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Vintage chromogenic print
cm 29,8 x 40,1 cm (cm 24,2 x 36,4 picture) | 11.7 x 15.8 in. (9.5 x 14.3 in. picture)
Titled, signed and dated in pencil on the white inferior recto margin
If Luigi Ghirri is one of the most beloved authors in the world of collecting, this is due to his original gaze and only apparent linearity that characterizes his works. His ability to switch from the small 35 mm format to the medium format, to alternate negative film, slides, Polaroids always remaining faithful to the delicate chromatisms of a very recognizable use of color make him a photographer more attentive to philosophical reflection than to technical disputes. As the Modena City Rambles defined him in one of their songs, he was above all "The man of the plains". In these three of his works, the photographer shows his ability to move from interiors – and here the presence of people serves to underline the grandeur of the seventeenth-century Farnese theater in Parma – to exteriors, with a very delicate shot of a deserted Riccione where the cabins act as a backdrop for the vision of a distant and reassuring sea. Famous is also the shot of the Ortisei (Alpe di Siusi) (because, although a man of the plains, he cultivated his exceptions) which appears in “Viaggio in Italia” as before in “Tipografia/Iconografia” and is characterized by the sense of airiness as well as that type of shot that seems to involve the observer in a highly emotional way.
cm 29,8 x 40,1 cm (cm 24,2 x 36,4 picture) | 11.7 x 15.8 in. (9.5 x 14.3 in. picture)
Titled, signed and dated in pencil on the white inferior recto margin
Work accompanied by Cetificate of authenticity released by Archivio di Luigi Ghirri, Roncocesi (Reggio nell'Emilia)
Literature
Enciclopedia pratica per fotografare, Fabbri Editori, Milan 1979 Fascicolo 53 p. 162L. Ghirri, G. Leone, E.Velati (edited by), Viaggio in Italia, Il Quadrante, Alessandria, 1984 p. 45Symposion on Photography III, Camera Austria 7+8 Graz 1982 p. 31 e copertinaProgresso fotografico, Luigi Ghirri, Inserto monografico, Editrice Progresso, Milan 1982Promenades architecturales n. 52, Lotus International, Edizioni Electa, Milan, 1987, p. 135Luigi Ghirri, Paesaggio Italiano, Quaderni di Lotus, Electa, Milan, 1989 p. 19O. Barbieri, E. e R. Bassotto, Luigi Ghirri, Stereotipi, Della Scala Edizioni, Verona, 1991, p.39L. Ghirri, Niente di antico sotto il sole, S.E.I., Torino, 1997, p.233Paesaggi italiani, Fotografie dall’Italia contemporanea, Fondazione Marangoni, Mostra Sala Reali Poste-Uffizi, Florence, 1998M. Mussini, Luigi Ghirri, Federico Motta Editore, Milan, 2001, p. 191Infra-Mince, Cahiers de l’Ecole Nationale Supérieure de la Photographie, Arles, Actes Sud, 2008, p.146Luigi Ghirri - It's beautiful here, isn't it …, Aperture Foundation, New York 2008 p.21Fin dove può arrivare l’infinito? A Luigi e Paola Ghirri, Skira, Milan, 2012Luigi Ghirri, Pensare per immagini, Catalogo Mostra al Museo Maxxi di Roma, Electa Ed., Verona, 2013, p.203Luigi Ghirri, Pensar por imagens, Instituto Moreira Salles, San Paulo, IMS, 2013, p.131B. Pietromarchi (edited by) Vice Versa, La Biennale di Venezia, 55.Esposizione Inter.le d’Arte, Padiglione Italia, Mousse Publishing, Milan, 2013. p.98C. Nori, Luigi Ghirri l’amico infinito, Contrejour, Paris, 2019James Lingwood (edited by), Luigi Ghirri: Viaggi, MASI- MACK, London, 2024, p.9
Luigi Ghirri (Scandiano, Reggio Emilia 1943 - Reggio Emilia 1992) a surveyor by training, when he began photographing in 1969 he made reference to the conceptual world that he filters into works where he plays between reality and artificiality, immediacy and ambiguity, high culture and consumer images dialoguing with writers like Gianni Celalti, musicians like Lucio Dalla, critics like Massimo Mussini and Arturo Carlo Quintavalle. On the theme of landscape, he realized fundamental projects such as the group shows “Viaggio in Italia” and “Esplorazioni sulla via Emilia,” giving life with his personal research, which flowed into many exhibitions, to 31 books of great importance and to lucidly analytical essays such as “Lezioni di fotografia,” to a wide-ranging consideration that places him among the greatest photographers of his time.If Luigi Ghirri is one of the most beloved authors in the world of collecting, this is due to his original gaze and only apparent linearity that characterizes his works. His ability to switch from the small 35 mm format to the medium format, to alternate negative film, slides, Polaroids always remaining faithful to the delicate chromatisms of a very recognizable use of color make him a photographer more attentive to philosophical reflection than to technical disputes. As the Modena City Rambles defined him in one of their songs, he was above all "The man of the plains". In these three of his works, the photographer shows his ability to move from interiors – and here the presence of people serves to underline the grandeur of the seventeenth-century Farnese theater in Parma – to exteriors, with a very delicate shot of a deserted Riccione where the cabins act as a backdrop for the vision of a distant and reassuring sea. Famous is also the shot of the Ortisei (Alpe di Siusi) (because, although a man of the plains, he cultivated his exceptions) which appears in “Viaggio in Italia” as before in “Tipografia/Iconografia” and is characterized by the sense of airiness as well as that type of shot that seems to involve the observer in a highly emotional way.
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