Selected Group Exhibitions
1974 Me ́xico y los Mexicanos; Federal Republic of Ger-
many; various sites
1977 El Animal en la Cultura; Centro de Arte Moderno;
Guadalajara, Jalisco, Mexico
1982 Photo-club de Bordeaux 90eAnniversaire; Salon Inter-
national d’Art Photographique; Bordeaux, France
1988 100 An ̃os de Fotografı ́a Indigenista; Museo de Culturas
Populares; Mexico City, Mexico
2002 Rı ́o de Luz:Wittliff Gallery of Southwestern & Mex-
ican Photography; San Marcos, Texas
Selected Works
(Note: Manuel Carrillo’s photos were not titled, but he gave
them short descriptions and reference numbers in his
own classification system, and these descriptions have
been used in lieu of titles.)
Don Trini,(#1532) Guanajuato, 1955
Rebozo al aire, (#520) Oaxaca, 1958
Garrotero de Nonoalco, (#1549) Distrito Federal, ca. 1958
Enferma en la banco, Guanajuato, 1960
Viejita, callejo ́n, sombras piramidales, (# 1164) Guanajuato,
1960
Perro sobre tumba, (#5004) Mexico City, 1966
Cruz—sombra humana, Hidalgo, 1973
Asilo de perros callejeros, (#5085) Mexico City, n.d.
Beisbol, perro al fondo, (#147) Jalisco, n.d.
Pescador envuelto en redes, (# 1637) Veracruz, n.d.
Pulquerı ́a de Toluca, (#5001) Edo. de Me ́xico, n.d.Further Reading
Carrillo, Manuel. Interview. El Paso: Institute of Oral His-
tory, 31 May, 1982.
Carrillo, Manuel.Manuel Carrillo: fotografias de Mexico.
Mexico, D.F.: Juan E. Salinas Cortes, 1987.
‘‘Manuel Carrillo.’’ InZoom(American edition), 1984.
Mi Pueblo: Manuel Carrillo, Obra Fotogra ́fica. Mexico, D.
F.: Sindicato de Trabajadores INFONAVIT, 1980.
Of People and Places: the Floyd and Josephine Segel Collec-
tion of Photography. Milwaukee, WI: Milwaukee Art
Museum, 1987. 72–75.
Old, Joe. ‘‘The Eye of Manuel Carrillo.’’ Nova: The
Magazine of the University of Texas at El Paso(Spring,
1992).
Quarm, Joan. ‘‘Photographer Captures Nature of People.’’
The El Paso Herald-Post(Saturday, Oct. 17, 1976).HENRI CARTIER-BRESSON
French
One of the giants of twentieth-century photogra-
phy, Henri Cartier-Bresson might also be said to be
the seminal figure of the postwar era, both for his
own achievements and for the wide influence of his
humanist photographic sensibility. Described by
The New York Timesas ‘‘the archetype of the
itinerant photojournalist,’’ he was also a succinct
portraitist, capturing newsworthy personalities
such as sculptor Alberto Giacometti, writer Jean-
Paul Sartre, and Indian leader Mahatma Gandhi in
what were to become signature portraits. He was a
photographic visionary who co-founded the now-
legendary photo agency Magnum Photos and pio-
neered the concept of ‘‘the decisive moment.’’
Well-illustrated by the 1932 workBehind Saint-
Lazare Station, Paris, France, which shows a man
leaping in the midst of a flooded street, captured in
the split-second before his heel will hit the skin of
water, Cartier-Bresson’s unique photographic sen-
sibility put forth the idea of ‘‘the decisive mo-
ment’’—the exactly proper moment when any
particular set of occurrences as observed through
the frame of the lens will cohere to become the best
possible photograph, balanced in composition and
other formal elements and capturing a photo-
graphic reality that freezes and thus abstracts the
‘‘real world.’’ Cartier-Bresson often described his
philosophy thus:
To take a photograph is to hold one’s breath when all
faculties converge in a face of fleeing reality. It is at that
moment that mastering an image becomes a great phy-
sical and intellectual joy.
(HCB Foundation website)
What distinguishes Cartier-Bresson’s vision from
the many other photographers who strove to cap-
ture ideal moments, often instead perpetuating
cliche ́s, however, was his ability to pre-visualize
and pre-edit the image so that it would be rich and
resonant, not merely capturing a suspended instant.
The famous Saint-Lazare railway station photo-
graph is filled with remarkable, even uncanny detail.CARRILLO, MANUEL