FOTOGRAFIA
Prima Rassegna Dell'attività Fotografica In Italia
E. F. Scopinich with Alfredo Ornano and Albe Steiner [Collaborators]
E. F. [Ermanno Federico] Scopinich with Alfredo Ornano and Albe Steiner [Collaborators]: FOTOGRAFIA [Prima Rassegna Dell'attività Fotografica In Italia]. Milano: Gruppo Editoriale Domus, 1943. First edition. Text in Italian and German. Quarto. Decorated paper covered boards. Gray cloth backstrip printed in black. 228 [xxxiv] pp. Black and white and color photographs printed in a variety of processes on multiple paper stocks. Book design by albe Steiner. Tips lightly worn. Spine heel compressed with a bit of splitting to rear joint. A couple of signatures slightly pulled. Interior unmarked and very clean. Out of print. The first monograph on Italian photography in Italian and German languages. Solid and well preserved: A very good copy.
"In the photographic camera we have the most reliable aid to the beginning of objective vision . . . " — Laszlo Moholy-Nagy
9.25 x 12.5 hardcover book with 228 pages of black and white and color photographs printed in a variety of processes on multiple paper stocks, with 36 pages of period advertising to front. Edited by Gianni Mazzocchi and designed by Albe Steiner.
- Presentazione: Gianni Mazzocchi, Editore
- Considerazioni sulla fotografia italiana/ Betrachtungen über die italienische Lichtbildkunst: E. F. Scopinich
- Tecnica di ripresa e riproduzione nella fotografia a colori/ Belichtungspraxis in der Farbenphotographie: Alfredo Ornano
- Il giornalista nuova formula/ Der Journalist des neuen Tipes: Federico Patellani
- Elenco degli autori e dati tecnici delle opere/ Inhaltverzeichnis, Autoren und tecnische Daten.
Includes work by Adolfo Allan, Roberto Baccarini, Edgardo Baldi, Vincenzo Balocchi, Adriano Bardelli, Mario Bellavista, Luigi Bernardi, Antonio Boggeri, Carlo Bottasso, Arturo Bragaglia, Ante Brkan, Armando Bruni, Mario Cambi, Antonio Campostano, Mauro Camuzzi, Domenico di Vietri Caracciolo, Mario Carafòli, Erberto Carboni, Gualtiero Castagnola, Giuseppe Cavalli, Giuseppe Cerrato, Ampelio Ciolfi, Antonio Clerici, Luigi Comencini, Pietro Corazzesi, Gino Danti, Sandro Da Re, Umberto Da Re, Gaetano De Maria, Carlo Dinelli, Giuseppe Di Paolo, Claudio Emmer. Milano - Italo Fasanotti, Antonio Fasoli, Ciro Fatini. Federico Ferrero, Mario Finazzi, Guido Foresti, Raul Francesconi, Stappo Alex. Franchini, Bartolomeo Gaidano, Aida Galimberti, Giulio Galimberti, Silvio Giacotto, Flavio Gioia, Enrico Giorello, Francesco Giovannini, Franco Grignani, Alessandro Harnisch, Alfredo Laezza, Vito Latis, Diego Lucchetti, Bruno Lunel, Elio Luxardo, Renzo Maggini, Fortunato Metelli. Carlo Mollino, Riccardo Moncalvo, Giaci Mondaini, Anselmo Motta, Gabriele Mucchi, Bruno Munari, Remo Muratore, Franco Niccoli, Ada Niggeler, Marcello Nizzoli, Lelio Nutini, Luigi Onelli, Alfredo Ornano, Giuseppe Pagano, Mario Paoletti, Federico Patellani, Gino Pavanello, Aldo Pedrotti, Enrico Pedrotti, Mario Pedrotti, Silvio Pedrotti, Guido Pellegrini, Silvio Pellerani, Enrico Peressuti, Griva Domenico Peretti, Mario Perotti, Eugenio Petraroli, Silvio Pezzi, Virgilio Retrosi, Mario Righetti, Giulio Rispoli, Erberto Rüedi. Giovanni Scheiwiller, E. F. Scopinich, Gino Sacchi. Ettore d'Aragona Secco, Ottorino Segalin, Umberto Bonino Salva, Cesare Signorelli, Ugo Sissa, Emilio Sommariva, Giuseppe Sonaglia, Marino Sorrentino, Diego Spagnesi, Gennaro Spampinato, Bruno Stefani, Albe Steiner, Rodolfo Stranieri, Carlo Stucchi, Gemmy Tarini, Leopoldo Toja, Zauli Giuseppe Vannucci, Federico Vender, Icardi Maria Vellano, Luigi Veronesi, Dino Villani, Vittorio Villani, Luigi Zegretti. Roma - Archivio Agfa (Foto A. S.) - Archivio Enit (Foto A. Fasoli) and the Archivio Galileo.
"Our century will be the age of the photograph." — Waldemar George
In 1925, the critic, poet, and one of the founders of Surrealism, Andre Breton, posed the question: when would 'all the books that are worth anything stop being illustrated with drawings and appear only with photographs?’ A few short years after this statement, the photographic image had established itself as one of the most provocative, poetic, and radical forms of representation in modern society. A plethora of groundbreaking exhibitions, books and publicity, the work of some of the most influential figures in history of photography, ushered in the creative flowering of the medium across Europe. Unquestionably the increasingly effective presence of photography was tied to the emergence of these new recruits and their passionate conviction regarding its creative worth. [Kerry William Purcell]