{"id":74915,"date":"2017-12-25T15:50:12","date_gmt":"2017-12-25T23:50:12","guid":{"rendered":"http:\/\/erickimphotography.com\/blog\/?p=74915"},"modified":"2017-12-25T16:17:01","modified_gmt":"2017-12-26T00:17:01","slug":"henri-cartier-bresson-was-a-master-surrealist-street-photographer","status":"publish","type":"post","link":"https:\/\/erickimphotography.com\/blog\/2017\/12\/25\/henri-cartier-bresson-was-a-master-surrealist-street-photographer\/","title":{"rendered":"Henri Cartier-Bresson Was a Master Surrealist Street Photographer"},"content":{"rendered":"

Studying the work of Rene Magritte and the surrealists has given me a new-found appreciation for the masterful photos of Henri Cartier-Bresson<\/a>.<\/p>\n

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Henri Cartier-Bresson and surrealism<\/h2>\n
\"Henri
Henri Cartier Bresson on the decisive moment<\/figcaption><\/figure>\n

Learn more: Free Ultimate Beginner\u00e2\u20ac\u2122s Guide To Street Photography ><\/a><\/em><\/p>\n

Henri Cartier-Bresson<\/a> first considered labeling himself a surrealist photographer, but was suggested against it by Robert Capa<\/a>, who co-founded Magnum with him. However, Henri Cartier-Bresson was trained in surrealism:<\/p>\n

\n \u00e2\u20ac\u0153I\u00ca\u00bcm not interested in documenting. Documenting is extremely dull and journalism…I\u00ca\u00bcm a very bad reporter and a photojournalist. Capa told me when I had an exhibition at the museum of Modern Art in \u00ca\u00bc46, he said no, he\u00ca\u00bcd be very careful. You mustn\u00ca\u00bct have a label of a surrealist photographer. All my training was surrealism<\/strong>. I still feel very close to a surrealist but he said if you were labelled as a surrealist photographer you won\u00ca\u00bct go any further you won\u00ca\u00bct have an assignment and you\u00ca\u00bcre going to be like a hot house plant. Just forget it, do whatever you like but the label should be photojournalist. And Capa was extremely sound so I never mentioned surrealism, that\u00ca\u00bcs my private affair. And what I want, what I\u00ca\u00bcm looking for is my business. And I\u00ca\u00bcm not a reporter. Its accidentally, it\u00ca\u00bcs on the side\u00e2\u20ac\u009d – Henri Cartier-Bresson\n<\/p><\/blockquote>\n

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1. Eternal life and death (circular composition)<\/h2>\n
\"Funeral
Funeral in Japan by Henri Cartier Bresson. 1965<\/figcaption><\/figure>\n

For example in this photo by Cartier-Bresson, shot at a funeral of a late actor. Look at the circular motion and composition.<\/p>\n

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The symbolism: life and death is an eternal cycle.<\/p>\n

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Circular motion outlined:<\/p>\n

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This is also shot at a funeral, and look at all the women dabbing their eyes with the tissues:<\/p>\n

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Also see the three dimensionality and depth of their faces, and the direction of their faces and eyes (and ears as orientation of their heads):<\/p>\n

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Ren\u00c3\u00a9 Magritte: Familiar Objects (1928)<\/h3>\n

I also was shocked to see this painting by Magritte, which bears an eerie similarity:<\/p>\n

\"Rene
Rene Magritte Familiar Objects (1928)<\/figcaption><\/figure>\n

Also note the movement and placement and orientation of the faces:<\/p>\n

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See their faces abstracted as three-dimensional shapes, and look at the direction of their eyes:<\/p>\n

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Matisse: the dance (1910)<\/h3>\n
\"The
The dance by Matisse<\/figcaption><\/figure>\n

Even see how the composition of Henri Cartier-Bresson, with the circular composition mirrors that of Matisse<\/a>, a painter Cartier-Bresson greatly admires.<\/p>\n

\"The
The dance by Matisse, circular composition outlined by red arrows<\/figcaption><\/figure>\n
\"The
The dance abstract by ERIC KIM<\/figcaption><\/figure>\n
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Lesson: Circular composition<\/h2>\n

The lesson to apply in our street photography: try to place heads in a similar fashion, and have the circular motion, by placing some subjects closer to us, and others further. Also, to note the direction of the faces, to create a more three-dimensional view.<\/p>\n

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2. Repetition of rectangles, windows, and shapes<\/h2>\n
\"Henri
Henri Cartier-Bresson 1933
SPAIN. Madrid.<\/figcaption><\/figure>\n

Probably one of my favorite Cartier-Bresson pictures. I love the surreal windows in the background, and the repetition of the rectangular window shapes, and the subjects in the foreground.<\/p>\n

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Which reminds me a lot of this painting by Magritte:<\/p>\n

Ren\u00c3\u00a9 Magritte: Ren\u00c3\u00a9 Magritte, Golconda, 1953<\/h3>\n
\"Magritte,
Magritte, Golconda, 1953<\/figcaption><\/figure>\n

See the repetition of the figures, and the repeating subjects.<\/p>\n

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3. Backs of head, and sense of scale<\/h2>\n
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Man facing wall, Soviet Union, Henri Cartier Bresson<\/figcaption><\/figure>\n

Similar to Giorgio de Chirico<\/a>:<\/p>\n

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Giorgio de Chirico<\/figcaption><\/figure>\n
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4. Life and death and children playing<\/h2>\n
\"ITALY.
ITALY. Sicily. Palermo. 1971. Henri Cartier Bresson children playing with wheel. And funeral car in top of frame.<\/figcaption><\/figure>\n

The juxtaposition between life and death, and children:<\/p>\n

Giorgio de Chirico, also has a similar concept:<\/p>\n

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5. Objects that look like something else<\/h2>\n
\"MEXICO.
MEXICO. Mexico City. Prostitu\u00c3\u00a9es. Calle Cuauhtemoctzin. 1934. Woman looks like a Key. Henri Cartier-Bresson<\/figcaption><\/figure>\n

Making people look like objects, like how Henri Cartier-Bresson made this woman look like a key, coming out of a keyhole.<\/p>\n

\"1966,
1966, The Devils Smile by Magritte<\/figcaption><\/figure>\n
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Learn more about Henri Cartier-Bresson ><\/a><\/h2>\n

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Learn from the master, Henri Cartier-Bresson:<\/p>\n