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Henri Cartier-Bresson at the Musée des Arts Décoratifs, Palais du Louvre, 1955 Henri Cartier-Bresson at the Musée des Arts Décoratifs, Palais du Louvre, 1955
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D’une Chine à l’autre D’une Chine à l’autre
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Europe and China and D’une Chine à l’autre Europe and China and D’une Chine à l’autre
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Jean-Paul Sartre, D’une Chine à l’autre, and Europe Jean-Paul Sartre, D’une Chine à l’autre, and Europe
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Europe and Violence Europe and Violence
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Europe and Time Europe and Time
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Les Européens Les Européens
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Europe of Tradition and Modernity Europe of Tradition and Modernity
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Europe of Privilege and Deprivation Europe of Privilege and Deprivation
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Europe of Imperialism Europe of Imperialism
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Conclusion Conclusion
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8 Europeanising Spaces in the Work of Henri Cartier-Bresson, 1948–1955
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Published:July 2016
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Abstract
Chapter 8 considers the photographer Henri Cartier-Bresson and how Europe was represented or interpreted in his work. It looks at the contradictions, problems and capacities of the photographic medium for the representation of Europe, and how these corresponded with Cartier-Bresson’s political, social, and aesthetic commitments. To this end it examines three spaces and their reception by their Paris audiences: first, his exhibition at the Musée des arts décoratifs in the Louvre (1955), which displayed his work from both Europe and the non-European world. Second, it looks at Cartier-Bresson’s record of the culmination of the Chinese Civil War and its subsequent presentation in a collection of 1954–D’une Chine à l’autre. This is contextualised in terms of the representation of Europe in terms of its Others. Third, it analyses his 1955 work Les Européens in which Cartier-Bresson’s impressions of his European travels were presented.
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