{"id":1814,"date":"2009-08-27T16:14:00","date_gmt":"2009-08-27T16:14:00","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=1814"},"modified":"2009-08-27T16:14:00","modified_gmt":"2009-08-27T16:14:00","slug":"photographing-america","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/photographing-america\/","title":{"rendered":"Photographing America"},"content":{"rendered":"<\/div>\n<div style=\"text-align: left;\"><\/div>\n<div style=\"text-align: left;\">\n<p>\u00a0<\/p>\n<p>Henri Cartier-Bresson arrived in New York in 1946 to co-ordinate a retrospective of his work at the Museum of Modern Art. He soon conceived what was to be his most ambitious project to date &#8211; a book of photographs based on a road trip across North America. The journey would force an engagement with a new land; the photography would demand a reckoning with the work of Walker Evans, probably the country&#8217;s only documentarist of equal stature.<\/p>\n<p>In April 1947 Henri Cartier-Bresson teamed up with the poet and critic, John Malcolm Brinnin, to embark on a seventy-seven day road trip across the States, a journey which took them south through Washington DC and Mississippi, and west through New Mexico and LA, before returning to New York via Colorado, Chicago and Boston. Brinnin was to drive and navigate while Cartier- Bresson would determine where to stop. And Harper\u2019s Bazaar was to fund the trip in the form of payments for incidental portraits of (often expatriate European) cultural figures they met en route, including Max Ernst, Man Ray, Jean Renoir and Igor Stravinsky. Brinnin later remembered the day of departure:<\/p>\n<p> \u2018I made a last survey, picked Walker Evans\u2019s book of American photographs from a shelf and placed it face up on the backseat.\u2019<\/p>\n<p>\u00a0<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2009\/08\/hcb1.jpg?w=1200&#038;ssl=1\" data-recalc-dims=\"1\" \/><\/p>\n<p class=\"mosimage_caption\">Harlem, 1947 \u00a9 Henri Cartier-Bresson \/ Magnum Photos<\/p>\n<p>\u00a0<\/p>\n<p>His recollection is included in <em>Photographing America: Henri Cartier-Bresson \/ Walker Evans 1929-1947<\/em>, a compilation of pictures from the former\u2019s brief stay in the country, and from the latter\u2019s <em>American Photographs<\/em> (first published to accompany his Museum of Modern Art exhibition of 1938). As Brinnin\u2019s choice of reading matter suggests, Cartier-Bresson was engaged &#8211; at one level &#8211; in an attempt to confront, or build on, Evans\u2019 legacy. Indeed, many years later the Magnum photographer was to write that, \u2018If it had not been for the challenge of the work of Walker Evans, I don\u2019t think I would have remained a fotographer.\u2019 Sadly, the book of the 1947 trip was never realised, and the dummy designed by the great Alexey Brodovitch was lost.<\/p>\n<p>\u00a0<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2009\/08\/hcb2.jpg?w=1200&#038;ssl=1\" data-recalc-dims=\"1\" \/><\/p>\n<p><span class=\"mosimage_caption\">Memphis, Tennessee, 1947 \u00a9 Henri Cartier-Bresson \/ Magnum Photos<\/span><\/p>\n<p>\u00a0<\/p>\n<p>This new volume, originally published to mark the centenary of Cartier-Bresson\u2019s birth, explores some of the affinities and points of departure between the two photographers. For example, both Evans and Cartier-Bresson were recognised for their explicit rejection of the perceived mannerisms of pictorialist, experimental or art photography, in favour of a style associated with a directness and clarity of vision. As early as 1938 the critic Lincoln Kirstein had noted that \u2019The photographic eye of Walker Evans represents much that is best in photography\u2019s past and in its American present. His eye can be called, with that of his young French colleague Cartier-Bresson, anti-graphic, or at least anti-art-photographic.\u2019 At the same time, a distaste for the pretensions and effects of art photography was not considered incompatible with a belief in the medium\u2019s status as art. Evans once reflected on the importance of his book and MOMA show, \u2018More than I realised it established the documentary style as art.\u2019 For his part, Cartier-Bresson remained appreciative that it was in the United States &#8211; not Europe &#8211; that he was first recognised as an \u2018Artist with a Camera,\u2019 as the New York Times put it.<\/p>\n<p>\u00a0<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2009\/08\/evans2.jpg?w=1200&#038;ssl=1\" data-recalc-dims=\"1\" \/><br \/> <span class=\"mosimage_caption\">from <em>American Photographs<\/em> \u00a9 Walker Evans \/ The Metropolitan Museum of Art<\/span><\/p>\n<p>\u00a0<\/p>\n<p>This was of, course, much more than the replacement of one style of photography by another &#8211; Evans\u2019 achievement, and perhaps the challenge it represented, was to recognise a new terrain on which to operate. His work, he said, was \u2018against the style of the time, against salon photography, against beauty photography, against art photography\u2019 and, he later added, \u2018neither journalistic nor political.\u2019 Moreover &#8211; in the ironies, ambiguities, contrasts and juxtapositions of its editing and sequencing &#8211; <em>American Photographs<\/em> suggested the possibility of a photography that appeared to be not only inimical to prevailing modes, but through its independence achieved a form of sophisticated social criticism. Evans\u2019 readers were confronted with a succession of images of destitution and decay, fashion and faded opulence, advertising and poverty, blacks and whites. As the book\u2019s afterword observed, this was \u2018America considered in the disintegration of chaos.\u2019 Or as Evans drily noted, \u2018We do not need military battles to provide images of conflicts.\u2019<\/p>\n<p> Not surprisingly, whatever his ambitions Cartier-Bresson could not hope to eclipse the work of his predecessor. Perhaps Jean-Francois Chevrier\u2019s essay in Photographing America has it about right in saying that he \u2018waltzed in Evans\u2019s footsteps for several weeks in 1947.\u2019 Motifs, themes and shared interests recur across both bodies of work, but Cartier-Bresson was always inclined to give more &#8211; more context, more perspective, more movement, more humanity.&nbsp; Certainly more than Evans\u2019s austere, laconic and intransigent frontality would ever permit.<\/p>\n<p>&#8211; Guy Lane<\/p>\n<p>\u00a0<\/p>\n<p>Photographing America: Henri Cartier-Bresson \/ Walker Evans, 1929-1947<br \/> Edited by Agnes Sire and Jean-Francois Chevrier<br \/> Thames &amp; Hudson<br \/> \u00a327.50<\/p>\n<p><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<div style=\"text-align: left;\">Guy Lane reviews <em>Photographing America<\/em> a study of the parallels and divergences between Evans and Cartier-Bresson, on the road in the USA.<\/div>\n<div style=\"text-align: left;\">\n","protected":false},"author":1,"featured_media":1811,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[19],"tags":[53,46,943,405,945,944],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - 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