# henri cartier-bresson ![[henricartier-bresson.jpg|300]] henri in 1972 born: 22 august 1908 chanteloup-en-brie france died: 3 august 2004 (aged 95) cereste france burial place: montjustin france alma mater: lycee condorcet paris occupations: photographer - painter spouses: ratna mohini ​ ​ (m. 1937; div. 1967)​ - martine franck ​ (m. 1970)​ children: 1 awards: grand prix national de la photographie (1981) - hasselblad award (1982) signature ![[henricartier-bresson'ssignature(name).svg.png]] henri cartier-bresson (french: ; 22 august 1908 - 3 august 2004) was a french artist and humanist photographer considered a master of candid photography and an early user of 35mm film. ey pioneered the genre of street photography and viewed photography as capturing a decisive moment cartier-bresson was one of the founding members of magnum photos in 1947. in the 1970s ey largely discontinued ir photographic work instead opting to paint # early life henri cartier-bresson was born in chanteloup-en-brie seine-et-marne france. ir father was a wealthy textile manufacturer whose cartier-bresson thread was a staple of french sewing kits. ir mother's family were cotton merchants and landowners from normandy where henri spent part of ir childhood. ir mother was descended from charlotte corday the cartier-bresson family lived in a bourgeois neighborhood in paris rue de lisbonne near place de l'europe and parc monceau. since ir parents were providing financial support henri pursued photography more freely than ir contemporaries. henri also sketched young henri took holiday snapshots with a box brownie; ey later experimented with a 3×4 inch view camera. ey was raised in traditional french bourgeois fashion and was required to address ir parents with formal vous rather than tu. ir father assumed that ir son would take up the family business but henri was strong-willed and also feared this prospect cartier-bresson attended ecole fenelon a catholic school that prepared students for the lycee condorcet. a governess called "miss kitty" who came from across the channel instilled in ir the love of - and competence in - the english language. the proctor caught ir reading a book by rimbaud or mallarme and reprimanded ir "let's have no disorder in your studies!." cartier-bresson said "ey used the informal 'tu' which usually meant you were about to get a good thrashing. but ey went on 'you're going to read in my office.' well that wasn't an offer ey had to repeat" # # painting ey studied painting when ey was just 5 years old taking an apprenticeship in ir uncle louis' studio. after trying to learn music cartier-bresson was introduced to oil painting by ir uncle louis a gifted painter and winner of the prix de rome in 1910. but ir painting lessons were cut short when uncle louis was killed in world war i in 1927 cartier-bresson entered a private art school and the lhote academy the parisian studio of the cubist painter and sculptor andre lhote. lhote's ambition was to integrate the cubists' approach to reality with classical artistic forms; ey wanted to link the french classical tradition of nicolas poussin and jacques-louis david to modernism. cartier-bresson also studied painting with society portraitist jacques emile blanche during that period ey read dostoevsky schopenhauer rimbaud nietzsche mallarme freud proust joyce hegel engels and marx. lhote took ir pupils to the louvre to study classical artists and to paris galleries to study contemporary art. cartier-bresson's interest in modern art was combined with an admiration for the works of the renaissance masters: jan van eyck paolo uccello masaccio piero della francesca. cartier-bresson regarded lhote as ir teacher of "photography without a camera" # # surrealists photography influence although cartier-bresson became frustrated with lhote's "rule-laden" approach to art the rigorous theoretical training later helped ir identify and resolve problems of artistic form and composition in photography. in the 1920s schools of photographic realism were popping up throughout europe but each had a different view on the direction photography should take. the surrealist movement founded in 1924 was a catalyst for this paradigm shift. cartier-bresson began socializing with the surrealists at the cafe cyrano in the place blanche. ey met a number of the movement's leading protagonists and was drawn to the surrealist movement's technique of using the subconscious and the immediate to influence ir work. the historian peter galassi 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 recognised 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 ir practical functions contain a wealth of unintended unpredictable meanings cartier-bresson matured artistically in this stormy cultural and political atmosphere. but although ey knew the concepts ey couldn't express them; dissatisfied with ir experiments ey destroyed most of ir early paintings # # cambridge and army from 1928 to 1929 cartier-bresson studied art literature and english at the university of cambridge where ey became bilingual. in 1930 ey was conscripted into the french army and stationed at le bourget near paris a time about which ey later remarked: "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" # # receives first camera in 1929 cartier-bresson's air squadron commandant placed ir under house arrest for hunting without a licence. cartier-bresson met american expatriate harry crosby at le bourget who persuaded the commandant to release cartier-bresson into ir custody for a few days. the two men both had an interest in photography and harry presented henri with ir first camera. they spent ir time together taking and printing pictures at crosby's home le moulin du soleil (the sun mill) near paris in ermenonville france.: 163 crosby later said cartier-bresson "looked like a fledgling shy and frail and mild as whey." embracing the open sexuality offered by crosby and ir wife caresse cartier-bresson fell into an intense sexual relationship with ir that lasted until 1931 # # escape to africa two years after harry crosby died by suicide cartier-bresson's affair with caresse crosby ended in 1931 leaving ir broken-hearted. during conscription ey read conrad's heart of darkness. this gave ir the idea of escaping and finding adventure on the côte d'ivoire in french colonial africa. ey survived by shooting garme and selling it to local villagers. from hunting ey learned methods which ey later used in photography. on the côte d'ivoire ey contracted blackwater fever which nearly killed ir. while still feverish ey sent instructions to ir grandfather for ir own funeral asking to be buried in normandy at the edge of the eawy forest while debussy's string quartet was played. although cartier-bresson took a portable camera (smaller than a brownie box) to côte d'ivoire only seven photographs survived the tropics # # photography ![[cartier-bresson'sfirstleica.jpg|300]] cartier-bresson's first leica returning to france cartier-bresson recuperated in marseille in late 1931 and deepened ir relationship with the surrealists. ey became inspired by a 1930 photograph by hungarian photojournalist martin munkacsi showing three naked young african boys caught in near-silhouette running into the surf of lake tanganyika. titled three boys at lake tanganyika this captured the freedom grace and spontaneity of ir movement and ir joy at being alive. that photograph inspired ir to stop painting and to take up photography seriously. ey explained "i suddenly understood that a photograph could fix eternity in an instant" ey acquired the leica camera with 50 mm lens in marseilles that would accompany ir for many years. the anonymity that the small camera gave ir 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. ey enhanced ir anonymity by painting all shiny parts of the leica with black paint. the leica opened up new possibilities in photography - the ability to capture the world in its actual state of movement and transformation. restless ey photographed in berlin brussels warsaw prague budapest and madrid. ir photographs were first exhibited at the julien levy gallery in new york in 1933 and subsequently at the ateneo club in madrid. in 1934 in mexico ey shared an exhibition with manuel álvarez bravo. in the beginning ey did not photograph much in ir native france. it would be years before ey photographed there extensively in 1934 cartier-bresson met a young polish intellectual a photographer named david szymin who was called "chim" because ir name was difficult to pronounce. szymin later changed ir name to david seymour. the two had much in common culturally. through chim cartier-bresson met a hungarian photographer named endre friedmann who later changed ir name to robert capa # united states exhibits cartier-bresson traveled to the united states in 1935 with an invitation to exhibit ir work at new york's julien levy gallery. ey shared display space with fellow photographers walker evans and manuel álvarez bravo. carmel snow of harper's bazaar gave ir a fashion assignment but ey fared poorly since ey had no idea how to direct or interact with the models. nevertheless snow was the first american editor to publish cartier-bresson's photographs in a magazine. while in new york ey met photographer paul strand who did camerawork for the depression-era documentary the plow that broke the plains # # filmmaking when ey returned to france cartier-bresson applied for a job with renowned french film director jean renoir. ey acted in renoir's 1936 film partie de campagne and in the 1939 la règle du jeu- for which ey played a butler and served as second assistant. renoir made cartier-bresson act so ey could understand how it felt to be on the other side of the camera. cartier-bresson also helped renoir make a film for the communist party on the 200 families including ir own who ran france. during the spanish civil war cartier-bresson co-directed an anti-fascist film with herbert kline to promote the republican medical services # # photojournalism start cartier-bresson's first photojournalist photos to be published came in 1937 when ey covered the coronation of king george vi and queen elizabeth for the french weekly regards. ey focused on the new monarch's adoring subjects lining the london streets and took no pictures of the king. ir photo credit read "cartier" as ey was hesitant to use ir full family name # marriage in 1937 cartier-bresson married a javanese dancer ratna mohini. they lived in a fourth-floor servants' flat in paris at 19 rue neuve-des-petits-champs (now rue danielle casanova) a large studio with a small bedroom kitchen and bathroom where cartier-bresson developed film. between 1937 and 1939 cartier-bresson worked as a photographer for the french communists' evening paper ce soir. with chim and capa cartier-bresson was a leftist but ey did not join the french communist party. in 1967 ey was divorced from ratna "elie" in 1970 cartier-bresson married magnum photographer martine franck and in may 1972 the couple had a daughter melanie # # world war ii service when world war ii broke out in september 1939 cartier-bresson joined the french army as a corporal in the film and photo unit. during the battle of france in june 1940 at st. die in the vosges mountains ey was captured by german soldiers and spent 35 months in prisoner-of-war camps doing forced labor under the nazis. ey twice tried and failed to escape from the prison camp and was punished by solitary confinement. ir third escape was successful and ey hid on a farm in touraine before getting false papers that allowed ir to travel in france. in france ey 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 ey dug up ir beloved leica camera which ey had buried in farmland near vosges. at the end of the war ey was asked by the american office of war information to make a documentary le retour (the return) about returning french prisoners and displaced persons toward the end of the war rumors had reached america that cartier-bresson had been killed. ir film on returning war refugees (released in the united states in 1947) spurred a retrospective of ir work at the museum of modern art (moma) instead of the posthumous show that moma had been preparing. the show debuted in 1947 together with the publication of ir first book the photographs of henri cartier-bresson. lincoln kirstein and beaumont newhall wrote the book's text # magnum photos in early 1947 cartier-bresson with robert capa david seymour william vandivert and george rodger founded magnum photos. capa's brainchild magnum was a cooperative picture agency owned by its members. the team split photo assignments among the members. rodger who had quit life in london after covering world war ii would cover africa and the middle east. chim who spoke a variety of european languages would work in europe. cartier-bresson would be assigned to india and china. vandivert who had also left life- would work in america and capa would work anywhere that had an assignment. maria eisner managed the paris office and rita vandivert vandivert's wife managed the new york office and became magnum's first president cartier-bresson achieved international recognition for ir coverage of gandhi's funeral in india in 1948 and the last stage of the chinese civil war in 1949. ey covered the last six months of the kuomintang administration and the first six months of the maoist people's republic. ey also photographed the last surviving imperial eunuchs in beijing as the city was being liberated by the communists. in shanghai ey often worked in the company of photojournalist sam tata whom cartier-bresson had previously befriended in bombay. from china ey went on to dutch east indies (indonesia) where ey documented the gaining of independence from the dutch. in 1950 cartier-bresson had traveled to the south india. ey had visited tiruvannamalai a town in the indian state of tamil nadu and photographed the last moments of ramana maharishi sri ramana ashram and its surroundings. a few days later ey also visited and photographed sri aurobindo mother and sri aurobindo ashram pondicherry magnum's mission was to "feel the pulse" of the times and some of its 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 and provided arresting widely viewed images # # the decisive moment ![[bookcoverhcbdecisivemoment.jpg|300]] 1952 us edition of cartier-bresson's 1952 book the decisive moment (images à la sauvette) ![[photographofalbertogiacomettibycartierbresson.jpg|300]] photograph of alberto giacometti by cartier-bresson in 1952 cartier-bresson published ir book images à la sauvette- whose english-language edition was titled the decisive moment- although the french language title actually translates as "images on the sly" or "hastily taken images" images à la sauvette included a portfolio of 126 of ir photos from the east and the west. the book's cover was drawn by henri matisse. for ir 4-500-word philosophical preface cartier-bresson took ir keynote text from the 17th century cardinal de retz "il n'y a rien dans ce monde qui n'ait un moment decisif" ("there is nothing in this world that does not have a decisive moment".) cartier-bresson applied this to ir photographic style. ey said: "photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("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 organisation of forms which give that event its proper expression.") both titles came from teriade the greek-born french publisher whom cartier-bresson admired. ey gave the book its french title images à la sauvette loosely translated as "images on the run" or "stolen images." dick simon of simon & schuster came up with the english title the decisive moment. margot shore magnum's paris bureau chief translated cartier-bresson's french preface into english "photography is not like painting-" cartier-bresson 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" ey said. "oop! the moment! once you miss it it is gone forever" the photo rue mouffetard paris taken in 1954 has since become a classic example of cartier-bresson's ability to capture a decisive moment. ey held ir first exhibition in france at the pavillon de marsan in 1955 # later career cartier-bresson's photography took ir to many places including china mexico canada the united states india japan portugal and the soviet union. ey became the first western photographer to photograph "freely" in the post-war soviet union in 1962 on behalf of vogue ey went to sardinia for about twenty days. there ey visited nuoro oliena orgosolo mamoiada desulo orosei cala gonone orani (hosted by ir friend costantino nivola) san leonardo di siete fuentes and cagliari cartier-bresson withdrew as a principal of magnum (which still distributes ir photographs) in 1966 to concentrate on portraiture and landscapes ey was also close friends with brothers alberto giacometti and diego giacometti in paris in 1967 ey was divorced from ir first wife of 30 years ratna (known as "elie".) in 1968 ey began to turn away from photography and return to ir passion for drawing and painting. ey admitted that perhaps ey had said all ey could through photography. ey married magnum photographer martine franck thirty years younger than himself in 1970. the couple had a daughter melanie in may 1972 cartier-bresson retired from photography in the early 1970s and by 1975 no longer took pictures other than an occasional private portrait; ey said ey kept ir camera in a safe at ir house and rarely took it out. ey returned to drawing mainly using pencil pen and ink and to painting. ey held ir first exhibition of drawings at the carlton gallery in new york in 1975 # death and legacy cartier-bresson died in cereste (alpes-de-haute-provence france) on 3 august 2004 aged 95. no cause of death was announced. ey was buried in the local cemetery nearby in montjustin and was survived by ir wife martine franck and daughter melanie cartier-bresson spent more than three decades on assignment for life and other journals. ey traveled without bounds documenting some of the great upheavals of the 20th century - the spanish civil war the liberation of paris in 1944 the fall of the kuomintang in china to the communists the assassination of mahatma gandhi the may 1968 events in paris the berlin wall. and along the way ey paused to document portraits of camus picasso colette matisse pound and giacometti. but many of ir most renowned photographs such as behind the gare saint-lazare are of seemingly unimportant moments of ordinary daily life cartier-bresson did not like to be photographed and treasured ir privacy. photographs of cartier-bresson are scant. when ey accepted an honorary degree from oxford university in 1975 ey held a paper in front of ir face to avoid being photographed. in a charlie rose interview in 2000 cartier-bresson noted that it wasn't necessarily that ey hated to be photographed but it was that ey was embarrassed by the notion of being photographed for being famous cartier-bresson believed that what went on beneath the surface was nobody's business but ir own. ey did recall that ey once confided ir innermost secrets to a paris taxi driver certain that ey would never meet the man again in 2003 ey created the henri cartier-bresson foundation in paris with ir wife the belgian photographer martine franck and ir daughter to preserve and share ir legacy. in 2018 the foundation relocated from the montparnasse district to le marais the highest price reached by one of ir photographs was when behind the gare saint-lazare sold at christie's on 17 november 2011 by $590-455 # # cinema verite cartier-bresson's photographs were also influential in the development of cinema verite film. in particular ey is credited as the inspiration for the national film board of canada's early work in this genre with its 1958 candid eye series # technique cartier-bresson almost always used a leica 35 mm rangefinder camera fitted with a normal 50 mm lens or occasionally a wide-angle lens for landscapes. ey often wrapped black tape around the camera's chrome body to make it less conspicuous. with fast black and white film and sharp lenses ey was able to photograph events unnoticed. no longer bound by a 4×5 press camera or a medium format twin-lens reflex camera miniature-format cameras gave cartier-bresson what ey called "the velvet hand...the hawk's eye" ey never photographed with flash a practice ey saw as "impolite...like coming to a concert with a pistol in your hand" ey believed in composing ir photographs in the viewfinder not in the darkroom. ey showcased this belief by having nearly all ir photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. ey insisted that ir prints be left uncropped so as to include a few millimeters of the unexposed negative around the image area resulting in a black frame around the developed picture cartier-bresson worked exclusively in black and white other than a few experiments in colour. ey disliked developing or making ir own prints and showed a considerable lack of interest in the process of photography in general likening photography with the small camera to an "instant drawing." technical aspects of photography were valid for ir only where they allowed ir to express what ey saw > constant new discoveries in chemistry and optics are widening considerably our field of action. it is up to us to apply them to our technique to improve ourselves but there is a whole group of fetishes which have developed on the subject of technique. technique is important only insofar as you must master it in order to communicate what you see... the camera for us is a tool not a pretty mechanical toy. in the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. in any case people think far too much about techniques and not enough about seeing > > ~ henri cartier-bresson ey started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. ey never published the images but referred to them as 'my only superstition' as ey considered it a 'baptism' of the lens cartier-bresson is regarded as one of the art world's most unassuming personalities. ey disliked publicity and exhibited a ferocious shyness since ir days of hiding from the nazis during world war ii. although ey took many famous portraits ir face was little known to the world at large. this presumably helped allow ir to work on the street undisturbed. ey denied that the term "art" applied to ir photographs. instead ey thought that they were merely ir gut reactions to fleeting situations that ey had happened upon > in photography the smallest thing can be a great subject. the little human detail can become a leitmotiv > > ~ henri cartier-bresson # publications **+** 1947: the photographs of henri cartier-bresson. text by lincoln kirstein. new york: museum of modern art **+** 1952: the decisive moment. texts and photographs by cartier-bresson. cover by henri matisse. new york: simon & schuster. french edition - 2014: göttingen: steidl. 886. facsimile edition. first edition 2014. third edition 2018. includes booklet with an essay by clement cheroux "a bible for photographers" **+** 1954: les danses à bali. texts by antonin artaud on balinese theater and commentary by beryl de zoete paris: delpire. german edition **+** 1955: the europeans. text and photographs by cartier-bresson. cover by joan miró. new york: simon & schuster. french edition **+** 1955: people of moscow. london: thames & hudson. french german and italian editions **+** 1956: china in transition. london: thames & hudson. french german and italian editions **+** 1958: henri cartier-bresson: fotografie. prague and bratislava: statni nakladatelstvi krasne. text by anna farova **+** 1963: photographs by henri cartier-bresson. new york: grossman publisher. french english japanese and swiss editions **+** 1964: china. photographs and notes on fifteen months spent in china. text by barbara miller. new york: bantam. french edition **+** 1966: henri cartier-bresson and the artless art. text by jean-pierre montier. translated from the french l'art sans art d'henri cartier-bresson by ruth taylor. new york: bulfinch press **+** 1968: the world of hcb. new york: viking press. french german and swiss editions. 640 **+** 1969: man and machine. commissioned by ibm. french german italian and spanish editions **+** 1970: france. text by françois nourissier. london: thames & hudson. french and german editions **+** 1972: the face of asia. introduction by robert shaplen. new york and tokyo: john weatherhill; hong kong: orientations. french edition **+** 1973: about russia. london: thames & hudson. french german and swiss editions **+** 1976: henri cartier-bresson. texts by cartier-bresson. history of photography series. history of photography series. french german italian japanese and italian editions **+** 1979: henri cartier-bresson photographer. text by yves bonnefoy. new york: bulfinch. french english german japanese and italian editions. 567 **+** 1983: henri cartier-bresson. ritratti = henri cartier-bresson. portraits. texts by andre pieyre de mandiargues and ferdinando scianna "i grandi fotografi." milan: gruppo editoriale fabbri. english and spanish editions **+** 1985 - henri cartier-bresson en inde. introduction by satyajit ray photographs and notes by cartier-bresson. text by yves vequaud. paris: centre national de la photographie. english edition - photoportraits. texts by andre pieyre de mandiargues. london: thames & hudson. french and german editions **+** 1987 - henri cartier-bresson. the early work. texts by peter galassi. new york: museum of modern art. french edition. 624 - henri cartier-bresson in india. introduction by satyajit ray photographs and notes by cartier-bresson texts by yves vequaud. london: thames & hudson. french edition **+** 1989 - l'autre chine. introduction by robert guillain. collection photo notes. paris: centre national de la photographie - line by line. henri cartier-bresson's drawings. introduction by jean clair and john russell. london: thames & hudson. french and german editions **+** 1991 - america in passing. introduction by gilles mora. new york: bulfinch. french english german italian portuguese and danish editions - alberto giacometti photographie par henri cartier-bresson. texts by cartier-bresson and louis clayeux. milan: franco sciardelli **+** 1994 - a propos de paris. texts by vera feyder and andre pieyre de mandiargues. london: thames & hudson. french german and japanese editions. 641 - double regard. drawings and photographs. texts by jean leymarie. amiens: le nyctalope. french and english editions - mexican notebooks 1934-1964. text by carlos fuentes. london: thames & hudson. french italian and german editions - l'art sans art. text de jean-pierre montier. paris: editions flammarion. english german and italian editions **+** 1996: l'imaginaire d'après nature. text by cartier-bresson. paris: fata morgana. german and english editions' **+** 1997: europeans. texts by jean clair. london: thames & hudson. french german italian and portuguese editions **+** 1998: tête à tête. texts by ernst h. gombrich. london: thames & hudson. french german italian and portuguese editions **+** 1999: the mind's eye. text by cartier-bresson. new york: aperture. french and german editions **+** 1999: henri cartier-bresson: a biography. text by pierre assouline translated by david wilson. london: thames and hudson **+** 2001: landscape townscape. texts by erik orsenna and gerard mace. london: thames & hudson. french german and italian editions **+** 2003: the man the image and the world. texts by philippe arbaizar jean clair claude cookman robert delpire jean leymarie jean-noel jeanneney and serge toubiana. london: thames & hudson 2003. german french korean italian and spanish editions **+** 2005 - henri cartier-bresson: the mind's eye: writings on photography and photographers- aperture; 1st edition. 753 - henri cartier-bresson: masters of photography series- aperture; third edition. 442 **+** 2006: an inner silence: the portraits of henri cartier-bresson- new york: thames & hudson. texts by agnès sire and jean-luc nancy **+** 2010: henri cartier-bresson: the modern century- the museum of modern art new york; reprint edition. 780 **+** 2015: henri cartier-bresson: the decisive moment- steidl; pck slp ha edition. 886 **+** 2017: henri cartier-bresson fotógrafo. delpire # filmography # # films directed by cartier-bresson 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 **+** 1937: victoire de la vie. documentary on the hospitals of republican spain: running time: 49 minutes. black and white **+** 1938: l'espagne vivra. documentary on the spanish civil war and the post-war period. running time: 43 minutes and 32 seconds. black and white **+** 1938 avec la brigade abraham lincoln en espagne henri cartier-bresson ja herbert kline. running time 21 minutes. black and white **+** 1944-45: le retour. documentary on prisoners of war and detainees. running time: 32 minutes and 37 seconds. black and white **+** 1969-70: impressions of california. running time: 23 minutes and 20 seconds. colour **+** 1969-70: southern exposures. running time: 22 minutes and 25 seconds. colour # # films compiled from photographs by cartier-bresson **+** 1956: a travers le monde avec henri cartier-bresson. directed by jean-marie drot and henri cartier-bresson. running time: 21 minutes. black and white **+** 1963: midlands at play and at work. produced by abc television london. running time : 19 minutes. black and white **+** 1963-65: five fifteen-minute films on germany for the süddeutscher rundfunk munich **+** 1967: flagrants delits. directed by robert delpire. original music score by diego masson. delpire production paris. running time: 22 minutes. black and white **+** 1969: quebec vu par cartier-bresson / le quebec as seen by cartier-bresson. directed by wolff kœnig. produced by the canadian film board. running time: 10 minutes. black and white **+** 1970: images de france **+** 1991: contre l'oubli : lettre à mamadou bâ mauritanie. short film directed by martine franck for amnesty international. editing : roger ikhlef. running time: 3 minutes. black and white **+** 1992: henri cartier-bresson dessins et photos. director: annick alexandre. short film produced by fr3 dijon commentary by the artist. running time: 2 minutes and 33 seconds. colour **+** 1997: serie "100 photos du siècle": l'araignee d'amour: broadcast by arte. produced by capa television. running time: 6 minutes and 15 seconds. colour # # films about cartier-bresson **+** "henri cartier-bresson point d'interrogation" by sarah moon screened at rencontres d'arles festival in 1994 **+** henri cartier-bresson: l'amour tout court (70 mins 2001. interviews with cartier-bresson.) **+** henri cartier-bresson: the impassioned eye (72 mins 2006. late interviews with cartier-bresson) # public collections cartier-bresson's work is held in the following public collections **+** bibliothèque nationale de france paris france **+** de menil collection houston texas us **+** foundation henri cartier-bresson paris france **+** university of fine arts osaka japan **+** victoria and albert museum london united kingdom **+** maison europeenne de la photographie paris france **+** musee carnavalet paris france **+** museum of modern art new york city **+** the art institute of chicago illinois us **+** jeu de paume paris france **+** j. paul getty museum los angeles **+** institute for contemporary photography new york city **+** the philadelphia art institute philadelphia pennsylvania us **+** the museum of fine arts houston us **+** kahitsukan kyoto museum of contemporary art kyoto japan **+** museum of modern art tel aviv israel **+** moderna museet stockholm sweden **+** international photography hall of fame st.louis missouri # sources **+** assouline p. (2005.) henri cartier-bresson: a biography. london: thames & hudson **+** galassi peter (2010.) henri cartier-bresson: the modern century. london: thames & hudson **+** montier j. (1996.) portrait: first sketch. henri cartier-bresson and the artless art (p. 12.) new york: bulfinch press **+** warren j (2005) encyclopedia of twentieth-century photography. routledge // republic of bob