List of selected artworks. Maps for the tour in the museum

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  • Robert Capa. Death of a Loyalist Militiaman, 1936 copy 1998. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    22 june - 30 august, 1993

    The exhibition Magnum. 50 años de fotografía celebrates fifty years of photographic production from this celebrated photo agency, known for its role in the history of visual culture from the second half of the twentieth century and whose work makes up the graphic memory of the modern world. Founded in 1947, Magnum begins to make itself known in the Thirties with its work and theoretical-aesthetic purposes defended by its founders -Henri Cartier-Bresson, Robert Capa, George Rodger and David Seymour "Chim"-, especially with the work they produce as reporters in the Spanish Civil War and World War II. With these photographs the foundations of modern photographic reporting are laid, based on two principles: the need for extreme closeness to what they were reporting, which Robert Capa demanded, and the theory of the "decisive moment" (images à la sauvette) developed by Cartier-Bresson and published in 1952, which is for many the programmatic text for photojournalism.

  • Exhibition view. ¿Buñuel! The Eye of the Century, 1996
    16 july, 1996 - 14 october, 1996

    When cinema is understood as a synonym of movement, a homage to Luis Buñuel (Calanda, Teruel 1900 - Mexico City, 1983) inside a museum - where static work is the overriding medium - can be seen as a “contradictory” exhibition, as the curator, Yasha David, puts it. With this in mind, the spaces of the Museo Nacional Centro de Arte Reina Sofía have been set up to create a “subliminal state” resembling the stamp Buñuel gives to his films.

  • Exhibition view. Fotografía pública / Photography in Print 1919-1939, 1999
    27 april, 1999 - 29 june, 1999

    During the interwar years photography develops in Europe as a language of its own, different and independent from traditional arts where possible, both in objectivity and in experimentation. In a period of just two decades artistic photography is perfected (dependant on models of traditional arts) and there is an increase in photojournalism, subordinate to present and immediate feedback. This results in the drift of modern photography towards photojournalism and photographic documentation: Farm Security Administration in the United States, Mass Observation in the United Kingdom, Misiones Pedagógicas (Educational Missions) in Spain, as well as the proliferation of photographic magazines that connect specifically with the mass media, such as Life and Fortune. This exhibition brings together an extensive collection of works, names and media -about a thousand pieces by artists from around the world: photographers, designers, editors, photography editors, poster and publicity artists- over which this era of experimentation is forged as well as the maturity of the technique. Studying it results in the emergence of new issues, in the spirit of the time (technical, city, body, work, abstraction or propaganda) and the appearance of an entire network of spreading and distribution of images and publications due to technical advances in the publishing industry. In these years new ways of communication specific for or dedicated to the publishing of photographs arise: yearbooks, photo-books, newspapers, posters or advertisements, in such a way that modern photography is made public and expands its horizons of consumption, favouring, conversely, mass culture.

  • Man Ray. Les larmes (Tears), 1932 / posthumous print, 1982. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    30 may, 2007 - 22 july, 2007

    Coinciding with the festival of photography PHotoEspaña 2007, the Museo Nacional Centro de Arte Reina Sofía proposes a selective journey through photographs from its Collection. The selection of photographs shown in five different spaces and that have been established according to a reflexive link between the subjective perception of the spectator and the return of the look in the image.

  • Exhibition view. A Hard, Merciless Light. The Worker Photography Movement, 1926-1939, 2011
    April 6 - August 22, 2011

    A Hard, Merciless Light

    The Worker Photography Movement, 1926-1939

    A Hard, Merciless Light. The Worker Photography Movement, 1926-1939 examines the period during the history of 20th century photography in which photography joined forces with various worker movements (ranging from trade unionism to the creation of “workers' states” like the Soviet one), motivated by growing working-class consciousness and the idea of taking over the means of production and reproduction of images. By looking at the artistic avant-garde in its interconnection with the political avant-garde, this exhibition challenges hegemonic historiography that focuses primarily on other movements arising in the history of photography, such as the New Vision. The exhibition displaces the importance of mechanical vision and instead considers photography's relationship with social movements, shifting the debate toward photography as a document. It presents photographs (many of which are vintage copies), films and other documents, with special attention being paid to periodicals, the fundamental medium for the circulation of images and the ideas associated with them during these years.

  • Vasily Kandinsky. Succession, 1935 © Vassily Kandinsky, VEGAP, Madrid, 2012
    October 3, 2012 - January 7, 2013
  • Palle Nielsen, A group of activists from different organisations in Denmark cleared a backyard in Stengade 52 in the area Nørrebro in Copenhagen the 31 of March 1968 and build a playground for the children instead. This was done to create attention of the lack of playgrounds as well as an overall redevelopment of the area. © VEGAP, Madrid, 2014 © PETERSEN ERIK / Polfoto
    April 30 – September 22, 2014

    Playgrounds

    Reinventing the Square

    The exhibition uses the term playground to propose a historical-artistic look at play areas and their socializing, transgressive and political potential, from the beginning of modernity to our day.

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