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Gelatin silver print, printed later
cm 29,4 x 39,5 | 11.5 x 15.5 in.
Signed, titled and dated in black ink with photographer's credit stamp on the verso
Piergiorgio Branzi (Signa, Florence 1928 - Campagnano di Roma, Rome 2022), openly influenced by the severity of Tuscan art, began photographing in the early 1950s, travelling by motorbike in the most depressed areas of Southern Italy and Veneto as well as Greece and Spain, and producing reportages published in Mario Pannunzio's Il Mondo. He switched to written journalism and then joined RAI, in 1962 he was the first western correspondent in Moscow before moving to Paris and then travelling the world as a special correspondent. In those years, he took photographs for himself and only reappeared in the 1990s with exhibitions and books that certified his greatness.
The eyes of the reporter he was can also be found in individual photographs such as the ones shown here. What is striking is his ability to capture many elements and bring them together in a single image that represents them well, a lesson learned from Cartier-Bresson. From a stylistic point of view, Branzi is also a true independent: although his predilection for the high key prints of which Giuseppe Cavalli was a master, he does not share the Croce aesthetic but is much closer to the documentaryism of Luigi Crocenzi. These two photographs are symptomatic in this sense. On one hand, the compositional attention (the bicycle, the man and the boat create a harmonious sense of depth emphasised by the empty space to the left of the image) and, on the other, the ironic atmosphere that Branzi often chases and that here highlights two different ways of defending from the sun.
cm 29,4 x 39,5 | 11.5 x 15.5 in.
Signed, titled and dated in black ink with photographer's credit stamp on the verso
Piergiorgio Branzi (Signa, Florence 1928 - Campagnano di Roma, Rome 2022), openly influenced by the severity of Tuscan art, began photographing in the early 1950s, travelling by motorbike in the most depressed areas of Southern Italy and Veneto as well as Greece and Spain, and producing reportages published in Mario Pannunzio's Il Mondo. He switched to written journalism and then joined RAI, in 1962 he was the first western correspondent in Moscow before moving to Paris and then travelling the world as a special correspondent. In those years, he took photographs for himself and only reappeared in the 1990s with exhibitions and books that certified his greatness.
The eyes of the reporter he was can also be found in individual photographs such as the ones shown here. What is striking is his ability to capture many elements and bring them together in a single image that represents them well, a lesson learned from Cartier-Bresson. From a stylistic point of view, Branzi is also a true independent: although his predilection for the high key prints of which Giuseppe Cavalli was a master, he does not share the Croce aesthetic but is much closer to the documentaryism of Luigi Crocenzi. These two photographs are symptomatic in this sense. On one hand, the compositional attention (the bicycle, the man and the boat create a harmonious sense of depth emphasised by the empty space to the left of the image) and, on the other, the ironic atmosphere that Branzi often chases and that here highlights two different ways of defending from the sun.
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