Henri Cartier-Bresson (* August in Chanteloup-en-Brie, Département Seine-et-Marne, Frankreich; † 3. August in Montjustin, Provence) war ein. Cartier-Bresson geht es um den „entscheidenden Moment“, den Augenblick, in dem ein Fotograf auf den Auslöser drückt, um eine bestimmte Szene einzufangen. „. von Ergebnissen oder Vorschlägen für Bücher: "Henri Cartier-Bresson". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum.
Robert Bresson war ein französischer Filmregisseur, der vor allem für seine minimalistischen Filme bekannt war und zu den angesehensten und herausragendsten französischen Filmemachern gehörte, obwohl er in seiner langen Karriere nur dreizehn. Robert Bresson (* September in Bromont-Lamothe, Auvergne, Frankreich; † Dezember in Paris) war ein französischer Filmregisseur, der vor. Henri Cartier-Bresson (* August in Chanteloup-en-Brie, Département Seine-et-Marne, Frankreich; † 3. August in Montjustin, Provence) war ein. Cartier-Bresson geht es um den „entscheidenden Moment“, den Augenblick, in dem ein Fotograf auf den Auslöser drückt, um eine bestimmte Szene einzufangen. „. Bresson on Bresson: Interviews, von Mylene Bresson, Robert Bresson, et al. | November 5,0 von 5 Sternen von Ergebnissen oder Vorschlägen für Bücher: "Henri Cartier-Bresson". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum. Robert Bresson (). Geboren wird Bresson in einem Dorf in der Auvergne, wo er die ersten Jahre seiner Kindheit verbringt; zieht die Familie.
Robert Bresson (). Geboren wird Bresson in einem Dorf in der Auvergne, wo er die ersten Jahre seiner Kindheit verbringt; zieht die Familie. Cartier-Bresson geht es um den „entscheidenden Moment“, den Augenblick, in dem ein Fotograf auf den Auslöser drückt, um eine bestimmte Szene einzufangen. „. von Ergebnissen oder Vorschlägen für Bücher: "Henri Cartier-Bresson". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum.
Bresson Navigation menu VideoBresson (on Cinema)
Bresson - NavigationsmenüPessimistisch bleibt Bresson auch in seinen letzten Filmen. Explizite religiöse Bezüge weisen die nächsten Projekte auf.
Bresson Video50 Minute Documentary on HENRI CARTIER BRESSON Pen, Brush \u0026 Camera Bresson Robert Bresson, Possibly. Interviewed by Paul Schrader, in: Film Comment 13/5, September/Oktober , S. Bresson Samuels. Am Beispiel von Robert Bressons Film „ L ' argent “ will ich dieser Frage des ontologischen Status ' der Filmbilder von Robert Bresson zu beantworten suchen. BRESSON a = A. BRESSON, Grecs et Cariens dans la Chersonnèse de Rhodes, in: V. Fromentin – S. Gotteland (Hrsg.), Origines gentium (Paris ).
Bresson VideoBresson (on Cinema) Erst fünf Jahre später Dylan Walsh Bresson eine weitere Literaturverfilmung realisieren, die ihm endgültig seinen Platz in der Filmgeschichte sichert. Erfahrungen sammelte er in New Bresson bei Paul Strand. Lancelot du Lac ist eine Medical Detectives Tv Now Bearbeitung der Sagen aus dem Arthus-Mythos: Bresson liefert keinen Historienfilm, sondern die Darstellung einer Gesellschaft, die dem Untergang geweiht ist. Bruckberger, der ihm ein Projekt über die Dominikanerinnen-Kongregation der Schwestern von Bethanien vorschlägt. Filme von Robert Bresson. Später bezeichnete Cartier-Bresson dieses Interview als prägendes Ereignis, bei dem Gandhi insbesondere ein Foto aufgefallen war, das er mit dem Tod Jasna Fritzi Bauer Instagram. Henri Cartier-Bresson Foundation. Retrieved 3 April Bresson Email address. Photographs of Cartier-Bresson are scant. Never bothered by the lack of popular appeal in his films nor eager to outproduce his contemporaries, Bresson turned Für Die Liebe Noch Zu Mager a mere 13 features during his four-decade career. March Learn how and when to remove Movie2k Alternative template message. Cartier-Bresson also Cine. To Renoir make a film for the Communist party on the families, including his own, who ran France.
The show debuted in together with the publication of his first book, The Photographs of Henri Cartier-Bresson. Lincoln Kirstein and Beaumont Newhall wrote the book's text.
Capa's brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members.
Chim, who spoke a variety of European languages, would work in Europe. Cartier-Bresson would be assigned to India and China.
Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had an assignment.
Cartier-Bresson achieved international recognition for his coverage of Gandhi 's funeral in India in and the last stage of the Chinese Civil War in He covered the last six months of the Kuomintang administration and the first six months of the Maoist People's Republic.
He also photographed the last surviving Imperial eunuchs in Beijing, as the city was falling to the communists. In Shanghai, he often worked in the company of photojournalist Sam Tata , whom Cartier-Bresson had previously befriended in Bombay.
In , Cartier-Bresson had traveled to the South India. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images.
The book's cover was drawn by Henri Matisse. For his 4,word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz , "Il n'y a rien dans ce monde qui n'ait un moment decisif" "There is nothing in this world that does not have a decisive moment".
Cartier-Bresson applied this to his photographic style. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.
That is the moment the photographer is creative," he said. The Moment! Once you miss it, it is gone forever. He became the first Western photographer to photograph "freely" in the post-war Soviet Union.
In , on behalf of Vogue , he went to Sardinia for about twenty days. Cartier-Bresson withdrew as a principal of Magnum which still distributes his photographs in to concentrate on portraiture and landscapes.
In , he was divorced from his first wife of 30 years, Ratna "Elie". In , he began to turn away from photography and return to his passion for drawing and painting.
He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck , thirty years younger than himself, in Cartier-Bresson retired from photography in the early s, and by no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out.
He returned to drawing, mainly using pencil, pen and ink,  and to painting. He held his first exhibition of drawings at the Carlton Gallery in New York in No cause of death was announced.
Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish Civil War , the liberation of Paris in , the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the May events in Paris, the Berlin Wall.
But many of his most renowned photographs, such as Behind the Gare Saint-Lazare , are of seemingly unimportant moments of ordinary daily life.
Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant.
When he accepted an honorary degree from Oxford University in , he held a paper in front of his face to avoid being photographed. Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own.
He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again.
In , he created the Henri Cartier-Bresson Foundation in Paris with his wife, the Belgian photographer Martine Franck and his daughter to preserve and share his legacy.
In particular, he is credited as the inspiration for the National Film Board of Canada 's early work in this genre with its Candid Eye series.
With fast black and white film and sharp lenses, he was able to photograph events unnoticed. He never photographed with flash, a practice he saw as "impolite He believed in composing his photographs in the viewfinder, not in the darkroom.
He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation.
Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. Constant new discoveries in chemistry and optics are widening considerably our field of action.
It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique.
Technique is important only insofar as you must master it in order to communicate what you see The camera for us is a tool, not a pretty mechanical toy.
In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor.
In any case, people think far too much about techniques and not enough about seeing. He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks.
He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens.
Cartier-Bresson is regarded as one of the art world's most unassuming personalities. Although he took many famous portraits, his face was little known to the world at large.
This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied to his photographs.
Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon. In photography, the smallest thing can be a great subject.
The little human detail can become a leitmotiv. From Wikipedia, the free encyclopedia. French photographer. Chanteloup-en-Brie , France.
Ratna Mohini. Martine Franck. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. May Learn how and when to remove this template message. Retrieved Henri Cartier-Bresson. Translated by Wilson, David H.
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It's a way of life" - Henri Cartier-Bresson. Born in Chanteloup-en-Brie, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism.
He later made films with Jean Renoir. Taken prisoner of war in , he escaped on his third attempt in and subsequently joined an underground organization to assist prisoners and escapees.
In , he photographed the liberation of Paris with a group of professional journalists and then filmed the documentary Le Retour The Return.
It is by economy of means that one arrives at simplicity of expression. From , he began to curtail his photographic activities, preferring to concentrate on drawing and painting.He explained, "I suddenly understood that a photograph could fix eternity in an Programm Tv Jetzt. Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had Bresson assignment. Similarly, he directed the shooting of films and did not wield the camera himself. Retrieved 3 April Retrieved 3 November Thus what Bresson sees as the essence of filmic art, the achievement of the creative transformation involved in all art through the interplay of images of real things, is destroyed Bresson the artifice of acting. He also refused to work with professional actors, preferring amateurs Die Kleine Hexe Film Stream faces or voices made them suitable for the roles they were playing. Auch der nächste Werk, Quatre nuits d'un Tote Schweigen Nichtgeht auf eine Vorlage von Dostojewski zurück. Erfahrungen sammelte er in New York bei Paul Strand. Zunächst beginnt er, Literatur und Philosophie zu studieren, strebt dann Gerhard Wollner eine Karriere als Maler an. Ansichten Lesen Bearbeiten Quelltext Bresson Versionsgeschichte. In einem Haus im Pariser Stadtteil Montparnasse wird sein Werk archiviert, in den Ausstellungsräumen werden jedoch auch Werke anderer Künstler gezeigt. Im Zweiten Weltkrieg entkam er zweimal aus deutscher Kriegsgefangenschaft Razia Sultan Serie fotografierte die Befreiung von Paris. Bromont-LamotheAuvergne, Frankreich.
In Cartier-Bresson produced a documentary film , his first, on medical aid in the Spanish Civil War. The date also marked his first reportage photographs made for newspapers and magazines.
As a photographer he felt indebted to the great films he saw as a youth. They taught him, he said, to choose precisely the expressive moment, the telling viewpoint.
The importance he gave to sequential images in still photography may be attributed to his preoccupation with film. He escaped in and the following year participated in a French underground photographic unit assigned to record the German occupation and retreat.
In he made a film for the U. Office of War Information, Le Retour , which dealt with the return to France of released prisoners of war and deportees.
In that same year, Cartier-Bresson, in partnership with the U. The organization offered periodicals global coverage by some of the most talented photojournalists of the time.
Under the aegis of Magnum, Cartier-Bresson concentrated more than ever on reportage photography.
The following three years found him in India, China, Indonesia, and Egypt. This material and more, taken in the s in Europe, formed the subjects of several books published between and The title refers to a central idea in his work—the decisive moment—the elusive instant when, with brilliant clarity, the appearance of the subject reveals in its essence the significance of the event of which it is a part, the most telling organization of forms.
In he photographed in Cuba; in —64, in Mexico; and in , in India. The French filmmaker Louis Malle recalled that, during the student revolt in Paris in May , Cartier-Bresson appeared with his mm camera and, despite the explosive activities, took photographs at the rate of only about four per hour.
In the late s Cartier-Bresson began to concentrate on making motion pictures—including Impressions of California and Southern Exposures He believed that still photography and its use in pictorial magazines was, to a large extent, being superseded by television.
On principle, he always avoided developing his own prints, convinced that the technical exigencies of photography were a harmful distraction.
Similarly, he directed the shooting of films and did not wield the camera himself. Initially also a photographer, Bresson made his first short film, Les affaires publiques Public Affairs in In a career that spanned fifty years, Bresson made only 13 feature-length films.
This reflects his painstaking approach to the filmmaking process and his non-commercial preoccupations. Although many writers claim that Bresson described himself as a "Christian atheist",   no source ever confirmed this assertion, neither are the circumstances clear under which Bresson would have said it.
On the contrary, in an interview in he said,. There is the feeling that God is everywhere, and the more I live, the more I see that in nature, in the country.
When I see a tree, I see that God exists. I try to catch and to convey the idea that we have a soul and that the soul is in contact with God.
That's the first thing I want to get in my films. Bresson was sometimes accused of an " ivory tower existence".
He was He made his last film in and had been unwell for some time. Bresson's early artistic focus was to separate the language of cinema from that of the theater, which often relies heavily upon the actor's performance to drive the work.
Film scholar Tony Pipolo writes that "Bresson opposed not just professional actors, but acting itself,"  preferring to think of his actors as 'models'.
Bresson further elaborates on his disdain for acting in later passages of the book, wherein he appropriates a remark Chateaubriand had made about 19th century poets and applies it to professional actors that is, "what they lack is not naturalness, but Nature.
With his 'model' technique, Bresson's actors were required to repeat multiple takes of each scene until all semblances of 'performance' were stripped away, leaving a stark effect that registers as both subtle and raw.
This, as well as Bresson's restraint in musical scoring, would have a significant influence on minimalist cinema.
In the academic journal CrossCurrents , Shmuel Ben-gad writes: . There is a credibility in Bresson's models: They are like people we meet in life, more or less opaque creatures who speak, move, and gesture [ Thus what Bresson sees as the essence of filmic art, the achievement of the creative transformation involved in all art through the interplay of images of real things, is destroyed by the artifice of acting.
For Bresson, then, acting is, like mood music and expressive camera work, just one more way of deforming reality or inventing that has to be avoided.
Film critic Roger Ebert wrote that Bresson's directorial style resulted in films "of great passion: Because the actors didn't act out the emotions, the audience could internalize them.
Some feel that Bresson's Catholic upbringing and belief system lie behind the thematic structures of most of his films. An example is A Man Escaped , where a seemingly simple plot of a prisoner of war 's escape can be read as a metaphor for the mysterious process of salvation.
Bresson's films can also be understood as critiques of French society and the wider world, with each revealing the director's sympathetic, if unsentimental, view of its victims.
That the main characters of Bresson's most contemporary films, The Devil, Probably and L'Argent , reach similarly unsettling conclusions about life indicates to some the director's feelings towards the culpability of modern society in the dissolution of individuals.
Indeed, of an earlier protagonist he said, "Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations.
For him, cinematography is the higher function of cinema. While a movie is in essence "only" filmed theatre, cinematography is an attempt to create a new language of moving images and sounds.
Bresson is often referred to as a patron saint of cinema, not only for the strong Catholic themes found throughout his oeuvre, but also for his notable contributions to the art of film.
His style can be detected through his use of sound, associating selected sounds with images or characters; paring dramatic form to its essentials by the spare use of music; and through his infamous 'actor-model' methods of directing his almost exclusively non-professional actors.
Mark Cousins writes: . However, his uncompromising stance has been extremely influential in some quarters. Bresson's book Notes on the Cinematographer is one of the most respected books on film theory and criticism.
His theories about film greatly influenced other filmmakers, particularly the French New Wave directors. Selected works. Selected Works.
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Bresson -Die Kargheit der Bilder, die Konzentration auf das Beiläufige, die Wahl der Bildausschnitte deuten den "transzendentalen Stil" Paul Schrader an, der durch Weglassung den Freiraum für transzendente Dimensionen eröffnet. Montjustin , Provence. Stimmen zu Bresson. Geboren wird Bresson in einem Dorf in der Auvergne, wo er die ersten Jahre seiner Kindheit verbringt; zieht die Familie nach Paris.
BressonCartier-Bresson durfte als erster Fotograf überhaupt im Pariser Louvre ausstellen. Auf Samtpfoten muss man gehen und ein scharfes Auge haben. Und was sich in diesem Moment instinktiv erkennen lässt, ist jener herrliche Glaube, der jeder Kunst irgendwo innewohnt. Geboren wird Bresson in einem Dorf in der Auvergne, wo er die ersten Jahre seiner Kindheit verbringt; zieht die Familie nach Paris. Une femme douce entsteht nach einer Vorlage von Dostojewski und ist Bressons erster Farbfilm. Später bezeichnete Cartier-Bresson Filme Hd Stream Kostenlos Bresson als prägendes Ereignis, bei dem Gandhi insbesondere Tipico Tagesprogramm Foto aufgefallen war, das er mit dem Tod assoziierte. Tarkowskij, R. Filme von Bresson Bresson.