Published on the occasion of an exhibition held at the Museum of Modern Art, New York, N.Y., Apr. 11-June 28, 2010; the Art Institute of Chicago, July 24-Oct. 3, 2010; the San Francisco Museum of Modern Art, San Francisco, Calif., Oct. 30, 2010-Jan. 30, 2011; and at the High Museum of Art, Alanta, Ga., Feb. 19-May 15, 2011.

Henri Cartier-Bresson reveals--as only a few great artists have done consistently--the variety and richness of human experience in the twentieth century. This second volume of Aperture's Masters of Photography series confirms the genius of the photographer who--with the new, smaller, hand-held cameras and faster films--defined the idea of "the decisive moment" in photography. Cartier-Bresson's imagery is intimate but utterly respectful of his subjects. In his travels throughout the world, he has captured glimpses of individual lives in scores of countries. Taken together, Cartier-Bresson's works constitute a personal history of epic scope. This volume presents forty-two of the artist's photographs, each recognized as a masterpiece of the medium. In addition, Cartier-Bresson offers a brief statement about what drives his work.

Photographs by Henri Cartier-Bresson.

This title features Cartier-Bresson's famous text on 'the decisive moment' as well as his observations on Moscow, Cuba, and China during turbulent times.

Walker Evans and Henri Cartier-Bresson belonged to the same generation and shared an insatiable intellectual curiosity. Their works had been exhibited together in 1935 at the Julien Levy Gallery in New York and they shared a period working in America when Cartier-Bresson spent eighteen months between 1946 and 1947 preparing his show at The Museum of Modern Art. This book draws a parallel between the work about America made by Evans and Cartier-Bresson in the period from 1930 to 1947. As John Szarkowski argued, 'Evans defined in his work the essence of the documentary aesthetic.' Cartier-Bresson, on the other hand, was making a fresh start, leaving behind his work in moving imagery and fully embracing a career as a stills photographer. But they were both approaching their work as a form of social criticism, imbued with references to literature and painting. Photograph America presents an opportunity to confront and compare the visions of both of these seminal photographic masters at once.

Full of classic photographs by Cartier-Bresson that have become icons of the medium, as well as rarely seen work from all periods of the photographers life. Also includes a number of previously unpublished photographs as well as a selection of drawings, paintings and films stills.