from the series The Galveston That Was / The Sawyer-Flood House, detail of bay window at front entry, 1962
Henri Cartier-Bresson, French, 1908–2004
Gelatin silver print
Image: 12 × 7 15/16 in. (30.5 × 20.2 cm) Sheet: 12 11/16 × 9 9/16 in. (32.2 × 24.3 cm)
Museum commission

Habits of Mind

  • OVERCOME FEAR Overcome fear of ambiguity / fear of failure or being wrong / fear of the unknown
  • OBSERVE DETAILS Observe details / time to think and reflect

Graphing Exposures

Discussion through works of art encourage how to approach ambiguous and complex ideas, thoughts, and feelings. The MFAH offers a democratic space where students and teachers can develop, practice and articulate these habits of mind. Remember that the quality of the conversation is what is important, not finding the artist’s “answer.” Slow down and take the time to make careful observations. Talk about what you notice, and try to avoid jumping to conclusions and interpretations. Be sure to give enough time for silent looking and thinking.

Curriculum Objectives

•  Develop a system for designating a light-to-dark value range in photographs and sunprints.

•  Create a graph relating to exposure time in their sunprints.

GRADE LEVEL

5

SUBJECT AREA

Math

HABITS OF MIND

Overcome Fear

Observe Details

Connecting to the Work of Art

In 1962, Henri Cartier-Bresson and American architectural photographer Ezra Stoller were commissioned by the Museum of Fine Arts, Houston to photograph historic buildings in Galveston, Texas.  In this photograph, the elegant bay window is partly obscured by a tree branch.  The artist focuses on the grand but decaying staircase and the young girl playing on the steps.

 

According to the commission, Cartier-Bresson was charged with recording the details of the house’s large bay window.  However, because the artist preferred photographing people, he focused on the animated figure of the young girl.  As a result, the lines and textures of the historic house become a foil for the girl, the structure’s age and decay a contrast to her youthful energy.  Cartier-Bresson used a small, hand-held camera that allowed him to move easily, capturing the life in and around buildings.

 

This photograph was included in a book titled The Galveston That Was, a project initiated by Houston architect Howard Barnstone and sponsored by the museum.  Barnstone wrote the text and Cartier-Bresson and Ezra Stoller contributed the photographs. The book’s foreword acknowledges that the museum chose in Cartier-Bresson and Stoller “two pairs of eyes of such broadly different curiosity.” Stoller’s photographs are intelligent, informative, clear, direct, and technically majestic. Cartier-Bresson’s work is ultimately less concerned with the architectural significance of the buildings he was commissioned to photograph than with the way the buildings were used, and misused, by their current inhabitants. Unlike Stoller, who excluded all but the random passerby, Cartier-Bresson found people irresistible and included them in almost every picture.

 

Henri Cartier-Bresson was a noted photojournalist and a master of the “one unique picture whose composition possesses such vigor and richness, and whose content so radiates outward from it, that this single picture is a whole story in itself.”¹ His ability to recognize intuitively moments of significance in human events, and to give them graceful form, influenced a generation of photographers on both sides of the Atlantic.

 

1.  Henri Cartier-Bresson, The Decisive Moment (New York: Simon and Schuster, 1952), n.p.

Observations

•  Review the three works of art and discuss the time of day each photograph was taken.  What is the light source in all three of the photographs?

•  Look for the shadows and brightest areas in each photograph.  Compare and contrast the photographs, looking at the range of values from lightest to darkest.

Assessment

•  Place sunprints made for the science project in sequential order, based on amount of time that the paper was exposed to the sun.

•  Develop a comparative numerical scale for lightness to darkness and rate each print.

•  Make graphs to demonstrate the outcomes, showing light ratings on one axis and lapsed time on the other.

•  Discuss and interpret the graphs.

Resources Available to Order

The Art-To-Go lending library features materials that may easily be integrated across the K–12 curriculum. Resources include DVDs, music CDs, children’s books, study guides, poster sets, and collection-based interpretive materials produced by the KFEC. Educators, community leaders, and docents from throughout Texas are welcome to borrow Art-To-Go resources. To place your order, search the online catalogue and add the selected items to your basket. After you have reviewed your basket, submit the order electronically.


The Learning Through Art program at the Museum of Fine Arts, Houston, is underwritten by:

Mercantil Commercebank

The Learning Through Art curriculum website is made possible in part by a grant from the Institute of Museum and Library Services.