在第二次世界大战期间,布勒松曾一度成为德军的俘虏,在战犯营里关了近三十个月,并在第三次尝试逃脱时始成功逃回法国,在其后这段躲躲避避的时期里,他应某法国出版社之邀,拍下了马谛斯、布洛克和Bonnard等画家的肖象,后来被他摄入镜头的名人更是多不胜数:法国作家/哲学家沙特、西蒙波娃、与他分属友好的瑞士雕塑家杰柯柏弟、天才画家毕卡索、美国诗人庞德、作家福克纳、阿瑟米勒、原子弹之父奥本海默、印度国父甘地……这些人物肖象后来都成为最经典的示范作,不单因为被摄者本身的大名显赫,也因为在布勒松的镜头下,这些脸孔上都展示了他们精神深处的一面。反过来,布勒松一直抗拒自己的脸孔被摄入镜头,他的大部分照片,都被照相机遮掩了脸孔。到了七十年代,布勒松更重投绘画的怀抱,只偶尔拿起相机,作品并不多。在他的自画像里,我们可以清清楚楚地与他打个照面。 During World War II, Brechsson was once a German captive, nearly 30 months in the war criminals camp and successfully escaped to France on his third attempt to escape, During the evasion, he was invited by a French press to take the portraits of painters such as Matisse, Bullock, and Bonnard. The celebrities who were later shot by him were numerous: the French writer / philosophy His family Saudi, Simon Popova, with his friendly Swiss sculptor Jayke Bo Di, genius painter Picasso, American poet Pound, writer Faulkner, Arthur Miller, the father of atomic bomb Oppenheimer, father of India Gandhi ... These portraits have since become the most iconic examples, not only because of the photographer’s own eminent name, but also because of the breasts of Brezson, which show their spiritual depths. In turn, Brechsson has been resisting his face being shot, most of his photos, are covered by the camera face. In the seventies, Bu Leisong more emphasis on the arms of painting, only occasionally picked up the camera, works are not many. In his self-portrait, we can clearly deal with him.