Estimate
€ 250 - 350
Aggiudicato
Current bid Starting bid
€ 110
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At auction on Wednesday 18 June 2025 at 16:00
Information
Inkjet print, printed later
cm 50 x 39,7 (cm 34,3 x 34,3 picture) | 9.7 x 15.6 in. (13.5 x 13.5 in. picture)
Signed in black ink on the white inferior recto margin
Virgilio Carnisio (Milan 1938) began photographing in the early 1960s and, fearing that a false interpretation of modernity could destroy the classic architecture of his city, he wandered between the centre and the suburbs, documenting in black and white courtyards, railing houses, taverns, neighbourhoods such as Isola and Garibaldi, old shops and artisan workshops with the anthropological and social approach dear to classic reportage. He creates, in particularly accurate exhibitions and books, an articulate survey of Milan to which he combines investigations on Valsesia and the realities of Europe, Asia and America, the destinations of his travels.
If today the Naviglio is the scene of nightlife, in the 1960s it maintained the memory of an ancient Milan crossed by waterways. Always far from the traps of nostalgia (because the good old days were not so good), Virgilio Carnisio dwells on the simple harmony of the façade of a house reflected on the surface of the canal, but knows how to surprise with the figure of the woman washing clothes leaning against a stone slab, ‘brellin’ in Milanese. The gaze focuses on her, on those ancient gestures that still survive and smell of reality. On 13 January 1985 it was Sunday, at the San Siro stadium the Milan team was playing against Como and the spectators ended up being distracted (not the visitors, who won 2-0) because the snow was whitening the field and would continue to fall for four days, covering the entire city. For a photographer like Carnisio, a thousand possibilities opened to capture spectacular images like this one, which captures from afar the crossing of the pedestrians walking across Piazza del Duomo on the path traced in the snow. The photograph, which alludes to both the new landscape and the industriousness of a city that never stands still, became the cover of the volume Under the Snow of Milan that Carnisio published in the following months.
cm 50 x 39,7 (cm 34,3 x 34,3 picture) | 9.7 x 15.6 in. (13.5 x 13.5 in. picture)
Signed in black ink on the white inferior recto margin
Virgilio Carnisio (Milan 1938) began photographing in the early 1960s and, fearing that a false interpretation of modernity could destroy the classic architecture of his city, he wandered between the centre and the suburbs, documenting in black and white courtyards, railing houses, taverns, neighbourhoods such as Isola and Garibaldi, old shops and artisan workshops with the anthropological and social approach dear to classic reportage. He creates, in particularly accurate exhibitions and books, an articulate survey of Milan to which he combines investigations on Valsesia and the realities of Europe, Asia and America, the destinations of his travels.
If today the Naviglio is the scene of nightlife, in the 1960s it maintained the memory of an ancient Milan crossed by waterways. Always far from the traps of nostalgia (because the good old days were not so good), Virgilio Carnisio dwells on the simple harmony of the façade of a house reflected on the surface of the canal, but knows how to surprise with the figure of the woman washing clothes leaning against a stone slab, ‘brellin’ in Milanese. The gaze focuses on her, on those ancient gestures that still survive and smell of reality. On 13 January 1985 it was Sunday, at the San Siro stadium the Milan team was playing against Como and the spectators ended up being distracted (not the visitors, who won 2-0) because the snow was whitening the field and would continue to fall for four days, covering the entire city. For a photographer like Carnisio, a thousand possibilities opened to capture spectacular images like this one, which captures from afar the crossing of the pedestrians walking across Piazza del Duomo on the path traced in the snow. The photograph, which alludes to both the new landscape and the industriousness of a city that never stands still, became the cover of the volume Under the Snow of Milan that Carnisio published in the following months.
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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