particularly drawn to the Surrealist movement of linking the subconscious and the immediate to their work. Peter Galassi, in his book, Henri Cartier-Bresson, The Early Work, 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." Henri matured artistically in this stormy cultural and political environment. He was aware of the concepts and theories mentioned but could not find an outlet of expressing this imaginatively in his paintings. He was very frustrated with his experiments and subsequently destroyed the majority of his early works. From 1928 to 1929, Cartier-Bresson attended University of Cambridge studying English art and literature and became bilingual. In 1930, he was served his mandatory service in the French Army. He was stationed at Le Bourget, near Paris. He remembered, "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." In 1931, once out of the Army and after having read Joseph Conrad's Heart of Darkness, he sought adventure on the Ivory Coast (Côte d'Ivoire), which was French colonial Africa. Henri wrote, "I left Lhote's studio because I did not want to enter into that systematic spirit. I wanted to be myself. To paint and to change the world counted for more than everything in my life." He survived on the Ivory Coast (Côte d'Ivoire) by shooting game and selling it to local villagers. From hunting, he learned methods that he would later use in his photography techniques. It was there on the Ivory Coast (Côte d'Ivoire) that he contracted blackwater fever, which nearly killed him. He was so ill that he sent instructions for his own funeral. While still feverish, he wrote a postcard to his grandfather, asking that he be buried in Normandy, at the edge of the Eawy forest, with Debussy's String Quartet to be played at the funeral. An uncle wrote back, "Your grandfather finds all that too expensive. It would be preferable that you return first." Henri brought along a portable camera (smaller than a Brownie Box) to Ivory Coast (Côte d'Ivoire), but most of his film did not survive the tropics (Montier, 1996, p. 12). Only seven photographs survived. When Henri returned to France, he deepened his relationship with the Surrealists. Henri was recuperating in Marseilles in 1931. He became inspired by a photograph shot in 1931 by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Munkacsi's photograph, titled, Three Boys at Lake Tanganyika, captured the freedom, grace and spontaneity of their movement and their joy at being alive. Henri said, "The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave I couldn't believe such a thing could be caught with the camera. I said damn it, I took my camera and went out into the street." The photograph inspired him to put down his paint-brush and to take up photography seriously. He explained, "I suddenly understood that a photograph could fix eternity in an instant." Henri acquired a Leica camera with a 50mm lens in Marseilles. This camera would accompany him for many years. He described the Leica as an extension of his eye. The anonymity it 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. The Leica opened up new possibilities in photography — the ability to capture the world in its actual state of movement and transformation. He said, "I prowled the streets all day, feeling very strung-up and ready to pounce, ready to 'trap' life." 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 1932, and subsequently at the Ateneo Club in Madrid. He spent 1934 in Mexico, where he shared an exhibition with Manuel Alvarez Bravo. At the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively. In 1934 Henri met a young Polish intellectual, photographer named David Szymin. Szymin was called "Chim" because his name was difficult to pronounce. Later Szymin changed his name to David Seymour (1911–1956). Henri and Chim had much in common culturally. Before long, Chim introduced Henri to a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa (1913–1954). Henri shared a studio in the early 1930s with Chim and Capa. Capa mentored and advised Henri, "Don't keep the label of a surrealist photographer. Be a photojournalist. If not you will fall into mannerism. Keep surrealism in your little heart, my dear. Don't fidget. Get moving!" The middle years Henri went to America for the first time in 1935. He was again invited to exhibit his work at New York's Julien Levy Gallery (where he shared display space with fellow photographers Walker Evans and Alvarez Bravo). He was approached by Carmel Snow of Harper's Bazaar, who gave him an assignment to do fashion photography. He fared poorly at this assignment since he had no idea how to interact with, and direct the models. Nevertheless, Snow was the first American editor to publish his photographs in a magazine. While in New York, he met photographer Paul Strand, who did cinematographic work on the Depression-era documentary, The Plow That Broke the Plains. When he returned to France, Henri applied for a job with renowned French film director Jean Renoir. He worked as an actor in Renoir's 1936 film Une Partie de Campagne (A Day in the Country), also in the 1939 La Règle du Jeu (The Rules of the Game, Henri plays a butler.). He was second assistant in La Règle du Jeu. Renoir made him act, so he could understand what it felt like on the other side of the camera. Henri also helped Renoir do a film for the Communist party on the 200 families who ran France including his own! During the Spanish civil war, he co-directed an anti-fascist film with Herbert Kline. This film promoted the Republican medical services. Henri was first published as a photojournalist in 1937 when he was assigned to cover the coronation of George VI of the United Kingdom, 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. The accompanying credit for his photographs published in Regards, read "Cartier". He was hesitant about using his full family name. In 1937, Henri married Javanese dancer, Ratna "Elie" Mohini. They had set up their home in a fourth-floor servants' flat at 19, Rue Danielle Casanova. It was a large studio with a small bedroom and kitchen and a bathroom where Henri once developed his films. Between 1937 and 1939 Henri was the photographer for the French Communist's evening paper, Ce Soir. Henri (along with Chim and Capa) was a leftist, but he did not join the French Communist party. Henri joined the French Army as a Corporal in the Film and Photo unit when World War II broke out in September 1939. 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, working as a forced laborer under the Nazis. According to Henri, he was forced to perform "thirty-two different kinds of hard manual labor." He worked "as slowly and as poorly as possible." He tried to escape twice from the prison camp and failed both times. He was punished by solitary confinement. His third escape was successful. He hid on a farm in Touraine before getting false papers that allowed him to travel 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 in 1940. He continued photographing throughout World War II, working with the underground photographic unit recording the Nazi occupation and the liberation. In 1944-45 (by the time of the armistice), 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. Towards the end of the War, rumors had reached America that Henri had been killed. Henri's 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). The MoMA had begun to prepare a "posthumous" show for him. In 1946, when they learned that Henri was still alive, he volunteered to go to New York to help with the preparation of this exhibition. The show made its debut in 1947. Together with this show, the MoMA also published the first book of his work, The Photographs of Henri Cartier-Bresson, with texts by Lincoln Kirstein and Beaumont Newhall. The formation of Magnum In the spring of 1947, Henri, along with Robert Capa, David Seymour, William "Bill" Vandivert, George Rodger founded Magnum Photos. Magnum was the brainchild of Robert Capa. Magnum Photo was to be a cooperative picture agency. The team had decided to split up photo assignments among the members. Rodger, who had quit Life Magazine in London after covering the World War II, would cover Africa and the Middle East. Chim, who spoke most European languages, would work in Europe. Henri would be assigned to India and China. Vandivert, who had also left Life Magazine, would work in America, and Capa would work anywhere that had an assignment. The Paris office was managed by Maria Eisner (Maria Eisner Lehfeldt, 19??-1991), formally of Alliance Photo. The New York office was managed by Vandivert's wife, Rita Vandivert. Rita became Magnum's first president. Magnum's mission was to "feel the pulse" of the times. Some of Magnum's 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, giving birth to that conception. Magnum provided some of the most arresting, widely viewed and popular images of this period. The Decisive Moment , where he documented the independency of the country from the Dutch. In 1952, he published his book The Decisive Moment. It featured a portfolio of 126 of his photos from the East and the West. The book's cover drawn by Henri Matisse. Henri's 4,500-word philosophical preface was where the term Decisive Moment was born. He wrote in French, taking his keynote text from the 17th-century Cardinal de Retz: "Il n'y a rien dans ce monde qui n'ait un moment decisif." This translates as: "There is nothing in this world that does not have a decisive moment." Henri applied this to his photographic style. Henri said: "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 that give that event its proper expression." Tériade, the Greek-born French publisher whom Henri idolized, gave the book its French title, Images à la Sauvette, which can loosely be translated as "Shooting or images on the run," or "stolen images." American publisher, Dick Simon of Simon & Schuster, came up with the English title, The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, did the English translation of Henri's French preface. "Photography is not like painting," he 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." Henri held his first exhibition in France at the Pavillon de Marsan in the Louvre Museum in 1955. The later years Henri's photography had taken him to many places on the globe – China, Mexico, Canada, the United States, India, Japan, the former Soviet Union and many other countries. Cartier-Bresson became the first Western photographer to photograph "freely" in the post-war Soviet Union. In 1968, he began to turn away from photography and returned to his passion for drawing and painting. Cartier-Bresson withdrew as a principal of Magnum (which still continued to distribute his photographs) in 1966 to concentrate on doing portraiture and landscapes. In 1967, Henri and his first wife, Ratna "Elie," were divorced. Henri married photographer Martine Franck, thirty years younger than he, in 1970. The couple had a daughter in May 1972, named Mélanie. Cartier-Bresson retired from photography in the early 1970s and by 1975, no longer took pictures, other than an occasional private portrait. In fact, he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing and painting. After a lifetime of developing his artistic vision through photography, he said, "All I care about these days is painting-—photography has never been more than a way into painting, a sort of instant drawing." He held his first exhibition of drawings at the Carlton Gallery in New York in 1975. The Henri Cartier-Bresson Foundation was created by Cartier-Bresson, his wife and daughter in 2002, to preserve and share his legacy. Death and legacy Cartier-Bresson died in Céreste (Alpes-de-Haute-Provence, France) in 2004, at the age of 95. No cause of death was provided. He was buried in the Cimetière de Montjustin, Alpes de Haute Provence, France. He is survived by his wife and fellow photographer Martine Franck, and his daughter Mélanie. Cartier-Bresson spent over three decades, on assignment for Life Magazine and many other prominent journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish civil war, the liberation of Paris in 1945, the 1968 student rebellion in Paris, the fall of the Kuomintang in China to the communists and the assassination of Mahatma Gandhi, the Berlin Wall, the deserts of Egypt. And along the way he paused to document portraits of Jean-Paul Sartre, Picasso, Colette, Matisse, Ezra Pound and Alberto Giacometti. Henri was a photographer who hated to be photographed and treasured his privacy above all. Photographs of Cartier-Bresson do exist, but they 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. 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. Technique Cartier-Bresson exclusively used Leica 35 mm rangefinder cameras equipped with normal 50mm lenses or occasionally a telephoto for landscapes. Relatively fast black and white films, Kodak Plus-X and Tri-X, and the sharpness of Leica lenses allowed documentary photographers to work almost by stealth to capture the events that surrounded them. Photographers were no longer bound by a huge 4x5 press camera or an awkward two and a quarter inch twin-lens reflex camera format that required them to bend their heads downward to shoot a photograph, nor by intrusive flash guns and bulbs. These miniature format photographers operated with what Henri called "the velvet hand and the hawk's eye." Cartier-Bresson never photographed with a flash bulb. He saw it as "impolite...like coming to a concert with a pistol in your hand." He believed in composing his photographs in his camera and 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 -- indeed, he emphasized the fact that the entire negative had been used by extending the print to include a thick black border around the picture. Cartier-Bresson worked exclusively in black and white film, other than a few unsuccessful attempts in color. He never developed or made his own prints. He said: "I've never been interested in the process of photography, never, never. Right from the beginning. For me, photography with a small camera like the Leica is an instant drawing." Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days in hiding from the Nazis during World War II. Although he clicked many iconic portraits, his own face was virtually unknown to the world at large (this presumably had the professional advantage of allowing him to work on the street in peace). He dismissed those applying the term "art" to his pictures. He felt that his photographic work was merely his gut reactions to moments in time that he had happened upon. He often wrapped black tape around the camera's chrome body to make it less conspicuous to his subjects. Quotations "The simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression... . In photography, the smallest thing can be a great subject. The little human detail can become a leitmotif." — Henri Cartier-Bresson Works Bibliography Filmography Films directed by Henri Cartier-Bresson Henri 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. Films compiled from photographs by Henri Cartier-Bresson Films about Cartier-Bresson Exhibitions Public collections of Henri Cartier-Bresson's works Exhibitions of Henri Cartier-Bresson's works Notable subjects Awards Cartier-Bresson is the recipient of many of prizes, awards and honorary doctorates. A partial listing of his awards: See also On Wikipedia 
Courtesy of: http://www.wikipedia.org/ |
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