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Mario Giacomelli

La Buona Terra (families coming in from hay fields)

$3,500
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  • Artwork Info
  • About the Artist
  • Artist News
  • 1964-65
    Gelatin silver print
    Signed, dated, and annotated 'No 141', with 'La Buona Terra' stamp, in ink, au print verso
    Likely 1970's print
    Unframed

  • Mario Giacomelli (1925-2000) had a poet’s eye for the startlingly abstract order man can impose on nature and a poet’s understanding of the great disorder that is the human condition.

    Giacomelli became an apprentice in typography when he was 13. As a young man, he worked as a typographer, painting on weekends and writing poetry. Inspired by the wartime movies of filmmakers like Fellini, Giacomelli taught himself still photography. He found his art in the generally impoverished countryside around Senigallia, a small town on the shores of the Adriatic Sea, where he lived all his life and whose farmlands and people were the subjects of his spare, often darkly expressionist work.

    In 1954, Giacomelli began to photograph the home for the elderly where his mother had worked, completing the series in 1983. Empathetic but grittily unsentimental, the pictures show many women seemingly marooned in the sea of old age. In 1985-87, Mr. Giacomelli revisited the subject for his series Ninna Nanna, which means lullaby. This time, the deeply lined, gaunt faces of the aged are a bleak counterpoint to the bold lines and patterns found in the fields and on the sides of houses.

    Giacomelli’s overhead views of mystifyingly abstract, horizonless landscapes, which he took from the time he snapped his first pictures, in late 1952, through the 1990’s, place him in the company of photographers like William Garnett and Minor White. Giacomelli’s 1970s images of geometric patterns in the fields of his hometown, Senigallia, bear striking parallels to Aaron Siskind’s contemporaneous photographs of wall abstractions.

    – Adapted from the artist’s New York Times obituary

  • Getty acquires trove of work from 17 influential photographers - The Los Angeles Times, March 2017