The Europeans

Henri Cartier-Bresson (1908-2004)

European identity captured through black-and-white photographs spanning five decades, emphasizing shared humanity and cultural diversity.

Description

The Europeans (French: Les Européens) by Henri Cartier-Bresson, first published in 1955 and subsequently expanded, represents as a visual chronicle of Europe’s evolving identity. By including images from distinct decades—spanning the artistic modernism of the 1920s, the post-World War II reconstruction years, and the sociopolitical movements of the 1960s and early 1970s—the project weaves a nuanced narrative of continuity and change. The expansion of the project to include photographs from later decades underscores Cartier-Bresson’s aim to present a more holistic view of Europe’s evolving identity and its reactions to historical and social changes.

This broader scope highlights his artistic maturity, where photojournalism converges with humanistic inquiry to explore shared humanity across European nations. Through a combination of universal moments and depictions of cultural rituals and traditions, Cartier-Bresson captures the unique identities that define each society while emphasizing the common threads that unite them. By documenting candid moments, gestures, and expressions, he captures the daily life across various European cultures. The photographs navigate themes of recovery, unity, and the interplay of tradition and modernity. Cartier-Bresson’s nuanced portrayal of European identity underscores his belief in a common "family likeness" that transcends national boundaries.

Visually, The Europeans is marked by Cartier-Bresson’s signature compositional precision. Utilizing the Leica 35mm camera, Cartier-Bresson leveraged its portability and unobtrusive design to capture candid, spontaneous moments. He employed natural lighting and black-and-white film, choices that emphasize tonal subtleties and geometric balance. The dynamic interplay of light, shadow, and form in his photographs conveys a reflective yet vibrant tone.

On its 1955 release, The Europeans drew sustained critical attention, reinforcing Cartier-Bresson’s standing in humanist and documentary practice. Its visibility was strengthened by major presentations, including Henri Cartier-Bresson: Photographies 1930–1955 at the Musée des Arts Décoratifs, Louvre (1955), Das Menschliche Antlitz Europas in Munich (1959), and the later thematic survey Des Européens (1997–1999).

Behind the work

The first edition of The Europeans was published in 1955 with a cover designed by the Spanish artist Joan Miró. Miró, known for his contributions to Surrealism, created a unique visual language that resonated with the artistic sensibilities of the time. The choice of Miró to design the cover reflects the ambition of the project to present photography as a form of artistic expression on par with other visual arts.

The 1955 first edition of The Europeans focused predominantly on images taken between 1950 and 1955, offering a vivid snapshot of European life in the immediate post-war years. It wasn't until the 1997 edition that Cartier-Bresson expanded the book to include photographs from both earlier in his career and later decades.

Quotes by the photographer

"A genuine, living Europe does exist... Yet it is hard to define the concept 'Europe'. When we try, the things that divide seem just as strong as the things that unite. Nevertheless, we feel what we cannot express in words. Here, pictures must come to our aid. Pictures express without words what has to be said."

"Back in France, I was completely lost... At the time of the liberation, the world having been disconnected, people had a new curiosity. I had a little bit of money from my family, which allowed me to avoid working in a bank. I had been engaged in looking for the photo for itself, a little like one does with a poem."

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