Information
Vintage gelatin silver print
cm 17,3 x 17,3 | 6.8 x 6.8 in.
Photographer's credit stamp on the verso
Ferruccio Ferroni (Mercatello sul Metauro, Pesaro-Urbino 1920 - Senigallia, Ancona 2007) having refused to serve the Republic of Salò, was interned in Germany from where he returned to spend a long convalescence in Senigallia where he met Giuseppe Cavalli totally embracing his cause of a Crocian style of photography. Already a member of the Venetian circle La Gondola, he joined Misa and formed a great friendship with Mario Giacomelli. From his lifelong profession as a lawyer, he inherited the precision for photographic work both in the care of the archives and in that of printing, which he always did personally. Numerous participations in high-level exhibitions organized in Italy and abroad such as the one on Subjektive Fotografie in Saarbrucher in 1955.
According to the canons of photography suggested by Giuseppe Cavalli in the 1947 “Manifesto della Bussola” and reworked on the concepts of the Crucian aesthetic, what really matters is only the way of representing the subject, not the historical, social or political context in which it is placed. If we want to simplify, this means chasing beauty as such. Ferruccio Ferroni had made this choice with conviction and not without a slight polemic against reportage that he did not inscribe within the boundaries of art. In his photographs, which Mario Giacomelli considered “poetic fragments, exquisitely composed formal images,” each element loses its specificity to be inserted into a dimension dominated by harmony. These works must be admired closely to observe not only the balance with which they insert elements into space, but also the accuracy with which in the darkroom the author works to enhance all nuances and emphasize the delicacy of shadows in prints made in high key that convey a sense of quiet lyricism.
cm 17,3 x 17,3 | 6.8 x 6.8 in.
Photographer's credit stamp on the verso
Ferruccio Ferroni (Mercatello sul Metauro, Pesaro-Urbino 1920 - Senigallia, Ancona 2007) having refused to serve the Republic of Salò, was interned in Germany from where he returned to spend a long convalescence in Senigallia where he met Giuseppe Cavalli totally embracing his cause of a Crocian style of photography. Already a member of the Venetian circle La Gondola, he joined Misa and formed a great friendship with Mario Giacomelli. From his lifelong profession as a lawyer, he inherited the precision for photographic work both in the care of the archives and in that of printing, which he always did personally. Numerous participations in high-level exhibitions organized in Italy and abroad such as the one on Subjektive Fotografie in Saarbrucher in 1955.
According to the canons of photography suggested by Giuseppe Cavalli in the 1947 “Manifesto della Bussola” and reworked on the concepts of the Crucian aesthetic, what really matters is only the way of representing the subject, not the historical, social or political context in which it is placed. If we want to simplify, this means chasing beauty as such. Ferruccio Ferroni had made this choice with conviction and not without a slight polemic against reportage that he did not inscribe within the boundaries of art. In his photographs, which Mario Giacomelli considered “poetic fragments, exquisitely composed formal images,” each element loses its specificity to be inserted into a dimension dominated by harmony. These works must be admired closely to observe not only the balance with which they insert elements into space, but also the accuracy with which in the darkroom the author works to enhance all nuances and emphasize the delicacy of shadows in prints made in high key that convey a sense of quiet lyricism.
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Condition report
To request a Condition Report, please contact fotografia@finarte.it
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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