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.
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CityU
评分把两个摄影师在同样的地方拍的东西放在同一本书里未免太残忍了点，HCB拍的美国相比Walker Evans就要略逊一筹，感觉他是“端着”架子在拍也没有在法国的时候那么自如。也突然发现Evans是很注重横平竖直的一个摄影师hhhhhh
评分把两个摄影师在同样的地方拍的东西放在同一本书里未免太残忍了点，HCB拍的美国相比Walker Evans就要略逊一筹，感觉他是“端着”架子在拍也没有在法国的时候那么自如。也突然发现Evans是很注重横平竖直的一个摄影师hhhhhh
评分CityU
评分把两个摄影师在同样的地方拍的东西放在同一本书里未免太残忍了点，HCB拍的美国相比Walker Evans就要略逊一筹，感觉他是“端着”架子在拍也没有在法国的时候那么自如。也突然发现Evans是很注重横平竖直的一个摄影师hhhhhh
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