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Fabrizio La TorreA l'ombra del gigante - New York, 1956 - Contemporary Black & White Photography1956
1956
About the Item
Artwork sold in perfect condition, print on baryta paper 310 grs pigment inks of museum quality, limited edition of 5 copies
New York, January 1956. All’ombra del gigante, in the shadow of the giant, the Empire State Building seems to watch over the liners that connect the city to all the ports of the globe. Back to Genoa, Fabrizio La Torre can not leave pass this game of straight and curved lines, this interlacings of mechanical constructions where only a small human element appears, the type in gabardine and hat that comes back in his native Italy.
During the 15 year period in which Fabrizio La Torre dedicated himself to photography, he travelled in Italy, Europe, North America and Asia. From wherever he went he brought back photos which depict the human condition, universal in meaning, full of emotions, with which he empathised. In order to make it easier for collectors and enthusiasts to get to grips with these works, we have opted for grouping together a set of 5 photos taken in a specific place under the heading “First Impressions”.
Here, First Impressions of New York where Fabrizio La Torre spent between November and December 1955, during his 6 month trip to North America, which included Canada and California.
- Creator:Fabrizio La Torre (1921 - 2014, Italian)
- Creation Year:1956
- Dimensions:Height: 23.63 in (60 cm)Width: 16.54 in (42 cm)Depth: 0.12 in (3 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Brussels, BE
- Reference Number:1stDibs: LU157029168162
Fabrizio La Torre, who was born in Rome (Italy) on 11 January 1921 and died in Brussels (Belgium) on 27 August 2014, he was an Italian photographer active for a 15 year period in the 1950s–1960s and whose neorealistic and intimistic works are typical of cinema and photography of that time in Italy. La Torre said that “his parents gave him his first camera, a Bakelite body with non-adjustable lens and focus which produced rather strange half format 18x24 millimeter negatives. It was with it that he took his first photos.” Since then, he tried to take pictures at any occasion especially during the different trips he made during his life, “trying to capture the daily life” of the people he encountered.
La Torre justified his "frenzy of travel" as a pretext to flee from the paternal model and the resumption of management of a family estate.
Since the early 1950s and until the late 1960s, La Torre produced less than 10 thousand photos worldwide. After this period, he gave up photography, gave away or sold his cameras, closed his archives and put them away in boxes where they would remain out of sight for 40 years.
In 2009 he agreed to re-open his archives for examination and study and allowed the restoration of a number of negatives. Gradually a first exhibition was prepared, focussing on Rome in the 1950s and ‘60s, “La Vera vita”. By this time he was 90 years old and in failing health. He realised that this was not a time to hold back and decided to cooperate fully in the restoration of his works. He moved to Brussels, in order to benefit from the availability of the technicians and experts which he would need.
In 2014, La Torre worked every day on preparations for his Retrospective in Monaco. He realised that this was his last chance to display his works as he thought best. Two weeks before the official inauguration, he died. His ashes would be placed in the little cemetery of Cap d’Ail next door to Monaco where his parents and his sister were already at rest.
La Torre never tried to only show the beautiful for fear of "making postcard". For him, "there is only the introduction of the human element that protects from looking like a postcard. This is why my naked landscapes are so rare."
Far from the paparazzi, La Torre developed his own style, working alone, ignoring the surprise and amused comments of Roman photographers obsessed with the Via Veneto and its starlets. They did have in common the laboratory to which they took their films, that of the Nannini Brothers in the city centre, two experts in high contrast images and probably the inventors of the concept of "stolen photos", out of focus and slightly grainy to give the impression of privacy revealed.
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