Henri Cartier-Bresson (France, b. 1908-2004). 'Natchez, Mississippi, U.S.A.,' 1947. Gelatin silver ... [+]
He shot pictures at the coronation of King George VI and Queen Elizabeth. He spent nearly three years in a Nazi prisoner of war camp, finally escaping on his third try. He was on hand for civil wars in Spain and China. His photos of Gandhi’s funeral made him a star.
He was the first Western photographer given wide access to the U.S.S.R. following the start of the Cold War.
He was one of the first photographers to have a retrospective of his work at both The Museum of Modern Art in New York (1947) and the Louvre in Paris (1954).
Henri Cartier-Bresson’s (1908-2004) photography told the story of the 20th century, a story being shared through September 5 at Leica Gallery Los Angeles where, in special collaboration with the Peter Fetterman Gallery, The Eye of the Century showcases 87 photographs taken by the legendary artist spanning his career.
“Henri Cartier-Bresson was the ‘Eye of The Century’ because he was truly the first global photographer," Peter Fetterman, owner Peter Fetterman Gallery in Santa Monica, California, said. “When you look at the body of work and all the places and people he photographed there is hardly a country or continent he did not closely observe.”
That close observation provided for images with a deep sensitivity, insight and intimacy. Whether in China, India, Moscow, Warsaw, across Africa, Cuba, Mexico or any of the dozens of countries he visited, he was achieving more than simply recording history.
“He would have never used the word ‘artist’ to describe himself, he humbly thought of himself rather as a ‘storyteller,’” Fetterman said. “He stayed in these locations for long periods of time so he truly got to understand the culture he was shooting. Many contemporary photographers are simply in and out of a location and often miss the essence of the story.”
Henri Cartier-Bresson (France, b. 1908-2004), 'Srinagar, Kashmir,' 1948. Gelatin silver print image ... [+]
Fetterman knew Cartier-Bresson as few did.
In addition to representing his work professionally, Fetterman knew the photographer personally, cherishing their decades long relationship. Fetterman, in fact, credits Cartier-Bresson–whose singular artistic genius he has compared to John Lennon and David Bowie–for inspiring him into collecting photographs and entering the gallery business.
“It was an honor and privilege to have worked with him,” Fetterman said. “Not a day goes by in my life when I am not thinking about his images.”
What makes those images that powerful?
“He was a master of the ‘essence’ of an image through his sixth sense of composition and timing,” Fetterman said. “He captured moments of insight and deep feeling before mere mortal photographers would realize that it was presented before them.”
The “decisive moment.”
Cartier-Bresson had a knack for capturing it.
Photography is not like painting. 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. Oop! The Moment! Once you miss it, it is gone forever."
“The Decisive Moment” would also be used for the English language translation title of his 1952 book, a landmark monograph laying out his philosophy of photography as “the artless art.” The book’s cover image was drawn by Henri Matisse–by the way–one of the many cultural giants of the 20th century he knew personally.
Henri Cartier-Bresson (France, b. 1908-2004). 'Siphnos, Greece,' 1961 Gelatin silver print 16 x 20 ... [+]
Cartier-Bresson’s artistic career followed an unusual arch.
His training began in drawing and painting as a teen. He bought his first Leica camera in 1932. A 35mm Leica would become a constant companion.
He worked on films in the 1930s, including assisting director Jean Renior, Pierre-Auguste Renoir’s son.
He retired from painting in the 1970s, returning to drawing and painting.
“It is like an athlete,” Fetterman said of Cartier-Bresson putting down his camera. “You have only a finite time that you have available to you at the peak of your performance strength, both mental and physical.”
Following his retirement, Washington Post art critic Paul Richard wrote that, “no photographer alive has a more secure position in the history of art.”
Fetterman’s praise goes even further.
“I think it is quite fair to say that every talented photographer has been consciously or unconsciously influenced by his work in the same way as every talented composer has been influenced by Bach, Mozart and Beethoven. It is impossible to escape his influence and that is the great gift he has given to those of us in love with the power and beauty of photography.
From the West Coast and an iconic photographer who painted, to the East Coast and an iconic painter who photographed. The Tampa Museum of Art presents Robert Rauschenberg: America Mix-16, August 9 through January 5, 2020.
Rauschenberg (1925-2008) was one of the last century’s most influential artists using ordinary and non-traditional materials to create his groundbreaking painting-meets-sculpture “combines.”
Rauschenberg often used photographs in his combines and created his own photography series, America Mix-16, in 1983. This portfolio of 16 photogravures features pictures of found vignettes or objects the artist encountered during his travels around the US.
The entirety of the portfolio will be on view from the museum’s collection–a rare occurrence.
