In addition to the remarkable street photographs he made across Europe with a 35mm camera in the early 1930s, Cartier-Bresson made candid portraits of friends and acquaintances, such as this picture of the disheveled neo-Romantic painter and designer for the theater (1902-1949) swaddled in bedcovers and lying next to his valise-the idea of sleep and dreams as the artist's field of research and font of inspiration that recalls the sign that André Breton hung outside his bedroom each night: "Quiet Please. Poet at Work."
Inscription: Inscribed in pencil on mount, verso C: "Christian Berard // First Hotel // 1932"; inscribed in pencil on mount, verso LR: "is F 18"; inscribed in pencil on mount, verso UR: "28 [encircled]"; inscribed in blue ink on mount, verso UL: "[Roman numerals with cap and toe lines] VI [upside down]", "14 [sideways]"; inscribed in JCW hand in pencil on mount, verso UR: "401. // Cartier-Bresson // 1932"
John C. Waddell
The Metropolitan Museum of Art. "Portraits: A Century of Photographs," September 10, 2002–January 13, 2003.
Museum of Modern Art, New York. "Henri Cartier-Bresson [X]," April 30, 2005–May 1, 1905.
Variant reproduced: Peter Galassi, Henri Cartier-Bresson: The Early Years, New York: MoMA, 1987, p.113