Henri Cartier-Bresson
Henri Cartier-Bresson has been called "equivocal, ambivalent and accidental"1 since his debut as a photojournalist. Amplified and enriched, the work of the photographer is revealed in all its grandeur. While he may appear to "be a hurried man or a traveler without luggage"2, to quote a few of his titles, he is a poet, attentive to the act of love made with each photograph, and this is where the genius is revealed. From a desired distance, we discover simultaneously the geographer, who analyses the permanence or vulnerability of cultures; the ethnographer, who captures gestures of work and rituals of religion; the anthropologist, who reflects the spectrum of emotions; and the sociologist, who reveals the development of destinies and histories.3 Cartier-Bresson's dependence and uncompromising view of photography; to rely solely on the moment in time, is why he will always be remembered.
Born in 1908, Cartier-Bresson studied painting with Andre Lhote in Paris, then painting and literature at Cambridge University in 1928 and developed a serious interest in photography in 1931. His work was first exhibited at the Julien Levy Gallery, New York, and first published in Vu magazine in 1932. He has been involved in numerous films, such as La Vie est a nous (1936), Le Regle du jeu (1939), his documentary film on the hospitals of Republican Spain in 1937 and his film on the liberation of the concentration camps with Richard Banks called Le Retour (1945). His work has been exhibited at the Museum of Modern Art, New York in 1946, and in 1947 he became co-founder of The Magnum photographic agency. He has published over a dozen books and has had his photographs printed in hundreds of magazines.
Cartier-Bresson traveled the world so that he may document and present to others the human condition. His photographs transcend any particular time or place. Instead, they capture the very essence of life, be it Harlem, Madrid, Shanghai or the Paris rue Mouffetard (Ill. 2)4. In rural Europe, silent in the absence of the engine, and where everything was still done by animals and human beings, he portrays, unaltered, a society's captivating traits. At times his poetic intention towards subject matter is inadvertently socially charged, which makes his work all the more intriguing5. Each of Cartier-Bresson's photographs presents itself not as part of a series, an archive selected among others, but as a singular work of art which, with its own formal qualities and unique meanings, exists in itself.
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
Curtis’s work represents the ideological construction of foreign cultures in the 'way of seeing' that is suitable for the audience of the photograph and the photographer. This illustrates the highly political motives of photograph, carrying multiple meanings in order to craft certain imaginations of the subject (Berger, 1972). As a result of the power that the photographer has on its subjects, certain messages and ‘way of seeing’ are depicted through photographs. For instance, expected gender roles are played out in photographs of the Indian subjects, portraying the expectation of Curtis and his audience of the masculine and feminine behaviour by the subjects conforming to such gender standards (Jackson, 1992). Indian men are captured in what Jackson (1992) describes as ‘active poses’, such as fishing or dancing, juxtaposed with the ‘passive poses’ of female subjects, photographed in more decorative postured of waiting and watching. Though it can be argued that the manipulation and selection of images by Curtis as an artist’s ‘creative manipulation’ of their work, Curtis’ photography was used as a scientific measure, and hence should be devoid of such influences (Jackson,
Throughout history, women have been portrayed as the passive, subdued creatures whose opinions, thoughts, and goals were never as equal as those of her male counterparts. Although women have ascended the ladder of equality to some degree, today it is evident that total equalization has not been achieved. Simone De Beauvoir, feminist and existential theorist, recognized and discussed the role of women in society today. To Beauvoir, women react and behave through the scrutiny of male opinion, not able to differentiate between their true character and that which is imposed upon them. In this dangerous cycle women continue to live up to the hackneyed images society has created, and in doing so women feel it is necessary to reshape their ideas to meet the expectations of men. Women are still compelled to please men in order to acquire a higher place in society - however, in doing this they fall further behind in the pursuit of equality.
The trip Bowman (a blank Keir Dullea), work of the great Douglas Trumbull, was a result of using the slit-Can camera, an optical printer, photographing a cylinder moved slowly, decorated with pop-art designs and architecture . Actually, it recalcitrant than those who are never interested in forms of abstract expression feel deluded (in both directions), these images that today do not impress, and become unbearably
Jacques Cartier is a well-known British explorer who was born on the French seaport of Saint- Malo, there was not a lot documented on Cartier’s’ early life before he made his great discoveries. He is one of the most highly respected sailor, and navigator of his time his voyages left a mark on the world. Jacques Cartier went on three main voyages in all of these voyages he discovered something new that benefited the world around him during his time of living. Jacques Cartier left his mark on the world when he was alive, but what did Cartier’s voyages discoveries do that benefit the world we live in today?
2.Omar Saleem. Establishment of a U.S. Federal Data Protection Agency to Define and Regulate Internet Privacy and its Impact in U.S.-China Relations: Marco Polo Where Are You? The John Marshall Journal of Computer & Information Law. The John Marshall Law School. Fall 2000 [2]
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Masters. With his small hand camera he unobtrusively photographed people’s lives around the world. He was solely responsible for bridging the gap between photojournalism and art. He has published more than a dozen books of his work. The greatest museums in the world have shown his work.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
Art is said to be the expression of the soul; however, quite often, one is unable to truly know the artist by his or her works alone. So is the case of the postimpressionist painter Paul Gauguin. while the paintings of Paul Gauguin do not reveal all of his life, the paintings are very much so a reflection of Gauguin’s views on life.
For example, Leonardo Dicaprio’s character of Gatsby was focused on emotions. I enjoyed that Redford was very calm and cool about everything and the way he approached the character but, Dicaprio made such an open and outgoing character which made the movie more entertaining. DiCaprio captured Gatsby’s intensity and charm and brought out the crazy mood swings and took his character and the audience to a more emotional place. Both Robert Redford and Leonardo DiCaprio had their own way of approaching the character and really selling Gatsby but Leonardo DiCaprios was better. Another reason I prefer the 2013 version of the 74’ is because of the bond and friendship Nick Carraway played by Tobey Maguire and Gatsby had MaGuire was able to bring a true and strong meaning to their friendship that made his and Gatsby’s bond feel organic and real and you were able to see that clearly unlike with Waterston where you just saw the friendship and didn’t feel any emotion. But I felt much more of a connection with his character than I did with the ’74 version. If you have read the book and seen the original film, then you understood where Nick was coming from in the scene where he was furious with Gatsby, after he believe he killed Myrtle only to find out that Gatsby wasn’t the one driving the car that killed Mrytle, MaGuire, did a fantastic job in showing his emotions and how what happened to Myrtle and the person that killed Myrtle affected him. I loved that Nick was a lot more real in this movie. He didn’t hold back and he gave the audience a reaction that anyone in life would have had if they were in his situation. Nick had the major issue of being dragged into situations because of people he knows. I thought Maguire did a great job of showing ...
The Haiku is a Japanese poem consisting of seventeen syllables in three lines, the order of syllables being: five, seven, five. A Haiku used to remember the order of syllables is:
Poetry doesn’t always require numerous sentences and paragraphs to portray true meaning or feeling; sometimes, only a few sentences are what is truly necessary to express the emotional state or spirit of the poet. One type of poetry that uses the less is more is the Japanese Haiku.
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).