In the autumn of 1933, photographer Henri Cartier-Bresson traveled through Spain. He visits Barcelona, Seville, Valencia, Alicante and Madrid, where he makes an exhibition at the Athenaeum at the end of November, which Guillermo de Torre comments on in an article on "the new photograph" in which Cartier-Bresson represents a change of model: the abandonment of experimentation by documentary photography. Guillermo de Torre praises "The intact beauty of his photographs", which have "a vaguely super-realistic intention" when "the ghost of the unreal makes an appearance on public roads": an example is this mysterious photo of Valencia.
Cartier-Bresson then refines his method, the "turning point": patiently pursuing the motive until the agreement between form and content occurs. "Photography must grasp this moment and hold the balance of the whole motionless." It is a synthesis of gaze, intuition and reason. "For me, photography is the simultaneous recognition, in a fraction of a second, both of the meaning of a fact, and of a precise formal order that gives the fact its exact expression.
Written by : Horacio Fernandez