Realism and Abstraction in Italian Photography

May 16th - June 15th 2014

Luigi Veronesi, Photogram, 1936 Luigi Veronesi, Photogram, 1936
Paolo Monti, Chimigram, 1958 Paolo Monti, Chimigram, 1958
Ferruccio Ferroni, The Ball, 1950 Ferruccio Ferroni, The Ball, 1950
Carlo Bevilacqua, The Fisherman's Family, 1957 Carlo Bevilacqua, The Fisherman's Family, 1957
Gianni Berengo Gardin, Yvette, 1953 Gianni Berengo Gardin, Yvette, 1953
Gianni Berengo Gardin, Waiting Hall, 1954 Gianni Berengo Gardin, Waiting Hall, 1954
Piergiorgio Branzi, Black Wall, 1954 Piergiorgio Branzi, Black Wall, 1954
Gianni Berengo Gardin, Venice. San Marco Square, 1960 Gianni Berengo Gardin, Venice. San Marco Square, 1960
Alfredo Camisa, Winter, 1956 Alfredo Camisa, Winter, 1956
Piergiorgio Branzi, Arena under the Snow, 1954 Piergiorgio Branzi, Arena under the Snow, 1954
Mario Giacomelli, Scanno 1957-59 Mario Giacomelli, Scanno 1957-59
Mario Giacomelli, Landscape, 1960 Mario Giacomelli, Landscape, 1960
Mario Giacomelli, Lourdes, 1957-59 Mario Giacomelli, Lourdes, 1957-59
Mario Giacomelli, Landscape (Lorgi), 1965 Mario Giacomelli, Landscape (Lorgi), 1965
Ferruccio Ferroni, Dancers, 1954 Ferruccio Ferroni, Dancers, 1954
Mario De Biasi, Berlin, 1950 Mario De Biasi, Berlin, 1950
Mario Giacomelli, Puglia, 1958 Mario Giacomelli, Puglia, 1958
Mario Giacomelli, Caroline Branson, 1960-61 Mario Giacomelli, Caroline Branson, 1960-61
Gianni Berengo Gardin, Venice, 1956 Gianni Berengo Gardin, Venice, 1956
Vittorio Piergiovanni, Washerwoman, 1956 Vittorio Piergiovanni, Washerwoman, 1956
Vittorio Piergiovanni, Wheat Beating, 1959 Vittorio Piergiovanni, Wheat Beating, 1959
Enzo Sellerio, Tile Wall, 1955 Enzo Sellerio, Tile Wall, 1955
Mario De Biasi, New York, 1964 Mario De Biasi, New York, 1964
Toni Del Tin, Ora X, 1953 Toni Del Tin, Ora X, 1953
Antonio Biasiucci, Bread, 1990 Antonio Biasiucci, Bread, 1990
Antonio Biasiucci, Cow, 1990 Antonio Biasiucci, Cow, 1990
Antonio Biasiucci, Cow, 1990 Antonio Biasiucci, Cow, 1990
Vittorugo Contino, Venice, 1967 Vittorugo Contino, Venice, 1967

Realism and Formalism have been used for years by critics and art historians to mix up political quarrels and artistic choices. The postwar period was indeed a time of conflict and hopes, but over the years this kind of distinction had led too far away from works and photographic debates. After a fifteen-year research, Paolo Morello dug out an impressive number of letters, printed materials and pieces of evidence documenting what the photographers’ concerns really were. The stunning selection of sixty vintage prints, now on display at the Paolo Morello Studio Gallery, eventually show how subtle was the edge between Realism and Formalism, how deep were their roots in Italian past and how fruitful their seeds upon the following artists.