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In the spring of 1946, Henri Cartier-Bresson arrived in the United States to prepare for his exhibition at MoMA in New York. He would stay there for eighteen months, and he quickly decided to embark on a long-term project with a writer to publish a book that would ultimately never see the light of day. This period was very important for the photographer: it was at this time, in the postwar era, that he chose not to become a filmmaker and to fully embrace photography.
For his part, Walker Evans published *American Photographs* in 1938, *Let Us Now Praise Famous Men* with James Agee in 1941, and was working on his project *Many Are Called*, which would not be published until 1966. Walker Evans and Henri Cartier-Bresson belong to the same generation, shaped by travel and intellectual curiosity. Both were steeped in literature, painting, and a form of social criticism manifested differently: Evans’s directness and distance from his country, as opposed to the human-centered diagonals of the Frenchman who was sniffing out (to use one of his expressions) a territory still new to him.
The exhibition *Henri Cartier-Bresson and Walker Evans:Photographing America, 1929–1947*, presented at the HCB Foundation in the fall of 2008, along with the accompanying book, presents, in parallel, the perspectives of Walker Evans and Henri Cartier-Bresson on America (1929–1947), offering an opportunity to compare two ways of seeing, two different approaches by two masters of photography who shared a mutual esteem.
"Without the challenge of Walker Evans' work, I don't think I would have remained a photographer" - Henri Cartier-Bresson
Published by Steidl, 2008, texts by Agnès Sire and Jean-François Chevrier
182 pages, in very good condition
ISBN
In the spring of 1946, Henri Cartier-Bresson arrived in the United States to prepare for his exhibition at MoMA in New York. He would stay there for eighteen months, and he quickly decided to embark on a long-term project with a writer to publish a book that would ultimately never see the light of day. This period was very important for the photographer: it was at this time, in the postwar era, that he chose not to become a filmmaker and to fully embrace photography.
For his part, Walker Evans published *American Photographs* in 1938, *Let Us Now Praise Famous Men* with James Agee in 1941, and was working on his project *Many Are Called*, which would not be published until 1966. Walker Evans and Henri Cartier-Bresson belong to the same generation, shaped by travel and intellectual curiosity. Both were steeped in literature, painting, and a form of social criticism manifested differently: Evans’s directness and distance from his country, as opposed to the human-centered diagonals of the Frenchman who was sniffing out (to use one of his expressions) a territory still new to him.
The exhibition *Henri Cartier-Bresson and Walker Evans:Photographing America, 1929–1947*, presented at the HCB Foundation in the fall of 2008, along with the accompanying book, presents, in parallel, the perspectives of Walker Evans and Henri Cartier-Bresson on America (1929–1947), offering an opportunity to compare two ways of seeing, two different approaches by two masters of photography who shared a mutual esteem.
"Without the challenge of Walker Evans' work, I don't think I would have remained a photographer" - Henri Cartier-Bresson
Published by Steidl, 2008, texts by Agnès Sire and Jean-François Chevrier
182 pages, in very good condition
ISBN
