Henri Cartier-Bresson, ‘Henri Matisse, Vence, France’, 1944, Phillips

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Signature: Signed in ink and copyright credit blindstamp in the margin.

Sammlung Gruber: Photographie des 20. Jahrhunderts, Cologne: Museum Ludwig, 1984, p. 209
E. Gombrich, Tête à Tête: Portraits by Henri Cartier-Bresson, London: Thames & Hudson, 1998, pl. 23
J.P. Montier, Henri Cartier-Bresson and the Artless Art, Boston: Little Brown and Company, 1999, pl. 277
P. Galassi, Henri Cartier-Bresson: The Modern Century, New York: Museum of Modern Art, 2010, p. 226

Ariel Meyerowitz Art Advisory, New York

About Henri Cartier-Bresson

Upon picking up a Leica camera in the early 1930s, Henri Cartier-Bresson fell in love with the spontaneity of photography and went on to pioneer photojournalism. MoMA credits his “uncanny ability to capture life on the run” with helping to define the creative potential of modern photography and lauds him as “the keenest observer of the global theater of human affairs.” Taking pride in capturing “the decisive moment,“ Cartier-Bresson intimately captured portraits and scenes, both mundane and historic, around the world. In 1947, he formed Magnum Photos, a photography cooperative, with Robert Capa and others. Over the ensuing three decades, assignments took him from Ghandi’s funeral in India, to the chaotic streets of Shanghai during China’s Communist revolution, to Queen Charlotte’s elegant ball in London. “To take a photograph is to align the head, the eye and the heart. It's a way of life,” he said.

French, 1908-2004, Chanteloup, France