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Modern gelatin silver print
cm 40,8 x 30,1 (cm 39,7 x 29,2 picture) | 16.1 x 11.8 in. (15.7 x 11.5 in. picture)
Tazio Secchiaroli/David Secchiaroli credit stamp on the verso
The set of 8½ must have been a show within the show, especially during the rehearsal of the scene where Marcello Mastroianni was to brandish and use a whip. To explain to his actors—and even his actresses—how to move, Fellini often took it upon himself to act out the scene, fully embodying the role. Under the sharp eye and keen lens of Tazio Secchiaroli, the director performed an audacious leap, creating a subtly ironic image because he was dressed in an immaculate white shirt and tie. The year is 1966, and to promote the film Arabesque, starring Gregory Peck and Sophia Loren, the production team commissioned Richard Avedon to photograph the actress. The set quickly became a clash of stars: Avedon did not want any intruders, while Loren refused to be without Secchiaroli, her official photographer, who had accompanied her and Tazio, remained between amusement and irritation. While the portraits by the great American photographer were as beautiful as they were predictable, the Italian one managed to capture a true masterpiece of mischief—framing the composition he wanted, through the lenses of Avedon’s own glasses. Chapeau.
cm 40,8 x 30,1 (cm 39,7 x 29,2 picture) | 16.1 x 11.8 in. (15.7 x 11.5 in. picture)
Tazio Secchiaroli/David Secchiaroli credit stamp on the verso
Work accompanied by Certificate of authenticity released by David Secchiaroli
Literature
Tazio Secchiaroli, The Original paparazzo, Photology, Milan, 1996
D. Mormorio (edited by), Tazio Secchiaroli, dalla dolce vita ai miti del set, Federico Motta Editore, Milan, 1998
G. Bertelli (edited by), Tazio Secchiaroli, Sophia Loren, Rizzoli, Milan, 2003
T. Secchiaroli, Storie di cinema, Contrasto, Milan, 2004G. Bertelli (edited by), Giornate particolari, Roma e il cinema nelle immagini mito di Tazio Secchiaroli, Ciak Mondadori, Milan, 2006 (cover)U. Lucas (edited by), Vicino alle stelle, Sophia e Marcello, Mazzotta Editore, Milan. 2006
Tazio Secchiaroli (Rome, 1925–1998) began his career in his early twenties as a street photographer, but it was his friend Sergio Strizzi who introduced him to the world of photo agencies. Under the guidance of Adolfo Porry Pastorel, he learned the tricks of the trade so well that his work was soon being published in Epoca, L’Espresso, and Le Ore. He continued his work as a reporter capable of major scoops at Roma Press Photo, the agency he founded in 1955. While documenting Rome’s vibrant nightlife—brought to life by figures from the film world—he met Federico Fellini. The connection they shared (it was Secchiaroli who suggested the name Paparazzo for one of the characters in La Dolce Vita) led him to a successful career as a set photographer, eventually becoming the official photographer of Sophia Loren. D. Mormorio (edited by), Tazio Secchiaroli, dalla dolce vita ai miti del set, Federico Motta Editore, Milan, 1998
G. Bertelli (edited by), Tazio Secchiaroli, Sophia Loren, Rizzoli, Milan, 2003
T. Secchiaroli, Storie di cinema, Contrasto, Milan, 2004G. Bertelli (edited by), Giornate particolari, Roma e il cinema nelle immagini mito di Tazio Secchiaroli, Ciak Mondadori, Milan, 2006 (cover)U. Lucas (edited by), Vicino alle stelle, Sophia e Marcello, Mazzotta Editore, Milan. 2006
The set of 8½ must have been a show within the show, especially during the rehearsal of the scene where Marcello Mastroianni was to brandish and use a whip. To explain to his actors—and even his actresses—how to move, Fellini often took it upon himself to act out the scene, fully embodying the role. Under the sharp eye and keen lens of Tazio Secchiaroli, the director performed an audacious leap, creating a subtly ironic image because he was dressed in an immaculate white shirt and tie. The year is 1966, and to promote the film Arabesque, starring Gregory Peck and Sophia Loren, the production team commissioned Richard Avedon to photograph the actress. The set quickly became a clash of stars: Avedon did not want any intruders, while Loren refused to be without Secchiaroli, her official photographer, who had accompanied her and Tazio, remained between amusement and irritation. While the portraits by the great American photographer were as beautiful as they were predictable, the Italian one managed to capture a true masterpiece of mischief—framing the composition he wanted, through the lenses of Avedon’s own glasses. Chapeau.
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