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Titre : Henri Cartier-Bresson: The Man, The Image & ...
Éditeur : Thames & Hudson, U.S.A.
Date d'édition : 2006
Reliure : Trade Paperback
Etat du livre : Near Fine
Etat de la jaquette : wraps
Edition : First Paperback Edition.
With a small remainder mark on the bottom edge, otherwise a fine first paperback copy, maroon pictoral wraps, French fold flaps. MEDIA SHIPPING ONLY, extra for airmail or international shipping. Size: 4to - over 9¾" - 12" tall. N° de réf. du libraire 072643
"A definitive catalogue. Once Cartier-Bresson photographed something or someone, you might as well have retired them as subjects."?NewsweekHenri Cartier-Bresson was one of the finest image makers of our time. His extraordinary photographs were shaped by an eye and a mind legendary for their intelligent empathy and for their unerring ability to get to the heart of the matter.
Critique: Henri Cartier-Bresson spent four decades traveling the world as a photojournalist in search of what he called "the decisive moment"--the instant when visual harmony and human significance coalesce. Published in honor of his 95th birthday, Henri Cartier-Bresson: The Man, The Image & The World is a handsome volume that reproduces more than 600 photographs, film stills, and drawings and includes essays by art, photography, and film experts. Trained as a painter in his native France, Cartier-Bresson began his photography career during a trip to the Ivory Coast in 1931. After shooting his way through Europe, Mexico and the U.S., he became an assistant to filmmaker Jean Renoir and directed documentaries in support of the Spanish Civil War. Imprisoned by the Germans during World War II, he escaped to document the liberation of Paris. More than a quarter-century of magazine photography followed—-including vivid glimpses of modern life in India, China and the Soviet Union—-before he put aside his camera in favor of his sketchbook. Cartier-Bresson's ability to capture peak moments resulted in unforgettable single photographs, like that of a woman in a group of former concentration camp prisoners who suddenly recognizes her Gestapo informer and reaches out to hit her. His constant watchfulness led to images that capture fleeting emotion—-lust, pride, despair, expectation, glee—-on the faces of people going about their daily lives in grim cities, sleepy villages, and vast landscapes. Shaped by compassion and a self-effacing absence of personal judgment, these photographs reflect a worldview no longer fashionable but forever relevant to human understanding. —Cathy Curtis
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