Nov 232011
 

A Surrealist Photographer

[ HENRI CARTIER-BRESSON ]

What do the Surrealist Manifesto 

and Cartier-Bresson have to do

with each other?  After his 1947

show at the Museum of Modern 

Art, Robert Capa advised Cartier-

Bresson to stop calling himself a

Surrealist Photographer.  Years 

later Cartier-Bresson agreed 

that Capa’s advice was sound.

 

FRANCE. Region of Midi-Pyrenees. Lot department. Village of Saint-Cirq-Lapopie. French poet Andre BRETON. 1961. © Henri Cartier-Bresson

The Manifesto

While in university we were given a collection of artist manifestos.  Artists and revolutionaries share an interest in redesigning society.  They declare their new ideals in manifestos, not much different than the Declaration of Independence.  It gives supporters a chance to agree with their proposed ideals and join the cause.

This is not a pipe by René Magritte.

André Breton was a French poet who penned two surrealist manifestos.  The first was written in 1924 and the second followed a few years later in 1927.  If you asked me three weeks ago what I remembered from those essays I would have told you, “Almost nothing.”

FRANCE, Paris. ferdinando SCIANNA with Magritte's pipe. © Ferdinando Scianna

The paintings of the Surrealists are burned in my memory, but the literary roots were fuzzy.  I decided to revisit Breton’s first and second manifestos on account of Cartier-Bresson’s claim as a Surrealist Photographer.  I wanted to know why he would choose Surrealism to describe his work.  My guess was that somewhere in the manifestos was a hint that would explain Cartier-Bresson’s selection process.  I was right.

Even as the Surrealist tried to break away from the classic tradition, there were something things they could never leave behind. The Great Sirens by Paul Delvaux

The mind of a twenty year old immersed in college is much different than a professional who lives without the distraction of picking up girls, spending endless hours at the pub, and sleeping till noon.  Re-reading the Surrealist Manifesto’s after studying Cartier-Bresson was an eye opening experience.  The working methods of the surrealists uncovered many of the motivations behind Cartier-Bresson’s designs.

This is the map of the globe as the Surrealist saw it.

A Working Knowledge

I would like to take a second to make a brief distinction in how we might approach art history.  Most of us have limited access to museum archives, too many responsibilities to camp out in the library, and prefer to research in book stores or on the internet.  A photographer does not need a PhD to study art history.  We need a “WORKING KNOWLEDGE” of artists.  What does that mean? We want to know:

  • Who they are?
  • What did they did?
  • Who were their influences? (Remember even Cartier-Bresson admits, there are no new ideas, just new arrangements of them.”
  • How they fit into a broader picture?

This could be Caravaggio's earliest surviving painting and quite possibly one of his worst. But we all start from humble beginnings. Michelangelo Caravaggio.

In order to achieve a working knowledge of an artist we do not need to memorize dates, exhibition titles or names of pieces.  Footnote details are for academics who pour over research material.  And for the most part academics do not understand design, because they do not need it for their work.  I am in the middle of reading a book on Caravaggio and the author claims that Caravaggio’s paintings are his primary interest.  But one hundred pages into the book I have not seen a single mention of a Root Rectangle.  It appears that he possesses a rudimentary understanding of design.

Only a few years later, Caravaggio was able to produce "The Cardsharps," a much improved piece. Caravaggio

The point is, as photographers, we have a very different set of needs when it comes to art history.  We would rather know “How can I apply the lessons of the past to my own work?” Good luck finding any academic who could give you an ounce of design advice.  It would be nice if at the end of a book on Caravaggio it might say, ”And…if you liked his work, you might want to employ the following techniques that he repeated and refined throughout his career.”   That would be my favorite chapter.  For simplicity sake you will find that artists all have similar patterns.

Eventually Caravaggio got a handle on his design and produced this masterpiece titled Supper at Emmaus. Caravaggio

  • They start off making terrible work that someone thinks is good.  If they are lucky they accidentally stumbled on to a good design.
  • Then, they are trained/exposed to real artists usually through an apprenticeship or school.
  • They make terribly derivative work in their early years or they destroy the early work so no one can see it.  Copying the master is frowned upon today, but it is extremely important in the development of an artist.  It allows them to piggy back on the accomplishments of previous generations.  Otherwise they always start from square one.  Re-inventing the wheel is overrated.
  • Then they work out a number of design problems for the balance of their career.  This is where a really good artist shines.  Caravaggio did not make a decent painting until well into his twenties.
  • If they run out of ideas, they repeat a successful formula until it no longer sells.

And for those of you who are wondering, the Supper at Emmaus is done in a Root 2 rectangle. Caravaggio.

 

French poet, André BRETON, at his home. FRANCE. Paris. 18th arrondissement. Rue Pigalle. 1961. © Henri Cartier-Bresson

Surrealist Manifesto, The Short Version

André Breton, who wrote the Surrealist Manifestos, was a poet not a visual artist.  During the 1920’s the Breton and his friends were influenced by Sigmund Freud’s dream analysis.  They believed that a super-reality existed beyond our waking life.  The only way to access this world was through dreams or studying autonomous actions (more on that term later).  As many of us know, dreams feel very real while being entirely nonsensical.

The Parthenon by American painter Fredric Church.

Imagine that after World War I the Surrealists saw much of Western Civilization going the wrong direction.  They wanted to make a break from the rational, harmonic, and logical systems which connected Ancient Greece to Modern Europe.  In short, they were sick of it all and wanted to change Life itself.

They were an ambitious lot.  They wanted their movement to transform the world. Pretty heavy stuff for a bunch of guys with paint brushes and pencils.  Instead of the classical traditions they wanted to explore the subconscious dream realms.

SPAIN. Barcelona. 1953. Spanish painter Joan MIRO at his studio, Calle Credito. © Henri Cartier-Bresson

Two Main Schools

The Surrealists are a curious movement because unlike other artistic movements like the Italian Futurists, the Russian Constructivists, French Fauves or the Spanish Cubists they did not working in matching styles.  Painter’s like Rene Magritte could never be mistaken for Joan Miró.  The thread which bound the Surrealist was based in their approach, not their final product.  In order to make sense of the movement as a whole, we can drive a cleaver through their body of work, dividing it in half.

The Satin Tuning Fork by Yves Tanguy

I.  Biomorphic Abstraction

My apologies for that ridiculous name of (I.)  Biomorphic Abstraction means shapes that parts of the painting resemble simple organisms which could be mistaken for something you might find under a microscope or in a telescope.  Artists like Mirò, Yves Tanguy, and Roberto Matta worked in imagery worlds that could be mistaken for something at the bottom of the ocean or in outer space.  They are clearly not machine made or mechanical.

The Vertigo of Eros by Roberto Matta

Their inspiration:  “…calligraphy, animation, and movement are essentials regardless of their subjects represented.”

Artists: Max Ernst, Andre Masson, Joan Miró, Roberto Matta, Yves Tanguy, Jacques Hèrold & Wilfredo Lam.

Giorgio DE CHIRICO, Italian painter. © Henri Cartier-Bresson

II.  The Descriptives

The second school are “The descriptives who were inspired by De Chirico.  With the former (school), the idea is simply suggested without concern for exact representation: with the later the scene is unreal, but the setting, the objects and the human figures which comprise it are painted with fidelity.”

The Nostalgia of the Infinite by Giorgio de Chirico

Their inspiration: Lautremont’s definition of beauty,
“Beautiful as the unexpected meeting, on the dissection table
of a sowing machine and an umbrella.”

The Empire of Light, II by Rene Magritte

They would take pieces from dreams, which made no sense, mash them together in a painting and interpret the meanings.  Its a dangerous formula because it generates a tremendous amount of garbage, but occasionally it works.

FRANCE. Paris. 1968. French artist Marcel DUCHAMP and US artist MAN RAY, at Man Ray's home. © Henri Cartier-Bresson

Artists: De Chirico, Renè Magritte, Salvador Dali, Paul Delvaux, Marcel Duchamp & Toyen

 

Their Methods

How can two drastically different schools exist under the same umbrella?  Its easy.  They used nearly identical approaches to their work.  They would interpret their dreams, draw with their eyes closed or select objects at random.  Then they would study the results.  After which they would make art work.  The technique was called Automatism because it was an automatic or immediate action, without thought, which was supposed to originate in the realm of the super reality.

Sigmund Freud smoking a cigar. Edmund Engelman.

I found it very interesting to note that their techniques were essentially lifted from Freud.  From the outset Freud did not know what his patients were going to reveal, but through analysis he discovered patterns.  Now, whether those patterns have any basis in truth is an entirely different conversation, but the formula is pretty basic.

Do something without thinking + Have some way of recording the findings + Study the results = Surrealism

This is an overly generalized summary and certainly not one I would use for your thesis paper on Surrealism, but its enough to give you a working knowledge of what the Surrealists were up to in their art.

Cartier-Bresson's version of a biomorphic shape. JAPAN. Honshu. Kansai. Nara. 1965. © Henri Cartier-Bresson

Enter Cartier-Bresson

How does this relate to photography and Cartier-Bresson?  In 1947 Henri Cartier-Bresson was part of an exhibition at the Museum of Modern Art in New York City.  Robert Capa warned him that labeling himself a Surrealist Photographer would be commercial suicide.  The label would prevent him from receiving jobs.  In Capa’s opinion, it did not matter what Cartier-Bresson photographed, it needed to be called Photojournalism.  Years later in “The Decisive Moment” film Cartier-Bresson thanked his friend for such sound advice.  He was a Surrealist Photographer, but that was his business.  He did not like journalism, but he needed jobs.  Fact telling was a boring endeavor to Cartier-Bresson.  Surrealism and later Buddhism were the power which drove his images.

In an effort to keep the entries tidy, I am breaking this article into three parts.  We will look at the roles of:

PART I

I. The Scherzo

II. Solitude

 

PART II

III. Imagination Versus Reality

IV. Contradiction

 

PART III

V. Figures In A Dream

VI. World In A Box

Not everyone was laughing. FRANCE. Indre-et-Loire. Huismes. 1955. German painter, Max ERNST. © Henri Cartier-Bresson

I. The Scherzo

Scherzo is the Italian word for a “joke.”  It is commonly used by classical musicians to describe short pieces of music.  The pieces are designed to be played with speed and a touch of humor.  They allow for a playful expression of an idea.  Cartier-Bresson has a wonderful sense of humor.  He likes to play with disconnected elements in a scene and use the camera to frame them into one image.  The combination of seemingly unrelated elements adds a strength to the picture and usually a good laugh.

Have you ever noticed a Cartier-Bresson image and thought, Why did he take that picture?  Its not quite journalism, it does not possess a grand narrative, or a scene of horror.  Its just a funny quirky image.  Under the surface of these scherzos are masterfully crafted designs and a Surrealists sensibility for contradiction, absurdity, and solitude.

These pictures, of which Cartier-Bresson did quite a few, I consider to be scherzos.  They are jokes about life.  They are deeply rooted in the Surrealist notions of the absurdity which occurs in dreams. We can just picture Cartier-Bresson walking along, watching a scene develop and getting a little chuckle.  In his mind he is saying, “Yes, yes, that’s good and BANG!”  His subjects have no idea that what they are doing is connected to something else in the scene.  It is a private moment that only Cartier-Bresson would have observed.

INDIA. Gujarat. Ahmedabad. 1966. © Henri Cartier-Bresson

| LION TAMER |

In the image of the young girl, Cartier-Bresson must have seen this girl stomping away as if she owned the world.  As we saw in my earlier article he sets up the scene, waits, and hits the precise moment when it looked as if she was leading the lions. What a preposterous idea, a young child leading four angry lions?! Its brilliant, especially for anyone who has children.  Sometimes the smallest creature controls the larger beasts.  The little girl, the man asleep on the bed, and the woman in the doorway are all unaware of the composition.  Only Cartier-Bresson was able to see the humor in the girl marching along and caught a moment when she pulls the lions across the wall.  He knows what he is looking for and waits for the picture.

ITALY. Basilicata. Aviliano. 1973. © Henri Cartier-Bresson

| ANGELS |

Back in Europe, in the small town of Aviliano Italy, Cartier-Bresson finds a new set of children.  This time the kids are playing with a bicycle.  There is nothing dramatic about the scene.  They could be plotting, but they could just be playing.  The key to the image lies in the angels on the top of the image.  As every Italian mother would love to believe, the angels are watching over her babies.  Cartier-Bresson places the angels against a light background which allows them to hover over the young boys.  It is not everyday we see angels hovering over children.  Its like a dream sequence that Cartier-Bresson brings to life.  He marries the children and their angels inside of a 35mm frame.  He does not concern himself with a clear interpretation of the scene.  He opens it up for the viewer to question.  This is one of the reasons why Cartier-Bresson’s images are so profound because they are clear but open questions.

Istanbul. The Great Bazaar. © Henri Cartier-Bresson

| TIME |

Across the Mediterranean in Turkey, Cartier-Bresson discovers a watch repair shop.  If we recall Cartier-Bresson grew up in the age of Relativity.  In the 1920’s a young Swiss patent officer turned the world on its head with the Theory of Relativity, the art world has never been the same.  Artists have been fiddling with the concept of relative time ever since Einstein.

The Persistence of Memory by Salvador Dalí.

Cartier-Bresson liked to play with the idea of time.  The photograph is a fraction of a second, preserved forever.  It is fleeting and constant all at the same time.  This photograph is instantly connected to Salvador Dali, but it plays with time in a more subtle manner.  The clock, the man, and the case of watches are all frozen in time.  At any moment when we view this image, it is 8:25 somewhere in the world.  Time is always and forever.  The man is preserved only in the photo.  He surely died decades ago.  He is placed between the large clock and the small collection of wrist watches.  Time is all around him, racing him to the finish line.  The race seems to be getting the better part of our dear Turkish watch repair man.  Cartier-Bresson must have looked at this pitiful scene and seen a man tortured by time.  He floats like an object, no different than the clocks in a sea of shapes.

ITALY. Sicily region. Village of Bagheria. French photographer Henri CARTIER-BRESSON (left) and Italian photographer Ferdinando SCIANNA. © Henri Cartier-Bresson

II.  Alone

When Cartier-Bresson travelled he preferred long trips.  He did not like short trips and preferred to take trains, boats, or planes when possible.  What a marvelous luxury to travel for an extended period of time, only sprinkled with deadlines.  But as any traveler knows, life on the road can be lonely.  It leads to self examination much in the way that Freud analyzed his patients.  Alone in a foreign country we pay close attention to our thoughts and actions.  We constantly compare the our surroundings to our expectations until we dissolve into the local crowds.  Life abroad is like a dream.  The sun rises and falls the same way, but everything in between feels surreal.  The players are the same but the scene things are never quite right.

The camera is both a window into the world and also a mirror.  Did Cartier-Bresson see himself as a camera or a mirror?  Whichever way we choose to interpret the image, it is clear Cartier-Bresson was constantly playing the figure against the scene in search of humor and meaning.

Switzerland 1991. © Henri Cartier-Bresson

| A BLOCK OF SWISS |

Many of the Surrealists works seem to float in space.  The shapes have no weight and they swim in a field of color.  The first school of painters was fascinated with ideas suspended in the mind.  When we think of where an idea exists, its very hard to describe the space.  Ideas feel like they come from a boundless plane where they pop up form nowhere.  The surrealists painters depicted their images free from the rules of gravity.  Shapes and lines swim around in complete rejection of Newton’s Laws of gravity.

Castle in the Pyranees by René Magritte.

In Switzerland, Cartier-Bresson finds a scene where gravity could be deadly.  The shapes of the photograph are nearly floating.  This is due to the fact that they are mostly back lit.  They do not read like three dimensional objects.  They are flat cut outs.  Cartier-Bresson breaks all the rules of lighting he learned from Andre Lhote and gives us a Surrealist view of a man about to be crushed by a box.  All of the forms are clean rectangles, triangles, and scribbled waves.  The picture is a comical collection of pencil marks with a strange undertone.  Once we recognize the figure it looks as if he is standing in a very dangerous place.  The counter wight for the ski lift is hanging just a few feet above his head.

FRANCE. World War II. Liberation. Paris. The French painter André LHOTE teaching his pupils. 1944. © Henri Cartier-Bresson

Cartier-Bresson’s composition isolates the figure.  He is placed for us (the viewers) to see.  We can see the danger, but he is unconcerned with the thousands of pounds hanging over his head.  This menacing scene was probably not dangerous at all.  Cartier-Bresson used to say, “The camera is a weapon.  You cannot prove anything with it, but it is still a weapon.”  From a specific angle the scene is funny and dangerous.  The questions it raises about the fragility of human life, which might be crushed at any minute.  Our individual interpretations will vary from person to person.  But Cartier-Bresson’s skill lies in his ability to pass his moments of self reflection on to us.  And then he throws in a touch of humor for good measure.

ITALY. Tuscany. Livorno. 1933. © Henri Cartier-Bresson

| THE NEWSPAPER |

Have you ever read the morning paper and felt trapped?  The headlines of any paper can be oppressive.  I have always found most newspapers too depressing to read with any regularity.  Cartier-Bresson takes the idea of being overwhelmed by the news to a new level.  He suggests it decapitates us.  The head of the subject is replaced with an enormous knot.  He is stripped of his identity.  We are given a nameless body with a knot for a head.  Its enough to make you laugh out loud.

If you study just a small amount of art history the connections between the Surrealist and Cartier-Bresson will leap off of the page. Son of a Man by René Magritte.

In keeping with the Surrealist tradition of automatism, I doubt Cartier-Bresson formed the interpretation of the picture before he took it.  More likely he saw a bizarre arrangement of elements and took the picture.  Upon reflection he discovered the meanings the same way the Surrealists would have done.  But he was always on the look out for strange arrangements that might have meaning behind them.

ITALY. Basilicata. Matera. 1973. © Henri Cartier-Bresson

| WHEN NO ONE IS WATCHING |

What do we do when no one is watching?  Are we ethical in our dreams or insane?  There is no need to answer the question, but it is useful to ask ourselves as we wander through a new city.  Artists like De Chirico played the human figure against the backdrop of imaginary cityscapes.  He questioned our relationship to history, cities, and our own bodies.  The overall feeling was one of discomfort because nothing fit quite right.  The statues were too big, the figures were too small.  Nothing harmonized and reflected the emotional unrest of Europe after World War I.

Though not a declared Surrealist, hardly anyone could confuse space as well as Escher. Concave and Convex by M.C. Escher.

When Cartier-Bresson found this image of a boy scaling a wall, it begs the question, “What is he doing?”  Again we see Cartier-Bresson focused on a moment where his subject is alone.  Is this a portrait of how Cartier-Bresson views his own travels or is it a mischievous moment in a young boys life?  Its probably a little bit of both.  Unlike the picture of the boys with the angels, this boy may have a different spirit floating behind him.  Remember Cartier-Bresson did eventually escape from a Nazi work camp during World War II (the third time was a charm).  As a life long anarchist he was certainly no stranger to trouble.  He may have recognized something of himself in this young lad as he climbed the around the walls of Matera Italy.

India 1986. © Henri Cartier-Bresson

| REAL SHADOWS |

A shadow hardly exists, but follow us everywhere.  We cannot touch it, pick it up, or escape from it.  But from above the person flattens into a blob and we only see the shadow.  There is no tool better than the camera for shadow play.  Cartier-Bresson loved to reverse the roles of objects and people.  Here we see the shadow as the subject and the people as scribble.  I imagine that as Cartier-Bresson travelled the world he thought about his existence.  After he died, what would remain of Cartier-Bresson?  He would exist, or at least his work would exist, as a collection of positive and negative shapes.

The realization the he was a living shadow, surely had an influence on his work.  Looking down from a window above he must have laughed at the absurdity of these two figures climbing the stairs.  From his view point, the shadows are more precise than their own forms.

I remember a few years ago, traveling in India, I had a strange thought.  A traveler is felt more when they leave than when they are present.  While we are in a place, we exist because we talk to people, we can shake their hands, and exchange stories.  But this always comes to an end.  But once we are gone, the memory of our presence exists for much longer than our visit.  We are locked in the minds of the people we met, forever suspended as the people we were at the precise moment we left them.  Then when we go back years later, you always hear one of two things, “Oh, you have changed so much!” or “You have not changed a bit!”  We are always compared to a shadow of our former selves.  I think, though I never heard it from Cartier-Bresson, that his is playing with the idea of how we travel through space as visitors.  The line between reality and imagination is not clear.  By moving our camera a few millimeters we can choose between reality and surreality.

Within all of Cartier-Bresson’s mental games, he never looses sight his designs.  He had a life long interest in art and studying Master paintings.  Its worth noting that he was only able to play out the riddles of the Surrealists because all of the images are clear.  They have good subject to ground relationships, the figures are carefully set on a major division of the 1.5 rectangle, and there are no distracting elements that detract from his image.  Cartier-Bresson’s intuition sit at the forefront of the picture because he is fully grounded in the fundamentals.

Join me for Part II of our exploration of Cartier-Bresson, the Surrealist Photographer.

 

Best,

-Adam Marelli

 

 

 

 

 

  34 Responses to “Surrealist Manifesto: Part I”

  1. Another fab post Adam! Thank you. I have a developing interest in surrealism and all your research here is very useful to me. Looking forward to the next instalments!

    Vicki

    • Thanks Vicki,

      I will be keeping an eye on your site to see that you are integrating these ideas into your images. How is that X100 working out for you?

      Best-Adam

  2. I was recently at the Guggenheim in Venice, and was inspired to read Peggy’s Autobiography about many of these artists. When she mentioned artists and paintings by name, I would do a search online to see them and read more. So it was very interesting to read how H.Cartier-Bresson was part of this movement. I particularly like how you matched some of his photos to paintings with similar themes. I don’t think I would have made the connection as easily without this. Thanks for this interesting read!

    • Hey Carol,

      The Guggenheim in Venice is fantastic. What an absurd (I mean that in a good way) Ex-Pat home. She has a great collection of Surrealists and Futurists and the setting for viewing the work could not be more ideal. I have never done this before, but apparently anyone can make private arrangements to view the collection from 9-10 am before it opens to the public. I plan on doing this on my next trip to Venice.

      And making connections between Cartier-Bresson and his sources still amazes me. Surely there are more in hiding which will emerge in the coming years.

      Thanks for the feedback.

      Best-Adam

  3. Again I find myself completely enthralled at the information you post here. This type of discourse is almost unheard of on the internet, all the work you put in on these topics and in writing them is GREATLY appreciated.

    • Hey Threeark,

      Nice to meet you and happy to hear that you are enjoying the posts. I am curious to hear more feedback from readers like you.

      Art and photography have so many wonderful connections which never get discussed. Its time to open the doors so that you can
      begin to play with different ideas and approaches to photography.

      Best-Adam

  4. great reading, very educative, thanks

  5. Hey Adam, another very educational post here. Perfect for a lazy Sunday I’m having now. :) I’ve always been fascinated with Surrealist art (they have a huge Surrealist mural in the university I went to), but never really got the hang of what the artists were trying to say. So thanks for sharing this. :)

  6. Adam, this post and many you wrote before it go so far beyond what one has come to expect of composition, design and expressing an idea, it is almost surreal (pun intended)! I admire your approach to each subject and the clarity with which you express your thoughts and believes. Keep up the great work and thank you very much for sharing all this.

    Rick

    • Error! Believes = beliefs

    • Hey Rick,

      Glad to hear the post made an impact. The games photographers play are rarely discussed in any public forum. But once you see what they are up to, the images start to make more sense. The ones they missed become more obvious and the ones they nailed become more brilliant.

      I teach this stuff to my students, because its easy to speak about directly. Initially I was reluctant to put it up on the site because things tend to get lost in writing. The feedback is helpful.

      Best-Adam

  7. This is really awesome.
    It reminded me of Susan Sontag’s essays and how she felt that photography has naturally and more succesfully all the traits surrealists like Breton tried so much to create in their writings.
    I’ve just discovered your site, and added it immediately to my RSS feeds.
    Looking forward to read more !

  8. As always, extraordinary !!! And as you said before, content and design are both necessary at the same time. You have teached us (a little bit) the geometry of great compositions and I got impressed for that but now you reveal us the powerful of a good content.

    Again, a master class. Thank you very much for sharing it !!! Your web is pure gold.

    Oscar

    • Hey Oscar,

      Glad that the ideas are starting to come together for you.

      So many photographers stress content over design and miss out on the opportunity to marry them in a single image. Its not an easy game, but when you get it the pictures (like HCB) are unmistakably good.

      More to come.

      Best-Adam

  9. Adam,
    What a wonderful post. I am very inspired by your posts and my photography is taking a new turn due to your writing. Waiting for Part III and once done, write something else as inspiring as these.

    Mo Han

    • Hey Mo Han,

      Wow, its great to know the articles are having a positive affect on your photography. Outside of the workshops, its tough to gauge how a piece of writing is received. But it sounds like everything is making it through on your end. Fantastic.

      Surrealism III is in the works, should be up by tomorrow, if this cold of mine chills out.

      Best-Adam

  10. I have been looking for something like this site for a long time.
    Thank you for your work, Adam!

    Cheers,
    Mirko

    • Hi Mirko,

      Happy to hear you enjoyed the article and I trust you have seen some of the others on the site. Its a pleasure to offer a bit of my One on One material here in the site.

      Enjoy-Adam

  11. Nicely done Adam!

  12. Extremely interesting, I enjoy reading it. Thank you.

    • Hi Mikhail,

      Glad to know you are enjoying the articles. “Extremely interesting”…I could not ask for anything more.

      Best-Adam

  13. enjoyed reading your article….have many questions on this topic….some answers i got it from here :) ……and others yet to be asked (with your permission). and thanks a lot for sharing your work :)

  14. Life is an impulse that may be transposed into moments and they – into children of eternity.

    Or an act of presence – when the imagination touched by the mind, becomes an instrument of knowledge.

  15. Them was the amount owed we used when we developed
    their universal roulette programme.

  16. Hi,
    we are translating our page… an English version soon

    Andre Breton’s House is for sale, we want to save it, for not forget it and make it the center of world citizens in the surrealist movement…

    thank you for forwarding this information :-)

    http://www.maison-breton.fr/

    https://www.facebook.com/pages/Maison-Andr%C3%A9-Breton-Centre-des-citoyens-du-Monde/478829958895368

    https://twitter.com/MaisonBreton

  17. Wonderful essay on Cartier-Bresson is art.

  18. greetings Adam,
    i just found ur site thanks to an Italian friend. i want to thanks u for this. I’ve been a devoted surrealistic all my life in my poetry, sculpture and photography and i haven’t found anybody with such an exquisite, simple and conceptual understanding about surrealism and street photography. You DO understand these terms and u act as a true philosopher almost, letting knowledge pass through u and make it tangible to others. so my gratitude to u for this. i would like to share some of my stuff to u, just tell me how,
    cheers,
    Carlos

  19. An impressive share, I just given this to a colleague who was doing a little analysis on this. And he in fact bought me breakfast because I found it for him .. smile. So let me rephrase that: Thnx for the treat! But yes thnkx for spending the time to discuss this, I feel strongly about it and love reading more on this topic. If possible, as you become expertise, would you mind updating your blog with more information? It is very helpful to me. Big thumbs up for this blog post!

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