During the 1920s, Henri Cartier-Bresson studies academic drawing and painting before turning to photography in the early 1930s after having discovered Eugène Atget’s work. He captures fleeting moments and street scenes from everyday life, hiding his camera under a sheet or behind scotch tape, travelling around the world and adopting innovative angles and graphic compositions inspired by his artistic practice. After World War II, he founds Magnum Photos alongside Robert Capa, David Seymour, Willima de Vandivert and George Rodger and specializes in photojournalism. Yet, even when he covers the Cold War, Ghandi’s funeral, the Communist revolution in China or the United States postwar expansion, he continues to describe these global events through the depiction of ordinary sceneries and people: History told by various stories - ‘I observe, observe, observe, it is with the eyes that I understand.’ Tired and uncertain about photojournalism’s new identity - now challenged by television’s sensationalism, Henri Cartier-Bresson decides to abandon photography in the 1970s and returns to drawing. The French photographer who had celebrated the instantaneous pace of street photography and the changing society, finally returned to a slow and meditative experience.