Information
Vintage gelatin silver print on postcard
cm 13,8 x 8,5 | 5.4 x 3.3 in.
Photographer's credit stamp on the verso
Giuseppe Cavalli (Lucera, Foggia 1904 – Senigallia, Ancona 1961) was born into a family of landowners and, although he graduated in law, he preferred to devote himself to the world of art following in the footsteps of his twin brother Emanuele, a successful painter. A very cultured man, he developed in practice as well as in theory a type of photography that was as far away from pictorialism as from the hated fascist emphasis. In 1947, he founded the photographic group La Bussola in Milan, for which he drew up the manifesto that referred to Croce's aesthetics, and in 1954, in Senigallia, where he had moved, the Gruppo Misa.
"The important axiom is that in art the subject has no importance, what matters is that the work has reached the sky of art: whether it is beautiful or not" wrote Cavalli in the Compass Manifesto and these words can guide the reading of these two images even if, at least apparently, they have the subject. Yet, observing the landscape as well as, and even more so, the buildings that lean against each other, it is evident that what interests Cavalli is the play of shadows, the attention to the soft light that seems to settle on everything and that characteristic very rigorous and precious print of his always recorded in high-key, that is, making the light tones prevail that chase each other in all their nuances.
cm 13,8 x 8,5 | 5.4 x 3.3 in.
Photographer's credit stamp on the verso
Giuseppe Cavalli (Lucera, Foggia 1904 – Senigallia, Ancona 1961) was born into a family of landowners and, although he graduated in law, he preferred to devote himself to the world of art following in the footsteps of his twin brother Emanuele, a successful painter. A very cultured man, he developed in practice as well as in theory a type of photography that was as far away from pictorialism as from the hated fascist emphasis. In 1947, he founded the photographic group La Bussola in Milan, for which he drew up the manifesto that referred to Croce's aesthetics, and in 1954, in Senigallia, where he had moved, the Gruppo Misa.
"The important axiom is that in art the subject has no importance, what matters is that the work has reached the sky of art: whether it is beautiful or not" wrote Cavalli in the Compass Manifesto and these words can guide the reading of these two images even if, at least apparently, they have the subject. Yet, observing the landscape as well as, and even more so, the buildings that lean against each other, it is evident that what interests Cavalli is the play of shadows, the attention to the soft light that seems to settle on everything and that characteristic very rigorous and precious print of his always recorded in high-key, that is, making the light tones prevail that chase each other in all their nuances.
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