Information
Vintage gelatin silver print
cm 40 x 30 | 15.7 x 11.8 in.
Titled in black ink with photographer's credit stamp on the verso
Paolo Monti (Novara 1908 – Milan 1982), graduated in economics, moved to Venice to work for the Agricultural Consortium of Veneto. There, he shared his passion for photography with a group of friends and, inspired by news of the founding of the Milanese group La Bussola, he founded the La Gondola photography club in 1948. Under his guidance, it became an important point of reference and helped bring to light talents such as Fulvio Roiter. In 1953, he moved to Milan, where, as a professional photographer, he documented the city’s transformation, contributed to magazines and books, and collaborated with publishing houses. Beginning in 1965, he carried out an original study of Bologna’s urban landscape in collaboration with architect Cervellati. In 1967, the Milanese gallery Il Diaframma opened with an exhibition of his chemigrams and abstract photographs.
When he faced the reality of big cities, Paolo Monti often underlined the most painful situations such as that of that solitary man who is not placed at the center of the scene but far away, on the diagonal, in a distance that has become symbolic. Ironic and thoughtful is, however, The Sunday of the Immigrants, because what could have been a classic amateur photo exercise becomes an effective synthesis of the contradictions of the world that was rising after the war: on the one hand the great internal migratory flows and on the other the signs of an industrialization that with well-being brought, as the columns of smoke show and symbolize, also damage to the environment. In this image you can see the influences not only aesthetic of the American photography of the Farm Security Administration well known to him. Curiously, on two different occasions the photograph has been titled as here in the volume edited by Giovanni Chiaramonte and "The new cathedrals, Milan" dated 1955 in the one edited by Paolo Zanzi.
cm 40 x 30 | 15.7 x 11.8 in.
Titled in black ink with photographer's credit stamp on the verso
Paolo Monti (Novara 1908 – Milan 1982), graduated in economics, moved to Venice to work for the Agricultural Consortium of Veneto. There, he shared his passion for photography with a group of friends and, inspired by news of the founding of the Milanese group La Bussola, he founded the La Gondola photography club in 1948. Under his guidance, it became an important point of reference and helped bring to light talents such as Fulvio Roiter. In 1953, he moved to Milan, where, as a professional photographer, he documented the city’s transformation, contributed to magazines and books, and collaborated with publishing houses. Beginning in 1965, he carried out an original study of Bologna’s urban landscape in collaboration with architect Cervellati. In 1967, the Milanese gallery Il Diaframma opened with an exhibition of his chemigrams and abstract photographs.
When he faced the reality of big cities, Paolo Monti often underlined the most painful situations such as that of that solitary man who is not placed at the center of the scene but far away, on the diagonal, in a distance that has become symbolic. Ironic and thoughtful is, however, The Sunday of the Immigrants, because what could have been a classic amateur photo exercise becomes an effective synthesis of the contradictions of the world that was rising after the war: on the one hand the great internal migratory flows and on the other the signs of an industrialization that with well-being brought, as the columns of smoke show and symbolize, also damage to the environment. In this image you can see the influences not only aesthetic of the American photography of the Farm Security Administration well known to him. Curiously, on two different occasions the photograph has been titled as here in the volume edited by Giovanni Chiaramonte and "The new cathedrals, Milan" dated 1955 in the one edited by Paolo Zanzi.
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