Cartier Quotes

• I like to browse in Cartier, Chanel and Gucci and if something special grabs my eye I splash out.

  Lisa Snowdon

  Eye, Special, Gucci

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• It looks like Armani and Cartier went to war.

  Nora Roberts

  War, Looks, Armani

  Nora Roberts (1996). “Daring to Dream”, p.71, Penguin

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• If you buy a Cartier ring you want people to know it is a Cartier ring or a diamond, or a piece of art that's giving an emotion - then people read it and say, "wow that's really amazing". With prêt-à-porter you see people in the street, in a club, in a restaurant or whatever, and you think, "Oh my god, he's wearing my trousers!" In a way it's more open - people can put together the way they want - mixed with other designers.

  Riccardo Tisci

  Art, Thinking, People

  Source: www.dazeddigital.com

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• I only used my whole life one perfume, and it's Cartier's Les Must.

  Gloria Estefan

  Used, Perfume, Whole Life

  "Rachael Ray Show" Interview, December 06, 2006.

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• All brands, whether high-ticket luxury ones such as Cartier or Rolls-Royce or 'masstige' ones with luxe-y overtones but altogether more affordable, all want to grow. Even brands that may have started in a modestly niche design and lifestyle fashion can find themselves under pressure to go global or to sell out at the top.

  Peter York

  Fashion, Luxury, Design

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• I do not understand what makes me take a picture. Cartier-Bresson talks about the decisive moment, the necessity to function with lynx eyes and silk gloves. Perhaps what happens when you press the shutter is an intuitive act infused with all you have learned.

  Graciela Iturbide

  Eye, Gloves, Moments

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• Let's assume that all the cassettes of monochrome film Cartier-Bresson ever exposed had somehow been surreptitiously loaded with colour film. I'd venture to say that about two thirds of his pictures would be ruined and the remainder unaffected, neither spoiled nor improved. And perhaps one in a thousand enhanced.

  Philip Jones Griffiths

  Two, Would Be, Venture

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• Some of the people who are now manipulating photos, such as Andreas Gursky, make the argument - rightly - that the 'straight' photographs of the 1940s and 50s were no such thing. Ansell Adams would slap a red filter on his lens, then spend three days burning and dodging in the dark room, making his prints. That's a manipulation. Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.

  Joel Sternfeld

  Dark, People, Filters

  "False witness" by Charlotte Higgins, www.theguardian.com. March 10, 2004.

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• Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.

  Joel Sternfeld

  Photograph, Burned, Dues

  "False witness" by Charlotte Higgins, www.theguardian.com. March 10, 2004.

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• While photography to Cartier-Bresson is constantly an intuitive process, it is never purely instinctive. It is founded on continuous intellection, on ceaseless consideration during all moments previous to, or preparatory for, the pressing. It does not only operate in the blinding flash of a moment seized; it works all the time. The snatched picture merely cuts across the vein of observable incident or accident which is always beating, whether or not the fingers actually press.

  Lincoln Kirstein

  Photography, Cutting, Doe

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• I think probably something big can be done with cameras, I'm not saying, er, I'm saying chemical photography's finished, that means you can't have a Cartier Bresson again, you need never believe pictures.

  David Hockney

  Photography, Believe, Mean

  Interview with John Tusa, www.americansuburbx.com. May 21, 2009.

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• I'm a big fan of Henri Cartier-Bresson, the French photographer who had that whole "decisive moment" approach to taking pictures, of having multiple elements line up within the frame.

  Nick Zinner

  Fans, Elements, Lines

  Source: pitchfork.com

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• Cartier-Bresson has said that photography seizes a 'decisive moment', that's true except that it shouldn't be taken too narrowly...does my picture of a cobweb in the rain represent a decisive moment? The exposure time was probably three or four minutes. That's a pretty long moment. I would say the decisive moment in that case was the moment in which I saw this thing and decided I wanted to photograph it.

  Paul Strand

  Photography, Rain, Taken

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• Suppose Cartier-Bresson asked the man who jumped the puddle to do it again --- it never would have been the same. Start stealing!

  Imogen Cunningham

  Men, Puddles, Stealing

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• The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.

  Fred Ritchin

  Photography, Drama, Years

  Fred Ritchin (1990). “In our own image: the coming revolution in photography : how computer technology is changing our view of the world”

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• In an era when museum curators were busy introducing the public to photographs of daily life taken by Robert Frank, Henri Cartier-Bresson, and Diane Arbus, why did they simultaneously disdain paintings depicting the same kind of people?

  Burton Silverman

  Taken, Museums, People

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• When I was just starting out, I met Cartier-Bresson. He wasn't young in age but, in his mind, he was the youngest person I'd ever met. He told me it was necessary to trust my instincts, be inside my work, and set aside my ego. In the end, my photography turned out very different to his, but I believe we were coming from the same place.

  Sebastiao Salgado

  Photography, Believe, Ego

  "Portrait of the artist: Sebastião Salgado, photographer". Interview With Laura Barnett, www.theguardian.com. February 28, 2012.

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• Weston's sensual texture or Cartier-Bresson's implacable composition are apt to close over themselves, attaining the perfection of a certain sensual and harmonious bliss. We see textures, volumes, equilibrium - and reality, open and ragged, is lost and transcended.

  Edmundo Desnoes

  Reality, Perfection, Sensual

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• And what we called photojournalism, the photos seen in places like Life magazine, didn't interest me either. They were just not good-there was no art there. The first person who I respected immensely was Henri Cartier-Bresson. I still do.

  William Eggleston

  Art, Magazines, Firsts

  Interview with Harmony Korine, www.interviewmagazine.com. November 21, 2008.

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• The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.

  Alexey Brodovitch

  Photography, Thinking, Expression

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• When Cartier-Bresson goes to China, he shows that there are people in China, and that they are Chinese.

  Susan Sontag

  Photography, People, Chinese

  Susan Sontag (2011). “On Photography”, p.99, Macmillan

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• It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.

  Sebastiao Salgado

  Believe, Differences, Honor

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