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€ 600 - 900
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€ 699
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Vintage gelatin silver print
cm 30 x 39,3 | 11.8 x 15.4 in.
Photographer's didactic credit stamp and exhibition label on the verso
Arrigo Orsi (Virgilio, Mantua 1897 - 1967) belongs to that kind of non-professional photographer capable of great professional skills. A phthisiologist and university lecturer, he was a member of the Circolo Fotografico Milanese from which he left in 1950, following Pietro Donzelli to the Unione Fotografica - an important group that brought international exhibitions to Italy - of which he became director. His production is heterogeneous: it goes from landscapes, portraits and images of social commitment to research into a geometric abstractionism influenced by Bauhaus aesthetics.
A man full of curiosity, Arrigo Orsi, alongside formal research, measures himself – and these two photographs are excellent examples – with the dominant aesthetic in the second half of the thirties when he began to photograph. Completely intent on looking at the surface of the water, hoping that the floats indicate the presence of fish, the children lean out assuming funny poses that, in the eyes of the photographer, become a composition that already appears to his gaze. It is interesting to note the importance of the caption that helps us to make sense of the scene that would otherwise appear very difficult to understand. If the previous image had appeared to the photographer, the night one is instead the result of his precise research between the shadow that envelops the scene and the light that reveals the life that flows parallel inside the houses.
cm 30 x 39,3 | 11.8 x 15.4 in.
Photographer's didactic credit stamp and exhibition label on the verso
Arrigo Orsi (Virgilio, Mantua 1897 - 1967) belongs to that kind of non-professional photographer capable of great professional skills. A phthisiologist and university lecturer, he was a member of the Circolo Fotografico Milanese from which he left in 1950, following Pietro Donzelli to the Unione Fotografica - an important group that brought international exhibitions to Italy - of which he became director. His production is heterogeneous: it goes from landscapes, portraits and images of social commitment to research into a geometric abstractionism influenced by Bauhaus aesthetics.
A man full of curiosity, Arrigo Orsi, alongside formal research, measures himself – and these two photographs are excellent examples – with the dominant aesthetic in the second half of the thirties when he began to photograph. Completely intent on looking at the surface of the water, hoping that the floats indicate the presence of fish, the children lean out assuming funny poses that, in the eyes of the photographer, become a composition that already appears to his gaze. It is interesting to note the importance of the caption that helps us to make sense of the scene that would otherwise appear very difficult to understand. If the previous image had appeared to the photographer, the night one is instead the result of his precise research between the shadow that envelops the scene and the light that reveals the life that flows parallel inside the houses.
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