{"id":3942,"date":"2025-09-24T06:00:00","date_gmt":"2025-09-24T04:00:00","guid":{"rendered":"https:\/\/cieib.es\/?p=3942"},"modified":"2025-09-23T14:25:22","modified_gmt":"2025-09-23T12:25:22","slug":"henri-cartier-bressor-sense-titol-1950","status":"publish","type":"post","link":"https:\/\/cieib.es\/?p=3942","title":{"rendered":"Henri Cartier-Bresson. Sense t\u00edtol, 1950"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">La fotografia que veim pertany a la s\u00e8rie <strong>Les six jours de Paris<\/strong> (1950), realitzada per <strong>Henri Cartier-Bresson<\/strong>, un dels mestres indiscutibles de la fotografia del segle XX. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En aquesta imatge, presa durant les prestigioses <strong>curses<\/strong> de sis dies al <strong>vel\u00f2drom d\u2019Hiver<\/strong>, Cartier-Bresson capta un moment <strong>ins\u00f2lit<\/strong>: un <strong>ciclista<\/strong>, en ple moviment, <strong>llegeix<\/strong> un <strong>diari<\/strong> amb una serenor que contrasta amb l\u2019exig\u00e8ncia f\u00edsica i la velocitat de l\u2019esport que practica. La seva <strong>mirada po\u00e8tica<\/strong> transforma una escena <strong>esportiva<\/strong> en una <strong>met\u00e0fora de la vida urbana moderna<\/strong>, amb el joc entre l\u2019esfor\u00e7 i la quotidianitat.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tot i que <strong>Cartier-Bresson<\/strong> no fou un fot\u00f2graf especialitzat en <strong>esport<\/strong>, s\u00ed que s\u2019hi va apropar en diverses ocasions, atret per la din\u00e0mica del moviment i per la dimensi\u00f3 humana de l\u2019<strong>activitat f\u00edsica<\/strong>. La s\u00e8rie dedicada a <strong>Les six jours de Paris<\/strong> n\u2019\u00e9s un exemple clar: el seu inter\u00e8s <strong>no era tant la competici\u00f3<\/strong> com el teatre que l\u2019envoltava, la <strong>gestualitat<\/strong> dels <strong>corredors<\/strong> i la <strong>vibraci\u00f3<\/strong> de l\u2019<strong>ambient<\/strong>. L\u2019<strong>esport<\/strong> esdev\u00e9 aix\u00ed un <strong>terreny privilegiat<\/strong> per al seu concepte de \u201cl\u2019<strong>instant decisiu<\/strong>\u201d, aquell moment fuga\u00e7 en qu\u00e8 la realitat s\u2019ordena davant l\u2019objectiu i esdev\u00e9 <strong>imatge eterna<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Henri<\/strong> <strong>Cartier-Bresson<\/strong> (1908-2004) \u00e9s considerat un dels <strong>grans renovadors<\/strong> de la <strong>fotografia<\/strong> del <strong>segle XX<\/strong>. Format inicialment en <strong>pintura<\/strong> i influ\u00eft pel <strong>surrealisme<\/strong>, va traslladar a la c\u00e0mera el seu inter\u00e8s per la <strong>composici\u00f3<\/strong> i per l\u2019<strong>atzar creatiu<\/strong>. El seu nom ha quedat indissolublement unit al concepte de \u201cl\u2019instant decisiu\u201d, aquella fracci\u00f3 de segon en qu\u00e8 la forma, el moviment i el significat es conjuguen de manera perfecta dins del visor, abans que la realitat es dispersi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Un altre dels grans llegats de <strong>Cartier-Bresson<\/strong> \u00e9s la seva aportaci\u00f3 al <strong>fotoperiodisme<\/strong>. Va ser un dels <strong>fundadors<\/strong> de l\u2019ag\u00e8ncia <strong>Magnum<\/strong> <strong>Photos<\/strong> (1947), al costat de <strong>Robert Capa<\/strong>, <strong>David Seymour<\/strong> i <strong>George Rodger<\/strong>. Magnum va establir un nou model de treball per als fot\u00f2grafs, que passaven a tenir m\u00e9s control sobre els seus negatius i a col\u00b7laborar amb mitjans internacionals des d\u2019una \u00f2ptica independent.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">El seu estil es caracteritza per l\u2019\u00fas de la <strong>Leica de 35 mm<\/strong>, que li permetia una gran <strong>mobilitat<\/strong> i <strong>discreci\u00f3<\/strong>. Altrament, el respecte pel <strong>moment viscut<\/strong>, ja que pr\u00e0cticament <strong>no retallava<\/strong> ni manipulava les seves fotografies. La seva <strong>mirada humanista<\/strong>, centrada en <strong>escenes quotidianes<\/strong>, la vida als carrers, els <strong>rituals<\/strong> <strong>socials<\/strong> i les tensions pol\u00edtiques.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La seva obra abra\u00e7a des de <strong>retrats<\/strong> de personalitats (com <strong>Picasso<\/strong>, <strong>Sartre<\/strong> o <strong>Giacometti<\/strong>) fins a moments hist\u00f2rics (l\u2019<strong>alliberament de Par\u00eds el 1944<\/strong>, la <strong>mort<\/strong> de <strong>Gandhi<\/strong> el <strong>1948<\/strong>) i escenes de la vida di\u00e0ria arreu del m\u00f3n. Aquesta amplitud tem\u00e0tica i geogr\u00e0fica el converteix en una <strong>figura universal<\/strong>, que va elevar la fotografia documental i period\u00edstica al nivell de les arts majors. (CIEIB)<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"673\" height=\"1024\" src=\"https:\/\/cieib.es\/wp-content\/uploads\/2025\/09\/2a13be30-e561-4bce-980e-ae08ed24b67a.jpeg\" alt=\"\" class=\"wp-image-3944\" srcset=\"https:\/\/cieib.es\/wp-content\/uploads\/2025\/09\/2a13be30-e561-4bce-980e-ae08ed24b67a.jpeg 673w, https:\/\/cieib.es\/wp-content\/uploads\/2025\/09\/2a13be30-e561-4bce-980e-ae08ed24b67a-197x300.jpeg 197w\" sizes=\"auto, (max-width: 673px) 100vw, 673px\" \/><figcaption class=\"wp-element-caption\">Instant\u00e0nia de Cartier-Bresson pertanyent a la s\u00e8rie <strong>Les six jours de Paris<\/strong> (1950)<\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>La fotografia que veim pertany a la s\u00e8rie Les six jours de Paris (1950), realitzada per Henri Cartier-Bresson, un dels mestres indiscutibles de la fotografia del segle XX. En aquesta imatge, presa durant les prestigioses curses de sis dies al vel\u00f2drom d\u2019Hiver, Cartier-Bresson capta un moment ins\u00f2lit: un ciclista, en ple moviment, llegeix un diari<\/p>\n<div class=\"tech_read_more\"><a href=\"https:\/\/cieib.es\/?p=3942\">Read More<\/a><\/div>","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33,18],"tags":[],"class_list":["post-3942","post","type-post","status-publish","format-standard","hentry","category-art-i-literatura","category-ciclisme"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Henri Cartier-Bresson. Sense t\u00edtol, 1950 - Centre d\u2019Interpretaci\u00f3 de l\u2019Esport de les Illes Balears<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cieib.es\/?p=3942\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Henri Cartier-Bresson. Sense t\u00edtol, 1950 - Centre d\u2019Interpretaci\u00f3 de l\u2019Esport de les Illes Balears\" \/>\n<meta property=\"og:description\" content=\"La fotografia que veim pertany a la s\u00e8rie Les six jours de Paris (1950), realitzada per Henri Cartier-Bresson, un dels mestres indiscutibles de la fotografia del segle XX. 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