Henri Cartier-Bresson

Henri Cartier-Bresson, "Place de l'Europe"

File:Photo cartierbresson pontdesarts.jpg

Henri Cartier-Bresson, "Paris. Pont des Arts."

Henri Cartier-Bresson (August 22, 1908 - August 3 2004) was a French photographer. He was commonly considered the undisputed master of candid photography using the small-format 35mm rangefinder camera.

Cartier-Bresson was considered by most to be the father of photojournalism. He exclusively used the Leica 35 mm rangefinder cameras equipped with normal 50mm lenses or occasionally a telephoto for landscapes. He was one of the first photographers to shoot in the 35mm format and helped to develop the photojournalistic "street photography" style that influenced generations of photographers to come. Kodak's Plus-X and Tri-X films and the sharpness of Leica lenses allowed documentary photographers work almost by stealth, to capture the events that surrounded them. Photographers were no longer bound by a huge press camera, or an intrusive flash gun and bulbs. These photographers operated with what Henri called "the velvet hand...the hawk's eye." Cartier-Bresson never photograph withed a flash bulb. He said: "Impolite...like coming to a concert with a pistol in your hand."

Cartier-Bresson is long regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days in hiding from the Nazis during World War II. He dismissed those applying the term "art" to his pictures. He felt that they were just gut reactions to moments he happened on.

"The simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression...In photography, the smallest thing can be a great subject. The little human detail can become a leitmotif." – Henri Cartier-Bresson

Birth and Growing Up

Henri Cartier-Bresson was born in 1908 in Chanteloup-en-Brie, near Paris, France and was the oldest of five children. His family was well-to-do. His parents were a housewife and a well-connected French textile manufacturer who liked to sketch in his spare time. They provided him with the financial support to develop his interests in photography in a more independent manner than many of his contemporaries. He owned a Box Brownie as a boy, using it for taking holiday snapshots, and later experimented with a 3 x 4 view camera. He was raised in traditional French bourgeois fashion. He was required to address his parents as "vous", rather than the familiar "tu". His father assumed that Henri would take up the family business, but Henri was headstrong and was "strongly appalled" by working for the family business.

The Early Years

Henri was introduced to the feel of oil painting by Uncle Louis, a gifted painter. "Painting has been my obsession from the time that my 'mythical father', my father's brother, led me into his studio during the Christmas holidays in 1913, when I was five years old. There I lived in the atmosphere of painting; I inhaled the canvases." Uncle Louis taught him painting for a short while. However, Uncle Louis was killed during the World War I. Henri took up his baccalaureate studies but failed them. Henri spent a year at Cambridge studying English art and literature and became bilingual. He served a year of required service in the French Army.

At the age of 19, he entered a private art school and the Paris studio of the Cubist André Lhote, the Lhote Academy (in the Rue d'Odessa in the Montparnasse district). Lhote's ambition was to unify the Cubist's approach to reality with classical artistic forms.Henri also studied painting with society portraitist Jacques Emile Blanche. While painting, Cartier-Bresson read Dostoevsky, Schopenhauer, Rimbaud, Mallarmé, Freud, Proust, Joyce, Hegel and Marx. Lhote took his pupils to the Louvre Museum to study classical artists and to Parisian galleries to study contemporary art. Henri's interest in modern art was combined with an admiration for the works of the Renaissance—of masterpieces from Jan van Eyck, Paolo Uccello, Masaccio and Piero della Francesca. Henri often regarded Lhote as his teacher of photography without a camera.

Gradually, Henri began to feel uncomfortable with Lhote's "rule-laden" approach to art. Henri's rigorous theoretical training would later help him to confront and resolve problems of artistic form and composition in photography. At the time, schools of photographic realism were founded throughout Europe. Each school had a differing concept on how photography should develop. The photography revolution had begun, "Crush tradition! Photograph things as they are!" The Surrealist movement founded in 1924 was a big driver of this change in approach. In 1925, at the age of 17, while still studying at Lhote's studio, Henri began socializing with the Surrealists at Paris' Café La Place Blanche. He met a number of the movement's leading protagonists. Henri was particularly drawn to the Surrealist movement of linking the subconscious and the immediate to their work. Peter Galassi, in his book, Henri Cartier-Bresson, The Early Work, 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 recognized 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 their practical functions, contain a wealth of unintended, unpredictable meanings." Henri matured artistically in this stormy cultural and political environment. He was aware of the concepts and theories mentioned but could not find an outlet of expressing this imaginatively in his paintings. He was very frustrated with his experiments and subsequently destroyed the majority of his early works.

In 1930, after reading Joseph Conrad's Heart of Darkness, he sought adventure on the Ivory Coast (French colonial Africa). Henri wrote, "I left Lhote's studio because I did not want to enter into that systematic spirit. I wanted to be myself. To paint and to change the world counted for more than everything in my life." He survived on the Ivory Coast by shooting game and selling it to local villagers. From hunting, he learned methods that he would later use in his photography techniques. It was there on the Ivory Coast that he contracted blackwater fever and almost died. He was so ill that he sent instructions for his own funeral — to take place in Normandy, with a string quartet playing Debussy. His family reply was, "Your grandfather finds that too expensive. It would be preferable that you return first."

Henri brought along a Brownie box camera to the Ivory Coast, but most of his film did not survive the tropics. Only seven photographs survived. He called his work on the Brownie "a quick way of drawing intuitively." When Henri returned to France, he deepened his relationship with the Surrealists.

Back home in France, Henri became inspired by a photograph shot in 1931 by Hungarian photojournalist Martin Munkacsi showing three naked young African boys running into the surf of Lake Tanganyika and was caught in near-silhouette. Munkacsi's photograph, titled, Three Boys at Lake Tanganyika, captured the freedom, grace and spontaneity of their movement and their joy at being alive. Henri said, "The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave I couldn't believe such a thing could be caught with the camera. I said damn it, I took my camera and went out into the street." The photograph inspired him to put down his paint-brush and to take up photography seriously. Henri acquired a Leica with a 50mm lens in Marseilles, France. This camera would accompany him for many years. He said, "I prowled the streets all day, feeling very strung-up and ready to pounce, ready to 'trap' life." Restless, he photographed in Berlin, Warsaw, Prague, Budapest and Madrid. He had his first photo exhibition in Madrid in 1933. He spent 1934 in Mexico, where he shared an exhibition with Manuel Alvarez Bravo. At the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively.

In 1934 Henri met a young Polish intellectual, photographer named David Szymin. Szymin was called "Chim" because his name was difficult to pronounce. Later Szymin changed his name to Seymour. Henri and Chim had much in common culturally. Before long, Chim introduced Henri to a Hungarian photographer named André Friedmann, who later changed his name to Robert Capa. Henri shared a studio in the early 1930s with Chim and Capa. Capa mentored and advised Henri, "Don't keep the label of a surrealist photographer. Be a photojournalist. If not you will fall into mannerism. Keep surrealism in your little heart, my dear. Don't fidget. Get moving!"

Henri came to America for the first time in 1935. He was invited to exhibit his work at New York's Julien Levy Gallery (where he shared display space with Walker Evans). He was approached by Carmel Snow of Harper's Bazaar, who gave him an assignment to do fashion photography. He fared poorly at this assignment for he had no idea how to interact and direct the models. Nevertheless, Snow was the first American editor to publish his photographs in a magazine. While in New York, he met photographer Paul Strand, who did cinematographic work on the Depression-era documentary, "The Plow That Broke the Plains." When he returned to France, Henri applied for a job with renowned French film director Jean Renoir. Henri was given a small part as a priest in a Renoir film. He became an assistant director to Renoir on his masterpieces, "A Day in the Country" (1936) and "The Rules of the Games" (1939). He helped Renoir do a film for the Communist party on the 200 families who ran France including his own! Later Henri made his own documentary about medics in the Spanish Civil War.

Henri was first published as a photojournalist in 1937 when he was assigned to cover the coronation of King George VI, for the French weekly "Regards". He focused on the new monarch's adoring subjects lining the London streets, and took no pictures of the king. The accompanying credit for his photographs published in "Regards", read "Cartier". He was hesitant about using his full family name.

In 1937, Henri married Javanese dancer, Ratna Mohini. They had set up their home in a fourth-floor servants' flat at 19, Rue Danielle Casanova. It was a large studio with a small bedroom and kitchen and a bathroom where Henri once developed his films. In 1938, Henri got a job as a photographer with the French Communist paper, ''Ce Soir''. Cartier (along with Chim and Capa) was a leftist, but he did not join the Communist party. Henri joined the French Army as a Corporal in the Film and Photo unit when World War II broke out in September 1939. During the Battle of France, Henri was captured by the Germans. According to Henri, he was forced to perform "thirty-two different kinds of hard manual labor." He worked "as slowly and as poorly as possible." He tried to escape twice from the prison camp and failed both times. He was punished by solitary confinement. His third escape was successful and he made his way to a "safe" haven near Tours. Obtaining false papers, he 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, he dug up his beloved Leica camera, which he had buried in farmland near Vosges in 1940. He continued photographing throughout World War II and by the time of the armistice, he had been asked by American forces to make a documentary about returning war refugees.

Towards the end of the War, rumors had reached America that Henri had been killed. Henri's film on returning war refugees, (released in the United States in 1947) spurred a retrospective of his work at the Museum of Modern Art (MoMA). The MoMA had begun to prepare a "posthumous" show for him. In 1946 when they learned that Henri was still alive, he volunteered to go to New York to help with the preparation of this exhibition. The show made its debut in 1947. Together with this show, the MoMA also published the first book of his work, The Photographs of Henri Cartier-Bresson, with texts by Lincoln Kirstein and Beaumont Newhall.

The Formation of Magnum

In the spring of 1947, Henri, along with Robert Capa, David "Chim" Seymour, Bill Vandivert, George Rodger became founders of Magnum Photo. Magnum was the brainchild of Robert Capa. Magnum Photo was to be a cooperative picture agency. The team had decided to split up photo assignments among the members. Rodger, who had quit Life in London after covering the WW II, would cover Africa and the Middle East. Chim, who spoke most European languages, would work in Europe. Henri 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. The Paris office was managed by Maria Eisner, formally of Alliance Photo. The New York office was managed by Vandervert's wife, Rita Vandivert. Rita became Magnum's first president.

The Decisive Moment

Henri achieved journalistic recognition for his coverage of Gandhi's death in India in 1948 and the Maoist revolution in China in 1949. He covered the last three months of the Kuomintang administration and the first three months of the incoming communist government (the People's Republic). He also photographed the last surviving Imperial eunuchs in Beijing as the city was falling to the communists. From China, he continued on to Indonesia where he documented the independency of the country from the Dutch.

In 1952 he published his book, The Decisive Moment. The book featured a portfolio of 126 photos from the East and the West. It also featured a book cover drawn Henri Matisse. Henri's 4,500-word philosophical preface was where the term Decisive Moment was born. He first wrote it in French, taking his text from the 17th-century Cardinal de Retz: "Il n'y a rien dans ce monde qui n'ait un moment decisif. This translates to "There is nothing in this world that does not have a decisive moment." Henri applied this to his photography style. Henri said: "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 organization of forms which give that event its proper expression." Tériade, the Greek-born French publisher whom Henri idolized, gave the book its French title, Images à la sauvette, which could be loosely translated as "Shooting on the run." American publisher, Dick Simon of Simon & Schuster came up with the English title, The Decisive Moment. Margot Shore, Magnum's Paris bureau chief did the English translation of Henri's preface.

"Photography is not like painting," he 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," he said. "Oop! The Moment! Once you miss it, it is gone forever."

Henri held his first exhibition in France at the Pavillon de Marsan in the Louvre Museum in 1955.

The Later Years

Henri's photography had taken him to many places on the globe – China, Mexico, Canada, the United States, India, Japan, Soviet Union, and many other countries. Cartier-Bresson became the first Western photographer to photograph freely in the post-war Soviet Union. In 1968 he began to curtail his photography and follow his passion for drawing and painting. Henri left Magnum in 1966 to concentrate on portraiture and landscapes. In 1967 Henri and his first wife Ratna "Elie" were divorced. Henri married photographer, Martine Franck in 1970. In January 1973, Martine and Henri adopted a little girl named Mélanie.

Henri retired from photography in the early 1970s to return to drawing and painting. In 1975, he held his first exhibition of drawings at the Carlton Gallery in New York.

The Henri Cartier-Bresson Foundation was created by Cartier-Bresson and his wife and daughter in 2002 to preserve and share his legacy.

Death

Cartier-Bresson died in Céreste (Alpes-de-Haute-Provence, France) on August 3, 2004 at the age of 95. No cause of death was provided. He is survived by his wife and fellow photographer Martine Franck, and his daughter Mélanie.

Cartier-Bresson Quotes

Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.

The photograph itself doesn't interest me. I want only to capture a minute part of reality.

Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks.

The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.

We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box.

To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.

In photography, you've got to be quick, quick, quick, quick...Like an animal and a prey.

Notable People Photographed by Cartier-Bresson

Awards

Cartier-Bresson is the recipient of many of prizes, awards and honorary doctorates. A partial listing of his awards:

1948 Overseas Press Club of America Award
1953 The A.S.M.P. Award
1954 Overseas Press Club of America Award
1959 The Prix de la Société Française de Photographie
1960 Overseas Press Club of America Award
1964 Overseas Press Club of America Award
1975 The Culture Prize, Deutsche Gesellschaft für Photographie
1981 Grand Prix National de la Photographie
1982 Hasselblad Award

Exhibitions

Public Collections of Henri Cartier-Bresson's Works

Bibliothèque Nationale de France, Paris, France
De Menil Collection, Houston, Texas, USA
University of Fine Arts, Osaka, Japan
Victoria and Albert Museum, London, United Kingdom
Maison Européenne de la Photographie, Paris, France
Musée Carnavalet, Paris, France
Museum of Modern Art, New York, USA
The Art Institute of Chicago, Illinois, USA
The Getty Museum, Los Angeles, California, USA
Institute for Contemporary Photography, New York, USA
The Philadelphia Art Institute, Philadelphia, Pennsylvannia, USA
The Museum of Fine Arts, Houston, USA
Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan
Museum of Modern Art, Tel Aviv, Israel
Stockholm Modern Museet, Sweden

Exhibitions of Henri Cartier-Bresson's Works

2003 – 2005 Retrospective, Bibliothèque Nationale, Paris, France, La Caixa, Barcelona, Spain; Martin-Gropius-Bau, Berlin, Germany; Museum of Modern Art, Rome, Italy; Museum of Modern Art, Edinburgh, U.K.; Museum of Modern Art, New York, U.S.A.

2004 Museum Ludwig, Cologne
2004 Baukunst Galerie, Cologne
2004 Martin-Gropius-Bau, Berlin
1998 - 1999 Photographien und Zeichnungen - Baukunst Galerie, Cologne, Germany
1998 Line by Line – Royal College of Art, London, U.K.
1998 Kunsthaus Zürich, Zurich, Switzerland
1998 Galerie Beyeler, Basel, Switzerland
1998 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
1998 Tete à Tete - National Portrait Gallery, London, U.K.
1998 Galerie Löhrl, Mönchengladbach, Germany
1998 Howard Greenberggh Gallery, New York, U.S.A.
1997 De Européenne – Maison Européenne de la Photographie, Paris, France
1997 Musée des Beaux-Arts, Montreal, Canada Henri Cartier-Bresson, dessins
1974-1997 Galerie Claude Bernard, Paris, France
1996 Henri Cartier-Bresson: Pen brush and Cameras – The Minneapolis Institute of Arts, U.S.A.
1995 Dessins e Hommage à Henri Cartier-Bresson – CRAG Centre Régional d’Art Contemporain Valence, Drome, France
1994 Dessins e première photos – La Caridad, Barcelona, Spain
1993 Photo Dessin – Dessin Photo, Arles, France
1992 Musée de Noyers-sur-Serein, France
1992 Palazzo San Vitale, Parma, Italy
1992 Centro de Exposiciones, Saragossa and Logrono, Spain
1992 L'Amérique – FNAC, Paris, France
1992 Hommage à Henri Cartier-Bresson – International Center of Photography, New York, U.S.A.
1991 Taipei Fine Arts Museum, Taiwan (drawings and photographs)
1990 Galerie Arnold Herstand, New York, U.S.A.
1989 Mannheimer Kunstverein, Mannheim, Germany (drawings and photography)
1989 Fondation Pierre Gianadda, Martigny, Switzerland (drawings and photographs)
1989 Printemps Ginza, Tokyo, Japan
1989 Chapelle de l'École des Beaux-Arts , Paris, France
1988 Palais Lichtenstein, Vienna, Austria
1988 Salzburger Landessammlung, Austria
1988 Institute français, Athen, Greece
1987 Museum of Modern Art, Oxford, U.K. (drawings and photography)
1987 Early Photographs – Museum of Modern Art, New York, U.S.A.
1986 L'Institute français de Stockholm
1986 Tor Vergata University, Rome, Italy
1986 Pavillon d'Arte contemporanea, Milan, Italy
1984 - 1985 Paris à vue d’oil – Musée Carnavalet, Paris, France
1985 Musée d'Arte moderno de Maxico, Mexico
1985 Henri Cartier.Bresson en Inde – Centre National de la Photographie, Palais de Tokyo, Paris, France
1984 Osaka University of Arts, Japan
1983 Printemps Ginza – Tokyo, Japan
1982 Hommage a Henri Cartier-Bresson – Centre National de la Photographie, Palais de Tokyo, Paris, France
1981 Musée d'Art moderne de la Villa de Paris, France
1981 Retrospective – Musée d'Art de la Ville en France
1980 Portraits – Galerie Eric Franck, Geneve, Switzerland
1975 Carlton Gallery, New York, U.S.A,
1975 Galerie Bischofberger, Zurich, Switzerland
1974 Exhibition about the USSR, International Center of Photography, New York, U.S.A.
1970 En France – Grande Palais, Paris. Later in the U.S.A., USSR, Australia and Japan
1965 - 1967 2nd retrospective, Tokyo, Japan, Musée des Arts décoratifs, Paris, France, New York, U.S.A., London, U.K., Amsterdam, Netherlands, Rome, Italy, Zurich, Switzerland, Cologne, Germany and other cities.
1964 Philipps Collection, Washington
1963 Photokina, Cologne, Germany
1956 Photokina, Cologne, Germany
1955 Retrospektive – Musée des Arts décoratifs, Paris, France
1952 Institute of Contemporary Art, London, U.K.
1947 Museum of Modern Art New York, U.S.A.
1934 Palacio de Bellas Artes, Mexico (with Manuel Alvarez Bravo)
1933 Julien Levy Gallery, New York, U.S.A.
1933 Cercle Atheneo, Madrid, Spain

Filmography

Films Directed by Henri Cartier-Bresson

Henri 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.
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. Color.
1969-70 Southern Exposures. Running time: 22 minutes and 25 seconds. Color.

Films Compiled from Photographs by Henri 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 délits. Directed by Robert Delpire. Original music score by Diego Masson. Delpire production, Paris. Running time: 22 minutes. Black and white.
1969 Québec vu par Cartier-Bresson / Le Québec 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. Color.
1997 Série "100 photos du siècle": L'Araignée d'amour: broadcast by Arte. Produced by Capa Télévision. Running time: 6 minutes and 15 seconds. Color.

Bibliography

1947 The Photographs of Henri Cartier-Bresson. Text by Lincoln Kirstein, Museum of Modern Art, New York.

1952 The Decisive Moment. Texts and photographs by Henri Cartier-Bresson. Cover by Henri Matisse. Simon & Schuster, New York. French edition

1954 Les Danses à Bali. Texts by Antonin Artaud on Balinese theater and commentary by Béryl de Zoete Delpire, Paris. German edition

1955 The Europeans. Text and photographs by Henri Cartier-Bresson. Cover by Joan Miro. Simon & Schuster, New York. French edition

1955 People of Moscow. Thames and Hudson, London. French, German and Italian editions

1956 China in Transition. Thames and Hudson, London. French, German and Italian editions

1958 Henri Cartier-Bresson : Fotografie. Text by Anna Farova. Statni nakladatelstvi krasné, Prague and Bratislava.

1963 Photographs by Henri Cartier-Bresson. Grossman Publisher, New York. French, English, Japanese and Swiss editions

1964 China. Photographs and notes on fifteen months spent in China. Text by Barbara Miller . Bantam Books, New York. French edition

1968 The World of HCB. Viking Press, New York. French, German and Swiss editions

1969 Man and Machine. commissioned by IBM. French, German, Italian and Spanish editions

1970 France. Text by François Nourissier. Thames and Hudson, London. French and German editions

1972 The Face of Asia. Introduction by Robert Shaplen. Published by John Weatherhill (New York and Tokyo) and Orientations Ltd. (Hong Kong). French edition

1973 About Russia. Thames and Hudson, London. French, German and Swiss editions

1976 Henri Cartier-Bresson. Texts by Henri 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. Bulfinch, New York. French, English, German, Japanese and Italian editions

1983 Henri Cartier-Bresson. Ritratti. Texts by André Pieyre de Mandiargues and Ferdinando Scianna. Coll. " I Grandi Fotografi ". Gruppo Editoriale Fabbri, Milan. English and Spanish editions

1985 Henri Cartier-Bresson en Inde. Introduction de Satyajit Ray, photographies et notes d'Henri Cartier-Bresson. Texte d'Yves Véquaud. Centre National de la Photographie, Paris. Editions anglaise

1985 Photoportraits. Texts by André Pieyre de Mandiargues. Thames and Hudson, London . French and German editions

1987 Henri Cartier-Bresson. The Early Work. Texts by Peter Galassi. Museum of Modern Art, New York. French edition

1987 Henri Cartier-Bresson in India. Introduction by Satyajit Ray, photographs and notes by Henri Cartier-Bresson, texts by Yves Véquaud. Thames and Hudson, London . French edition

1989 L'Autre Chine. Introduction by Robert Guillain. Collection Photo Notes. Centre National de la Photographie, Paris

1989 Line by Line. Henri Cartier-Bresson’s drawings. Introduction by Jean Clair and John Russell. Thames and Hudson, London. French and German editions

1991 America in Passing. Introduction by Gilles Mora. Bulfinch, New York. French, English, German, Italian, Portuguese and Danish editions

1991 Alberto Giacometti photographié par Henri Cartier-Bresson. Texts by Henri Cartier-Bresson and Louis Clayeux. Franco Sciardelli, Milan

1994 A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. Thames and Hudson, London . French, German and Japanese editions

1994 Double regard. Drawings and photographs. Texts by Jean Leymarie. Amiens : Le Nyctalope. French and English editions

1994 Mexican Notebooks 1934-1964. Text by Carlos Fuentes. Thames and Hudson, London. French, Italian, and German editions

1994 L'Art sans art. Texte de Jean-Pierre Montier. Editions Flammarion, Paris. Editions allemande, anglaise et italienne

1996 L'Imaginaire d'après nature. Textes de Henri Cartier-Bresson. Fata Morgana, Paris. Editions allemande et américaine

1997 Europeans. Texts by Jean Clair. Thames and Hudson, London. French, German, Italian and Portuguese editions

1998 Tête à tête. texts by Ernst H.Gombrich. Thames & Hudson, London. French,German, Italian and Portuguese editions

1999 The Mind's Eye. Texts by Henri Cartier-Bresson. Aperture, New York. French and German editions

2001 Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. Thames and Hudson, London. 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, Serge Toubiana. Thames and Hudson, London 2003. German, French, Korean, Italian and Spanish editions.

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