Most of the books and monographic exhibitions devoted to the photographer have endeavoured to demonstrate the stylistic unity of his work. In contrast to this unifying, and no doubt somewhat reductive, approach, the aim of this project is to highlight the diversity of his photographic approach at different moments in his life. Through the history of this multifaceted eye, this major retrospective also traces the history of the twentieth century.

Cartier-Bresson refused to let himself be filmed or photographed. He did not want to be recognised in the street so that he could continue to work in peace. But after his exhibition at New York's MoMA in 1947, he reluctantly became one of the most admired photographers of his time, a veritable living legend. Many professionals and amateurs who came across him occasionally photographed him, often against his will. There are many portraits of Cartier-Bresson in action. Comprising 300 of his best-known works, as well as a number of new discoveries, this retrospective is built around these portraits. They punctuate the twenty or so sections of the exhibition, situating Henri Cartier-Bresson in his time, at a precise moment in his career.