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Vintage gelatin silver print
cm 40,2 x 30,3 | 15.8 x 11.9 in.
Photographer's credit stamps and exhibition label on the verso
The two prints proposed here underline the characteristics of Bonzuan's vision. On the one hand, the desire, taking up his Venice, to get out of the classical schemes and to use an inverted glass to multiply the perspective, multiplying it in a game between high and low, between direct and indirect, between real and fantastic. The fact that the city was also very famous for the glass industry at the time gave the image a subtly ironic tone. Very different, however, is the image of the sunny road traveled by a couple in the foreground who sheltered from the sun with an umbrella. When his gaze has caught them, he cannot help but continue and find a little far away a man dressed in black passing by a lamppost and even further on, very small, another figure on the way. The result is an exercise in style that enhances, thanks to the composition, subjects that would otherwise be of little significance.
cm 40,2 x 30,3 | 15.8 x 11.9 in.
Photographer's credit stamps and exhibition label on the verso
Exhibition
VIII Coppa A.F.I., Turin, 1953
Mario Bonzuan (Venice 1904-1982). The Venetian photographer has always moved within the amateur photography world (he worked at the Casino del Commercio) immediately carving out a respectable role. He is one of the founders, with Paolo Monti, of the "La Gondola" club born in 1948 the year after the birth of the Milanese "La Bussola" to which he will soon emigrate. This without sharing too much either the openness to photojournalism of the former or the Crocean demands of the latter. While carefully observing the world around him, he put his own more poetic and visionary vision before the realism of the years.The two prints proposed here underline the characteristics of Bonzuan's vision. On the one hand, the desire, taking up his Venice, to get out of the classical schemes and to use an inverted glass to multiply the perspective, multiplying it in a game between high and low, between direct and indirect, between real and fantastic. The fact that the city was also very famous for the glass industry at the time gave the image a subtly ironic tone. Very different, however, is the image of the sunny road traveled by a couple in the foreground who sheltered from the sun with an umbrella. When his gaze has caught them, he cannot help but continue and find a little far away a man dressed in black passing by a lamppost and even further on, very small, another figure on the way. The result is an exercise in style that enhances, thanks to the composition, subjects that would otherwise be of little significance.
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