Henri Cartier-Bresson/Walker Evans: to photograph America. 1929-1947

To flesh light wiki the candles of Henri Cartier-Bresson (1908-2004) who would have been today 100 years old, the walls of its foundation offer an exposure to two heads. By inviting the photographs of Walker Evans (1903-1975), the host confronts his images on a topic which they have shared all two: luemmels fleshlight quickies of the years 30-40.

License Photo Studio, New York, 1934 Collection fleshlight sex toy review Museum© Walker Evans/The Metropolitan Museum off Art

It is thus initially a history of resemblance. Of identical and ethics. Evans and Cartier-Bresson indeed followed a similar beginning of career, one engaged in the writing, the other in the cinema, for finally devoting itself to photography. And they then wrote the beginning of the photojournalism together. And its esthetics. After a stay in Paris where he ventured the trade of writer, Evans returns to the United States in 1926. America shakes in a stock exchange crash landing. 1929. Its career will be launched. The exposure can start. To face the Great Depression, Farm Security Administration (FSA), created in 1937 on the initiative of Roosevelt and its government to help the agricultural communities, an order places to several photographers so that they testify to the social situation of the campaigns. Evans takes part in this project. It is even the emblematic figure, it is him which gives the general style of all the stereotypes taken for the FSA. These are the photographs which are today exposed with the foundation. On its side, Cartier-Bresson, after attempts in the cinema world with Jean Renoir and Paul Strand, embarks in the photographic adventure. In 1935, it presents its work in the flesh light wiki Julien Levy to the sides of Evans. The established meeting, the exposure can develop. The images of Cartier-Bresson presented here fall under work for its exposure to fleshlight sex toy review in the years 1946-47.

Memphis, Tennessee, fleshlight sex toy review Henri Cartier-Bresson
/Magnum Photographs Collection Foundation HCB

Two artists, two showrooms, fleshlight sex toy review their photographs which ravel flesh light wiki turn on a simply right line. The same atmosphere emerges: that of America in flesh light wiki beauty and its contradictions. Evans and fleshlight sex toy review tamed the street to seize its passers fleshlight sex toy review Portraits without installation and decoration, of the men to the feet of their doors, the pipe with the lips, the dirtiness of the pavement and the darkness, crowd and anonymity. Then the murder, the man who to lie on the ground or deserted and dry campaigns, of the wrecks of cars that and there. From Tennessee in New York, while passing by California, the same history is divided in the two photographers, that of America in depression, the ruins, them excluded, its black populations crushed under heat and unemployment. Images where work on the light, the nuances of white and black transform the passers by into fragile silhouettes, like moving phantoms.

The contrast of these fine luemmels fleshlight quickies and frail is done even luemmels fleshlight quickies seizing at fleshlight sex toy review sides of the flesh light wiki letters of the signs and flesh light wiki They are also played of visual associations and symbolic systems, such as for example a fleshlight sex toy review which marries the shape of the crosses of a fleshlight sex toy review By the variety from the points of view, of the close relation to the distance, frontality with in-depth prospect, they set ablaze the same world under the diversity of its subjects. And by thus presenting the social reality of America, Evans and Cartier-Bresson took part in the birth of the photojournalism which at that time tries to be defined, to establish its codes. fleshlight sex toy review research of unexpected, of the images taken on the sharp one in the daily newspaper of the popular masses, where the presence of the photographer is erased, in withdrawal not to be considering, and to leave reality in its naked objectivity. The image is not then any more the illustration of a text. It shows. She tells. It exhibe. It becomes the history.

Negro To bore Shop Interior, Atlanta, 1936Collection MoMA,
New York © Walker Evans

But like Evans and Cartier-Bresson revealed the situation of America, it is also it which revealed them. It was the creative impulse. It was their MUSE. And Evans to say: I run after the American city, the luemmels fleshlight quickies allowed me to educate my glance. Or luemmels fleshlight quickies it is America which made me. America fleshlight sex toy review was for them the place of fleshlight sex toy review And the impulse of their esthetics. Thus this exposure shows their parallel work in the documentary and historical field on America of years 30-40, but also, and especially, why they have an essential common point: fleshlight sex toy review became artists by reinventing photography (Jean-François Chevrier). Each one luemmels fleshlight quickies could find in America luemmels fleshlight quickies gold mine. Its style, its signature.

Evans which, in the context of the FSA came to traverse the grounds of its country, little by little will be detached from the constraints of the public order, to open other prospects and to upset the photographic codes. It will be interested, not only with the disadvantaged populations, but at their environment, in particular the frontages and the interior of their houses. It had already approached this topic of the urban walls during its work on architecture victorienne in 1928. It shows also its fascination for Atget and its photographs of Paris in disappearance in front of the modern world. By collecting the places of life and vacuum, where the human one becomes absent, Evans diverts the use of the traditional social portrait. More faces nor of body to deviate from the sensitivity and engagement emphatic, but from the frontages, furniture and windows to approach with more close to neutrality, the materiality. By this preoccupation with an objectivity and his frontal report/ratio with reality, Evans reinvented the documentary style. And it is through America that it found its capacity creative. It is the same with the Cartier-Bresson method, which takes its dash in the territories of the west. Between the moment and the eternal. Magic of the fugitive moments tallied by small Leica of the photographer. This method of the hunter which tracks, and hides, to suspend the world taken in red-handed.

This thirst for fleshlight sex toy review reality which is offered thus, fleshlight sex toy review sensitivity for the immediate one, and its question of time. Sharp, sharp, sharp, I do not live that in the moment he entrusted. But in this particular moment, always fleshlight sex toy review hinge, a symmetry takes shape, an order which the eye of Cartier-Bresson knows immortaliser. It was a Master of the composition. Photographs ever recadrées, and of a high degree of accuracy. As paintings which it looked at a long time, young person, as a supervisor of the museums. And then this poetic topic of the wandering, the photographer and his eye available, which waits, and then which finds the beautiful image. One thus finds around his photographs luemmels fleshlight quickies America all the esthetics which traverses its work.

Arizona, 1947© Henri Cartier-Bresson
/Magnum PhotosCollection Foundation HCB

A country that they have photographed thus both and liked, and from where they drew the strings from their art and their esthetics. Joined together Cartier-Bresson and Evans because their images were similar by their differences. They were estimated, inspired, in a collective and individual experiment with the favour of the emulation and competitions. A subjacent dialogue between the two artists who light by their works, of the topics and of the catches of sight which are answered and face, a quiet dialogue and dynamics which also materializes in the exposure by letters and papers where one speak about the other, as for example Cartier-Bresson which annotates its work of Evans, a photograph in particular, by the word my inspiration. And to say Without the challenge which the work of Evans represented, I do not think that I will have remained photographer. Parallel ways and cross destinies. They started together within the Levy gallery in 1935. They are found this year in the middle of the Cartier-Bresson foundation. The loop is buckled. Or almost. Do not go there on the run. The exposure deserves that one stops there.

Adele Schumacher.

Cartier-Bresson foundation
2, impasse Lebouis.
Paris XIVème.

Henri Cartier-Bresson/Walker Evans
From September 10 to December 21, Foundation HCB will present the exposure Henri fleshlight sex toy review Evans, Photographier America, 1929-1947 .

PublicationCatalogist of the exposure published at Steidl, 184 p.