{"id":6465,"date":"2024-12-19T18:47:03","date_gmt":"2024-12-19T18:47:03","guid":{"rendered":"https:\/\/redondocristina.com\/?p=6465"},"modified":"2024-12-19T19:09:14","modified_gmt":"2024-12-19T19:09:14","slug":"henri-cartier-bresson","status":"publish","type":"post","link":"https:\/\/redondocristina.com\/en\/henri-cartier-bresson\/","title":{"rendered":"Henri Cartier-Bresson"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

\n

To take a photograph means to recognize, simultaneously and within a fraction of a second\u201a both the fact itself and the rigorous organization of visually perceived forms that give it meaning.
\nIt is putting one\u201a head, one\u201a eye, and one\u201a heart on the same axis.
\nHenri Cartier-Bresson<\/p>\n<\/blockquote>\n

I never thought I would enjoy sharing a coffee with Henri Cartier-Bresson, perhaps because until now I hadn\u2019t had the chance to closely examine some of his work. That was precisely the feeling I had after leaving the exhibition organised by the Mapfre Foundation in commemoration of the 20th anniversary of his death.
\nWe all know that Henri Cartier-Bresson was one of the most important photographers in the history of 20th-century photography, yes, but not just because he was one of the founders of the Magnum Agency (along with Robert Capa, David Seymour “Chim”, George Rodger, Bill Vandivert, Maria Eisner, and Rita Vandivert), but also because he was a very prolific photographer. His early photographs were influenced by surrealism, and he became one of the great photojournalists of his time. Later, in the final stage of his life, he also stood out for the intimate style of the portraits he took of many artists and writers he encountered.
\nI believe that in art, to achieve a very fine and delicate line, one must struggle a lot and learn to make mistakes frequently, in order to try various techniques before finding “that photograph” that makes a seasoned and demanding public fall in love with your art at first sight. When I look at Henri Cartier-Bresson’s photographs throughout his life, I realise that the photographs from his later years are perhaps the most accomplished, the deepest, and the ones that capture my attention, love, and admiration the most. Personally, I love his photography for its composition, but also for the realistic vision of photojournalism, the one that transports us to the most authentic immediacy of the moment.<\/p>\n

\"\"<\/a>
Arthur Miller, quartier de Roxbury, Boston, EEUU. 1962 October copy of the 1972’s decade . Copy taken of the photography by Henri Cartier-Bresson. Photo of the exhibition \u00abWatch Watch Watch\u00bb organized by KBR Mapfre Foundation \u2013 Barcelona Photo Center<\/figcaption><\/figure>\n

I am drawn to photographs such as the ones of Mexican prostitutes’ gazes through windows, the large crowd at Gandhi\u2019s funeral, or the children playing in the streets of Valencia; these are some of the images that caught my attention most in the exhibition showcasing his time as a photojournalist. But of all the photos I saw in this exhibition, perhaps the last room, dedicated to photographing his friends, impressed me the most. In this room, there are portraits of figures as revered as he was, as a photographer, and I am captivated by the photo of Arthur Miller, but I am also moved by the lively gaze of Simone de Beauvoir, the intellectual pose of Jean-Paul Sartre, and even the youthful Truman Capote. And then I think: what a pity I never had the chance to meet a photographer like him in person, how many authentic and moving stories he could have told me, and how we can now imagine them through his photographs.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

I never thought I would enjoy sharing a coffee with Henri Cartier-Bresson, perhaps because until now I hadn\u2019t had the opportunity to closely examine part of his work. That was precisely the feeling I had after leaving the exhibition organised by the Mapfre Foundation in commemoration of the 20th anniversary of his death. Henri Cartier-Bresson was one of the most important photographers of the 20th century, not only for being one of the founders of the Magnum Agency, but also for his prolific career. His early photographs were influenced by surrealism, and he became one of the greats of photojournalism. Later, his style shifted towards intimate portraits of artists and writers. Upon observing his work, I realise that his most accomplished and profound photographs come from his later years, especially those that capture authentic, emotion-filled moments.<\/p>\n","protected":false},"author":2,"featured_media":6443,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[67],"tags":[],"class_list":["post-6465","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editors-letter-en"],"yoast_head":"\nCristina Redondo Henri Cartier-Bresson<\/title>\n<meta name=\"description\" content=\"Discover the work of photographer Henri Cartier-Bresson in this reflection by writer Cristina Redondo on his photographic legacy, from photojournalism to intimate portraits that capture the authenticity and depth of the moment.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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