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€ 200 - 300
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Gelatin silver print
cm 30,5 x 23,8 (cm 29 x 22,2 picture) | 12 x 9.3 in. (11.4 x 8.7 in. picture)
Photographer's credit stamp on the verso
Giuseppe Leone (Ragusa 1936-2024), unlike most Sicilian photographers, did not leave his region and indeed he was particularly anchored to the territory of Ragusa, which he included in his many books at the center of his vision, where the landscape is understood as a stage of life. Favoring black and white because it is more suitable for excavation towards the essence of things (but there is no shortage of brilliant examples of color images) and the polite tone of his compositions, he has created with his photographs a world investigated with a gaze proudly claimed as anthropological. This was the result of his youthful experience as a wedding photographer that led him to work in the field of aesthetics that he himself inscribed in the context of neorealism.
cm 30,5 x 23,8 (cm 29 x 22,2 picture) | 12 x 9.3 in. (11.4 x 8.7 in. picture)
Photographer's credit stamp on the verso
Giuseppe Leone (Ragusa 1936-2024), unlike most Sicilian photographers, did not leave his region and indeed he was particularly anchored to the territory of Ragusa, which he included in his many books at the center of his vision, where the landscape is understood as a stage of life. Favoring black and white because it is more suitable for excavation towards the essence of things (but there is no shortage of brilliant examples of color images) and the polite tone of his compositions, he has created with his photographs a world investigated with a gaze proudly claimed as anthropological. This was the result of his youthful experience as a wedding photographer that led him to work in the field of aesthetics that he himself inscribed in the context of neorealism.
It is not easy to photograph Sicilian religious festivals without falling into easy rhetoric or, worse, into the picturesque, Giuseppe Leone does it – as these two very calibrated photographs well testify – with powerful images that do not follow the slowness that characterizes the paths traditionally taken by the faithful, but seem to be crossed by a heated dynamism. Each one collects in a single shot a story such as that of the girl who looks out at the passage of the statues of the saints as if she wanted to project herself into the arms of the bearers or the one that captures, in a shot enriched by the vertical composition, the men on horseback who open the procession anticipating it with the sound of the drum.
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