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Vintage gelatin silver print
cm 30 x 24 | 11.8 x 9.4 in.
Titled and dated in black ink with photographer's credit stamp on the verso
Guided by a great passion Fulvio Roiter was also an extrovert, obstinate, determined man who loved to tell the story of his work thanks to a prodigious memory. The photograph taken in Umbria was part of a project he had proposed to Albert Mermoud, publisher of the Guilde du Livre publishing house, thinking of capturing Franciscan traces in that land. Alerted only at the last of the snowfall that he had considered essential to his work, he rushed to the region and, having seen through the window of the bus in which he was traveling the scene of the man leading the two animals, convinced the driver to let him off, framed the scene and shot at the exact moment when the figures stood out dark against the glow of the snow. Also playing on shades of white, the shot in Algarve stops, on the other hand, an architectural space shot with great rigor but made truly special by the presence of a human figure that transforms it into the ideal background on which to cast its shadow.
cm 30 x 24 | 11.8 x 9.4 in.
Titled and dated in black ink with photographer's credit stamp on the verso
Literature
F. Roiter, P. Jacquet (edited by), Ombrie Terre de Saint Francois, Editions Clairefontaine (La Guilde Du Livre), Lausanne, 1955, cover
Forme di Luce. Il Gruppo “La Bussola” e aspetti della Fotografia italiana del Dopoguerra, Alinari, Florence, 1997
D. Curti (edited by), Fulvio Roiter Fotografie - Phorographs 1948-2007, Marsilio, Venice, 2018, p. 53
Fulvio Roiter (Meolo, Venice 1926 - Venice 2016) a trained chemical expert immediately preferred photography, which militancy in the La Gondola circle and friendship with Paolo Monti refined. The success of the photographs taken in Sicily and the books “Venise à fleud d'eau” and "Ombrie. Terre de Saint François" (Nadar Prize 1956) led him to avoid choosing newspapers and magazines to which he preferred books. He built projects thought out with professional precision: he also applied it in 1977 in “Essere Venezia,” not his finest book but the one that still holds a record with 700,000 copies sold. Every trip to Europe, Brazil, Mexico, the United States was an opportunity to produce volumes in which a great respect, more anthropological than social, for humans emerges. Forme di Luce. Il Gruppo “La Bussola” e aspetti della Fotografia italiana del Dopoguerra, Alinari, Florence, 1997
D. Curti (edited by), Fulvio Roiter Fotografie - Phorographs 1948-2007, Marsilio, Venice, 2018, p. 53
Guided by a great passion Fulvio Roiter was also an extrovert, obstinate, determined man who loved to tell the story of his work thanks to a prodigious memory. The photograph taken in Umbria was part of a project he had proposed to Albert Mermoud, publisher of the Guilde du Livre publishing house, thinking of capturing Franciscan traces in that land. Alerted only at the last of the snowfall that he had considered essential to his work, he rushed to the region and, having seen through the window of the bus in which he was traveling the scene of the man leading the two animals, convinced the driver to let him off, framed the scene and shot at the exact moment when the figures stood out dark against the glow of the snow. Also playing on shades of white, the shot in Algarve stops, on the other hand, an architectural space shot with great rigor but made truly special by the presence of a human figure that transforms it into the ideal background on which to cast its shadow.
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