For me, the great fame of Henri Cartier-Bresson remains a mystery. Not, of course, in relation to his worth, which I consider far greater even than his vast renown. But why the dominant aesthetic, the prevailing artistic perception, and the kind of idols of today's world were not logical and expected to reserve such publicity for a reclusive, introspective, and strict photographer like Cartier-Bresson. Perhaps it is a deviation of the system, or maybe simply a misunderstanding. However, it is a misunderstanding to which we owe, to some extent, the respect that photography began to gain in the eyes of the public. Many believe that Cartier-Bresson's photographs were about the human subject, while others think that the snapshot was his privileged space. Nevertheless, the content of Cartier-Bresson's work was nothing other than "geometry". That is, the realization of a balance in a world that hides the great threat of disorder for the artist. For Cartier-Bresson, the "event" gains its significance only through its morphological completeness and strictness. And the artistic emotion of photography stems from the meeting of the moment in time with the geometric balance of an apparently disorderly world. His photographs are all celebratory affirmations of a photographer dazzled by the internal harmony of the world. Among them, there are not particularly many in which "the eye, the mind, and the heart" (as he himself said) "are on the same axis", while at the same time they capture the dialogue of the outer world with the inner world of the photographer. However, those that achieve this are enough to ensure the respect of our "mind" and the devotion of our "heart".
