Information
Gelatin silver print, printed in 1980s
cm 30,2 x 23,2 (cm 29 x 19,8 picture) | 11.9 x 9.1 in. (11.4 x 7.8 in. picture)
Photographer's credit stamp and fingerprint in red ink on the verso
A singular figure of an eclectic author capable of dedicating equal passion to still life and portraiture, Dino Pedriali photographed major figures from the world of culture, from Man Ray, whom he became friends with, to Rudolf Nureyev, from Andy Warhol to Federico Zeri. However, he is primarily remembered for the images he captured of Pier Paolo Pasolini during the two weeks of October 1975, when he accompanied the poet and filmmaker on a journey that ended in Chia, at Pasolini's home. Here, Pedriali portrays him in a state of nudity that, according to the photographer, aimed to capture the essence of a person beyond their outward appearance. Beyond the intentions of the moment and the later use made of the photographs (the photographer hated that they were used in a purely documentary manner), this photograph takes on immense evocative value because it was taken just days before Pasolini’s tragic death on November 2nd of the same year.
cm 30,2 x 23,2 (cm 29 x 19,8 picture) | 11.9 x 9.1 in. (11.4 x 7.8 in. picture)
Photographer's credit stamp and fingerprint in red ink on the verso
A singular figure of an eclectic author capable of dedicating equal passion to still life and portraiture, Dino Pedriali photographed major figures from the world of culture, from Man Ray, whom he became friends with, to Rudolf Nureyev, from Andy Warhol to Federico Zeri. However, he is primarily remembered for the images he captured of Pier Paolo Pasolini during the two weeks of October 1975, when he accompanied the poet and filmmaker on a journey that ended in Chia, at Pasolini's home. Here, Pedriali portrays him in a state of nudity that, according to the photographer, aimed to capture the essence of a person beyond their outward appearance. Beyond the intentions of the moment and the later use made of the photographs (the photographer hated that they were used in a purely documentary manner), this photograph takes on immense evocative value because it was taken just days before Pasolini’s tragic death on November 2nd of the same year.
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Condition report
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