Henri Cartier
Bresson Retrospective
Centre Pompidou
12 February – 9
June 2014
Echoing the Guardian’s review of his retrospective, ‘he defined the art of observation’, the
French photographer Henri Cartier Bresson’s work takes us on a journey through
the twentieth century, decade by decade, capturing its atmosphere across a
plethora of cultures. He lived from 1908 to 2004 and worked throughout his life
to build such an extraordinary portfolio, he is perhaps one of the most dynamic
photographers the world has ever seen. From Ghandi’s funeral in India to the
Jazz Age in America and the horrors of both world wars, these photographs bring
us into the lives of their subjects. The magic of the chronologically presented retrospective is
the fact that the Pompidou focuses on their diversity, the visible paradoxes
rather than presenting the 350 photographs and films as a unified life’s work.
The
exhibition begins with the section, ‘Rising Signs’, which I’ll admit I found
less than stimulating. The collection of nihilistic photographs depict shop
windows and streetscapes, which fail to capture the imagination. However, as
you progress through the rooms, you’re quickly submerged in his portraiture
like the beautiful centrepiece, ‘George Hoyningen-Huene’, New York, 1935
depicting a handsome young man with an elongated neck taking a photograph.
George Platt Lyne’s portrait of the same period is equally stirring as a
display of raw human emotion.
Referred
to as the ‘Golden Ratio’, Andre Lhote taught Cartier-Bresson the value of
geometry in his work, which led him to choose backgrounds with dynamic textures
or geometric structure and resulted in more interesting compositions. This is
demonstrated by his group portraits in Seville, 1933, one of which depicts
malnourished children clambering through the very wall that frames them. .
There is also a portrait of a desperately melancholy child in Valencia dressed
beautifully, but presented against the remnants of a painted wall. Beyond their
aesthetic value, these images of the poor in Spain illustrate the strength of
his social conscience, which underpins his work in Mexico and Cuba.
Les
Vendeuses des Journaux, taken in Mexico 1934 captures the desolation of poverty,
whilst remaining loyal to the notion of love in war. Along the same theme, one
of my favourite pieces is a moving portrait of an immaciated father clutching
his starving child in Madrid, 1933. This body of work echoes his contemporary
Pablo Picasso’s quotation, ‘“What do you think an artist is? ...he is a political being, constantly
aware of the heart breaking, passionate, or delightful things that happen in
the world”.
His relationships
with pivotal artists of the time were well known, illustrated by his portrait
of Henri Matisse sketching amongst his birds or a blurred Giacometti moving
through his towering sculptures, present Cartier-Bresson as a sort of
commentator on Modern Art.
Cartier-Bresson
is very much placed in the realm of the surrealist avant-garde by the Pompidou’s
curators. On one of the blurbs, his position is described as being at the ‘end
of the table’ during the first meetings of the Surrealist movement led by Andre
Breton and his theories of ‘convulsive beauty’ from 1926. But, in reality, his
appreciation for the subconscious, the subversive spirit, the simple pleasure
of capturing scenes on the streets did align him with their values. His
portrait of Andre Pieyre de Mandiargues, Italy 1933 draws a striking
resemblance to images of Salvador Dali, but its charm lies in his juxtaposition
with the poster of three old hags gazing down upon him like angels or an
oppressive conscience.
Despite
the scenes of crowds and violent protest, there is frequently an untainted
silence in his works. Especially during
his more political phases whereby he captures Ghandi’s funeral following his
assassination. This is particularly poignant for Cartier Bresson, given that
his wife was Indian. The sight of his despairing supporters climbing trees to watch
his cremation has a humbling effect on the viewer.
There
is an underlying sense of sensuality in his work, which often contains erotic
references. In his portrait of Charles Henry Ford in New York, he fumbles with
his trouser zip with an expression blurred between ecstasy and frustration. The
photographer’s compositional skill is evident in the crude juxtaposition of an
advertisement depicting an outstretched tongue. We’re then drawn to the famous
image of his Cartier Bresson’s wife Martine Franck’s long, sensual legs across
a couch and his nude portrait of Leonor Fini, 1933, which also illustrates his
appreciation of the female form, but with a simplicity not seen in his other
work.
This
exhibition is worth the Eurostar ticket, never again will such an in depth
retrospective of his work be gathered for public view. It is one of the most
captivating ways to comprehend the rich tapestry of history woven throughout
the 20th century in many different countries and contexts and I
would highly recommend going. But, always with a plan for a little foodie adventure afterwards...
If
you need refuelling after a morning on your feet, Paris does in fact offer
exceptional brunches, although not at New York prices. The Americans may have a
reputation for fabulous breakfasts, but the new hotspot Paperboy, 137 Rue Amelot 11e, sure does give
the average roadside diner a run for its money. It’s a funky, open plan
restaurant hidden on an unassuming street behind Republique square. From the
vintage American candy lining the walls to the monochrome uniforms, their
attention to detail is impressive.
As with the majority of Parisian Hipster
haunts, the bourgeois-bohemes were the majority and the queue of famished
fetards willing to drop €25 on breakfast
twirled around the corner. The fresh juices were exquisite, I went for carrot, ginger
and apple, but the lemon and ginger was also to die for. As for the food; my
companions were happily sunk by ‘Le Fatty’, which was a cholesterol raising
combination of egg & bacon sandwich, baked beans, pancakes with whipped
cream and berries. I lent towards the ‘Le healthy’ brunch of eggs, homemade
granola, yogurt and berries.
Totally delicious, unforgettably indulgent.
