Henri Cartier-Bresson

Acquired from the photographer

Robert Delpire, ed., Henri Cartier-Bresson: Photographer (Boston, 1979), pl. 13

Peter Galassi, Henri Cartier-Bresson: The Early Work (New York: The Museum of Modern Art, 1987), p. 100

Jean-Pierre Montier, Henri Cartier-Bresson and the Artless Art (Boston, 1996), p. 86

American Photo Magazine, September/October 1997, cover and pp. 54-5

Documentary and Anti-Graphic Photographs: Manuel Álvarez Bravo, Henri Cartier-Bresson, Walker Evans (Paris: Foundation Henri Cartier-Bresson, 2004), p. 123

Peter Fetterman, ed., Henri Cartier-Bresson: The Master Set (Santa Monica: Peter Fetterman Gallery, 2004), pl. 103

Ann Thomas, Modernist Photograph from the National Gallery of Canada (Ottawa: National Gallery of Canada, 2007), p. 63

Peter Glassi, ed., Henri Cartier-Bresson: The Modern Century (New York: The Museum of Modern Art, 2010), p. 89

Clément Chéroux, Henri Cartier-Bresson, (Paris: Centre Pompidou, 2014), p. 88

Matthieu Humery et al., Henri Cartier-Bresson: Le Grand Jeu (Paris: Bibliothèque nationale de France and Fondation Henri Cartier-Bresson, 2020), pp. 82 and 248

'To take photographs means to recognize—simultaneously and within a fraction of a second—both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one’s head, one’s eye, and one’s heart on the same axis.'

-Henri Cartier-Bresson,  “The Mind’s Eye”, reproduced in Henri Cartier-Bresson, The Mind’s Eye: Writings on Photography and Photographers (New York: Aperture, 1999), p. 16