HCB is the subtle master of moment and composition.

books:


	• Tête á Tête (Tete a Tete) Henri Cartier-Bresson Bulfinch, 1998 - 144 pages average customer review:based on 5 reviews view larger image
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highly recommended

A true portraitist

C-B's portraits challenge his journalistic work with their grace and power. I almost find them to be more historically important than his other work for two reasons- 1) his style photojournalism is artful but perhaps less documentative than it could be. 2) The significant style with which he captures his often famous portaitees encapsulates their entire being- they are often the first image to come to mind when one thinks of the sitter, they are simply extremely telling and powerful pictures.

Just a classic

Some of the definitive portraits of personalities have been made by Cartier-Bresson. Sartre, Camus, Guevara and Marilyn Monroe are here, in a sensitive work. Bresson's "decisive moment" concept also works to a kind of photography that is usually related to posed and static pictures. He goes one step beyond a face's register.

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The BEST portraits in the world

If you are interested in portraits, then this is the book you MUST look at. It contains the best portraits ever made. Just get it, it can only enrich your life.

HCB is the subtle master of moment and composition.

This is a very nice collection of portraits by HCB, showing the master's uncanny touch at framing and capturing the moment. This book is a cumulative experience - look at all the photos in the book - they look deceptively simple, but you'll end up wondering how he did it. The reproduction is very nice, but I found the sepia-like tone slightly annoying, but easy to ignore.

Henri Cartier-Bresson's Tête à Tête contains the photographer's portraits of some of the most potent icons of the latter half of the 20th century. The book is understated, yet powerful and challenging--a masterpiece of the photographer's art of composition and expression. Presented in nonchronological order, yet arranged to provide links and parallels in posture and facial likenesses, familiar icons easily mix with anonymous subjects: a very young Truman Capote in crumpled T-shirt, on the brink of literary fame; a very old Colette, who retains her inquisitorial gaze; Matisse with his birds; Sartre with his pipe; Igor Stravinsky, astonishingly similar in 1946 and 1967; a beaming Che Guevara. There are also group portraits of unknowns, but none the less resonant for that: besuited men in 1950s Iran, tribespeople from Kashmir, prostitutes in Mexico, the women of southern Spain, dressed eternally in black. As the art historian E.H. Gombrich comments in his introduction to Tête à Tête, in these portraits Cartier-Bresson moved significantly away from the received techniques of the "society" photographer. Instead, he "always preferred to lie in wait for the telling moment." --Catherine Taylor, Amazon.co.uk

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