Estimate
€ 1.200 - 1.600
Aggiudicato
Current bid Starting bid
€ 1.000
Your offer is the highest Your bid doesn't meet the reserve price La tua offerta è stata superata(0 bids, reserve not met)
At auction on Wednesday 18 June 2025 at 16:00
Information
Vintage gelatin silver print on polycoated paper
cm 40 x 30 (cm 17,5 x 25 picture) | 15.7 x 11.8 in. (6.9 x 9.8 in. picture)
Titled, dated and signed in black ink on the white inferior recto margin
Mario Cresci (Chiavari, Genoa 1942) attended the Advanced Course in Industrial Design in Venice where he met Italo Zannier who introduced him to photography. He moved to Basilicata first in 1967 when he made his debut with visionary photographic work on Tricarico and then in 1968 where he opened the region's first graphic design studio in Matera. A multifaceted photographer, he moves from conceptual research (his is in 1969, at the gallery Il Diaframma in Milan, the first photographic environement) to that of anthropological taste, from the investigation of the landscape with which he participates in “Viaggio in Italia” to recent considerations on the relationship between works and their representation. Intense also his teaching experience in various cities and the direction from 1991 to 2000 of the Accademia Carrara in Bergamo, where he lives.
He could, working in one of the regions of what used to be called the deep south, pick up the thread of the great reportage tradition, but Mario Cresci has fortunately always been a restless spirit, always looking for something not taken for granted that so often runs under the veins of the real. So he came into the homes of his new fellow citizens and they showed him photographs kept at home and often from those of their relatives who had emigrated to faraway countries. This created a visual short-circuit in the contrast, clearly visible here, between the poverty of the protagonist's home as shown by the wall behind her and the exhibited elegance of those who put on party clothes for the portrait. The conceptual and the anthropological merge, on the other hand, in the Matera interior where the precision of the details of the house is contrasted by the face of the protagonist who moves during the shot to evoke an ethereal presence of his own as if he were passing over the objects of the house.
cm 40 x 30 (cm 17,5 x 25 picture) | 15.7 x 11.8 in. (6.9 x 9.8 in. picture)
Titled, dated and signed in black ink on the white inferior recto margin
Mario Cresci (Chiavari, Genoa 1942) attended the Advanced Course in Industrial Design in Venice where he met Italo Zannier who introduced him to photography. He moved to Basilicata first in 1967 when he made his debut with visionary photographic work on Tricarico and then in 1968 where he opened the region's first graphic design studio in Matera. A multifaceted photographer, he moves from conceptual research (his is in 1969, at the gallery Il Diaframma in Milan, the first photographic environement) to that of anthropological taste, from the investigation of the landscape with which he participates in “Viaggio in Italia” to recent considerations on the relationship between works and their representation. Intense also his teaching experience in various cities and the direction from 1991 to 2000 of the Accademia Carrara in Bergamo, where he lives.
He could, working in one of the regions of what used to be called the deep south, pick up the thread of the great reportage tradition, but Mario Cresci has fortunately always been a restless spirit, always looking for something not taken for granted that so often runs under the veins of the real. So he came into the homes of his new fellow citizens and they showed him photographs kept at home and often from those of their relatives who had emigrated to faraway countries. This created a visual short-circuit in the contrast, clearly visible here, between the poverty of the protagonist's home as shown by the wall behind her and the exhibited elegance of those who put on party clothes for the portrait. The conceptual and the anthropological merge, on the other hand, in the Matera interior where the precision of the details of the house is contrasted by the face of the protagonist who moves during the shot to evoke an ethereal presence of his own as if he were passing over the objects of the house.
Contact
Condition report
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The department will provide you with a general report of the condition of the property described above. Please note that what Finarte declares with respect to the state of conservation of the objects corresponds only to a qualified opinion and that we are not professional conservators or restorers.
We urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. We always suggest prospective buyers to inspect each lot to satisfy themselves as to condition during the exhibition days as indicated in the catalog.
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