Group picture of Magnum members in the Magnum office, 1982, Image manipulated by Rene Burri © Magnum Photos
View of the exhibition "Henri Cartier-Bresson, Images and words", Roma
View of the exhibition "Henri Cartier-Bresson, Images and words", Roma
View of the exhibition "Henri Cartier-Bresson, Photographer", Istanbul
View of the exhibition "Henri Cartier-Bresson, Photographer", Istanbul

Magnum Photos

Created in 1947 by Robert Capa, Henri Cartier-Bresson, George Rodger, and David Seymour, Magnum Photos today has around 80 members. Martine Franck became a member in 1983.

Magnum Photos is a cooperative wholly owned by its photographer-members. The independence this allows is reflected in the spirit with which subjects are chosen and treated. Magnum photographs are famous for their journalistic and aesthetic qualities. Through its four editorial offices in Paris, New York, London, and Tokyo and a network of fifteen sub-agents, Magnum Photos provides photographs to the press worldwide. At the heart of this activity is a concern to encourage the photographers to carry out their individual projects and to act as sensitive witnesses to world events. The work of Magnum photographers reaches its audience both through the world press and in books and exhibitions.

The agency is the copyright holder of both Henri Cartier-Bresson and Martine Franck’s works.
The Foundation holds their moral rights.

If you want to reproduce an image by Henri Cartier-Bresson or Martine Franck, please contact Magnum Photos.



Henri Cartier-Bresson and Martine Franck’s exhibitions are widely presented throughout the world. Magnum Photos is responsible for their circulation in collaboration with the Foundation. Here is a selection:



 The Early Work
85 black & white photographs (50x65cm), matted and framed.
Reference book: Henri Cartier-Bresson. The Early Work. Texts by Peter Galassi. Museum of Modern Art, New York, 1987.
In 1932, at the age of twenty-four, Henri Cartier-Bresson acquired a hand-held Leica camera and his previously casual interest in photography became a passion. Over the next three years he created one of the most original and influential bodies of work in the history of photography.

Mexican Notebooks
44 black & white photographs (52x62cm), matted and framed.
Reference book: Mexican Notebooks 1934-1964. Text by Carlos Fuentes. Thames and Hudson, London, 1994.
A very touching and intimate look at everyday life in Mexico, in which Cartier-Bresson’s experienced eye has also captured the powerful light that alludes to heat, poverty, and the history that pervades this country. This exhibition is disturbing, humorous, spiritual, and abstract.

Commented Images
44 black & white photographs (100x75cm), matted and framed.
Reference book: Des Image et des Mots. Delpire, Paris, 2003.
44 Images, among Cartier Bresson’s most inspirational, commented by intellectuals, writers, critics, photographers or simply by the author’s friends, who further the themes tied in with photography: his communicative power, his statistic peculiarities, his role.

82 black & white photographs (55×70 cm), matted and framed. A text by HCB framed.
Reference book : Henri Cartier-Bresson, A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. Thames and Hudson, London, 1994.
Henri Cartier-Bresson, during night and day, walks from one end of Paris to the other, and did not stop snapping. The exhibition collects his best photographs of Paris, old and recent, well known and never seen before.

48 black & white photographs (27 61x80cm and 21 88x116cm), matted and framed.
Reference book : About Russia. Thames and Hudson, London, Henri Cartier-Bresson, 1973.
“After nineteen years since the first trip, I longed to go back and revisit Russia. There is nothing more revealing than comparing a country with itself by grasping its differences and trying to discover the thread of its continuity” (Henri Cartier-Bresson)

106 black & white photographs (19 30x40cm, 82 40x50cm, 5 60x90cm), matted.
Reference book: Henri Cartier-Bresson, America in Passing. Introduction by Gilles Mora. Bulfinch, New York,1991.
“There was plenty of glitz in America in the Sixties and Seventies, yes and in the Forties, the era of the pictures, but clearly Cartier-Bresson was trying to get behind it to the substance of American society. And since his is fundamentally a tragic vision, he reacted most feelingly to what in America he saw as related to its decay, its pain” (Arthur Miller).

163 black & white photographs (131 55x70cm, 32 45x60cm), matted and framed.
Reference book: Europeans. Texts by Jean Clair. Thames and Hudson, London,1997.
On the whole, it is nearly half a century of wanderings, from the Thirties to the Seventies, that make up the material in the present exhibition which, forty years after “Europeans”, tells us once again the story of this continent.

In India
70 black & white photographs (45 55x80cm, 25 45x55cm) matted and framed.
Reference book: Henri Cartier-Bresson in India. Intro by Satyajit Ray, photographs and notes by Henri Cartier-Bresson, texts by Yves Véquaud. Thames and Hudson, London, 1987.
Regrouping Cartier-Bresson’s most beautiful images of India shot over the course of six long visits – his first visit dating back to the Independence – this exhibition highlights the photographer’s deep fascination with the country during the second half of his life.

105 black & white photographs (20 86x113cm and 85 72x57cm), matted and framed.
Reference book : Henri Cartier-Bresson, Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. Thames and Hudson, London, 2001.
In over 100 landscapes taken throughout Europe, Asia and the U.S., each image represents one of Cartier-Bresson’s “decisive moments.” Although some photographs contain people, the focus is on outdoor surroundings, the landscapes of Nature and the landscapes of Man.

The Mind’s Eye
54 black and white photographs (61x48cm), matted and framed. One text framed.
Reference book: The Mind’s eye, Aperture, New York, 1999
“For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to ‘give a meaning’ to the world, one has to feel oneself involved in what one frames through the viewfinder. This attitude requires concentration, a discipline of mind, sensitivity, and a sense of geometry – it is by great economy of means that one arrives at simplicity of expression.” Henri Cartier-Bresson

133  black and white photographs (52x62cm), matted and framed.
Reference book:  Henri Cartier-Bresson, Photographer. Bulfinch Press, 1992
First major retrospective of Henri Cartier-Bresson with his greatest photographs.

Man, Image and World, a retrospective
271 black and white photographs ( 206 47x57cm and 65 67x83cm), matted and framed. Documents.
Curator: Robert Delpire
Reference book: Man, Image and World, Thames and Hudson, 2003
This collection of work by HCB is the ultimate retrospective look at a lifetime’s achievement.

121 black & white photographs (18 110x80cm, 103 76x56cm), framed.
Reference book: Henri Cartier-Bresson : Tête à tête, texts by Ernst H.Gombrich. Thames & Hudson, London,1998.
The exhibition reproduces a dazzling selection of the most unforgettable portraits taken by Henri Cartier-Bresson. Beside famous people are also anonymous portraits of ordinary men and women.



From Other Lands: Artists in Paris since 1945
61 black and white photographs (52x42cm), matted and framed
Reference book:   Venus d’ailleurs : Peintres et sculpteurs à Paris depuis 1945, Imprimerie Nationale Editions, Paris, 2011.
In 1965, Martine Franck began a series of portraits from foreign artists living in Paris since 1945, from Pierre Alechinsky to Zao Wou Ki.
Like a small illustrated encyclopaedia of modern and contemporary art, the exhibition gathers artists, famous or little known to the French public, from all countries, the United States to China. The set shows the vitality of the French art scene and the attractiveness of Paris to artists from all over the world.

63 black and white photographs (55 x 75 cm and 50 x 65 cm), matted and framed.
Reference book: Women / Femmes, Steidl, Göttingen, 2010
“Taking a portrait of someone – be it man or woman – starts with a conversation. It is important for me to try and catch the person when they are listening or when they are in a pensive mood or have forgotten my presence. I rarely ask a person to pose for me as I prefer that they reveal themselves as they wish. For me, the eyes and the hands are most important and when possible I like to use natural light. All through my life as a photographer I have made a point of photographing women whom I admire, who have done something special with their lives, who have protested against their fate, also those close to me like my daughter and grand-daughter and intimate friends all of whom appear in this collection.” Martine Franck

87 photographs: 73 black & white and 14 colour, matted and framed.
Reference book: Photographe, Musée de la Vie romantique, Adam Biro Editions, Paris, 2002
This exhibition presents a survey of Martine Frank’s work over thirty years. Each of her photographs indeed conveys a romantic revelation: of nature – for instance in the case of the sea landscapes of the Tory Island –, of the infinitely various ways in which human beings inscribed themselves on nature (from the photographs of the Chinese carved-in Buddhas to those of the cobblestones of Paris), of family through the photographs of elderly people sitting with embedded portraits of bygone days, of artistic creation in the 20th century through the portraits of emblematic artists, and of drama in particular (cf the photographs of le Théâtre du Soleil).