It’s almost unthinkable that any of Henri Cartier-Bresson’s photographs could ever have gone unpublished. The father of modern photojournalism had such a natural and easy understanding of his craft that all of his images offer the viewer snippets of an intriguing story – a slice of everyday narrative – rendered with the kind of precision that hoards of photographers since have sought to mimic.
But in fact this is not the case. Until this month his sensational shots of the Vélodrome D’Hiver, from Paris 1957, have been lost to all but the most privileged eyes at Magnum. But this month they’re available for all to see in Rouleur 34.
Accompanied by an illuminating article on the Vél D’Hiv and a background on Cartier-Bresson himself the images offer an unprecedented look at Parisian velodrome racing and the accompanying glamour and spectacle – aspects that have been all but lost from today’s version of the sport. Even if bikes aren’t your thing you can’t fail to appreciate the remarkable skill of a photographic talent that has yet to be matched.
- Gender politics, feminism and Kanye West – the world according to Vanessa Beecroft
- Allen Jones' Maîtresse, a series of S&M-inspired paintings
- First Dates for those who create: London agency Form on their working relationship
- Air-brushed psychedelia and neon lights abound in Robert Beatty’s new work
- Jack Davison shoots parrots with PTSD for The New York Times Magazine
- Graphic design work to challenge and empower the reader
- Racy photography from the new issue of Odiseo
- How to beat creative block: one designer offers his invaluable advice
- Bureau Mirko Borsche works with Nike Basketball on a new graphic language
- Meditation and creativity: should we believe the hype?
- VSCO develops new typeface and a symbol-based language as part of its rebrand
- More salaciously surreal illustrations from French duo Mrzyk & Moriceau