Mr Cartier-Bresson always said that to be a great photographer you had to be unintrusive.
It includes photography, Pop Art and film from Warhol and others, including Richard Avedon and Henri Cartier-Bresson.
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Under the guidance of Mr Delpire, who chairs the foundation, Mr Cartier-Bresson has picked 90-odd favourite images by fellow photographers.
Instead of religious iconology, Cartier-Bresson finds playful expression in the Surrealistic image of a pair of high-heeled shoes shaped like a heart.
The godfather of photojournalism, Henri Cartier-Bresson is famously known for analysing other photographers' contact sheets as a means to judging their work.
With Cartier-Bresson even the most everyday activities look faintly absurd or tedious.
Mr. Raza had followed the advice of photographer Henri Cartier-Bresson, whom he met in 1947, to study the work of the French master.
Although Cartier-Bresson used to cut up his own contact sheets, preserving only those that worked well as sequences or the best individual frames.
Her hopes when she started were for photographs that would make a socialist statement of some sort, but she abandoned that on Cartier-Bresson's advice.
Photography enthusiasts will also want to visit the privately-funded Fondation Henri Cartier-Bresson that opens to the public on May 2nd following another string of vernissages.
These "decisive moments, " as Cartier-Bresson was wont to call them, summon up imagined chatter and repartee, so unlike the still, stubborn muteness inherent in Strand's work.
We are told that Cartier-Bresson had an appreciation of the beauty of the world, especially that of women, but the show does not bring this out except fleetingly.
On the second floor, Cartier-Bresson's photographs (all from the Fondation) are the work of a younger man (Strand was 18 years his senior), less saddle-sore, seemingly more optimistic.
This being Cartier-Bresson, there is something aesthetically accusatory about it.
Henri Cartier-Bresson's photographs are beautifully timed, capturing the telling moment.
Earlier this year, the two men sat down in Mr Cartier-Bresson's book-lined apartment overlooking the Tuileries Gardens to make the final selection from his initial choice of 300 prints.
Henri Cartier-Bresson was the godfather of street photography.
Cartier-Bresson, in presumably exposing us for what we are, seems to be showing not that the emperor has no clothes but that he has ugly clothes, mottled skin and a strange hair-do.
Mr Cartier-Bresson's fame, which grew despite his efforts to avoid it, reminds a much wider world of its persistent admiration for unassuming genius, and of the dwindling stock of targets for that admiration.
Cartier-Bresson (1908-2004), who helped invent photojournalism or perhaps what might be called photosociology, never cropped or otherwise manipulated his photographs in the studio and thus might be seen as producing an unedited, nonstylized version of reality.
Housed in an elegant five-storey Art Deco building of glass and steel tucked away in a Montparnasse cul-de-sac, the foundation was conceived by Mr Cartier-Bresson and his wife and fellow-photographer, Martine Franck, to showcase his life's work.
Having grown up when photography was just being recognized as an art form, the French-born Cartier-Bresson was perhaps being an aesthetic contrarian, the anti-Stieglitz and un-Steichen, resisting the soft-focus tradition of those photographers that often conferred a romantic mist on their subjects.
Henri Cartier-Bresson: The Modern Century will travel to The Art Institute of Chicago (July 24 to Oct. 3), the San Francisco Museum of Modern Art (Oct. 30 to Jan. 30, 2011) and the High Museum of Art, Atlanta (Feb. 19, 2011 to May 15, 2011).
One of the first surveys since a Museum of Modern Art retrospective in 2005, this one dwells on many of the themes that have made Mr. Friedlander the jazziest street photographer since Henri Cartier-Bresson and, at the age of 77, still one of the hardest-working of his breed.
Magnum Photos was brought to life in the aftermath of World War II by photographers Robert Capa, Henri Cartier-Bresson, George Rodger and David "Chim" Seymour, each of whom was well acquainted with covering a changing world, where borders and allegiances were shifting as players set themselves for what was to become the Cold War.
For the last quarter of a century, Mr Cartier-Bresson eschewed photography, taking only the occasional snapshot of friends and family, and turning his attention to drawing. (He trained originally as a painter, his early work influenced by his friend, the surrealist artist Max Ernst.) He maintained that he scarcely wanted to discuss photography any more.
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