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Vintage C-print mounted on dibond
cm 100 x 120 | 39.4 x 47.2 in.
Edition 2 of 5
Titled, numbered and signed in black marker on the verso
Framed
Massimo Listri (Florence, 1953) began working at seventeen during his high school years portraying great cultural personalities in black and white, but his attention soon turned to architecture. The meeting with the publisher Franco Maria Ricci marked a real turning point in his career because for the sophisticated magazine FMR he realised photo shoots interpreting the most beautiful public and private buildings in exteriors and above all interiors, creating an archive that allowed him to publish 80 books with European and American publishers and to organise many exhibitions in the most important institutions all over the world.
Massimo Listri does not study the places he photographs; he prefers to be guided by his intuitions and the harmony with his subjects that comes from his love for harmony and beauty. Even though he now shoots with more manageable digital cameras, having used the view camera for years has taught him a great compositional ability that is well highlighted in these two images of institutional places that characterise so many aspects of his style, the result of accurate work and a few well-researched images. If in the shot of the Ducal Castle of Aglié in the Turin area, already a Savoy residence, he plays, as he often does, with the shades of white to highlight a perspective that he has chosen as essential, in the one of Montecitorio he uses the natural symmetry of the great hall to give to the image the austerity that the Parliament building deserves. In both cases, the large size of the images is a conscious stylistic choice by Listri that allows lines, shadows and details to be fully appreciated, making it clear that, if the human figure does not appear, its presence is always felt.
cm 100 x 120 | 39.4 x 47.2 in.
Edition 2 of 5
Titled, numbered and signed in black marker on the verso
Framed
Massimo Listri (Florence, 1953) began working at seventeen during his high school years portraying great cultural personalities in black and white, but his attention soon turned to architecture. The meeting with the publisher Franco Maria Ricci marked a real turning point in his career because for the sophisticated magazine FMR he realised photo shoots interpreting the most beautiful public and private buildings in exteriors and above all interiors, creating an archive that allowed him to publish 80 books with European and American publishers and to organise many exhibitions in the most important institutions all over the world.
Massimo Listri does not study the places he photographs; he prefers to be guided by his intuitions and the harmony with his subjects that comes from his love for harmony and beauty. Even though he now shoots with more manageable digital cameras, having used the view camera for years has taught him a great compositional ability that is well highlighted in these two images of institutional places that characterise so many aspects of his style, the result of accurate work and a few well-researched images. If in the shot of the Ducal Castle of Aglié in the Turin area, already a Savoy residence, he plays, as he often does, with the shades of white to highlight a perspective that he has chosen as essential, in the one of Montecitorio he uses the natural symmetry of the great hall to give to the image the austerity that the Parliament building deserves. In both cases, the large size of the images is a conscious stylistic choice by Listri that allows lines, shadows and details to be fully appreciated, making it clear that, if the human figure does not appear, its presence is always felt.
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