Book Description
"No one in the twentieth century created more instantly recognizable images than Cartier-Bresson."—Denver Post
Henri Cartier-Bresson (1908-2004) was perhaps the finest and most influential image maker of the twentieth century, and his portraits are among his best-known work. Over a fifty year period, he photographed some of the most eminent personalities of the era, as well as ordinary people, chosen as subjects because of their striking and unusual features.
In 2003, the Fondation Henri Cartier-Bresson, which was created to provide a permanent home for his collected works, opened in Paris. This book is published to coincide with the first exhibition at the Fondation that is drawn entirely from those archives, and it features both well-known images and previously unpublished portraits.
Each portrait has been chosen because it perfectly embodies Cartier-Bresson's description of what he was attempting to communicate in his photographs: "I'm seeking above all an inner silence. I am trying to translate the personality and not an expression." The portraits reproduced here—discreet, without artifice, their subjects frozen in time—confirm once more the singular gift of Cartier-Bresson who instinctively knew in which revealing fraction of a second to click the shutter. 100 illustrations.
Customer Reviews:
"One More Tribute".......2007-07-31
Published to coincide with the opening in 2003 of the Foundation Henri Cartier-Bresson, which was created to house permanently the artist's collected works, AN INNER SILENCE is a joy to behold. There are 95 photographs reproduced here along with a self-portrait sketch of Cartier-Bresson and a quotation by him. Both curator Agnes Sire and philosopher Jean-Luc Nancy have written insightful, informative essays to accompany the photographs. Sire reminds us that the artist disliked being photographed-- ("Perhaps he felt the falseness of the situation")-- and tht he liked to work quickly, in the photographer's own words, to "'bite like a mosquito,'" in order to capture the inner silence of the subject.
But now to the photographs. There are shots here seen around the world of famous people: Marilyn Monroe, Martin Luther King, Jean Genet, Christian Dior (one of my favorites), Francis Bacon, Roland Barthes (fantastic photograph), a very young and pensive Carson McCullers. William Faulkner (another favorite), Henri Matisse, a very youthful and handsome John Huston, Truman Capote, Albert Camus et al.
What is so amazing, however, about these photographs is that the shots of strangers are just as intriguing and engage the viewer as much as the images of the rich and/or famous or both. For example, "Mexico" (p. 49), "Jewish ghetto, Warsaw" (p. 47), "Egypt" (p. 39), "Paris" (p. 81), "Zurich" (p. 105), and "Los Angeles" (p. 107). I for one would like to know more about this young couple.
These photographs, like all great art, invite us to view them again and again. Shot in gorgeous available natural light, they remind us of just how harsh and often pedestrian flash photography can be.
Sire closes her essay by saying that "an exhibition of these encounters would not only be one more tribute to his talent [Cartier-Bresson], as a photographer, but more importantly, would allow many aspects of his being to shine, like so many firefires in a field, because the gaze of these portraits is his gaze, linked by the thread of the other." Beautifully spoken.
An eye that truly saw the inner silence . . ........2007-01-16
As you browse the millions of photos available on Flickr and other web photo sharing sites, it is apparent that most people wielding a camera do not - cannot - aspire to the special talent of Henri Cartier-Bresson.
Renowned for capturing the "decisive moment," Cartier-Bresson was also a highly skilled portraitist. Ninety-seven of his portraints appear here accompanied by one mercifully short essay by Agnes Sire and a pretentious attempt at intepretating HCB by Jean-Luc Nancy. ("What HCB gave his subjects was an air, an aura, an allure; these portraits convery a manner, a disposition, a habitus, an ethos, a mood, a grace and a favour, a gaze and a gift; the gift he has given to them.")
Surprisingly, many of the portraits are formulaic, though this does not detract from their striking nature. A 1966 picture, titled simply "Zurich" embodies Cartier-Bresson's skills as a portraitist and the capturer of the "decisive moment". A wizened, old man in a three-piece suit carrying a briefcase is captured in mid-step . . . the gnome of Zurich. A portrait of Joan Miro captures, if not parodies, the stylized eye motif of his famous paintings. His portrait of Marilyn Monroe, on the other hand, simply captures a beautful woman but with none of the sensuality that Bert Stern and so many others caught. Perhaps Cartier-Bresson saw only a beautiful woman?
While I browsed, I wondered how much of the effect of these portraits depended on knowing the subects (i.e., Truman Capote, Samuel Becket and others who may be increasingly forgotten today), but then I happened upon "Vicksburg," a 1970s shot of an anonymous black woman.
That one shot alone establishes that Cartier-Bresson's unique photographic vision will leave on long after all of his famous subjects are forgotten.
Jerry
great just as expected from HCB.......2006-11-03
I'm not a great fan of portrait photography myself but this book takes it beyond genre boundaries.
Inner Silence.......2006-10-30
Never thought of HCB as a portraitist, but these are excellent images with a depth of style that is typical of his work.
In love..........2006-08-15
I am in love with HCB! This book is so beautiful, every picture is amazing. If you are a fan of portraiture this is a must! If you are a fan of HCB and you don't have a book of his yet, this is a beautiful edition to start with. It has all of his famous portraits including some that were not previously published. They are full page and on nice thick paper.
Book Description
The first compilation of writings by a master of photography.
One of the leading lights in photography of the twentieth century, Henri Cartier-Bresson is also a shrewd observer and critic. His writings on photography and photographers, which have appeared sporadically over the past forty-five years, are gathered here for the first time. Several have never before appeared in English.
The Mind's Eye features Cartier-Bresson's famous text on "the decisive moment" as well as his observations on Moscow, Cuba, and China during turbulent times, which ring with the same immediacy and visual intensity that he brings to his photography.
Cartier-Bresson remains as direct and insightful as ever in his writings. His commentary on photographer friends he has known-including Robert Capa, André Kertész, Ernst Haas, and Sarah Moon-reveal the impassioned and compassionate vision for which Cartier-Bresson is beloved.
Customer Reviews:
Good Read.......2007-01-09
Most photographers would find this a nice book to add to their collection.
It's HCB!.......2006-03-24
Very interesting read. I would say a must have for fans of photojournalism and photography in general.
Highly recommended.
Not what I expected..........2005-09-18
I was somewhat disappointed with this book. I expected a lot more from Cartier Bresson. I found a few paragraphs of some interest, but no more than that. It is also a very small book, can be read in a day.
A small book with a lot of insight.......2003-12-19
I got HCB's book from the library this week and couldn't stop reading it since I started.
Mind you this book has its pluses and minuses:
Pluses:
It is gives good insight in HCB's style of thinking and in general photography in his own words. He talks about his little experiences in China, Cuba, Russia and also about his friends.
Minuses:
The book is very brief and u yearn for more of his stories and experience. It has very less photographs, so if you are looking for that you might get disappointed.
With all that said, I would definitely recommend all of u Photography fans to read it at least once if your local library carries it.
It is not what I expected.......2001-03-30
I bought this book thinking that I was going to receive more insight of Cartier-Bresson style. There is something but I expected more about the thinking of this master of Photography.
Average customer rating:
- Poor quality reproduction of photographs
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Henri Cartier-Bresson: The Man, The Image & The World: A Retrospective
Peter Galassi ,
Jean Clair ,
Claude Cookman ,
Robert Delpire ,
Jean-Noel Jeanneney ,
Jean Leymarie , and
Serge Toubiana
Manufacturer: Thames & Hudson
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Binding: Paperback
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Henri Cartier-Bresson (Aperture Masters of Photography)
ASIN: 0500286426 |
Book Description
"A definitive catalogue….Once Cartier-Bresson photographed something or someone, you might as well have retired them as subjects."—Newsweek
Henri 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.
This sumptuous collection of work by Cartier-Bresson is the ultimate look at his achievements. The book brims with classic photographs that have become icons of the medium, as well as rarely seen work from all periods of Cartier-Bresson's life, including a number of previously unpublished photographs and a generous selection of drawings, paintings, and film stills. The book also features telling personal souvenirs of his youth, his family, and the founding of Magnum.
This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. 600+ illustrations in color and duotone.
Customer Reviews:
Poor quality reproduction of photographs.......2007-08-03
The book is a testimony to the capabilities of Henri Cartier-Bresson as a photographer. With limited equipment, a camera and only one lens, he managed to capture an amazing range of emotions and phenomenon. Cartier-Bresson's work, which is amply documented in this book, also provides an example of "available light" photography.
My one complaint is the quality of reproduction of the photos is somewhat poor, though I am not sure whether this could have been remedied by the publishers
Average customer rating:
- A must if HCB is your cup of tea!
- Creo que el mejor libro de Cartier Bresson
- This book is amazing!
- Dissapointing
- Fantastic Book!
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Henri Cartier-Bresson: The Man, the Image and the World: A Retrospective
Philippe Arbaizar ,
Jean Clair ,
Claude Cookman ,
Robert Delpire ,
Peter Galassi ,
Jean-Noel Jeanneney ,
Jean Leymarie , and
Serge Toubiana
Manufacturer: Thames & Hudson
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Binding: Hardcover
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ASIN: 0500542678 |
Amazon.com
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
Book Description
Henri Cartier-Bresson is one of the finest image makers of our time. Born in 1908, he studied painting before embarking on a career in photography in the early 1930s. In 1940 he was captured by the Germans and spent three years in prisoner-of-war camps before escaping to join the Paris underground. With Robert Capa, David Seymour, and others, he founded the photographic agency Magnum in 1947. Since then his work has taken him all over the world—from Europe to India, Burma, Pakistan, China, Japan, Indonesia, Bali, Russia, the Middle East, Cuba, Mexico, the United States, and Canada.
This new collection of work by Cartier-Bresson, created on the occasion of his ninety-fifth birthday, provides the ultimate retrospective look at a lifetime's achievement. It includes the first photographs taken by him, some of which have never been published, rarely seen work from all periods of his life, classic photographs that have become icons of the medium, and a generous selection of drawings, paintings, and film stills. The book also features personal souvenirs of Cartier-Bresson's youth, his family, and the founding of Magnum.
Cartier-Bresson's extraordinary images are shaped by an eye and a mind legendary for their intelligent empathy and for going to the heart of the matter. This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. An exhibition of work by Henri Cartier-Bresson opens in Paris in 2003 and will be seen in the United States in 2004-2005. 630 illustrations in color and duotone.
Customer Reviews:
A must if HCB is your cup of tea!.......2006-06-21
I put off buying this book as long as I could and eventually I did, having in the meantime manhandled book store copies. It is difficult to get too much HCB and this offers a lot in one package.
I take minor exception to HCB as elevating photography to art -- he is more often described as someone who turned his hobby into an art form, albeit it was a hobby informed by artisitic sensibility. The incomparable Eastman House in Rochester has examples that go back to the earliest days of photography as art. But the 20th century was crowded with photographic art. HCB's eminence in the PostWar recognition of Photography as Art by such places as MOMA is a given. (he preferred the small a).
The number of photographs included is for me in this book is an asset, providing a broad look at the stupendous body of work done by HCB during his long career.
In the 1950s and early 60s, the greatest influence on young photojournalists came from "This Is War" by David Douglas Duncan, published in 1951 and "The Decisive Moment" in 1952, which took its title from HCB's text. The Verve edition used a different title, i.e. "Images à la sauvette" which translates to "pictures on the run."
Robert Capa suggested to HCB that he call himself a photojournalist and later the two would join in forming Magnum, the first and greatest photo agency. From that came the inaccurate sometime sobriquet of " Father of Photojounalism."
HCB's work received the earliest important recognition from Americans and his exhibitions and books always received a warm reception. Had he been an American, his political views might have ensnared him in the hysteria of the 50s.His individual perspective was as strong as one might expect from someone who spent three years in a Nazi prison. After the war's bitter experiene, HCB's work became much more humanist.
In France his acceptance as an artist does not fully reflect the merits of his work. The US has accepted the work of HCB and Eugene Atget at a level that the French art establishment did not -- although he did have support that matters. One reason cited is that HCB objected to the "fetishistic attitude" toward original prints.
HCB's darkroom work was done by skilled technicians. Berenice Abbot promoted the merit of Atget's work with her own prints from the thousands of negatives she brought back to the US.
That is a point on which HCB was entirely right. Some earlier vintage prints of his work is not all that good. HCB recognized that for his genre, a skilled darkroom craftsman could both satisfy his esthetic judgments and replicate his work over and over. What he could control was how many "authorized" images there were.
A gigantic HCB exhiition at the Bibliotheque Nationale de France several years ago was pectacular -- the BNF chosen because it would gladly work with HCB and his wife. That was a rare opportunity that had to be taken. You don't think much about the print, but rather what an eye HCB has for the moment.
There are certainly photographers who marry their eye to theirr work in the darkroom. HCB did not see it that way.
This book is perfect for me, but others less familiar with HCB's work might be better off with one of his books on a theme, e.g. Paris, etc.
Creo que el mejor libro de Cartier Bresson.......2006-01-29
Fantástico libro de fotografías que recoge muchas de sus épocas como fotógrafo.
Fotos de Barcelona,Madrid,Valencia,Paris.Berlin....
Una auténtica maravilla.
Si te gusta la fotografía,no debes dejar escapar este libro
This book is amazing!.......2005-12-27
A great retrospective of his incredible photography. I just got it for Xmas and LOVE it!
Dissapointing.......2005-12-22
I really dont`t know how people can give 5 stars to this book. It`s clear that they don`t know nothing about photography books. It is true that in this book you can see almost all bresson`s photographs but you`ll see many of them in a small size. If I payed 47.25 for this book I expect to receive quality and not a lot of photographies printed in two pages (For me the concept of printing an image in two pages is unacceptable). There isn't a selection of the work in this book. I prefer a book with less photographs but well printed than this book where you have lots of images but in bad print. After spending a lot of money in this book try another of Bresson`s books. Surelly you`ll get better quality for less price.
Fantastic Book!.......2005-09-17
This is a fantastic book about who in my opinion is the best photographer of all times. Henri Cartier Bresson worked a lot throughout his life, and this book shows all his most significat work, including drowings. If you like this photographer, then this book is a must.
I had to return it twice due to defective copies, and also in booksores it was hard to get a "perfect" copy, but keep in mind I am very picky.
Amazon.com
Henri Cartier-Bresson's amazing feat as a photographer is the ability to follow his heart and the keen vision of his mind and eye in each photograph. His subjects are only part of the image in the viewfinder, whose composition he sometimes arranges with geometric precision. Many of his best photographs also have startlingly broad political and sociological connotations, which gives the ordinary subjects extraordinary dignity, even grandeur. Europeans is filled with these images, which are often visually complex as well: a 1952 picture depicts a poor immigrant tilling hard ground while in the distance the prosperity-propelled factories of industry belch smoke into already smoggy skies. This is not just a picture of a poor man, or industrial power, or the contrast between the two. It's an open question about the meaning of life, with an anonymous no one--just another human being--at its center. Another wonderful image in this collection is a 1954 shot of a handsome soldier ogling two pretty women. It shows that even at the bleakest moments in their social history, Muscovites were not immune to pheromonal persuasion.
Book Description
Henri Cartier-Bresson reveals--as only a few great artists have done consistently--the richness, the sensibilities, and the varieties of the human experience in the twentieth century. This volume of Aperture's Masters of Photography series confirms the genius of the photographer whose pictures with the new, smaller hand-held cameras and faster films defined the idea of "the decisive moment" in photography.
Cartier-Bresson's imagery is intimate, but it is also utterly respectful of his subjects. In his wide travels throughout the world, he has captured universal meanings through the glimpses into the lives of individuals in scores of countries. Each photograph is in itself a masterpiece of dramatic form; taken together, Cartier-Bresson's works constitute a personal history of epic scope.
Henri Cartier-Bresson presents forty-two of the artist's photographs, each recognized a a masterpiece of the medium. In addition, Cartier-Bresson offers a brief statement of his own artistic ethos, his striving for the spontaneity through intuition that imbues his work.
Customer Reviews:
Best of Bresson.......2006-06-25
A lovely little book showing the most famous pictures of Henri Cartier-Bresson on 95 pages only. A must-have for the Cartier-Bresson fans or a great first book to have on this fabulous photographer.
A True Master.......2005-10-06
If Cartier-Bresson did not invent the art of 35mm street photography, he certainly brought it to the attention of other serious photographers and the public. Trained as a painter, his eye for composition was unerring, but it was his instinct for the defining human gesture--that he termed "the decisive moment"--that made him one of the immortals of photographic history. As one of the founding members of Magnum, he changed the way we think of photographs and the way we see the world. This book is an introduction to his work. As such, it's all too short, but the economical format make it possible to see a few decent examples of his work and perhaps to inspire further study. He was a true master of the art.
Nice little collection.......2005-01-08
This collection is a nice, compact, and inexpensive sample of Cartier-Bresson's photographs. I would have prefered the book to be a little larger to allow for bigger pictures. The print quality is decent. I was disappointed that my favorite photograph by him, the one of the bicyclist going by the staircase entitled "Hyères, France", was absent.
the best.......2001-12-30
Cartier-Bresson is a God of Photography. This is his best album that I know.
Visualizing the Common Qualities!.......2001-07-02
Review Summary: This book is a brilliant expansion of M. Cartier-Bresson's 1955 show designed to emphasize the similarities that exist from country to country throughout Europe in the way people live together. M. Jean Clair has done a marvelous job of adding earlier and more recent images to extend and magnify this theme. As a result you will see an "unquestionable family likeness" for the Europeans that emerges from "the obstinate reworking of a chosen subject." The book contains 200 duotone images to make that point.
Reader Caution: While there is relatively little nudity in this book, there is one final image of two female models resting on a couch that would probably cost this material an R rating if it were a motion picture. If you skip that photograph, you will probably not find the other partial female nudity offensive. This one work is actually asexual, in portraying posing nude as hard work from which one needs a totally relaxing break.
Review: Since World War II, Europeans have been struggling with their common heritage and how to balance it with the national, religious, and cultural ones. Gradually, the differences are being homogenized. Brilliantly, Henri Cartier-Bresson understood early on that the connections were stronger than most other people probably realized. By showing the similarities across countries and cultures, he creates an awareness of potential for friendship that would escape those who had never visited all of these countries.
The work revolves around unnamed themes. But any casual viewer will spot children playing, men and women enjoying a relaxed moment together, public observances of religion and politics, how humans are dominated by nature, the contrasts between rich and poor, and the artificial nature of much modern life. His work also explores the subtle ways that natural and human-made objects display the same forms and outlines.
Here are my favorite images in the book: Guilvines, Brittany, France, 1956; On the banks of the Seine, France, 1936; Palais-Royal, Paris, France, 1959: Amarante, Alto Douro, Portugal, 1955; Lamego, Beira Alta, Portugal, 1955; Madrid, Spain, 1932; Ariza, Aragon, Spain, 1953; Aquila, the Abruzzi, Italy, 1951; Torcello, Italy, 1953; Zurich, Switzerland, 1953; Ridnik, Serbia, Yugoslavia, 1965; Gyor, Hungary, 1964; Near Linz, Upper Austria, 1953; Tug-boat pilots on the Rhine, Germany, 1952; Warsaw, Poland, 1931; Moscow, USSR, 1954; Fishermen, near Suzdal, USSR, 1972; George VI's Coronation, London, England, 1937; Queen Charlotte's Ball, London, England, 1959; and Break between drawing poses, Paris, France, 1989.
You will also be intrigued by how much of the political content of what is portrayed here has changed since it was photographed. The scenes of celebrating Soviet Communism and its founders are gone. The Berlin Wall is gone. The positive identification with everything royal in England is diminished.
Naturally, there's a less pleasant side of this convergence that M. Cartier-Bresson did not choose to portray -- the dominance of mass culture with world brands and forms of entertainment, often from outside Europe. In fact, some have argued that the gravity pulling Europe together is that people like to have more choices when they shop. Isn't it interesting that this dimension was ignored?
M. Cartier-Bresson has a masterly touch for composition that is seen again and again in these photographs. The large two-page landscapes with small people in them show the kind of sophistication that only the most successful painters achieve in the oversized paintings you see in the Paris museums. M. Cartier-Bresson also shows his love for people by portraying them in attractive, positive ways . . . even when they come from different ends of the religious and political spectrum. How wonderful it must have been for him to see people so positively!
Those who are long-time Cartier-Bresson fans will be disappointed a little in the images here. You are probably used to seeing them reproduced in somewhat larger sizes. The sizes used here work, but bigger in this case would have been better.
After you read this book and enjoy its wonderful images, I suggest that you think about how people can make connections with one another that move from a deep spiritual commitment to helping one another, regardless of the basis for that commitment. Otherwise, all we may find we have in common in the future is that it will look like we all shopped in the same mall.
Stand taller by assisting those who want to receive a willing heart!
Amazon.com
Henri Cartier-Bresson's Tête à Tête contains the photographer's portraits of some of the most potent icons of the latter half of the 20th century. The book is understated, yet powerful and challenging--a masterpiece of the photographer's art of composition and expression. Presented in nonchronological order, yet arranged to provide links and parallels in posture and facial likenesses, familiar icons easily mix with anonymous subjects: a very young Truman Capote in crumpled T-shirt, on the brink of literary fame; a very old Colette, who retains her inquisitorial gaze; Matisse with his birds; Sartre with his pipe; Igor Stravinsky, astonishingly similar in 1946 and 1967; a beaming Che Guevara. There are also group portraits of unknowns, but none the less resonant for that: besuited men in 1950s Iran, tribespeople from Kashmir, prostitutes in Mexico, the women of southern Spain, dressed eternally in black. As the art historian E.H. Gombrich comments in his introduction to Tête à Tête, in these portraits Cartier-Bresson moved significantly away from the received techniques of the "society" photographer. Instead, he "always preferred to lie in wait for the telling moment." --Catherine Taylor, Amazon.co.uk
Customer Reviews:
Just a classic.......2003-03-06
Some of the definitive portraits of personalities have been made by Cartier-Bresson. Sartre, Camus, Guevara and Marilyn Monroe are here, in a sensitive work. Bresson's "decisive moment" concept also works to a kind of photography that is usually related to posed and static pictures. He goes one step beyond a face's register.
The BEST portraits in the world.......1999-11-17
If you are interested in portraits, then this is the book you MUST look at. It contains the best portraits ever made. Just get it, it can only enrich your life.
A true portraitist.......1999-09-19
C-B's portraits challenge his journalistic work with their grace and power. I almost find them to be more historically important than his other work for two reasons- 1) his style photojournalism is artful but perhaps less documentative than it could be. 2) The significant style with which he captures his often famous portaitees encapsulates their entire being- they are often the first image to come to mind when one thinks of the sitter, they are simply extremely telling and powerful pictures.
HCB is the subtle master of moment and composition........1998-12-25
This is a very nice collection of portraits by HCB, showing the master's uncanny touch at framing and capturing the moment. This book is a cumulative experience - look at all the photos in the book - they look deceptively simple, but you'll end up wondering how he did it. The reproduction is very nice, but I found the sepia-like tone slightly annoying, but easy to ignore.
Fantastically Modern!.......1998-12-03
it had wonderous sorts of pictures
Average customer rating:
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Aperture - On Location With: Henri Cartier-Bresson, Graciela Iturbide, Barbara Kruger, Sally Mann, Andres Serrano, Clarissa Sligh
Aperture
Manufacturer: Aperture
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Binding: Paperback
Kruger, Barbara
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Amazon.com
Robert Capa, whose images of the Spanish Civil War brought home the hideous suffering of that conflict and brought Capa international fame, is the 20th century's most accomplished photographer of warfare. This collection of Capa's work demonstrates that he was more than a war photographer: he was a master of depicting ordinary life in extraordinary circumstances. The volume includes an essay by Cornell Capa, the photographer's brother and the founder of the International Center for Photography, as well as a foreword by Henri Cartier-Bresson.
Book Description
Robert Capa: Photographs is the first true retrospective book of one of the century's greatest photographers. Drawing upon hundreds of previously unseen images, this collection reveals Capa as one of the great poets of the camera. In these photographs, we see through the eyes of a driven humanist who was also a documentarian of the highest caliber. While previous volumes on Capa have focused on his role as a war photographer, Robert Capa: Photographs shows us the remarkable range of his work, which encompasses the sufferings as well as the tenderness, humor and wonder of his subjects.
Robert Capa demonstrated not only a passionate commitment to improving the human condition, but also an unfailing eye for graphic impact. Although his photographs remain the definitive visual records of such momentous events as the siege of Madrid, the bombing of Hankou, and the Allied landings on D-day, many of his images have a timeless and universal quality that transcends the specifics of history. A Spanish soldier recoils at the impact of a bullet, the final instant of his life. In a scene of perfect joy, a group of Chinese children laugh at the sky as snow begins to fall. Four farm workers, hauling all the belongings they can manage, trudge grimly away from an apocalyptic backdrop of smoke and ruins: their war-devastated homes.
Capa's images reveal his profound compassion and perceptiveness about our tenuous human state. As Cornell Capa (Robert's younger brother and the Founding Director Emeritus of the International Center of Photography) writes in his eloquent remembrance: "He managed to travel all over the world, and to communicate his experience and feelings through a universal language: photography." Robert Capa: Photographs also includes a foreword by Capa's close friend Henri Cartier-Bresson, as well as an informative historical essay by Capa biographer Richard Whelan.
At last, here is the book that reveals Robert Capa in a new light. The extraordinary collection of images in Robert Capa: Photographs brings us--through the events of history--to the very heart of humanity.
Customer Reviews:
Capa Photographs.......2006-03-26
This is a beautiful book by one of the great photographers who shot his dramatic photos right at the frontline of wars. His years in Paris, his friendship and photos of the giants of European art and cultur reflects the recognition he received from his contemporaries. His tragic death in Vietnam was a great loss for everyone interested in his art!
The Bravest War Photographer of All Time..........2005-09-27
Frank Capa (born Endre Friedmann in 1913) was known as the 'Greatest War-Photographer in the World" when he died in 1954. As a teen, he planned a career as a reporter. Journalsim, he thought, would enable him to combine his loves of politics and literature. In the spring of 1936, he adopted the name Robert Capa, the name of an alter ego, the imaginary character of a glamorous American photographer.
He photographed five wars from '36 to '54. The first was the Spanish Civil War. He'd been sent to Madrid to photograph Juan de la Cierva who, in 1923, had invented a forerunner of the helicopter. He stayed on in Spain because he felt an affinity with the warmth, exuberance, and generosity of the Spanish people. He went to Barcelona, (a penpal in the Fifties came from that area, Sabadell, and was a mill worker who learned his English from American sailors and Frank Sinatra records.), Andalucia, and Cordoba.
General Francisco Franco launched a civil war in July, 1936, which changed Spain forever. He had the courage of his convictions and his photos show a compassionate study of people under extreme stress. He was a photographer of people, which is the opposite of me, as I choose buildings, things, birs, animals, historic places and such for my amateur picture taking.
Unlike his friend Ernest Hemingway, he never felt he had to prove his courage to himself or to anyone else. He was intent on making better pictures, at great risk to his safety. Unlike Hemingway, he was very much a gentleman of the old school, coming from Europe, and "gentlemen don't brag." He believed that one shouldn't tempt fate by bragging.
On the battlefields of Spain, he learned that soldiers use theri terrible weapons of mass destruction only because they have been brainwashed into the ability to 'conceptualize' their victims not as individuals but as a category -- the 'enemy.'
He died in Indochina when he stepped on aa nati-personnel land mine. He was buried by his mother in a Quaker cemetery instead of Arlington National Cemetery, which was an offer she refused.
Pure empathy.......2003-06-01
Ordinary people caught under extraordinary circumstances are what give these images the power that they have and elicit pure empathy from the viewer. Robert Capa earned his place in photographic history and left behind a body of work for us to consider...
Amazing photographs.......1999-08-10
This book has some really amazing photography, they have a really powerful message. I like photos that make me feel something and Robert Capa's photos difinatly do that. Robert Capa was in the right place and the right time with alot of his photos. The only thing the book lacked i feel is more background on the photos.
Customer Reviews:
Inspirational, but limited.......2002-06-27
This collection of photographs from the author's two visits to Mexico are quite striking. Cartier-Bresson knows his craft well, and yet I feel a slight disappointment in the book, as I had hoped that his range of subject matter would be a little more varied, and perhaps show a few more pictures of the countryside. This collection of photos is nice, but consists mostly of shots of a sociological nature, from the poor classes of Mexican society. I understand that this is Cartier-Bresson's personal photo essay, but perhaps he could have widened his scope of Mexico to have included a wider array of subject matter. I do like the pictures, there just should have been more of a variance of them. If you like Cartier-Bresson, his book of India is simply fantastic.
an honest and delicate look at mexico.......2001-10-20
this is a very touching and intimate look at everyday life, but Cartier-Brenson's experienced eye has also captured the powerful light that alludes to heat, the mood of poverty, and the history that pervades this country. At different points this volume is disturbing, humorous, spiritual, and abstract. a masterpiece.
Mexico uncovered.......1999-04-26
There is a consistant light which runs through Cartier-Bresson's work. It is the late afternoon light or the early morning glow, that enters his leica. We see it in the streets, behind the waitress in the Mexican bar as she leans unknowingly towards Cartier-Bresson's lens. It's surrounded by this light that Cartier-Bresson feels most at home, even in Mexico. Mexican notebooks is full of all Cartier-Bresson's hallmarks; real people in real situations. Circumstance and the click of his shutter fixes them in their descisive moment. This is a collection no photojournalist should be without.
Customer Reviews:
Henri Cartier-Bresson Photographer.......2007-09-13
Excellent!! Cartier-Bresson has got to be among the top 2 or 3 photographers in history. The book contains 155 images presented in a good large format perfect for viewing. You get all of the details. I can sit for hours slowly moving from photo to photo. I am a photographer. This book is teaching me so much about the decisive moment and moods as related to photography. I cannot say enough about the book. Every person interested in photography should have and study this book!!
THE collection to own........2000-08-29
THE Cartier-Bresson book to own. The reproductions are high-quality and large, the selection is superb, the book is made to last. Almost all my favorites are here. In short, worth the high price. He always deserved a book like this.
Beautiful!.......1998-09-18
This is a beautiful book of duotones of Cartier-Bresson's work. It features the most famous photographs Henri has ever photographed and because it was excellently printed, you can truly feel the images with such intensity. This is a definite book to own if you love Henri's work.
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