Juvisy, 1938: A Snapshot of Leisure and Unrest by Henri Cartier-Bresson
Imagine a lazy afternoon in 1938 on the banks of the River Seine in Juvisy, just outside Paris. A group of friends has gathered for a picnic, their makeshift meal spread out on a blanket. Nearby, a small boat is moored, its fishing lines cast into the still water. This serene scene is immortalized in Henri Cartier-Bresson’s iconic photograph, “Juvisy, France 1938,” a silver print now housed in the Museum of Modern Art in New York.
Henri Cartier-Bresson, a pioneer of modern photojournalism, captured this image during a tumultuous period in French history. The Great Depression had left its mark on the country, and the looming threat of fascism was palpable. Yet, in this photograph, the subjects appear carefree, shedding their jackets to enjoy a simple picnic by the water. The contrast between their leisure and the socio-political unrest of the time is striking, subtly commenting on society’s inclination to escape from pressing issues.
Cartier-Bresson, trained as a painter, was heavily influenced by the Impressionist tradition. This influence is evident in “Juvisy, France 1938,” where the composition echoes the works of Claude Monet, particularly in its treatment of light and reflections. The photograph’s spatial depth is highlighted by the boat in the background, a nod to Monet’s studies of reflections. The expanse of still water in the upper half of the image flattens the composition, directing the viewer’s attention to the figures on the bank. The absence of a horizon line or view of the opposite riverbank creates a sense of isolation, focusing entirely on the foreground activity.
One of the most notable aspects of this photograph is its spontaneous feel. Cartier-Bresson was known for his concept of the “decisive moment,” the perfect instant when the visual and emotional elements of a scene come together harmoniously. This image, with its casual, unposed figures, exemplifies this philosophy. The woman in the camisole, the flat caps typical of working-class men, and the scattered empty plates all contribute to a sense of authenticity and immediacy.
Interestingly, the photograph was originally known as “Sunday on the Banks of the Marne,” drawing a parallel to Georges Seurat’s “A Sunday on La Grande Jatte.” This reference further underscores the connection between Cartier-Bresson’s work and the Impressionist tradition. However, unlike Seurat’s idealized depiction of leisure, Cartier-Bresson’s image is more grounded, highlighting the human flaws and everyday realities of his subjects.
Similarities with Georges Seurat’s “Bathers at Asnières”
Georges Seurat’s painting “Bathers at Asnières” (1884) shares several thematic and compositional similarities with Cartier-Bresson’s “Juvisy, France 1938”:
1. Setting and Composition:
• Seurat’s “Bathers at Asnières”: This painting depicts a group of people relaxing by the River Seine in a suburban area. The scene is composed with meticulous attention to detail and light, capturing the leisure activities of the working class.
• Cartier-Bresson’s “Juvisy, France 1938”: Similarly, this photograph shows people enjoying a leisurely picnic by the Seine. Both works highlight the contrast between the tranquility of the riverbank and the busy, often harsh realities of urban life.
2. Focus on Everyday Life:
• Seurat: His work is known for its pointillist technique and its focus on the lives of ordinary people. “Bathers at Asnières” emphasizes the simplicity and beauty of a leisurely day by the river.
• Cartier-Bresson: His photograph captures a candid moment of relaxation, reflecting the artist’s interest in the everyday experiences of the working class.
3. Social Commentary:
• Seurat: The painting subtly comments on social class and the urbanization of Paris, showing a mix of leisure and labor.
• Cartier-Bresson: The photograph, taken during a period of political tension, serves as a subtle critique of society’s tendency to seek escapism amidst uncertainty.
Both works use the setting of the Seine River to explore themes of leisure, class, and the fleeting moments of everyday life, bridging the gap between different artistic movements and mediums.
“Juvisy, France 1938” is more than just a snapshot of a picnic; it’s a window into a specific moment in history. It captures the essence of a society at leisure, momentarily detached from its worries. Yet, through Cartier-Bresson’s lens, we are reminded of the underlying tensions and the resilience of ordinary people finding solace in simple pleasures.
