his lyrical view of two couples picnicking on the banks of the Marne epitomizes Cartier-Bresson's talent for discovering a seemingly timeless order within the random course of everyday social reality. It has been compared to paintings by Degas and Seurat, and particularly to Gustave Caillebotte's Paris Street, Rainy Day (1877; Art Institute of Chicago).
Inscription: Signed in ink, verso C: "Henri Cartier-Bresson"; artist's copyright stamp, verso BL corner, upside down in box: "Photograph By Henri Cartier-Bresson // (c) 1968 MAGNUM PHOTOS // 72 West 45th Street, N.Y.C, 10036"; stamped verso C upside down: "NOT FOR REPRODUCTION"; inscribed in artist's hand?, verso TRC: "9/50"; inscribed in unknown hands in pencil and ink, verso TLC: "275", "62 l", "B.S."; numerous reproduction inscriptions in pencil, partially erased, verso C; red and white adhesive label partially removed, verso BRC
[Robert Schoelkopf Gallery, New York]; Grace and Andrew Schoelkopf, Connecticut
The Metropolitan Museum of Art. "Framing a Century: Master Photographers, 1840–1940," June 3, 2008–September 1, 2008.
Title and date varies. First publication title/date: "Sunday on the Banks of the Marne, 1939"; In 1987 Peter Galassi titles and dates the photograph: "The Banks of the Marne, 1936-37."