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€ 600 - 900
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€ 645
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Vintage gelatin silver print
cm 24,3 x 18 | 9.5 x 7 in.
Opera VINTAGE copyright by archivio opera Arrigo Orsi stamps on the verso
Arrigo Orsi (Virgilio, Mantua 1897 - 1967) belongs to that kind of non-professional photographer capable of great professional skills. A phthisiologist and university lecturer, he was a member of the Circolo Fotografico Milanese from which he left in 1950, following Pietro Donzelli to the Unione Fotografica - an important group that brought international exhibitions to Italy - of which he became director. His production is heterogeneous: it goes from landscapes, portraits and images of social commitment to research into a geometric abstractionism influenced by Bauhaus aesthetics.
Looking at these two photographs, it seems difficult to attribute them to the same author because the only elements they have in common are great care for printing and an evident taste for research. The explanation is that Arrigo Orsi was, above all, a man full of curiosity: this drove him to develop ideas related to the classic aesthetics that were dominant in the second half of the 1930s when he began to take photographs, as is evident in this nude of expressionist taste. His friendship with Luigi Veronesi - a master of abstractionism in photography as well as in painting and graphics - cultivated also in their common activism in the Photographic Union, pushed him to research the dynamism of forms that others in Europe were elaborating in black and white. Orsi also produced them, but to these he added others within the expressive perimeter of colour: in this case he was one of the first, as early as the 1940s, to use a refined and complex subtractive printing technique marketed by Kodak, the Dye Transfer, which made it possible to obtain works of outstanding chromatic quality by registering three negatives.
cm 24,3 x 18 | 9.5 x 7 in.
Opera VINTAGE copyright by archivio opera Arrigo Orsi stamps on the verso
Arrigo Orsi (Virgilio, Mantua 1897 - 1967) belongs to that kind of non-professional photographer capable of great professional skills. A phthisiologist and university lecturer, he was a member of the Circolo Fotografico Milanese from which he left in 1950, following Pietro Donzelli to the Unione Fotografica - an important group that brought international exhibitions to Italy - of which he became director. His production is heterogeneous: it goes from landscapes, portraits and images of social commitment to research into a geometric abstractionism influenced by Bauhaus aesthetics.
Looking at these two photographs, it seems difficult to attribute them to the same author because the only elements they have in common are great care for printing and an evident taste for research. The explanation is that Arrigo Orsi was, above all, a man full of curiosity: this drove him to develop ideas related to the classic aesthetics that were dominant in the second half of the 1930s when he began to take photographs, as is evident in this nude of expressionist taste. His friendship with Luigi Veronesi - a master of abstractionism in photography as well as in painting and graphics - cultivated also in their common activism in the Photographic Union, pushed him to research the dynamism of forms that others in Europe were elaborating in black and white. Orsi also produced them, but to these he added others within the expressive perimeter of colour: in this case he was one of the first, as early as the 1940s, to use a refined and complex subtractive printing technique marketed by Kodak, the Dye Transfer, which made it possible to obtain works of outstanding chromatic quality by registering three negatives.
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