tesi di laurea magistrale in
Architettura per il restauro e la valorizzazione del patrimonio
ʁɫɔʰȲȦɷɔȦʁȬɔ¢ʁʟɔɷʁनʁɫɫȲɆɔʁȬɔʟȦɏɔʰȲʰʰʹʟȉ $ɔʜȉʟʰɔɴȲɷʰʁȬɔʟȦɏɔʰȲʰʰʹʟȉȲ$ȲʦɔɆɷ ेेࣉࣇࣈ्࣎ࣉࣇࣈ࣏
ɷʁʰɏȲʟɔȦɔɫ˘ूʰʁɷɷȉʟȲȲʜȉȲʦȉηɔʁ
©ɷʜȲʟȦʁʟʦʁɅʁʰʁɆʟȉεȦʁɫʹɷɆʁɫȉȦʁʦʰȉʦɔȦɔɫɔȉɷȉʁȦȦɔȬȲɷʰȉɫȲ
candidato Mauro Fontana relatori Carla Bartolozzi Daniele RegisআʹɷȉʦȦɔʰʹɷɷʹ
‘un po’ moriri pisci spata”
Favignana, 1951 © Herbert List / Magnum Photos
1
0
FOTOGRAFIA2
ARCHITETTURA PAESAGGIO INTRODUZIONE LA FOTOGRAFIA PER LA TUTELA DEL PAESAGGIO ,SLRQHULGHOODIRWRJUDͤD I Gran Tour e le vedute/DIRWRJUDͤDGRFXPHQWDULVWD
La Mission heliographique Le campagne nel West Ameri-cano
Le campagne della Farm Security Administration
0EJSXSKVEƼEHMEVGLMXIXXYVEIMP progetto “Changing New York”
3LWWRULDOLVPRHGRJJHWWLYLVPR 2OWUHODGRFXPHQWD]LRQHNeues Sehen /DULFHUFDDXWRQRPDLUHSRUWDJHV /DIRWRJUDͤDFRQWHPSRUDQHDLQGD gare il territorio
Paolo Monti e i centri storici dell’Emilia Romagna
La Mission photographique de la DATAR
Luigi Ghirri: “Viaggio in Italia” L’archivio dello Spazio
0MRIEHM'SRƼRITIVPE*SXSKVEƼE Contemporanea
Le committenze della DARC Collettivo Urban Reports Arcipelago Italia /HRULJLQLGHLFRQFHWWLGLSDHVDJJLR HGLEHQHFXOWXUDOH
Dalla concezione estetica alla democratizzazione del paesaggio Dal monumentum al bene culturale
/DWXWHODGHLEHQLJRYHUQDQFHH DVSHWWLQRUPDWLYL
L’UNESCO e il patrimonio mon-diale
La governance alla scala europea Il quadro nazionale
/DIRWRJUDͤDHO̵LQGDJLQHGHOWHUUL torio
-TVMQMGIRXSERRMHIPPEJSXSKVEƼE Dal dopoguerra agli anni ‘90 Le esperienze dopo la CEP
,O0L%$&7SHUODIRWRJUDͤD /HͤQDOLW¢GHOOHFDPSDJQHIRWRJUD ͤFKH
3 4 5
LA SICILIA E IL PATRIMONIO DELLE TONNARE ANOTHER SICILY POSTCARDS FROM NOWHERE BIBLIOGRAFIA RINGRAZIAMENTI $OOHRULJLQLGHOODSHVFDGHOWRQQR /HWRQQDUHGLPDUH La cialoma Le tonnare di terra /DSULPDVWRULRJUDͤDVXOOHWRQQDUH VLFLOLDQHLe zone di pesca dal “Libro di Ruggero” 8SRREVIWMGMPMERIMHIRXMƼGEXIRIP 1818 *OL$WWLGHOOD&RPPLVVLRQH5HDOH ,OUHSRUWDJHIRWRJUDͤFRSHU'RPXV /HWRQQDUHQHOOHSURYLQFHGL7UDSDQL H3DOHUPRXQFRQIURQWRIRWRJUDͤFR
Tonnara di Torretta Granitola Tonnara di Favignana Tonnara di Nubia Tonnara di San Giuliano Tonnara di San Cusumano Tonnara di Bonagia Tonnara di San Vito Lo Capo Tonnara di Scopello Tonnara dell’Orsa Tonnara di Vergine Maria Tonnara dell’Arenella Tonnara di San Nicola L’Arena
Una nuova lettura interpretativa
,OSDHVDJJLRFRQWHPSRUDQHR Torretta Granitola Nubia San Giuliano San Cusumano Bonagia Favignana San Nicola L’Arena Arenella
Vergine Maria San Vito Lo Capo Scopello Orsa
1 INTRODUZIONE
,QWURGX]LRQH
Henri Cartier-Bresson e Ferdinando Scianna, Villa Palagonia, Bagheria, 1986. © Martine Franck /Magnum Photos
1. Tratto da Ferdinando Scianna, “Obiettivo Ambiguo”, Rizzoli. Già pubblicato in Domenica, supplemento a Il sole 24 ore, 16 settembre 1998
2. 1908-2004. Fotografo francese fondatore della Magnum Photos insieme a Robert Capa, George Rodger, David Seymour, e William Vandivert 3. Flusser, Vilém, Per una
ƼPSWSƼEHIPPEJSXSKVEƼEAgor Editore, Torino, 1987 ՜«ȶɛLjȓɀǫȓɥDZɯɯȓȳLjȶDZʦLjȎLjǥɀȳɛȓɸɯɀȶɀʐLjȶɯ՟LjȶȶȓԨȪȪDZǥDZȶɯȓȶLjȓLjǫȓLjȳȓǥȓԧǥɀȶɀɥǥDZȶɯȓԧ ȓȪȪɸɥɯɞȓɥǥɀȶɀɥǥȓɸɯȓǥȎDZȪɀȎLjȶȶɀȓȶɀȶǫLjɯɀǫȓʦLjʖԧɯDZȪDZȅɞLjȳȳȓԧɞDZȅLjȪȓɞȓɥɛɀȶǫDZǥȎDZDZɞLjɯɞɀɛɛɀ ȅȓɀʐLjȶDZɛDZɞɞȓǥɀɞǫLjɞɥȓǫDZȪȪLjɥɸLjȶLjɥǥȓʧLjDZɞȓǥLjȳǤȓLjȅȪȓLjɸȅɸɞȓɛDZɞȓȪɀɞɀǥɀȳɛȪDZLjȶȶȓɛɞɀɥɥȓȳȓ ʐDZȶɯɸɞȓԬ`՟ɸȶȓǥLjǥɀɥLjǥȎDZɥLjԧȳȓɞLjǥǥɀȶʧLjǫȓʐDZɞɯȓɯɀԧǾǥȎDZȪɸȓǾȶLjɯɀDZɥLjɯʧLjȳDZȶɯDZȶɀʐDZȳDZɥȓ ǫɀɛɀǥȎDZȓɥɸɀȓȅDZȶȓɯɀɞȓԧȓȶʐȓLj̽ȓǫȓȶɀʡʡDZԧɥȓɞȓɥɯɀɞLjʐLjȶɀLjȪȪ՟GɀɯDZȪÃȓȪȪLjLȅDZLjǫȓLjȪDZɞȳɀԧǫɀɛɀ ɸȶLjɯDZȳɛDZɥɯɀɥLjɯɞLjʐDZɞɥLjʧLjɥɸȪɛɀɥʧLjȪDZǫLjlLjɛɀȪȓԬ`՟ȓȳɛɀɞʧLjȶɯDZԧǫȓǥDZԧǾǫɀʐDZǾLjʐʐDZȶɸɯɀȪ՟Ljɯɯɀ ǫ՟LjȳɀɞDZǥɀȶǥɸȓɥDZȓɥʧLjɯɀǥɀȶǥDZɛȓɯɀԧȶɀȶǫɀʐDZȓȪǥLjɥɀɯȓȎLjʦLjɯɯɀLjɯɯDZɞɞLjɞDZԬɸȓȶǫȓԧǥɀȶǥȪɸǫDZԧ ɥɀȶɀɥȓǥȓȪȓLjȶɀǥɀȳDZɯDZԬ՝һ
ʁʦɝʦɔʜʟȲʦȲɷʰȉEȲɷʟɔȉʟʰɔȲʟॼʟȲʦʦʁɷࣉ, dialogando con Ferdinando Scianna:
ʹɷɫȲɆȉɴȲʜʟʁɅʁɷȬʁȦʁɷɫȉɔȦɔɫɔȉूʟȉΦʁʟˢȉʰʁȉɷȦɏȲȬȉɫɫউȉɴɔȦɔˢɔȉȦʁɷɫʁʦȦʟɔʰʰʁʟȲ ^ȲʁɷȉʟȬʁȦɔȉʦȦɔȉूʟɔʰʟȉʰʰʁȬȉɫɅʁʰʁɆʟȉɅʁɷȲɫɫȲʦʹȲȦȲɫȲȥʟɔɅʁʰʁɆʟȉεȲे*ɔɷ̍ʹȉɫȦɏȲ ɴʁȬʁɷʁɷʦɔʜʹʍɷʁɷȬȉʟʟȉɆɔʁɷȲȉȉʟʰɔȲʟॼʟȲʦʦʁɷुȦɏɔȲɷʰʟȉɔɷȦʁɷʰȉʰʰʁȦʁɷɫȉ ɔȦɔɫɔȉूȦʁɴɔɷȦɔȉʦȲɷʰɔʟʦɔʹɷʜʁউʦɔȦɔɫɔȉɷʁेȲȦɔʦȲɔɷȉʰʁȉɷȦʁʟȉȬɔʜɔ˄े©ɷʁʦʰʟȉɷʁ ʦȲɷʰɔɴȲɷʰʁूʹɷȉʦʰʟȉɷȉʦȲɷʦȉˢɔʁɷȲेɔȦʁɷʁʦȦȲʟʦɔɔɷʹɷɫʹʁɆʁȲʦȲɷʰɔʟʦɔεʦɔȦȉɴȲɷʰȲ ʜȉʟʰȲȬȲɫɫȉʦʹȉʦʰʁʟɔȉूȬȲɔʦȉʜʁʟɔूȬȲɔʜʟʁɅʹɴɔूȬȲɫɫȲʰʟȉȬɔˢɔʁɷɔे ɔʜʁʰʟȲȥȥȲʜȉʟɫȉʟȲȬȲɫɫȉɔȦɔɫɔȉȉʰʰʟȉˑȲʟʦʁɔʟʁɴȉɷˢɔूɔʟȉȦȦʁɷʰɔूɔʦȉηɔȉɷʰʟʁʜʁɫʁɆɔȦɔू ɔεɫɴेJɷζʹȲɷˢȉʰʁʜȲʟʍȬȉʹɷȉʜȉʦʦɔʁɷȲɷȉʰȉȬȉʜʁȦʁȲʹɷȲɷȬʁɫȉȉɫɫȲȲʦʜȲʟɔȲɷˢȲ ȦʁɴʜɔʹʰȲɷȲɆɫɔʹɫʰɔɴɔȉɷɷɔȉɫɫউɔɷʰȲʟɷʁȬȲɫɫȉʦȦʹʁɫȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉूɏʁȬȲȦɔʦʁȬɔ ʦʰʹȬɔȉʟɫȉȲʟȉȦȦʁɷʰȉʟɫȉʜȲʟɴȲˢˢʁȬȲɫɫȉɅʁʰʁɆʟȉεȉे ^ȉɅʁʰʁɆʟȉεȉूɔɷɅȉʰʰɔूȦȉʟȉʰʰȲʟɔˢˢȉɔɫɷʁʦʰʟʁʰȲɴʜʁȲȦɔɅʁʟɷɔʦȦȲʹɷȉɷʹʁˑȉɆʟȉɴɴȉʰɔȦȉ ʜȲʟʁʦʦȲʟˑȉʟȲेÁɔɫȳɴ<ɫʹʦʦȲʟूɷȲɫʦʹʁȦʁɷʰʟɔȥʹʰʁȉȬʹɷȉȬɔʦȦʹʦʦɔʁɷȲɔɷʰʁʟɷʁȉɫ ʦʁηȲʰʰʁআɅʁʰʁɆʟȉεȉইɔɷʹɷʁʦʜɔʟɔʰʁεɫʁʦʁεȦʁ࣊, ci parla di come ՜ȪLjȄɀɯɀȅɞLj̇LjՃԨՄȄɸ ȓȶʐDZȶʧLjʧLjȶDZȪÉLÉɥDZǥɀȪɀɛDZɞɞȓǫLjɞDZȳLjȅȓLjLjȓɯDZɥɯȓԧLjȶǥɀɞǥȎDzȓɥɸɀȓȓȶʐDZȶɯɀɞȓɛɀɯDZɥɥDZɞɀDZɥɥDZɞȶDZ ǥɀȶɥLjɛDZʐɀȪȓԬ`՟ȓȶʐDZȶʡȓɀȶDZǫDZȪȪLjȄɀɯɀȅɞLj̇LjǾɸȶLjɥʐɀȪʧLjɥɯɀɞȓǥLjǫDZǥȓɥȓʐLjɛɞɀɛɞȓɀǥɀȳDZȄɸ Ȫ՟ȓȶʐDZȶʡȓɀȶDZǫDZȪȪLjɥǥɞȓɯɯɸɞLjȪȓȶDZLjɞDZ՝े ĎʹȲʦʰȉɷʹʁˑȉɆʟȉɴɴȉʰɔȦȉूɏȉʜȲʟɴȲʦʦʁɫʁʦˑɔɫʹʜʜʁȬɔȬʹȲȦʁɷȦȲʰʰɔɅʁɷȬȉɴȲɷʰȉɫɔɷȲɫ ʜȉȲʦȉηɔʁȦʁɷʰȲɴʜʁʟȉɷȲʁेJɫʜʟɔɴʁʟɔɆʹȉʟȬȉɔɫʜȉȲʦȉηɔʁɔɷʰȲʟɴȲȬɔʁʁ̍ʹʁʰɔȬɔȉɷʁू ɔɫȦʹɔˑȉɫʁʟȲɷʁɷʟɔʦɔȲȬȲɷȲɫɫȉȥȲɫɫȲˢˢȉʁɷȲɫɫȉʦʰʁʟɔȉूɴȉɷȲɫɅȉʰʰʁȬɔȦʁʦʰʟʹɔʟȲʹɷ
3 INTRODUZIONE 4. Bisbal Grandal, Igna-cio, *SXSKVEƼE]TEMWENI
GSRXIQTSVERISGSRGITXSW ]QIXSHSW, in “Permanencia
y alteracion”, num. 4, maggio 2011, Universidad de Sevilla 5. Valtorta, Roberta,
Fotogra-ƼEIGSQQMXXIR^ETYFFPMGE,
in “Casabella”, num. 507, novembre 1984, pp. 40-44 6. Russo, Antonella, Storia
GYPXYVEPIHIPPEJSXSKVEƼE MXEPMERE(EP2ISVIEPMWQS EP4SWXQSHIVRS, Einaudi
Editore, Torino, 2011 7. M. Curati (a cura di), Luigi
+LMVVMJSXSKVEJSHIPPƅSVMKMREPI TIVHYXS, in “L’Unità”, 25
mar-zo 1984, ora in P. Costantini, G. Chiaramonte (a cura di), Luigi Ghirri. Niente di antico sotto il sole ʟɔζȲʦʦʁȲʦȉʰʰʁȬȲɫɫȉˑɔʰȉȬȲɔʦʹʁɔȉȥɔʰȉɷʰɔेJɫʦȲȦʁɷȬʁȦʁɷȦȲʰʰʁूˑɔɷȦʁɫȉʰʁȉɫʜȉȲʦȉηɔʁ ɔɷʰȲʟɴȲȬɔʁूʟɔɆʹȉʟȬȉɫȉȬɔɷȉɴɔȦȉȬȲɫʜȉȲʦȉηɔʁूȦɔʁȿ̍ʹȲɫɫʁɫȉȦʹɔȲʦʦȲɷˢȉʦɔȉʜʜʟȲˢˢȉ ʹɷɔȦȉɴȲɷʰȲȉʰʰʟȉˑȲʟʦʁɫȲʦʹȲʰʟȉʦɅʁʟɴȉˢɔʁɷɔ࣋े¢ȉɫȲʟɔζȲʦʦɔʁɷȲूʜȲʟʍूʜʁʟʰȉȉȬʹɷউȉɫʰʟȉ ȉʜʜȉʟȲɷʰȲȬɔˑɔʦɔʁɷȲȬɔɴȲʰʁȬʁूɆɔȚȉΦʟʁɷʰȉʰȉȬȉʁȥȲʟʰȉÁȉɫʰʁʟʰȉɷȲɫࣈ࣐࣏࣐࣌: da una ʜȉʟʰȲूɫȉɅʁʰʁɆʟȉεȉȦʁɴȲʦʰʟʹɴȲɷʰʁআɷȲʹʰʟʁইूʰʟȉʦʜȉʟȲɷʰȲूʦɔɷȦȲʟʁौȬȉɫɫউȉɫʰʟȉʜȉʟʰȲू ʦɔʜȉʟɫȉȬɔɷʁˢɔʁɷɔʰȲȦɷɔȦɏȲȲȬȲʦʜʟȲʦʦɔˑȲȦɏȲʰȲɷʰȉɷʁȬɔʟɔɅʁɷȬȉʟȲȲʦʰȲʰɔȦȉɴȲɷʰȲɔɫ ʜȉȲʦȉηɔʁআεɷɆȲɷȬʁইेJɷʁɆɷɔȦȉʦʁूɫȉɅʁʰʁɆʟȉεȉूȦʁɷʰɔɷʹȉʁȥȲʟʰȉÁȉɫʰʁʟʰȉ՜ǫDZʐDZȪLj ɥɸLjɥɯDZɥɥLjɛɀɥɥȓǤȓȪȓʧǙǫȓDZɥȓɥɯDZɞDZLjȪȪLj̇ɥȓǥȓʧǙǫDZȪɞDZLjȪDZԧǥȎDZDZɥɥLjǾȓȶȅɞLjǫɀǫȓɞDZɥɯȓɯɸȓɞDZǥɀȶLjȪɯɀ ȅɞLjǫɀǫȓǫDZɥǥɞȓɯɯȓʐȓʧǙ՝े ʁʦȉȿȦȉɴȥɔȉʰʁूʜȲʟʍूɷȲɫɫȉʟȉʜʜʟȲʦȲɷʰȉˢɔʁɷȲȬȲɫɫউȉʟȦɏɔʰȲʰʰʹʟȉȲȬȲɫʜȉȲʦȉηɔʁȬȉɔ ɅʁʰʁɆʟȉεȬȲɔ=ʟȉɷ¢ʁʹʟʁʰʰʁȦȲɷʰȲʦȦɏɔȉȬʁηɔैɔʰʟȉʰʰȉȬɔʹɷʦȲɴʜɫɔȦȲȦȉɴȥɔʁȬɔ ʰȲȦɷɔȦɏȲʁȬȉɫɫȉʦʹȉɔɷˑȲɷˢɔʁɷȲȉȬʁηɔȿȦȉɴȥɔȉʰȉȉɷȦɏȲɫȉʜȲʟȦȲˢɔʁɷȲै^ȲɅʁʰʁɆʟȉεȲ ȬȲɆɫɔɫɔɷȉʟɔȲɔɫআÁɔȉηɔʁɔɷɔʰȉɫɔȉইȬɔ^ʹɔɆɔ=ɏɔʟʟɔूʜȲʟȲʦȲɴʜɔʁूɏȉɷɷʁɔɷȦʁɴʹɷȲ ɫʁʦʜɔʟɔʰʁȬȲɫɅʁʰʁɆʟȉɅʁॼȲʦʜɫʁʟȉʰʁʟȲȲɫউʹʰɔɫɔˢˢʁȬȲɫɆȲɷȲʟȲȉʟʰɔʦʰɔȦʁȬȲɫˑȲȬʹʰɔʦɴʁू ɷʁɷʁʦʰȉɷʰȲɆɫɔʦȦʁʜɔʦɔȉɷʁʦʰȉʰɔȬɔΦȲʟȲɷʰɔे$ȉɆɫɔȉɷɷɔউ࣎ࣇɷʁɷʦɔˑɔȉηɔȉʜɔ˄ˑȲʟʦʁ ʰȲʟʟȲɫʁɷʰȉɷȲɷȳɫউʁηȲʰʰʁʦʁɷʁɔɴʁɷʹɴȲɷʰɔȲɫȲȥȲɫɫȲˢˢȲɷȉʰʹʟȉɫɔूɴȉɫউʁȥɔȲʰʰɔˑʁʦɔ ȿʦʜʁʦʰȉʰʁʦʹɫɫȉআȦʁɴʜʟȲɷʦɔʁɷȲȬȲɔɴɔȦʟʁȦʁʦɴɔȦʁɷʰȲɴʜʁʟȉɷȲɔই࣍ूʦʹɫɫউɔɷεɷɔʰȉʟɔȦȲʟȦȉ
“dell’originale perduto”࣎, indagando le realtà complesse dei centri storici, le periferie,
ɫȲˢʁɷȲʹʟȥȉɷȲूɔɷȬʹʦʰʟɔȉɫɔˢˢȉʰȲȲʜʁʦʰॼɔɷȬʹʦʰʟɔȉɫɔȲɔʦȲɆɷɔȬȲɫɫȲʰʟȉʦɅʁʟɴȉˢɔʁɷɔ ȬȲɫʜȉȲʦȉηɔʁूʜʁɷȲɷȬʁʦɔȦʁɴȲȥȉʦȲʜȲʟɫȉȦȉʰȉɫʁɆȉˢɔʁɷȲȬȲɫʜȉʰʟɔɴʁɷɔʁूʜȲʟɫȉ ʜɔȉɷɔεȦȉˢɔʁɷȲȲɫȉʟɔʜʟʁɆȲʰʰȉˢɔʁɷȲʹʟȥȉɷȉȲʜȉȲʦȉηɔʦʰɔȦȉे $ȉ̍ʹȲʦʰȲȦʁɷʦɔȬȲʟȉˢɔʁɷɔɏȉȉˑʹʰʁɔɷɔˢɔʁɫȉʦʰȲʦʹʟȉȬȲɫɫȉʰȲʦɔूȦɏȲʦɔȿʜʁʦʰȉɫউʁȥɔȲʰʰɔˑʁ ȬɔɔɷȬȉɆȉʟȲɔɫʰȲɴȉȬȲɫʜȉʰʟɔɴʁɷɔʁȬȲɫɫȲʰʁɷɷȉʟȲɔɷɔȦɔɫɔȉे^ȲʰʁɷɷȉʟȲूɔɷɅȉʰʰɔू ʟȉʜʜʟȲʦȲɷʰȉɷʁʹɷȉȦɏɔȉʟȉȲʦʜʟȲʦʦɔʁɷȲʦɔɷʰȲʦɔʰʟȉȉʟȦɏɔʰȲʰʰʹʟȉूʜȉȲʦȉηɔʁूʦʰʁʟɔȉȲ ʦʁȦɔȲʰȚे ^ȉʰȲʦɔʦɔȦʁɴʜʁɷȲȬɔȬʹȲʜȉʟʰɔुɫȉʜʟɔɴȉȬɔɔɷ̍ʹȉȬʟȉɴȲɷʰʁʦʰʁʟɔȦʁȲʰȲʁʟɔȦʁʦʹɫɫȉ ɅʁʰʁɆʟȉεȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉȲʜȉȲʦȉηɔʁूɫȉʦȲȦʁɷȬȉʦʹɫɫȉɔȦɔɫɔȉȬȲɫɫȲʰʁɷɷȉʟȲȲʦʹʹɷ ʟȉȦȦʁɷʰʁȦʁɷʰȲɴʜʁʟȉɷȲʁȬȲɫɫȉȦʁʦʰȉे JɫʜʟɔɴʁȦȉʜɔʰʁɫʁʦˑɔɫʹʜʜȉʦɔɷʰȲʰɔȦȉɴȲɷʰȲɔɫʰȲɴȉȬȲɫɫȉɅʁʰʁɆʟȉεȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉȲ ʜȉȲʦȉηɔʁूȉʰʰʟȉˑȲʟʦʁʹɷȉȬɔʦʦȲʟʰȉˢɔʁɷȲȦɏȲʟȉȦȦʁɷʰȉɫȉʦʰʁʟɔȉȬȉɫɫȉʦʹȉɔɷˑȲɷˢɔʁɷȲȉɫɫȲ ɷʹʁˑȲʰȲɷȬȲɷˢȲूȦʁɷȦȲɷʰʟȉɷȬʁʦɔʦʹȉɫȦʹɷȲȦȉɴʜȉɆɷȲɅʁʰʁɆʟȉεȦɏȲʦʰʁʟɔȦɏȲूɷȉˢɔʁɷȉɫɔ ȲȬɔɷʰȲʟɷȉˢɔʁɷȉɫɔूȲʦʹɔʜʟʁɆȲʰʰɔɅʁʰʁɆʟȉεȦɔȦʁɷʰȲɴʜʁʟȉɷȲɔȦɏȲɏȉɷɷʁɔɷȬȉɆȉʰʁɫȲ ʰʟȉʦɅʁʟɴȉˢɔʁɷɔȬȲɫʰȲʟʟɔʰʁʟɔʁɔʰȉɫɔȉɷʁेJɫȦȉʜɔʰʁɫʁʦʹȦȦȲʦʦɔˑʁूɔɷˑȲȦȲूɏȉɔɷˑȲʦʰɔɆȉʰʁ ɔɫʟȉʜʜʁʟʰʁȬȲɫɫȉɅʁʰʁɆʟȉεȉʟɔʦʜȲʰʰʁȉɫɴʹʰȉɴȲɷʰʁȬȲɔȦʁɷȦȲʰʰɔȬɔʜȉȲʦȉηɔʁȲȬɔ ȥȲɷȲȦʹɫʰʹʟȉɫȲूɴȲʰʰȲɷȬʁɫɔɔɷʟȲɫȉˢɔʁɷȲȦʁɷɫȲɆʁˑȲʟɷȉɷȦȲȲɆɫɔȉʦʜȲʰʰɔɷʁʟɴȉʰɔˑɔȦɏȲ ʟȲɆʁɫȉɷʁɫȉˑȉɫʁʟɔˢˢȉˢɔʁɷȲȲɫȉʰʹʰȲɫȉूɔɷʟȲɫȉˢɔʁɷȲȉɷȦɏȲȉɫɔȉɷʁʦʰʟȉʰȲɆɔȦʁʜȲʟɫʁ ʦˑɔɫʹʜʜʁȬȲɫɫȉɅʁʰʁɆʟȉεȉȲɴȉɷȉʰʁȬȉɫgɔ¢ɷȲɫɴȲʦȲȬɔɴȉηɔʁࣉࣇࣈ࣏े ^ȉʦȲȦʁɷȬȉʜȉʟʰȲʜʟȲɷȬȲȉˑˑɔʁȬȉɫɫȉʦȦʁʜȲʟʰȉȬɔʹɷʟȲʜʁʟʰȉɆȲɅʁʰʁɆʟȉεȦʁȬȉʰȉʰʁ ࣈ्࣐࣏࣏࣍࣎ȲʜʹȥȥɫɔȦȉʰʁʦʹɫɫȉʟɔˑɔʦʰȉআ$ʁɴʹʦইɷȲɫࣈ࣐࣐ࣉȦɏȲȬʁȦʹɴȲɷʰȉɫʁʦʰȉʰʁȬȲɫ ʜȉʰʟɔɴʁɷɔʁȬȲɫɫȲʰʁɷɷȉʟȲɷȲɆɫɔȉɷɷɔȬȲɫɫȉɫʁʟʁȬɔʦɴɔʦʦɔʁɷȲेJɷʦȲɆʹɔʰʁȉȬȉɫȦʹɷɔ ʦʰʹȬɔʦʰʁʟɔȦɔʦʹɫɫȉʜȲʦȦȉȬȲɫʰʁɷɷʁɔɷɔȦɔɫɔȉूʦʹɫɫউȉʟȦɏɔʰȲʰʰʹʟȉȬȲɫɫȲʰʁɷɷȉʟȲȲʦʹɫɫʁʟʁ ɅʹɷˢɔʁɷȉɴȲɷʰʁूʦɔȿȲΦȲʰʰʹȉʰʁʹɷȉηɔʁʟɷȉɴȲɷʰʁɅʁʰʁɆʟȉεȦʁȬɔȉɫȦʹɷȲȬȲɫɫȲʰʁɷɷȉʟȲ ʜʟȲʦȲɷʰȉʰȲʦʹɫɫȉʟɔˑɔʦʰȉूȦʁɷȦȲɷʰʟȉɷȬʁɫʁʦɆʹȉʟȬʁʦʹɫɫȲʜʟʁˑɔɷȦȲȬɔ¢ʟȉʜȉɷɔȲȉɫȲʟɴʁे $ʹʟȉɷʰȲɔʦʁʜʟȉɫɫʹʁɆɏɔूʜȲʟʍूʦɔʦʁɷʁʜʟȲʦȲɷʰȉʰɔȬȉˑȉɷʰɔȉȬɔɷʁʦʰʟɔʁȦȦɏɔআȉɫʰʟɔ ʜȉȲʦȉηɔইू̍ʹȉʦɔɔɷˑɔʦɔȥɔɫɔूȦɏȲʦʜȲʦʦʁɷʁɷʦɔȿȦȉʜȉȦɔȬɔɷȉʟʟȉʟȲे¢ȲʟʟɔʰʁʟɔȦɏȲȬȲˑʁɷʁ ȲʦʦȲʟȲʟɔʜʟʁɆȲʰʰȉʰɔूʜȉȲʦȉηɔȦɏȲȬȲˑʁɷʁȲʦʦȲʟȲʟȲȦʹʜȲʟȉʰɔूʟȲɔɷˑȲɷʰȉʰɔʁʟɔȦʁʦʰʟʹɔʰɔे JɫʰȲɴȉȬȲɫʜʟʁɆȲʰʰʁɅʁʰʁɆʟȉεȦʁू̍ʹɔɷȬɔूɷʁɷȿɫȉɔȦɔɫɔȉȬȲɫɫȲʰʁɷɷȉʟȲȲȬȲɫɫȲʦʹȲ ʰʟȉȬɔˢɔʁɷɔूɴȉɫȉȦʁʦʰȉʁηɔूɔʦʹʁɔȉȦȦȲʦʦɔȉɫɴȉʟȲूɫȲʦʹȲɔɷɅʟȉʦʰʟʹʰʰʹʟȲȲɫউʹʦʁȦȉʹʦȉɫȲ ȬɔʰȉɷʰȲɅʟȉɷɆȲेĎʹȉɫȲʜȉȲʦȉηɔʁʟɔɴȉʟʟȚɷȲɫʰȲɴʜʁʜȲʟɫȲɆȲɷȲʟȉˢɔʁɷɔɅʹʰʹʟȲै
Stretto di Messina 2002
1
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ɔɷȬȉɫɫȉʦʹȉʦȦʁʜȲʟʰȉूɫȉɅʁʰʁɆʟȉεȉʦɔȿ ȉΦȲʟɴȉʰȉȦʁɴȲʹɷʁȬȲɔɴȲˢˢɔʜɔ˄ʹʰɔɫɔˢˢȉʰɔ ʜȲʟɫȉʟȉʜʜʟȲʦȲɷʰȉˢɔʁɷȲȲɫউɔɷȬȉɆɔɷȲȬȲɫɫউȉʟॼ ȦɏɔʰȲʰʰʹʟȉȲȬȲɫʜȉȲʦȉηɔʁे JɷʞʹȲʦʰʁʜʟɔɴʁȦȉʜɔʰʁɫʁʦɔȉɷȉɫɔˢˢȉɷʁȲʦɔ ɔɫɫʹʦʰʟȉɷʁȦʟʁɷʁɫʁɆɔȦȉɴȲɷʰȲɫȲʰȉʜʜȲʜɔ˄ ɔɴʜʁʟʰȉɷʰɔȬȲɫɫȉɅʁʰʁɆʟȉɅɔȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉ ȲʜȉȲʦȉɆɆɔʁȬȉɫɫȲʦʹȲʁʟɔɆɔɷɔȉɫɫȲȲʦʜȲʟɔȲɷˢȲ ʜɔ˄ʟȲȦȲɷʰɔूɅʁȦȉɫɔˢˢȉɷȬʁɫউȉʰʰȲɷˢɔʁɷȲʦʹ ȉɫȦʹɷȲȦȉɴʜȉɆɷȲɅʁʰʁɆʟȉɅɔȦɏȲूȬɔȦʁɴॼ ɴɔʰʰȲɷˢȉʜʹȥȥɫɔȦȉȲȬɔɔɷɔˢɔȉʰɔˑȉʜʟɔˑȉʰȉू ȦɏȲɏȉɷɷʁȦʁɷʦʁɫɔȬȉʰʁʞʹȲʦʰʁɔɴʜʁʟʰȉɷʰȲ ʟȉʜʜʁʟʰʁेFOTOGRAFIA
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Fig.1: Joseph Nicéphore Niépce, :IHYXEHEPPEƼRIWXVE
HIPPEWYEGEWEE+VEW'LE-PSRWWYV7EʭRI , 1826. ©
Metropolitan Museum of Art, New York
1. Fanelli, Giovanni, Storia
HIPPEJSXSKVEƼEHMEVGLMXIX-tura, Edizioni Laterza, Bari,
2009, p. 26
1.1
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*ʟȉɔɫࣈ࣏ࣉ࣍̍ʹȉɷȬʁJoseph Nicéphore Niépce२ࣈ࣎࣍࣌ॼࣈ࣏࣊࣊३ʟɔʹʦȦɝूʜȲʟɫȉʜʟɔॼ ɴȉˑʁɫʰȉɷȲɫɫȉʦʰʁʟɔȉȬȲɫɫȉɅʁʰʁɆʟȉεȉूȉ εʦʦȉʟȲɔɷɴȉɷɔȲʟȉʦʰȉȥɔɫȲʹɷউɔɴɴȉɆɔɷȲ ʟɔʜʟȲʦȉȬȉɫˑȲʟʁȬʁʜʁʹɷȉȲʦʜʁʦɔˢɔʁɷȲȬɔ ʁʰʰʁʁʟȲɔɷʹɷȉɆɔʁʟɷȉʰȉȬউȲʦʰȉʰȲूʟȲȉɫɔˢॼ ˢȉɷȬʁʹɷȉআȲɫɔʁɆʟȉεȉইʦʹɫȉʦʰʟȉȬɔʜȲɫʰʟʁ ricoperta da uno strato di bitume di =ɔʹȬȲȉ२εɆेࣈ३े*ȬȿȬȉ̍ʹɔȦɏȲɏȉɔɷɔˢɔʁ ɫȉʦʰʁʟɔȉȬȲɫɫȉɅʁʰʁɆʟȉεȉȲɫʁʦʰʟȲʰʰɔʦʦɔɴʁ ɫȲɆȉɴȲȦɏȲ̍ʹȲʦʰȉɏȉȉˑʹʰʁȲȦʁɷʰɔɷʹȉ ȉȬȉˑȲʟȲȦʁɷɫউȉʟȦɏɔʰȲʰʰʹʟȉȲɔɫʜȉȲʦȉɆॼ Ɇɔʁु̍ʹȲʦʰȉʜʟɔɴȉɔɴɴȉɆɔɷȲूɔɷɅȉʰʰɔू ʟȉʜʜʟȲʦȲɷʰȉʹɷʁʦʜȉˢɔʁȉʟȦɏɔʰȲʰʰʁɷɔȦʁू ɫȉˑȲȬʹʰȉȬȉʹɷȉεɷȲʦʰʟȉȬȲɫȦʁʟʰɔɫȲ ȬȲɫɫȉȦȉʦȉɅȉɴɔɫɔȉʟȲȬȲɫɫʁʦʰȲʦʦʁjɔȳʜȦȲȉ ȉɔɷʰॼ^ʁʹʜॼȬȲॼÁȉʟȲɷɷȲʦʦे JʜʟɔɴɔȉɷɷɔȬɔʦʜȲʟɔɴȲɷʰȉˢɔʁɷȲȬȲɫɫȉ ɅʁʰʁɆʟȉεȉɏȉɷɷʁʜʁʟʰȉʰʁȉɷʹɴȲʟʁʦȲ ʜʟʁˑȲूȦʁɴȲ̍ʹȲɫɫȲȲʦȲɆʹɔʰȲȬȉWilliamHenry Fox Talbot२ࣈ࣏ࣇࣇॼࣈ࣏࣎࣎३ूȦɏȲ
ɷȲɫࣈ࣏࣊࣌ʟȲȉɫɔˢˢȉʹɷȉʜʟɔɴȉɔɴɴȉɆɔɷȲ ȉʟȦɏɔʰȲʰʰʁɷɔȦȉɷȲɆȉʰɔˑȉʦʹȦȉʟʰȉȬɔʹɷȉ εɷȲʦʰʟȉȬɔ^ȉȦʁȦɦȥȥȲ˘ɷȲɫÂɔɫʰʦɏɔʟȲ २εɆेࣉ३े^ȉʦʹȉʦȉʟȚʹɷȉʟɔȦȲʟȦȉȦʁɷʰɔॼ nua di un ՜ɞLjɛɛɀɞɯɀȄɞLjʐLjȪɀɞȓɛȓɯɯɀɞȓǥȓDZ ʐLjȪɀɞȓȅDZɀȳDZɯɞȓǥȓԧɯɞLjʐLjȪɀɞȓǫȓȪɸǥDZDZʐLjȪɀɞȓ ȳLjɯDZɞȓǥȓԧɯɞLjʐDZǫɸʧLjȄɞɀȶʧLjȪDZǥȎDZDZʐȓǫDZȶʡLj ʐLjȪɀɞȓǤȓǫȓȳDZȶɥȓɀȶLjȪȓLjʐDZǫɸʧLjǫȓɥǥɀɞǥȓɀǥȎDZ DZʐȓǫDZȶʡȓLjʐLjȪɀɞȓʐɀȪɸȳDZɯɞȓǥȓ՝ࣞूȦʁʦɝȦʁɴȲ
dimostrato dalle numerose immagini ȦɏȲʟȉʜʜʟȲʦȲɷʰȉɷʁूʁɫʰʟȲȦɏȲʦʁηȲʰʰɔ
7 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO
Fig. 2: William Henry Fox Tal-bot, The Oriel Window, South Gallery, Lacock Abbey, 1835. © Metropolitan Museum of Art, New York
Fig. 3: William Henry Fox Talbot, The Boulevards at Paris, 1843. © Metropolitan Museum of Art, New York
ȲɷȉʰʹʟȲɴʁʟʰȲूȉʟȦɏɔʰȲʰʰʹʟȲȲˑȲȬʹʰȲ ȬɔȦɔʰʰȚȲʜȉȲʦȉηɔȬȲɫɫȉ<ʟȉɷȦɔȉȲȬȲɫɫȉ =ʟȉɷʟȲʰȉɆɷȉूȲȦɏȲɫʁʜʁʟʰȲʟȉɷɷʁूʰʟȉ ɔɫࣈ࣏࣋࣋Ȳɔɫࣈ࣏࣋࣍ूȉʟȲȉɫɔˢˢȉʟȲ̍ʹȲɫɫȉȦɏȲ ȿȦʁɷʦɔȬȲʟȉʰȉɫȉʜʟɔɴȉʜʹȥȥɫɔȦȉˢɔʁɷȲ ɔɫɫʹʦʰʟȉʰȉȬɔɅʁʰʁɆʟȉεȉ२εɆे࣊३ेɔʰʟȉʰʰȉ ȬɔʹɷȉʟȉȦȦʁɫʰȉȬɔࢿࣁɅʁʰʁɆʟȉεȲʜʹȥॼ blicate in 6 fascicoli, accompagnate da ʰȲʦʰɔɔɫȦʹɔʁȥɔȲʰʰɔˑʁɷʁɷȿɔɫʦȲɴʜɫɔȦȲ ȦʁɴɴȲɷʰʁȬȲɔʦʁηȲʰʰɔȬȲɫɫȲɅʁʰʁɆʟȉεȲू ɴȉʹɷʟȉȦȦʁɷʰʁȬɔ̍ʹȲɫɫȲȦɏȲʦʁɷʁʦʰȉʰȲ ɫȲʦʜȲʟɔɴȲɷʰȉˢɔʁɷɔूɫȲʦȦʁʜȲʟʰȲȲɔɆɫɔ ȲʦʜȲʟɔɴȲɷʰɔे উȿȬȉʦʁʰʰʁɫɔɷȲȉʟȲȦɏȲɫȉʦȦȲɫʰȉȬɔ ʟȉʜʜʟȲʦȲɷʰȉʟȲɫউȉʟȦɏɔʰȲʰʰʹʟȉȲɔɫʜȉȲॼ ʦȉηɔʁूȬȉʜȉʟʰȲȬɔȦʁɫʁʟʁɔ̍ʹȉɫɔʜȲʟ ʜʟɔɴɔʦʜȲʟɔɴȲɷʰȉʟʁɷʁ̍ʹȲʦʰȲɷʹʁˑȲ ʰȲȦɷɔȦɏȲूɷʁɷȿȬȲɫʰʹʰʰʁˑʁɫʹʰȉुȉȦȉʹʦȉ ȬȲɔɫʹɷɆɏɔʰȲɴʜɔȬɔȲʦʜʁʦɔˢɔʁɷȲɷȲॼ cessari per imprimere l’immagine, era impossibile riuscire a rappresentare dei ʦʁηȲʰʰɔɔɷɴʁˑɔɴȲɷʰʁे^উɔɴɴȉɆɔɷȲȦɏȲ rappresenta per la prima volta un uomo ȉɫɫউɔɷʰȲʟɷʁȬɔʹɷʜȉȲʦȉηɔʁʹʟȥȉɷʁȿʹɷ ȬȉɆɏȲʟʟʁʰɔʜʁɅȉȦȲɷʰȲʜȉʟʰȲȬɔʹɷʰʟɔʰʰɔȦʁ ʁΦȲʟʰʁȬȉ^ʁʹɔʦॼXȉ̍ʹȲʦॼgȉɷȬȳ$ȉɆʹȲʟ
-re२ࣈ࣏࣎࣎ॼࣈ࣏࣌ࣈ३ȉ^ʹɔɆɔJʟȲȬɔȉˑɔȲʟȉु
una natura morta composta da piccole ʦȦʹɫʰʹʟȲɅʟȉȬʹȲˑȲȬʹʰȲȬȲɫʁʹɫȲˑȉʟȬ du Temple di Parigi riprese dall’atelier di Daguerre dallo stesso punto di vista,
Fig. 4: Louis-Jacques-Mandé Daguerre, Veduta di Bou-levard du Temple a Parigi, 1939
Fig. 5: Hippolyte Bayard,
4IVMWXMPMSHIPPE1EHIPIMRIHM Parigi, 1945-47
9 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO
2. Fanelli, Giovanni, Storia
HIPPEJSXSKVEƼEHMEVGLMXIX-tura, Edizioni Laterza, Bari,
2009, p. 25
ɴȉʹɷȉȉɴȲˢˢʁɆɔʁʟɷʁȲɫউȉɫʰʟȉȉɫɫȲ࣏ ȬȲɫɴȉʰʰɔɷʁ२εɆे࣋३ेJɫɆʟȉɷȬȲȥʁʹɫȲˑȉʟȬ ci appare completamente deserto, ma ʦʁɫʁɷȲɫɫউɔɴɴȉɆɔɷȲȬȲɫɫȲʁʟȲ࣏ȦʁɴʜȉʟȲ un uomo mentre si fa lucidare le scarpe ɷȲɫɫউȉɷɆʁɫʁȬȲɫɴȉʟȦɔȉʜɔȲȬȲेjʁɷʁʦʰȉɷʰȲ Ȧɔʍू̍ʹȲʦʰʁɔɷʰȲʟȲʦʦȲȬɔ$ȉɆʹȲʟʟȲɷȲɫ rappresentare una stessa vista con una ʦȲ̍ʹȲɷˢȉȬɔɔɴɴȉɆɔɷɔɔɷȦʁɷȬɔˢɔʁɷɔȬɔ ɫʹȦȲȬɔΦȲʟȲɷʰɔȿʦʰʟȲʰʰȉɴȲɷʰȲȦʁɫɫȲɆȉʰʁ al suo gusto pittorico e alla sua conceॼ ˢɔʁɷȲȲȬȲʦʜȲʟɔȲɷˢȉȬȲɫȬɔʁʟȉɴȉȦʁɷɫʹȦɔ ȦɏȲȦȉɴȥɔȉˑȉɷʁʜȲʟʟȉʜʜʟȲʦȲɷʰȉʟȲɔɫ ʜȉʦʦȉηɔʁȬȲɫʰȲɴʜʁेࣉ JɴɴȉɆɔɷɔʜʟȲʰʰȉɴȲɷʰȲȉʟȦɏɔʰȲʰʰʁɷɔȦɏȲ ȲȦȉʟȉʰʰȲʟɔˢˢȉʰȲȬȉʹɷȉȦʁɴʜʁʦɔˢɔʁɷȲ ȦȉɫȦʁɫȉʰȉȲȬȲ̍ʹɔɫɔȥʟȉʰȉʦʁɷʁूɔɷˑȲȦȲू ̍ʹȲɫɫȲȬɔHippolyte Bayard२ࣈ࣏ࣇ࣎ॼࣈ࣏࣏࣎३ू ȉʹʰʁʟȲȬɔʜɔ˄ȬɔʦȲɔȦȲɷʰʁɔɴɴȉɆɔɷɔ ȦʁɷʦȲʟˑȉʰȲɷȲɫɫȉȦʁɫɫȲˢɔʁɷȲȬȲɫɫȉʁȦɔȳʰȳ <ʟȉɷȦȉɔʦȲȬȲɏʁʰʁɆʟȉʜɏɔȲेʁɷʰʟȉʟɔȉॼ ɴȲɷʰȲȉɔɅʁʰʁɆʟȉεȉɫʹɔȦʁɷʰȲɴʜʁʟȉɷȲɔू ȲɆɫɔʜʟȲȬɔɫɔɆȲɔɫɅʁʟɴȉʰʁˑȲʟʰɔȦȉɫȲूȦɏȲ ʜȲʟɴȲʰʰȲȬɔȦȉʰʰʹʟȉʟȲˑȲȬʹʰȲȬɔɷȉɴɔȦɏȲ dall’alto verso il basso o viceversa, dimoॼ ʦʰʟȉɷȬʁʹɷȉɅʁʟʰȲʟȲɫȉˢɔʁɷȲʰʟȉʦȲɷʦɔȥɔॼ lità pittorica e astrattismo geometrico, ȬɔȦʹɔȲʦȲɴʜɔʁȦɏɔȉˑȲȿɫȉɅʁʰʁɆʟȉεȉȬȲɫ ɫȉʰʁʁʟɔȲɷʰȉɫȲȬȲɫʜȲʟɔʦʰɔɫɔʁȬȲɫɫȉȦɏɔȲʦȉ ȬȲɫɫȉgȉȬȲɫȲɔɷȲȉȉʟɔɆɔ२εɆे࣌३ूʦȦȉʰʰȉʰȉ ʜʟʁȥȉȥɔɫɴȲɷʰȲʰʟȉɔɫࣈ࣏࣋࣌Ȳɔɫࣈ࣏࣋࣎ेĎʹɔू ɔɷɅȉʰʰɔूȉ˘ȉʟȬɷʁɷɅʁʰʁɆʟȉɅȉɫউɔɷʰȲʟʁ ȲȬɔεȦɔʁूɴȉʹɷȬȲʰʰȉɆɫɔʁȦɏȲɷȲʟȉʜʜʟȲॼ senta le geometrie principali e i loro rapॼ
porti di luce e ombra, dando vita ad una ʰȲȦɷɔȦȉȦɏȲɷȲɫɫউȉɴȥɔʰʁȬȲɫɫȉɅʁʰʁɆʟȉεȉ ȬɔȉʟȦɏɔʰȲʰʰʹʟȉʦȉʟȚɴʁɫʰʁʹʰɔɫɔˢˢȉʰȉɷȲɫ ȦʁʟʦʁȬȲɔʦȲȦʁɫɔे ʁɷʦʁɫɔȬȉʰȲɫȲʦȦʁʜȲʟʰȲूɔɫࣈ࣏࣌ࣈɅʹʹɷ ȉɷɷʁȦʟʹȦɔȉɫȲʜȲʟɫȉɅʁʰʁɆʟȉεȉʜȲʟȬʹȲ ɴʁʰɔˑɔȬɔɆʟȉȬȲʟɔɫȲˑȉɷˢȉुɴȲɷʰʟȲȉɆȲɷॼ naio veniva fondata a Parigi la Sociétè
ɏȳɫɔʁɆʟȉʜɏɔ̍ʹȲ, una delle prime associaॼ
ˢɔʁɷɔɅʁʰʁɆʟȉεȦɏȲȉɫɴʁɷȬʁ२ʜʟȲȦȲȬʹʰȉ Ȭȉɔȉɫʁʰ˘ʜȲɫʹȥɅʁɷȬȉʰɔɷȲɫࣈ࣏࣋࣊Ȳ ɷȲɫࣈ࣏࣋࣎ʟɔʦʜȲʰʰɔˑȉɴȲɷʰȲȉȬ*ȬɔɴȥʹʟɆʁ Ȳ^ʁɷȬʟȉ३ूɔɫȦʹɔʦȦʁʜʁȲʟȉɫȉȦʁɫɫȉȥʁʟȉॼ ˢɔʁɷȲȲɫʁʦȦȉɴȥɔʁȬɔɔɷɅʁʟɴȉˢɔʁɷɔʰʟȉ ȬɔˑȲʟʦȲεɆʹʟȲु२՜ȓȪȄɀɯɀȅɞLjȄɀԧȓȪɛȓɯɯɀɞDZԧȓȪ ȪDZɯɯDZɞLjɯɀԧȓȪɥLjɛȓDZȶɯDZԧȪɀɥǥɸȪɯɀɞDZԧȪ՟LjɞǥȎȓɯDZɯ-ɯɀԧȪ՟ɀɯɯȓǥɀDZȪ՟ȓȶǥȓɥɀɞDZɛɀɥɥLjȶɀǥɀȶɥɸȪʧLjɞɥȓ DZɞDZȶǫDZɞɥȓȳɸɯɸȓɥDZɞʐȓʡȓ՝࣠३ूȉ^ʁɷȬʟȉʦɔ ʦˑʁɫɆȲˑȉɫȉʜʟɔɴȉȲʦʜʁʦɔˢɔʁɷȲʹɷɔˑȲʟʦȉɫȲू “ΤȲ=ʟȲȉʰ*˗ɏɔȥɔʰɔʁɷʁɅʰɏȲÂʁʟɦʦʁɅ JɷȬʹʦʰʟ˘ʁɅɫɫjȉʰɔʁɷʦইूȦɏȲʜȲʟɴɔʦȲ
per la prima volta di raccontare delle ʦȦʁʜȲʟʰȲɔɷȉɴȥɔʰʁɅʁʰʁɆʟȉεȦʁȉȬʹɷ ɆʟȉɷȬȲʜʹȥȥɫɔȦʁूɆʟȉˢɔȲȉɫɫউȲʦʜʁʦɔˢɔʁɷȲ ȬɔȦȲɷʰɔɷȉɔȉȬɔɔɴɴȉɆɔɷɔɔɷˑȉʟɔȲʦȲˢɔʁɷɔ ɷȉˢɔʁɷȉɫɔे
^ʁʦʰȲʦʦʁʟ˘ʦʰȉɫȉɫȉȦȲ२εɆे࣍ॼ࣎३ूɔɫ grande padiglione in ferro e vetro ʜʟʁɆȲʰʰȉʰʁȬȉXʁʦȲʜɏȉ˗ʰʁɷूȬɔˑȲɷɷȲ ʹɷʁηȲʰʰʁȉɴȥɔʰʁȬȉȦʁɫʁʟʁɔ̍ʹȉɫɔʦɔ ȬȲȬɔȦȉʟʁɷʁȉɫɫȉɅʁʰʁɆʟȉεȉूɆʟȉˢɔȉȉɔ̍ʹȉɫɔ ʁηɔȦʁɷʦȲʟˑɔȉɴʁʹɷȬʁȦʹɴȲɷʰʁȲʹɷ ʟɔȦʁʟȬʁʜʟȲȦɔʦʁȬɔ̍ʹȲɫɫȉȦɏȲɅʹɫȉʜʟɔɴȉ grande opera dell’ingegneria del ferro e ȬȲɫˑȲʰʟʁʁʰʰʁȦȲɷʰȲʦȦȉे
Fig. 6: Benjamin Brecknell Turner, 'V]WXEP4EPEGIREZI
,]HI4EVO, 1852. © Victoria
and Albert Museum, London Fig. 7: Benjamin Brecknell Turner, 'V]WXEP4EPEGI
XVERWITX,]HI4EVO, 1852. ©
Victoria and Albert Museum, London
3. “La Lumeriére”, 9 febbraio 1852, p. 2
ʁɴȲɆɔȚʦȦʟɔʰʰʁɷȲɫʜȉʟȉɆʟʁɅʁʜʟȲॼ cedente, nelle prime immagini fotoॼ ɆʟȉεȦɏȲˑɔȿʹɷȉȦʁʦʰȉɷʰȲʜʟȲʦȲɷˢȉȬɔ ɴʁɷʹɴȲɷʰɔूȉʟȦɏɔʰȲʰʰʹʟȲȲʜȉȲʦȉηɔ ȦɏȲʰʟʁˑȉɫȉʦʹȉʦʜɔȲɆȉˢɔʁɷȲɷȲɫɫȉɫʁʟʁ ɔɴɴʁȥɔɫɔʰȚूȲ̍ʹɔɷȬɔɷȲɫɫউȲʦʦȲʟȲȬȲɔʦʁɆॼ ɆȲʰʰɔʁʰʰɔɴȉɫɔʜȲʟɫȲɫʹɷɆɏȲȲʦʜʁʦɔˢɔʁɷɔे ȉȲʦȉηɔȲȉʟȦɏɔʰȲʰʰʹʟȲूʜȲʟʍूȉɷȦɏȲȦʁɷ il progresso tecnologico avvenuto nel campo delle fotocamere e delle pellicole, ɏȉɷɷʁȦʁɷʰɔɷʹȉʰʁȉȬȲʦʦȲʟȲɔʦʁηȲʰʰɔ ʜʟɔˑɔɫȲɆɔȉʰɔे7̍ʹɔɷȬɔɅȉȦɔɫȲʦʹʜʜʁʟʟȲȦɏȲ ȉɫɫȉȥȉʦȲȬɔ̍ʹȲʦʰȉʜʟȲɅȲʟȲɷˢȉूɷȲɆɫɔȉɷɷɔ ɔɷɔˢɔȉɫɔȬȲɫɫȉȬɔΦʹʦɔʁɷȲȬȲɫɫȉɅʁʰʁɆʟȉεȉू ɷʁɷȦɔʦɔȉʦʁɫʁɫউɔɴɴʁȥɔɫɔʰȚूɴȉȦɏȲʦɔȉ collegato, per esempio, alla cultura pitॼ
ʰʁʟɔȦȉȬɔ̍ʹȲɆɫɔȉɷɷɔूȦɏȲˑȲȬȲɔɷȦʁʟʟȲɷॼ ti come il vedutismo e l’impressionismo la volontà di rappresentare in maniera ʁηȲʰʰɔˑȉʁɔɷɴȉɷɔȲʟȉʦʁηȲʰʰɔˑȉȦɔʍȦɏȲ ɔɫʜɔʰʰʁʟȲˑȲȬȲˑȉȬȉˑȉɷʰɔȉɔʦʹʁɔʁȦȦɏɔे* ̍ʹȲʦʰʁɆʟȉˢɔȲȉɆɫɔȉʜʜȉʟȲȦȦɏɔɅʁʰʁɆʟȉεȦɔ ʟɔʦʹɫʰȉˑȉɴʁɫʰʁʜɔ˄ʦȲɴʜɫɔȦȲुআ$ȉʁηɔ ɫȉʜɔʰʰʹʟȉȿɴʁʟʰȉইूȉΦȲʟɴʍɔɫʜɔʰʰʁʟȲ ɅʟȉɷȦȲʦȲȉʹɫ$ȲɫȉʟʁȦɏȲ२ࣈ࣐࣎࣎ॼࣈ࣏࣌࣍३े ̍ʹȲʦʰȲȬʹȲɔɴʜʁʟʰȉɷʰɔɴʁʰɔˑȉˢɔʁॼ ɷɔूʜȲʟʍूʦȲɷȲȉηɔʹɷɆȲʹɷȉʰȲʟˢȉुʜȲʟ EȲɫɴʹʰ=ȲʟɷʦɏȲɔɴूɔɷɅȉʰʰɔू՜ɛȓʃǥȎDZȓȪɞȓ-ɯɞLjɯɯɀԧȄɸȪLjʐDZǫɸʧLjLjǫLjʐDZɞDZǫDZȪȪDZɛɞɀɥɛDZɯɯȓʐDZ ǥɀȳȳDZɞǥȓLjȪȓȓȳȳDZǫȓLjɯDZԧLjȶǥȎDZɛDZɞȳɀɯȓʐȓ ɯDZǥȶȓǥȓȳLjɥɀɛɞLjɯɯɸɯɯɀɛDZɞǥȎDzǥɀɥɯȓɯɸȓʐLjɸȶ
1.2
I Gran Tour e le vedute
Fig. 8: Fratelli Alinari, (YSQS
HM*MVIR^I, 1860. © Archivi
11 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO
ɛDZɞȄDZʡȓɀȶLjȳDZȶɯɀȓȶɸȶȅDZȶDZɞDZǥȎDZDZɞLjLjɥɥLjȓ ɞȓǥȎȓDZɥɯɀǫLjȓȶɸȳDZɞɀɥȓɯɸɞȓɥɯȓǥȎDZLjȳLjʐLjȶɀ ɞȓɛɀɞʧLjɞDZȓȪɞȓǥɀɞǫɀǫDZȪȪDZȪɀǥLjȪȓʧǙʐȓɥȓʧLjɯDZȶDZȪ ǥɀɞɥɀǫDZȓȪɀɞɀ¤ɀɸɞǫ՟LʧLjȪȓDZ՝࣋े JɫʰȲʟɴɔɷȲˑȲȬʹʰȉȲʟȉɴʁɫʰʁʹʦȉʰʁɷȲɫɫȲ ʟɔˑɔʦʰȲɅʁʰʁɆʟȉεȦɏȲȬȲɫʰȲɴʜʁूȲɷȲɫɫȲ ȲʦʜʁʦɔˢɔʁɷɔȬȲɆɫɔȉɷɷɔो࣍ࣇȬȲɫɫोʁʰʰʁȦȲɷʰʁ ˑȲɷɔˑȉʹʰɔɫɔˢˢȉʰʁ̍ʹȲʦʰʁʰȲʟɴɔɷȲʜȲʟʜʟȲॼ sentare le loro opere, facendolo divenॼ tare una categoria descrittiva per i loro ɫȉˑʁʟɔȉɫʜʁʦʰʁȬȲɫʰȲʟɴɔɷȲআʜȉȲʦȉηɔʁইे JɫʰȲʟɴɔɷȲআˑȲȬʹʰȉইȲˑʁȦȉूɔɷʁɫʰʟȲूʹɷȉ ʜʟʁɅʁɷȬɔʰȚʦʜȲʰʰȉȦʁɫȉʟȲȦɏȲʦɔʟɔ̎ȚȉɫɫȲ ɫȲηɔȬȲɫɫȉʜʟʁʦʜȲʰʰɔˑȉूȲȉȬʹɷȉȦʁɷȦȲॼ ˢɔʁɷȲɔɷȦʹɔȦɔʍȦɏȲˑȲɷɔˑȉʟȉʜʜʟȲʦȲɷʰȉʰʁ ʦɔʜʟȲʦȲɷʰȉˑȉȉȦɏɔɆʹȉʟȬȉˑȉɫȉɅʁʰʁɆʟȉεȉ ʦȲɷˢȉɫȉɴȲȬɔȉˢɔʁɷȲȬɔʹɷȉʟʰɔʦʰȉूʦȲɷˢȉ ɷȲʦʦʹɷȉʰʟȉȦȦɔȉȬɔʦʁηȲʰʰɔˑɔʰȚूʰȉɷʰʁȬȉ ɫȉʦȦɔȉʟȲɫȉʜȉʰȲʟɷɔʰȚȬȲɫɫȲɅʁʰʁɆʟȉεȲȉɆɫɔ ȲȬɔʰʁʟɔʜɔʹʰʰʁʦʰʁȦɏȲȉɆɫɔআʁʜȲʟȉʰʁʟɔইू ʰȲʟɴɔɷȲȦʁɷȦʹɔˑȲɷɔˑȉɷʁȦɏɔȉɴȉʰɔɔɷ ̍ʹȲɆɫɔȉɷɷɔɔɅʁʰʁɆʟȉεे5 ^ȲˑȲȬʹʰȲɅʁʰʁɆʟȉεȦɏȲʁʰʰʁȦȲɷʰȲʦȦɏȲ vanno a sostituire i dipinti e le incisioni ȦɏȲूȬʹʟȉɷʰȲɔ=ʟȉɷ¢ʁʹʟʦȲʰʰȲȦȲɷʰȲʦȦɏɔू
ˑȲɷɔˑȉɷʁȉȦ̍ʹɔʦʰȉʰȲȬȉɔˑɔȉηɔȉʰʁʟɔʜȲʟ ʜʁʟʰȉʟȲȦʁɷɫʁʟʁȦʁɴȲʰȲʦʰɔɴʁɷɔȉɷˢȉ ȬȲɫˑɔȉηɔʁे*Ȭȿɔɷ̍ʹȲʦʰʁʜȲʟɔʁȬʁȦɏȲ nasce la আȦȉʟʰʁɫɔɷȉইूȉɫɫȉ̍ʹȉɫȲȲʟȉȉΪॼ dato il compito di rappresentare tutti ɆɫɔȉʦʜȲʰʰɔʜɔ˄ɔɷʰȲʟȲʦʦȉɷʰɔȲȥȲɫɫɔȬɔʹɷ ʜȉȲʦȉηɔʁूʦɔȉʹʟȥȉɷʁȦɏȲɷȉʰʹʟȉɫȲूʁȬȲɔ ɴʁɷʹɴȲɷʰɔʜɔ˄ɔɴʜʁʟʰȉɷʰɔȬȲɫɫȲȦɔʰʰȚे ÁȲɷɔˑȉ̍ʹɔɷȬɔʟȉʜʜʟȲʦȲɷʰȉʰȉʦʁɫʁȦɔʍ ȦɏȲʟȲɷȬȲˑȉɔɴɴȲȬɔȉʰȉɴȲɷʰȲʟɔȦʁɷʁॼ scibile un luogo, per cui “valesse la pena ɴȲʰʰȲʟʦɔɔɷˑɔȉηɔʁইे*ɷȲɫɫȉʦʰʁʟɔȉȬȲɫɫȉ ɅʁʰʁɆʟȉεȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉȲʜȉȲʦȉηɔʁू ɫȉȦȉʟʰʁɫɔɷȉɏȉȉˑʹʰʁʹɷʟʹʁɫʁɴʁɫʰʁ ɔɴʜʁʟʰȉɷʰȲे*ɴȥɫȲɴȉȬɔ̍ʹȲʦʰʁȦȉɴʜʁ ȿɫউʁʜȲʟȉʰʁȬȲɔɅʟȉʰȲɫɫɔɫɔɷȉʟɔ, Leopolॼ Ȭʁू=ɔʹʦȲʜʜȲȲʁɴʹȉɫȬʁूȦɏȲɷȲɫࣈ࣏࣌ࣉ ɅʁɷȬȉɷʁɔɷˑɔȉʁʟʰɔɷȉȉ<ɔʟȲɷˢȲɫȉʜɔ˄ ȉɷʰɔȦȉȉˢɔȲɷȬȉȬȲɫɴʁɷȬʁʁʜȲʟȉɷʰȲɷȲɫ ȦȉɴʜʁȬȲɫɫউɔɴɴȉɆɔɷȲɅʁʰʁɆʟȉεȦȉेɔɷ ȬȉɫɫউɔɷɔˢɔʁूɔɫɫʁʟʁȉɴȥɔˢɔʁʦʁʜʟʁɆȲʰʰʁ ȿ̍ʹȲɫɫʁȬɔȦȉʰȉɫʁɆȉʟȲȲɅʁʰʁɆʟȉɅȉʟȲɔɫ patrimonio artistico, in ogni settore, al εɷȲȬɔʦʁȬȬɔʦɅȉʟȲɫȉʟɔȦɏɔȲʦʰȉʦȲɴʜʟȲʜɔ˄ ȦʟȲʦȦȲɷʰȲȬɔ̍ʹȲʦʰȲɔɴɴȉɆɔɷɔʦɔȉȬȉʜȉʟॼ ʰȲȬȲɆɫɔʦʰʹȬɔʁʦɔȦɏȲȬȉʜȉʟʰȲȬȲɔʰʹʟɔʦʰɔ
Fig. 9: Fratelli Alinari, VIHYXE
HIPTSVXSERXIQYVEPIHM4EPIV-QSGSRMP1SRXI4IPPIKVMRS WYPPSWJSRHS, 1880-1890. ©
Archivi Alinari, Firenze Fig. 10: Gustave La Gray,
Brigantino, 1856. © Musée
d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt 4. Gernsheim, Helmut, Le
SVMKMRMHIPPEJSXSKVEƼE, Electa,
Milano, 1981, p. 151
5. Krauss Rosalind, Teoria e WXSVMEHIPPEJSXSKVEƼE1SR-dadori, Milano, 1996
ʦȲɴʜʟȲɔɷȦʁɷʰɔɷʹʁȉʹɴȲɷʰʁे6 ɫɫউɔɷॼ
ʰȲʟɷʁȬȲɫɫȉɫʁʟʁʜʟʁȬʹˢɔʁɷȲूˑȲɷɆʁɷʁ individuati dei criteri tipici, tanto da far parlare di ՜ʐDZǫɸʧLjȪȓȶLjɞȓ՝२εɆे࣏ॼ࣐३ुȉʦॼ sialità, centralità, punto di vista elevato, ɫউɔʦʁɫȉɴȲɷʰʁȬȲɫɫউȲȬɔεȦɔʁȬȉɫȦʁɷʰȲʦʰʁू ɫʹȦȲʦȲɷˢȉɅʁʟʰɔȦʁɷʰʟȉʦʰɔे7
Jɷɔˢɔȉू̍ʹɔɷȬɔूɔɫɆʟȉɷȬȲʜȲʟɔʁȬʁȬȲɔ ȦȉʰȉɫʁɆɏɔȲȬȲɫɫȲȦȉɴʜȉɆɷȲɅʁʰʁɆʟȉεȦɏȲे assegnando al fotografo il ruolo sociale ȬɔˑɔȉηɔȉʟȲूʁʦʦȲʟˑȉʟȲȲȦʁɴʜʁʟʟȲूȉʰʰʟȉॼ verso il proprio sguardo, il patrimonio del Paese, raccogliere e repertoriare moॼ ɷʹɴȲɷʰɔूˑɔȲूʜɔȉˢˢȲूʜȉȲʦȉηɔɷȉʰʹʟȉɫɔȲ ʹʟȥȉɷɔे8 =ɫɔɫɔɷȉʟɔूɔɷʁɆɷɔȦȉʦʁूʦʁɷʁʦʁɫʁ ɫोȲɴȥɫȲɴȉȬɔʹɷȉȦʁʟʟȲɷʰȲȲȬɔʹɷȉ ɆȲɷȲʟȉˢɔʁɷȲȬɔɅʁʰʁɆʟȉεȦɏȲूɆʟȉˢɔȲȉɫɫȉ ʰȲȦɷɔȦȉȬȲɫɫȉˑȲȬʹʰȉूȉΦʟʁɷʰȉɷʁɔɫʰȲɴȉ ȬȲɫɫউȉʟȦɏɔʰȲʰʰʹʟȉȲȬȲɫʜȉȲʦȉηɔʁेgʁɫʰʁ ʦʜȲʦʦʁूɔɷʁɫʰʟȲूʦʁɷʁȉɷȦɏȲɔɅʁʰʁɆʟȉε ʦʰʟȉɷɔȲʟɔȦɏȲȦʁɴʜɔʁɷʁʹɷআɷʹʁˑʁ=ʟȉɷ ¢ʁʹʟইूȬȲɔˑȲʟɔȲʜʟʁʜʟɔʁˑɔȉηɔॼȦȉɴʜȉॼ ɆɷȲɅʁʰʁɆʟȉεȦɏȲȉɫɫউɔɷʰȲʟɷʁȬȲɫʰȲʟʟɔʰʁʟɔʁ ɔʰȉɫɔȉɷʁे=ʹʦʰȉˑȲ^Ȳ=ʟȉ˘२ࣈ࣏ࣉࣇॼࣈ࣏࣏ࣉ३ २εɆेࣈࣇ३ूȉȬȲʦȲɴʜɔʁूʹɷʁȬȲɔɅʁɷȬȉʰʁॼ ʟɔȬȲɫɫȉʁȦɔȳʰȳɏȳɫɔʁɆʟȉʜɏɔ̍ʹȲȲȬȲɫɫȉ ʁȦɔȳʰȳɅʟȉɷȦȉɔʦȲȬȲʜɏʁʰʁɆʟȉʜɏɔȲूɷȲɫ ࣈ࣏࣍ࣇʦɔʰʟʁˑȉˑȉȉȉɫȲʟɴʁȉɫʜȉʦʦȉηɔʁ ȬȲɔgɔɫɫȲȲȬʁȦʹɴȲɷʰʍɫȉȬȲˑȉʦʰȉˢɔʁɷȲ ȦȉʹʦȉʰȉȬȉɫɫȲɔɷʦʹʟʟȲˢɔʁɷɔʜʁʜʁɫȉʟɔे Si potrebber però parlare di numerosi ˑɔȉηɔȉʰʁʟɔȲɅʁʰʁɆʟȉεूȦʁɴȲRobert RiveूʁʟɔɆɔɷȉʟɔʁȬɔʟȉʰɔʦɫȉˑȉȲȦɏȲɷȲɫ ࣈ࣏࣌ࣇʦɔʰʟȉʦɅȲʟɔʦȦȲȉjȉʜʁɫɔ२εɆेࣈࣈ३Ȳ ȉʜʟȲʹɷȉʰȲɫɔȲʟɅʁʰʁɆʟȉεȦʁूȬɔ=ȲʁʟɆ SommerूʁʟɔɆɔɷȉʟɔʁȬɔ<ʟȉɷȦʁɅʁʟʰȲȦɏȲ ȉʜʟȲȉɷȦɏȲʹɷȉʦʹȦȦʹʟʦȉɫȲȉȉɫȲʟɴʁȬȲɫ tuo studio, di =ɔȉȦʁɴʁʟʁɆɔ, a cui si ȬȲˑȲɫȉɅȉɴʁʦȉɅʁʰʁɆʟȉεȉȬɔ¢ʁʟɔɷʁȬȲɫ ࣈ࣏࣎࣌ȦʁɷɫȉgʁɫȲɷʰʁɷȲɫɫɔȉɷȉɔɷȦʁʦʰʟʹॼ ˢɔʁɷȲ२εɆेࣈࣉ३ूʁȬɔTimothy O’Sullivan, spostandoci nel continente americano, ȦʁɷɔʦʹʁɔʜȉȲʦȉηɔȲɫȲȉʟȦɏɔʰȲʰʰʹʟȲ ɔɷȬʹʦʰʟɔȉɫɔूȉɷʰɔȦɔʜȉɷȬʁɫोʁʜȲʟȉȬɔɆʟȉɷȬɔ ɅʁʰʁɆʟȉεȦʁɷʰȲɴʜʁʟȉɷȲɔȦʁɴȲɔȦʁɷɔʹɆɔ ȲȦɦȲʟʁ=ȉȥʟɔȲɫȲȉʦɔɫɔȦʁ२εɆेࣈ࣊३े Jɷ̍ʹȲʦʰʁȦʁɷʰȲʦʰʁूʦɔɔɷʦȲʟɔʦȦȲȉɷȦɏȲ ɫोɔɴʜʁʟʰȉɷʰȲɫȉˑʁʟʁȬɔȬʁȦʹɴȲɷʰȉˢɔʁॼ ɷȲɅʁʰʁɆʟȉεȦȉȲΦȲʰʰʹȉʰʁȉʜȉʟʰɔʟȲȬȉɫ ࣈ࣏࣐࣋ȬȉɫTouring Club Italiano, le cui ɅɔɷȉɫɔʰȚʜɔ˄ɔɴʜʁʟʰȉɷʰȲȲʟȉɫȉʜʟʁɴʁˢɔʁॼ ɷȲʰʹʟɔʦʰɔȦȉूȉʰʰʟȉˑȲʟʦʁɫȉʜʹȥȥɫɔȦȉˢɔʁɷȲ di una rivista periodica, ԯ`DZÃȓDZǫLɯLjȪȓLjԯ, ʜʹȥȥɫɔȦȉʰȉȬȉɫࣈ࣐ࣈ࣎ȉɫࣈ࣐࣏࣍ूȲȬȉʹɷȉ ʦȲʟɔȲȬɔˑȲʟȲȲʜʟʁʜʟɔȲɆʹɔȬȲʰʹʟɔʦʰɔȦɏȲ
Fig. 11: Robert Rive, Rovine
HIP4EPE^^SHM(SRRE%RREE 4VSWMPPMTS, Napoli, 1860-1870
Fig. 12: Giacomo Brogi,
8SVMRSTERSVEQETVIWSHEP 1SRXIHIM'ETTYGGMRM, 1880
circa
6. Zannier, Italo, Storia e
tec-RMGEHIPPEJSXSKVEƼE, Editori
Laterza, Bari, 1993, p.127 7. Fanelli, Giovanni, Storia
HIPPEJSXSKVEƼEHMEVGLMXIXXY-ra, Laterza, Bari, 2009, p. 257
8. Curzel, Vittorio,
Fotogra-ƼEXIVVMXSVMSTEIWEKKMS IPIQIRXMTIVYREWXVEXIKME HIPPEQIQSVMEIHIPTVSKIXXS,
Provincia Autonomia di Trento, 2015, p. 26
13 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO
Fig. 13: Timothy O’Sullivan,
GSYPHERH'YVV]1MPPMR:MVKM-RME'MX], 1868. © Library of
Congress, Washington
ȦɏȲȉˑȲˑȉɷʁʜȲʟʰȲɴȉɫȲʟȲɆɔʁɷɔɔʰȉɫɔȉɷȲू le città o dei temi trasversali dedicate ȉɫɫȲʰɔʜʁɫʁɆɔȲȬɔɴʁɷʹɴȲɷʰɔे
La veduta ottocentesca assume una imॼ ʜʁʟʰȉɷˢȉȉɷȦʁʟȉʜɔ˄ɆʟȉɷȬȲʦȲʦɔȦʁɷʦɔॼ ȬȲʟȉɔɫɆʟȉɷȬȲɫȉˑʁʟʁȦɏȲ̍ʹȲʦʰɔɅʁʰʁɆʟȉε ɏȉɷɷʁʦˑʁɫʰʁɷȲɫɫউȉɴȥɔʰʁȬȲɫɫȉȦȉʰȉॼ ɫʁɆȉˢɔʁɷȲȲȬȲɫɫȉȬʁȦʹɴȲɷʰȉˢɔʁɷȲȬȲɫ ʜȉʰʟɔɴʁɷɔʁूȦɏȲȲʦʦʁʦɔȉȬɔʰɔʜʁȉʟȦɏɔॼ ʰȲʰʰʁɷɔȦʁॼɴʁɷʹɴȲɷʰȉɫȲʁʜȉȲʦȉηɔʦʰɔȦʁे ĎʹɔɷȬɔूʦȲȬȉʹɷɫȉʰʁ̍ʹȲʦʰɔɅʁʰʁɆʟȉε sono spinti da un animo “pittorico”, ̍ʹȉʦɔʟʁɴȉɷʰɔȦʁूȬȉɫɫউȉɫʰʟʁʦʁɷʁʦʜɔɷʰɔ Ȭȉ̍ʹȲɫɫʁȦɏȲȿȦʁɷʦɔȬȲʟȉʰʁɫȉʦȲȦʁɷȬȉ ȉɷɔɴȉʰʟȉȬɔˢɔʁɷȉɫȲȬȲɫɫȉɅʁʰʁɆʟȉεȉȬɔ ȉʟȦɏɔʰȲʰʰʹʟȉȲʜȉȲʦȉηɔʁȦɏȲȿ̍ʹȲɫɫȉ আȬʁȦʹɴȲɷʰȉʟɔȉইे
ɔɷȬȉɫɫȲʦʹȲʁʟɔɆɔɷɔूɫȉɅʁʰʁɆʟȉεȉȉʦʦʹɴȲ ʹɷʟʹʁɫʁȬɔʟɔɫȲˑȉɷˢȉʦʰʟȉʁʟȬɔɷȉʟɔȉʜȲʟɫȉ ȬʁȦʹɴȲɷʰȉˢɔʁɷȲूʦˑɔɫʹʜʜȉɷȬʁʦɔɆʟȉˢɔȲȉ ȦȉɴʜȉɆɷȲȬɔȦʁɴɴɔʰʰȲɷˢȉʜʹȥȥɫɔȦȉȲȬȉ ʜʟʁɆȲʰʰɔȬɔɔɷɔˢɔȉʰɔˑȉʜʟɔˑȉʰȉेɔȦʁɴɔɷॼ ȦɔȉɷʁȉȬʁȦʹɴȲɷʰȉʟȲȉʟȦɏɔʰȲʰʰʹʟȲूȦɔʰʰȚ ȲʜȉȲʦȉηɔूʦɔɅȉɷɷʁɔɷˑȲɷʰȉʟɔȬɔȥȲɷɔ culturali, si testimoniano i processi di ʟȲȉɫɔˢˢȉˢɔʁɷȲȬɔʁʜȲʟȲʜʹȥȥɫɔȦɏȲूȉˑȲɷʰɔ ȦʁɴȲεɷȲȉɷȦɏȲɫȉȬɔΦʹʦɔʁɷȲȬȲɫɫȲȦʁɷʁॼ ʦȦȲɷˢȲɔɷȬɔˑȲʟʦɔȉɴȥɔʰɔȬɔʦȦɔʜɫɔɷȉʟɔे9 JɷʹɷȉɫȲʰʰȲʟȉɔɷȬɔʟɔˢˢȉʰȉȉɫɫউȉʟȦɏȲʁɫʁɆʁ ɏȉʟɫȲʦ<Ȳɫɫʁ˒ʦࣞࣇूɷȲɫࣈ࣏࣋࣊ू¢ȉɫȥʁʰʜȉʟɫȉ ȬɔȦʁɴȲɷȲʦʦʹɷɴȲˢˢʁूʁɫʰʟȲɫȉɅʁʰʁॼ ɆʟȉεȉूʜʁʦʦȉʟȉʜʜʟȲʦȲɷʰȉʟȲɴȲɆɫɔʁɆɫɔ ʁηȲʰʰɔȬɔʟɔȦȲʟȦȉɔɷȦȉɴʜʁȉʟȦɏȲʁɫʁɆɔȦʁू
1.3
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ȉΦȲʟɴȉɷȬʁȦɏȲ՜ɥLjɞDZǤǤDZȳɀȪɯɀȓȶɯDZɞDZɥɥLjȶɯDZ ɞȓɛɞDZȶǫDZɞDZɸȶLjʐDZǫɸʧLjǫȓɀȅȶȓɞDZɥɯɀɛɞȓȳLjǫȓ ɞȓȳɸɀʐDZɞȪɀDZȳDZȶɯɞDZǾLjȶǥɀɞLjȓȶɥȓɯɀ՝ेȉʦʰɔ ʜȲɷʦȉʟȲȦɏȲÂɔɷȦɦȲɫɴȉɷɷʁȦɏɔɷɦȲɫ ɷʁɷȉˑȲˑȉɷʁɴȉɔˑɔʦʰʁȬɔʜʟȲʦȲɷˢȉɫȉ =ʟȲȦɔȉȲɅʹɆʟȉˢɔȲȉɫɫȉɅʁʰʁɆʟȉεȉȦɏȲʦɔ aprirono nuove possibilità per la conoॼ ʦȦȲɷˢȉȬȲɫɫȲȉɷʰɔȦɏȲȦɔˑɔɫʰȚɫʁɷʰȉɷȲे Sono gli anni in cui Maxime Du Camp २ࣈ࣏ࣉࣉॼࣈ࣏࣐࣋३ूɆʟȉˢɔȲȉȬʹɷȉȦȉɴʜȉɆɷȉ ȉʟȦɏȲʁɫʁɆɔȦȉɅʁʰʁɆʟȉεȦȉʦʁˑˑȲɷˢɔʁɷȉʰȉ ȬȉɫgɔɷɔʦʰȿʟȲȬȲɫউɔɷʦʰʟʹȦʰɔʁɷʜʹȥɫɔ̍ʹȲू ʜʹȥȥɫɔȦȉɫউʁʜȲʟȉ*̾ɛɯDZԧlɸǤȓDZԧLjȪDZɥɯȓȶDZ DZɯʗɞȓDZԧǫDZɥɥȓȶɛȎɀɯɀȅɞLjɛȎȓɝɸDZɥɞDZǥɸDZȓȪȪȓɥ ɛDZȶǫLjȶɯȪDZɥLjȶȶDZɥһӂҾӃԧһӂҿҺ et һӂҿһ २εɆे ࣈ࣋ॼࣈ࣌३ूʹɷȉʟȉȦȦʁɫʰȉȬɔɅʁʰʁɆʟȉεȲȬɔɅʁʟॼFig. 14: Maxime Du Camp, Gerusalemme, Palestina, 1852
9. Fanelli, Giovanni, Storia
HIPPEJSXSKVEƼEHMEVGLMXIXXY-ra, Laterza, Bari, 2009, p. 59
10. Direttore delle campagne archeologiche in Licia per conto del British Museum
15 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO
ɴȉʰʁࣈ࣍˗ࣉࣇूȦʁɷɔɷ̍ʹȉȬʟȉʰʹʟȲʜʟȲˑȉɫȲɷॼ ʰȲɴȲɷʰȲɅʟʁɷʰȉɫɔे$ʹȉɴʜʟȉʟȉɴȲɷʰȲ fotografava i dettagli, come fece, ad esempio, Auguste Salzmann२ࣈ࣏ࣉ࣋ॼ ࣈ࣏࣎ࣉ३ूɔɫ̍ʹȉɫȲȦʁɴʜɝʹɷȉȦȉɴʜȉɆɷȉ ɔɷ*ɆɔʰʰʁूɔʟɔȉȲȉɫȲʦʰɔɷȉूεɷȉɷˢɔȉʰȉ ȉɷȦɏউȲʦʦȉȬȉɫgɔɷɔʦʰȿʟȲȬȲɫউɔɷʦʰʟʹȦʰɔʁɷ ʜʹȥɫɔ̍ʹȲ२εɆेࣈ࣍३ेjȲɫɫȲɔʦʰʟʹˢɔʁɷɔȬȲɫɫȉ ȦȉɴʜȉɆɷȉɔɴʜȉʟʰɔʰȲȬȉɫɫȉȦȉȬȳɴɔȲȬȲʦ ɔɷʦȦʟɔʜʰɔʁɷʦȲʰȥȲɫɫȲʦॼɫȲʰʰʟȲʦूʦɔȦʟɔʰɔȦȉɷʁ ɫȲʜʟȲȦȲȬȲɷʰɔȦȉɴʜȉɆɷȲɔɷ̍ʹȉɷʰʁɷʁɷ ȉˑȲˑȉɷʁʟȲʦʰɔʰʹɔʰʁɔʟɔʦʹɫʰȉʰɔȉʰʰȲʦɔेࣈࣈ ʁɷʰȲɴʜʁʟȉɷȲȉɴȲɷʰȲȉɫɫȲȦȉɴʜȉɆɷȲ ȬɔʰɔʜʁȉʟȦɏȲʁɫʁɆɔȦʁूˑȉʟɔʁʟɆȉɷɔʦɴɔȲȬ ȲɷʰɔʜʹȥȥɫɔȦɔूʦɔȉɔɷ*ʹʟʁʜȉȦɏȲɷȲɫjʁʟȬ ɴȲʟɔȦȉूɏȉɷɷʁȦʁɴɔɷȦɔȉʰʁȉȦʁɴɴɔʦॼ ʦɔʁɷȉʟȲɫȉʟȲȉɫɔˢˢȉˢɔʁɷȲȬɔȦȉɴʜȉɆɷȲ ɅʁʰʁɆʟȉεȦɏȲȦʁɷɆɫɔʁȥɔȲʰʰɔˑɔȬɔɔɷȬȉɆȉʟȲ e documentare il territorio, ma ponendo ȉɫȦȲɷʰʟʁȬȲɫȬɔȥȉʰʰɔʰʁ̍ʹȲɫɫʁȦɏȲȬʁˑȲˑȉ ȲʦʦȲʟȲɔɫʟʹʁɫʁʦʁȦɔȉɫȲȬȲɫɫȉɅʁʰʁɆʟȉεȉȲ ɫȉʟɔʦʁɫʹˢɔʁɷȲȬȲɫɫȉȦʁɷʰʟȉʜʜʁʦɔˢɔʁɷȲʰʟȉ আɅʁʰʁɆʟȉεȉȬউȉʟʰȲইȲআȬʁȦʹɴȲɷʰʁɅʁʰʁɆʟȉॼ εȦʁইे
La prima importante campagna fotograॼ εȉȬɔȦʁɴɴɔʰʰȲɷˢȉʜʹȥȥɫɔȦȉɅʹ̍ʹȲɫɫȉ commissionata in Francia nell’estate ȬȲɫࣈ࣏࣍ࣈȬȉɫɫȉʁɴɴɔʦʦɔʁɷȬȲʦgʁɷʹॼ ɴȲɷʰʦɏɔʦʰʁʟɔ̍ʹȲʦूȦɏȲɔɷȦȉʟɔȦȉȉȦɔɷ̍ʹȲ ɅʁʰʁɆʟȉεɫȉȬʁȦʹɴȲɷʰȉˢɔʁɷȲȬɔȉɫȦʹɷɔ ɴʁɷʹɴȲɷʰɔȲȬȲȬɔεȦɔȬȉʟȲʦʰȉʹʟȉʟȲȲ
Fig. 15: Maxime Du Camp, Tomba di Cidi, Egitto, 1850 11. 1ʣQSMVIWHIPƅ%GEHʣQMI
HIWMRWGVMTXMSRWƏXʢVI TEVXMI, seduta del 2 dicembre
1853, pp. 94-95; cit. in Fanelli, Giovanni, 7XSVMEHIPPE
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Fig. 16: Auguste Salzmann, Fontana Araba, Gerusalem-me, 1856. © The J. Paul Get-ty Trust. All rights reserved.
17 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO
ȦɏȲʜȲʟɴȲʰʰȲɫȉʜʟʁȬʹˢɔʁɷȲȬɔɅʁʰʁɆʟȉεȲ ɔɷʜɔ˄ȬɔȦȲɷʰʁˑȲɷʰɔɫʁȦȉɫɔʰȚɔɷ̍ʹȉʟȉɷॼ ʰȉʦȲʰʰȲȬɔʜȉʟʰɔɴȲɷʰɔɅʟȉɷȦȲʦɔेĎʹȲʦʰȉू ȬȲεɷɔʰȉȦʁɴȲgɔʦʦɔʁɷɏȲɫɔʁɆʟȉʜɏɔ̍ʹȲ, apre ad una stagione ricca di campagne ɔɷʰʹʰʰȉ*ʹʟʁʜȉȲɷȲɫɷʁʟȬɴȲʟɔȦȉुȬȉɫॼ ɫȲʦʜȲȬɔˢɔʁɷɔɅʁʰʁɆʟȉεȦɏȲɔɷʟɔɴȲȉȬȉ ʜȉʟʰȲȬȲɫɫȉ=ʟȉɷʟȲʰȉɆɷȉɷȲɫࣈ࣏࣌࣌ȉɫɫȲ ȦȉɴʜȉɆɷȲɅʁʰʁɆʟȉεȦɏȲɷȲɔʰȲʟʟɔʰʁʟɔȬȲɫ West americanoʰʟȉɔɫࣈ࣏࣍ࣇȲɔɫࣈ࣏࣐࣎े ^উJʰȉɫɔȉूʜȲʟʍूɷʁɷȦʁɴʜʟȲɷȬȲȬȉʦʹȥɔʰʁ ɫউɔɴʜʁʟʰȉɷˢȉȬȲɫɫȉȬʁȦʹɴȲɷʰȉˢɔʁɷȲɅʁʰʁॼ ɆʟȉεȦȉȲȬȲɫɫȲȦȉɴʜȉɆɷȲूɅȉˑʁʟȲɷȬʁʜȲʟʍ ɔɫʟȉʜʜʁʟʰʁʰʟȉɅʁʰʁɆʟȉεȉȲʰʹʟɔʦɴʁूʰʟȉ ɅʁʰʁɆʟȉεȉȲȉʟȦɏȲʁɫʁɆɔȉूȦʁɴȲȬɔɴʁʦʰʟȉॼ to dalla nascita di numerosi stabilimenti ɅʁʰʁɆʟȉεȦɔȦʁɴɴȲʟȦɔȉɫɔे*ɴȥɫȲɴȉʰɔȦʁ Ȭɔ̍ʹȲʦʰʁɷʁʰȲˑʁɫȲʟɔʰȉʟȬʁȿɔɫȦȉʦʁȬɔ
Alessandro CominiूȦɏȲȦɏɔȲʦȲɔɷˑȉॼ
ɷʁȉɫɆʁˑȲʟɷʁɔʰȉɫɔȉɷʁू̍ʹȉʟȉɷʰউȉɷɷɔ ȬʁʜʁɫȲȦȉɴʜȉɆɷȲɔɷɆɫȲʦɔɔɷʟɔɴȲȉू aiuto economico per documentare le ȦȉɴʜȉɆɷȲȉɅʟɔȦȉɷȲेʁɴɔɷɔȲʦȲɆʹɝɫȉ ȬʁȦʹɴȲɷʰȉˢɔʁɷȲȉʦʹȲʦʜȲʦȲूȲʦʜʁɷȲɷȬʁ ȦʁɷʦʹȦȦȲʦʦʁɫȲɅʁʰʁɆʟȉεȲȲʟɔʰʟȲȲʜʟɔɴȉ ɷȲɫɫউ*ʦʜʁʦɔˢɔʁɷȲʁɫʁɷɔȉɫȲȬȲɫࣈ࣐ࣇ࣍ȉ gɔɫȉɷʁूʜʁɔɔɷ̍ʹȲɫɫȉȬȲɫɔɷ̍ʹȉɷʰȲɷȉʟɔȉ ȬȲɫɫউ©ɷɔʰȚȬউJʰȉɫɔȉȉ¢ʁʟɔɷʁɷȲɫࣈ࣐ࣈࣈे JɴʜʁʟʰȉɷʰȲɅʹɔɷˑȲȦȲɫউȉʜʜʁʟʰʁȬɔÁɔʰॼ ʰʁʟɔʁȲȬ*ʟɴɔɷɔʁȲɫɫȉूεɆɫɔȬɔ=ɔʹʦȲʜʜȲ ÁȲɷȉɷˢɔʁȲɫɫȉ२ࣈ࣏ࣉ࣊ॼࣈ࣏࣎࣍३ूȉʹʰʁʟȲȬȲɫ ʜʟɔɴʁʰʟȉʰʰȉʰʁȬɔɅʁʰʁɆʟȉεȉʜʹȥȥɫɔȦȉʰʁ ɔɷJʰȉɫɔȉूɔɫȪȓǥɀǫDZȪȄɀɯɀȅɞLjȄɀԧɀʐʐDZɞɀȪ՟LjɞɯDZ ɛɞLjɯȓǥLjDZɯDZɀɞȓǥLjǫȓǫȓɥDZȅȶLjɞDZɸɀȳȓȶȓDZǥɀɥDZ ɥɸʐDZɯɞɀԧǥLjɞʧLjԧȳDZʧLjȪȪɀԧDZǥǥԬǥɀȪȳDZʡʡɀǫDZȪȪLj ȪɸǥDZूɷȲɫࣈ࣏࣌࣍ेVittorio Sella२ࣈ࣏࣐࣌ॼࣈ࣐࣋࣊३ coniuga all’interno del suo lavoro la foॼ ʰʁɆʟȉεȉȦʁɷɫȉʜȉʦʦɔʁɷȲʜȲʟɫȉɴʁɷʰȉɆɷȉू tanto da essere considerato uno dei pioॼ ɷɔȲʟɔȬȲɫɫȉɅʁʰʁɆʟȉεȉȬɔȉɫʰȉɴʁɷʰȉɆɷȉे *ɆɫɔʟȲȉɫɔˢˢȉɔɴʜʁʟʰȉɷʰɔȦȉɴʜȉɆɷȲȦɏȲ documentano entrambi i versanti delle ɫʜɔूȦʁɴʜɔȲˑɔȉηɔȉʜȲʟɔʁȬɔȦɔʦʹɫɫȉȦɔɴȉ ȬȲɫɫউ*ʰɷȉूȦʁɴʜɔȲˑɔȉηɔȉȲ˗ʰʟȉȲʹʟʁʜȲɔू ȦʁɴȲɷȲɫȉʹȦȉʦʁूȉȦȦʁɴʜȉɆɷȉɷȬʁ ʦʜȲʦʦʁɫউȲʦʜɫʁʟȉˢɔʁɷȲȬɔɆʟȉɷȬɔȉɫʜɔɷɔʦʰɔू ȉȦʹɔʦɔȉηɔʹɷɆʁɷʁɴʁɫʰȲɔɴɴȉɆɔɷɔȬɔ ˑɔʰȉɅȉɴɔɆɫɔȉʟȲȬɔˑɔȉηɔȲΦȲʰʰʹȉʰɔɔɷ ȉʟȬȲɆɷȉȲɔɷgȉʟʁȦȦʁे^ȲʦʹȲɔɴɴȉɆɔॼ ni, in ogni caso, vanno oltre la semplice ȬʁȦʹɴȲɷʰȉˢɔʁɷȲूɫȉʦȦɔȉɷȬʁʦʜȉˢɔʁȉɫɫȲ ɔɷζʹȲɷˢȲʟʁɴȉɷʰɔȦɏȲȲȉɫɫȉʜʁȲʰɔȦȉȬȲɫ ʦɔɫȲɷˢɔʁȬȲɫɫȉɴʁɷʰȉɆɷȉेÁɔʰʰʁʟɔʁȿʦʜȲʦॼ so accompagnato dal fratello *ʟɴɔɷɔʁ
Sella२ࣈ࣏࣍࣌ॼࣈ࣐࣏࣋३ूȦɏȲʜȲʟʍɔɷʰʟȉʜʟȲɷȬȲ ȉɷȦɏȲʹɷȉʦȲʟɔȲȬɔˑɔȉηɔɔɷɫȉʦɦȉूɷȲɫɫȲ ȦʁʦʰȲʁʟɔȲɷʰȉɫɔȬȲɫɔ©ूʟȉηɔʹɷɆȲɷȬʁ ɫউsʟȲɆʁɷȲɫȉȉɫɔɅʁʟɷɔȉेɔʦʜɔɷɆȲȉɷȦɏȲ ɔɷʦʹȬɴȲʟɔȦȉॹʁɫʁɴȥɔȉूÁȲɷȲˢʹȲɫȉ ॹȲȬʁȦʹɴȲɷʰȉɔɫȉˑʁʟɔȬɔȦʁʦʰʟʹˢɔʁɷȲȬȲɫ ȦȉɷȉɫȲȬɔȉɷȉɴȉे
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Francia, 1851
^ȉʜʟɔɴȉȦȉɴʜȉɆɷȉɅʁʰʁɆʟȉεȦȉȬɔȦʁɴɴɔʰʰȲɷˢȉʜʹȥȥɫɔȦȉɷȲɫȦʁɷʰɔॼ ɷȲɷʰȲȲʹʟʁʜȲʁȲȥȥȲɫʹʁɆʁʰʟȉɫʹɆɫɔʁȲʦȲʰʰȲɴȥʟȲȬȲɫࢾࣅࣂࢾɔɷ<ʟȉɷȦɔȉे ^উȬɴɔɷɔʦʰʟȉʰɔʁɷȬȲȲȉʹ˗ʟʰʦॹʁɴɴɔʦʦɔʁɷȬȲʦgʁɷʹɴȲɷʰʦ Eɔʦʰʁʟɔ̍ʹȲʦूɅʁɷȬȉʰȉ̍ʹɔɷȬɔȦɔȉɷɷɔʜʟɔɴȉȦɔʟȦȉȬȉɫɫউȉɫɫʁʟȉɔʦʜȲʰʰʁʟȲ ɆȲɷȲʟȉɫȲȬȲɔɴʁɷʹɴȲɷʰɔʦʰʁʟɔȦɔʟʁʦʜȲʟgȳʟɔɴȳȲूɔɷȦȉʟɔȦʍȦɔɷॼ ̍ʹȲɅʁʰʁɆʟȉεʦȦȲɫʰɔȬɔȦʁɴʜɔȲʟȲʹɷȉȦȉɴʜȉɆɷȉɅʁʰʁɆʟȉεȦȉूȬȉɷȬʁ ʜʟȲȦɔʦȲɔʦʰʟʹˢɔʁɷɔʦʹɫɫউɔʰɔɷȲʟȉʟɔʁȬȉʦȲɆʹɔʟȲȲʦʹɆɫɔȲȬɔεȦɔȬȉɅʁʰʁɆʟȉॼ fare, lasciando però a ognuno di loro la scelta delle modalità e delle ʰȲȦɷɔȦɏȲʜȲʟȲʦȲɆʹɔʟȲɔɫɫȉˑʁʟʁे ^উʁȥɔȲʰʰɔˑʁɅʹ̍ʹȲɫɫʁȬɔɅʁʟɷɔʟȲʹɷʁʦʰʟʹɴȲɷʰʁȬɔʦʹʜʜʁʟʰʁʜɔ˄ȉȦȦʹॼ ʟȉʰʁȲʜʟȲȦɔʦʁʟɔʦʜȲʰʰʁȉɔȬɔʦȲɆɷɔȉʟȦɏɔʰȲʰʰʁɷɔȦɔʜȲʟɫউɔɷȬɔˑɔȬʹȉˢɔʁɷȲ ȬȲɔɴʁɷʹɴȲɷʰɔȦɏȲूȉȦȉʹʦȉȬȲɔȬȉɷɷȲηɔȉɴȲɷʰɔȉʟʟȲȦȉʰɔȬȉɫʰȲɴʜʁ ʁȬȉɔʜȲʟɔʁȬɔʟɔˑʁɫʹˢɔʁɷȉʟɔूɷȲȦȲʦʦɔʰȉˑȉɷʁɔɷɴȉɷɔȲʟȉʜɔ˄ʹʟɆȲɷʰȲȬɔ ɔɷʰȲʟˑȲɷʰɔȬɔʟȲʦʰȉʹʟʁेjʁɷʁʦʰȉɷʰȲɫউʁȥɔȲʰʰɔˑʁɅʁʦʦȲɫȉʦȉɫˑȉɆʹȉʟȬɔȉ ȬȲɫʜȉʰʟɔɴʁɷɔʁȉʟȦɏɔʰȲʰʰʁɷɔȦʁȲɴʁɷʹɴȲɷʰȉɫȲूʦʁɷʁʜʟȲʦȲɷʰɔȉɷȦɏȲ ɴʁɫʰȲɔɴɴȉɆɔɷɔȬɔʜȉɷʁʟȉɴɔȲˑȲȬʹʰȲȬɔȦɔʰʰȚे ^উȉʰʰʁȦɏȲȬɔȲȬȲȉˑˑɔʁȉɫɫȲȦȉɴʜȉɆɷȲɅʹȉɷɷʹɷȦɔȉʰʁɷȲɫɫȲʜȉɆɔɷȲȬɔ ^ȉ^ʹɴɔȿʟȲूɔɫɴȲˢˢʁȬɔȦʁɴʹɷɔȦȉˢɔʁɷȲʹΪȦɔȉɫȲȬȲɫɫȉȬȲɫɫȉʁȦɔȳʰȳ EȳɫɔʁɆʟȉʜɏɔ̍ʹȲूɷȲɫɷʹɴȲʟʁȬȲɫࣉ࣐ɆɔʹɆɷʁȬȲɫࣈ࣏࣌ࣈूʜʹȥȥɫɔȦȉɷȬʁ ȉɷȦɏȲɆɫɔɔʰɔɷȲʟȉʟɔȦɏȲɔȦɔɷ̍ʹȲɅʁʰʁɆʟȉεȉˑʟȲȥȥȲʟʁȦʁɴʜɔʹʰʁु ॼÉdouard BaldusɅʹɔɷˑɔȉʰʁȉʦʹȬȲʦʰʜȲʟɅʁʰʁɆʟȉɅȉʟȲɔɫȉɫȉˢˢʁ Ȭɔ<ʁɷʰȉɔɷȲȥɫȲȉʹूɫȲȦɏɔȲʦȲɴȲȬɔȲˑȉɫɔȬɔ^ɔʁɷȲȲȬɔȉɫʰʟȲȦɔʰʰȚ ȬȲɫɫȉˑȉɫɫȲȬȲɫʁȉɷʁȲɔɴʁɷʹɴȲɷʰɔʟʁɴȉɷɔȬȲɫɫȉʟʁˑȲɷˢȉू ʰʟȉȦʹɔɔɫʁɷʰȬʹ=ȉʟȬूɫউȉʟȦʁʰʟɔʁɷɅȉɫȲȬɔsʟȉɷɆȲूɫȉgȉɔʦʁɷ ȉʟʟȳȲȉjɔɴȲʦȲɫউȉɷεʰȲȉʰʟʁȬɔʟɫȲʦ२εɆेࣈ࣎३ौ ॼ=ʹʦʰȉˑȲ^Ȳ=ʟȉ˘ɫȉˑʁʟʍɷȲɫʦʹȬॼʁˑȲʦʰूɷȲɔɅȉɴʁʦɔȦȉʦʰȲɫɫɔȬȲɫɫȉ ÁȉɫɫȉȬȲɫɫȉ^ʁɔʟȉ२ȦʁɴȲɫʁɔʦूɏȉɴȥʁʟȬूɴȥʁɔʦȲȲɏȲॼ ɷʁɷȦȲȉʹ˗३ूɷȲɫɫȲȦɏɔȲʦȲʟʁɴȉɷɔȦɏȲɷȲɫɫȲʜɔȦȦʁɫȲȦɔʰʰȚɫʹɷɆʁɔ ʜȲʟȦʁʟʦɔȬɔʜȲɫɫȲɆʟɔɷȉηɔʁˑȲʟʦʁȉɷʰɔȉɆʁȬȲʁɴʜʁʦʰȲɫȉूȲɔɷ ʁʟɆʁɆɷȉ२εɆेࣈ࣏३ौ ॼAuguste MestralɅʁʰʁɆʟȉ̎ʍɫȉȦɔʰʰȚɅʁʟʰɔεȦȉʰȉɔȉʟȦȉʦʦʁɷɷȲ २ɷʁɷȉɷȦʁʟȉʟȲʦʰȉʹʟȉʰȉȬȉÁɔʁɫɫȲʰॼɫȲॼ$ʹȦ३ूɫȥɔूȲʟʜɔɆɷȉɷू^Ȳ ʹ˘ूɫȲʟɴʁɷʰॼ<ȲʟʟȉɷȬȲȉɫʰʟɔʦɔʰɔɷȲɫȦȲɷʰʟʁॼʦʹȬȲȦȲɷʰʟʁȬȲɫɫȉ <ʟȉɷȦɔȉ२εɆेࣈ࣐३ौॼHenri Le Secq fu inviato a fotografare le grandi cattedrali ɆʁʰɔȦɏȲɷȲɫʦʹȬॼȲʦʰूȦʁɴȲȲɔɴʦू^ȉʁɷू¢ʟʁ˘ȲʦȲʰʟȉʦȥʹʟɆʁ २εɆेࣉࣇ३ौ
ॼHippolyte Bayard, invece, unico ad aver lavorato con li vetro ȉɷˢɔȦɏȳȦʁɷɔɷȲɆȉʰɔˑɔȬɔȦȉʟʰȉूȿʦʰȉʰʁɔɷˑɔȉʰʁȉʁˑȲʦʰɷȲɫɫȲ ȦɔʰʰȚȬȲɫɫȉʟȲʰȉɆɷȉȲȬȲɫɫȉjʁʟɴȉɷȬɔȉूʰʟȉȦʹɔȉȲɷूȉ˘Ȳʹ˗Ȳ ʁʹȲɷे JɫʟɔʦʹɫʰȉʰʁεɷȉɫȲɅʹɫȉʜʟʁȬʹˢɔʁɷȲȬɔࣉ࣏࣌ɅʟȉʦʰȉɴʜȲȲɷȲɆȉʰɔˑɔू ȦɏȲʜȲʟʍɷʁɷɅʹʟʁɷʁʟȉȦȦʁɫʰɔɔɷɷȲʦʦʹɷȉʜʹȥȥɫɔȦȉˢɔʁɷȲूɷʁɷȬȉɷȬʁ ̍ʹɔɷȬɔȉɔɅʁʰʁɆʟȉεʜȉʟʰȲȦɔʜȉɷʰɔɫȉˑɔʦɔȥɔɫɔʰȚȦɏȲʦʜȲʟȉˑȉɷʁȬɔʁʰʰȲɷȲॼ ʟȲेȲʟ̍ʹȲʦʰȲɴʁʰɔˑȉˢɔʁɷɔूɫȉɴɔʦʦɔʁɷȲɅʹȬɔɴȲɷʰɔȦȉʰȉȲʟɔʦȦʁʜȲʟʰȉ ʦʁɫʰȉɷʰʁɷȲɆɫɔȉɷɷɔो࣍ࣇȬȲɫjʁˑȲȦȲɷʰʁू̍ʹȉɷȬʁɫʁʦʰʁʟɔȦʁɏɔɫɔʜʜȲ jȳȉɆʹʟɔʦȦʁʜʟȲɔɷȲɆȉʰɔˑɔʜʟȲʦʦʁɆɫɔʟȦɏɔˑȲʦɏʁʰʁɆʟȉʜɏɔ̍ʹȲʦे sηɔूɫȉɴȉηɔʁʟʜȉʟʰȲȬȲɔɷȲɆȉʰɔˑɔʁʟɔɆɔɷȉɫɔʦʁɷʁȬȲʜʁʦɔʰȉʰɔʜʟȲʦʦʁ ɔɫgʹʦȳȲȬউsʟʦȉ˘ूɴȲɷʰʟȲɷȲɆɫɔȉʟȦɏɔˑɔȬȉɫɫȉʁɴɴɔʦʦɔʁɷȲȬȲɔgʁॼ ɷʹɴȲɷʰɔʰʁʟɔȦɔʦʁɷʁȬȲʜʁʦɔʰȉʰȲȉɫȦʹɷȲȦʁʜɔȲे
19 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO Fig. 20: Henri Le Secq, Figure della Cattedrale di Chartres, 1851. © Metropolitan Museum of Art, New York
Fig. 18: Gustave Le Gray, Portail milieu d’Aubeterre, 1851. © Metropolitan Museum of Art, New York
Fig. 19: Auguste Mestral, I bastioni di Carcassonne, 1851. © Metropolitan Museum of Art, New York
Fig. 17: Édouard Baldus, Arco romano ad Orange, 1851. © Metropolitan Museum of Art, New York
JɫɆʁˑȲʟɷʁȉɴȲʟɔȦȉɷʁȉˑȲˑȉεɷȉɷˢɔȉʰʁɔɫʟɔɫȲˑȉɴȲɷʰʁȦȉʟʰʁɆʟȉεȦʁ ȬȲɫʰȲʟʟɔʰʁʟɔʁɆɔȚʜʟɔɴȉȬȲɫɫউɔɷˑȲɷˢɔʁɷȲȬȲɫɫȉɅʁʰʁɆʟȉεȉूȉΪȉɷॼ ȦȉɷȬʁूɔɷʁɫʰʟȲूȉɫɫȉʦ̍ʹȉȬʟȉȬɔɔɷɆȲɆɷȲʟɔȲʦȦɔȲɷˢɔȉʰɔȉɷȦɏȲȬȲɆɫɔ ɔɫɫʹʦʰʟȉʰʁʟɔूȦʁɷɔɫȦʁɴʜɔʰʁȬɔʟȉΪɆʹʟȉʟȲɔʜȉȲʦȉηɔȲɫȲʜʁʜʁɫȉˢɔʁɷɔ ɷȉʰɔˑȲे^উ̍ʹɔʦɔˢɔʁɷȲȬɔɔɷɅʁʟɴȉˢɔʁɷɔʦʹɫɫȉɴʁʟɅʁɫʁɆɔȉȲɫউʁʟʁɆʟȉεȉȬȲɔ territori inesplorati erano considerati indispensabili per lo sviluppo ȲȦʁɷʁɴɔȦʁȬȲɫʜȉȲʦȲेȲʟȲʦȲɴʜɔʁूɷȲɫࣈ࣏࣌࣊ɔɫʁɷɆʟȲʦʦʁȬȲɆɫɔʰȉʰɔ ©ɷɔʰɔȉʜʜʟʁˑʍɫȉȉȦɔεȦȉɔɫʟʁȉȬʹʟˑȲ˘ूȉɫεɷȲɔȉɔʹʰȉʟȲɫȲʟɔȦȲʟॼ ȦɏȲȬȲɫɫউȲʦȲʟȦɔʰʁʜȲʟɫȉȦʁʦʰʟʹˢɔʁɷȲȬɔʹɷȉɅȲʟʟʁˑɔȉȬȉɫgɔʦʦɔʦʦɔʜʜɔ ȉɫɫউsȦȲȉɷʁे JɫɆʁˑȲʟɷʁȉɴȲʟɔȦȉɷʁɏȉȬɔɴʁʦʰʟȉʰʁȦʁɴʜʟȲɷȬȲʟȲɫউɔɴʜʁʟʰȉɷˢȉȬȲɫॼ ɫȉɅʁʰʁɆʟȉεȉȦʁɴȲʦʰʟʹɴȲɷʰʁȬɔɔɷȬȉɆɔɷȲूʦʁʦʰȲɷȲɷȬʁɫউʹʰɔɫɔˢˢʁȬɔ ̍ʹȲʦʰȉɷʹʁˑȉʰȲȦɷɔȦȉʜȲʟʹɷȬʹʜɫɔȦȲɴʁʰɔˑʁुȉʹɷȉʜȉʟʰȲूɫȉɅʁʰʁɆʟȉॼ εȉȉˑȲˑȉʹɷʟʹʁɫʁȲʦʦȲɷˢɔȉɫȲȦʁɴȲȬʁȦʹɴȲɷʰʁूȬȉɫɫউȉɫʰʟȉʦʹʦȦɔʰȉˑȉ ȦʹʟɔʁʦɔʰȚȲɔɷʰȲʟȲʦʦȲɷȲɫʜʹȥȥɫɔȦʁूȦʁɷʰʟɔȥʹȲɷȬʁȉɫɫȉȦʁʦʰʟʹˢɔʁɷȲȬȲɫ ɴɔʰʁȬȲɫʜȉȲʦȲे ¢ʟȉɔɫࣈ࣏࣍ࣇȲɔɫࣈ࣏࣐࣎ूɔɫɆʁˑȲʟɷʁȦʁɴɴɔʦʦɔʁɷȉू̍ʹɔɷȬɔू̍ʹȉʰʰʟʁʦʜȲॼ ȬɔˢɔʁɷȲɔɷʹɷȉˑȉʦʰȉȉʟȲȉȉʁˑȲʦʰȬȲɫεʹɴȲुɫȉ«ԬԬ?DZɀȪɀȅȓǥLjȪ,ʖɛȪɀ-ɞLjɯȓɀȶɀȄɯȎDZҾҺɯȎLjɞLjȪȪDZȪ, la «ԬԬ?DZɀȅɞLjɛȎȓǥLjȪɸɞʐDZʗÄDZɥɯɀȄɯȎDZұҰҰɯȎ iDZɞȓǫȓLjȶ, la «ԬԬ?DZɀȪɀȅȓǥLjȪLjȶǫ?DZɀȅɞLjɛȎȓǥLjȪɸɞʐDZʗɀȄɯȎDZ¤DZɞɞȓɯɀɞȓDZɥ e la «ԬԬ?DZɀȅɞLjɛȎȓǥLjȪLjȶǫ?DZɀȪɀȅȓǥLjȪɸɞʐDZʗɀȄɯȎDZɀǥȥʗiɀɸȶʧLjȓȶ DZȅȓɀȶेjȉʰȲȦʁɴȲ̍ʹȉʰʰʟʁʦʜȲȬɔˢɔʁɷɔʦȲʜȉʟȉʰȲूɷȲɫࣈ࣏࣐࣎ʦȉʟȉɷɷʁ ȉȦȦʁʟʜȉʰȲɷȲɫɫȉ©ेे=ȲʁɫʁɆɔȦȉɫʹʟˑȲ˘ूȉɆȲɷˢɔȉʦȦɔȲɷʰɔεȦȉȉɷȦʁʟȉ ʁηɔȉʰʰɔˑȉɷȲɫɫʁʦʰʹȬɔʁȬȲɫʰȲʟʟɔʰʁʟɔʁȉɴȲʟɔȦȉɷʁे <ʹʟʁɷʁɔɷȦȉʟɔȦȉʰɔɔɴʜʁʦʰȉɷʰɔɅʁʰʁɆʟȉεु ॼÂɔɫɫɔȉɴEȲɷʟ˘XȉȦɦʦʁɷʜȉʟʰȲȦɔʜȲʟȚȉɫɫȉȦȉɴʜȉɆɷȉȦɏȲʜȲʟॼ ȦʁʟʦȲɫȉʟȲɆɔʁɷȲȬȲɫεʹɴȲÈȲɫɫʁ˒ʦʰʁɷूʟɔȦȦȉȬɔɆȲ˘ʦȲʟȲȉɫʰʟɔ ɅȲɷʁɴȲɷɔɆȲʁɫʁɆɔȦɔूȦɏȲȲȥȥȲʹɷʟʹʁɫʁɔɴʜʁʟʰȉɷʰȲɷȲɫɫউɔʦʰɔʰʹॼ ˢɔʁɷȲȬɔʹɷʜȉʟȦʁɷȉˢɔʁɷȉɫȲ२εɆेࣉࣈ३ौ
ॼTimothy O’ SullivanूɅʁʰʁɆʟȉɅʁɷȉʰʹʟȉɫɔʦʰȉȦɏȲʜȉʟʰȲȦɔʜʍʦɔȉ ȉɫɫȉʦʜȲȬɔˢɔʁɷȲʦʹɫ࣋ࣇਰʜȉʟȉɫɫȲɫʁȦɏȲȉ̍ʹȲɫɫȉȉʁˑȲʦʰȉɫࣈࣇࣇਰ ɴȲʟɔȬɔȉɷʁौ
ॼJohn K. Hillers, geologo e docente universitario, impara sul ȦȉɴʜʁɫȉʰȲȦɷɔȦȉȬȲɫɫȉɅʁʰʁɆʟȉεȉूʟȲȉɫɔˢˢȉɷȬʁɔɴʜʁʟʰȉɷʰɔʦʰʹȬɔ ȉɷʰʟʁʜʁɫʁɆɔȦɔʦʹɆɫɔɔɷȬɔȉɷɔȬȲɫɫȲʜʟȉʰȲʟɔȲे
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-tion, dedicandosi solamente alla propaganda della guerra, tramite
ɫউʹʰɔɫɔˢˢʁȬɔɅʁʰʁɴʁɷʰȉηɔुˑʁɫʰɔȬɔɴȉȬʟɔʦʁʟʟɔȬȲɷʰɔȦʁɷȥɔɴȥʁ ɔɷɆʟȲɴȥʁूȦȉɴʜɔȥȲɷȉʟȉʰɔूʦʁɫȬȉʰɔɔɷȉʟɴɔȦɏȲʦɔʟɔˑʁɫɆȲˑȉɷʁȉɫ ʜʁʜʁɫʁे JɫɴȲʰʁȬʁȬȲɫɫȉ<ूȦʁɴʹɷ̍ʹȲूȬɔˑȲɷɷȲɴʁȬȲɫɫʁȬɔʁɆɷɔȲʦʜȲॼ ʟɔȲɷˢȉʦʹȦȦȲʦʦɔˑȉȲूɷȲɫȦʁɴʜɫȲʦʦɔˑʁȬɔȥȉʰʰɔʰʁʦʹɫɫȉɅʹɷˢɔʁɷȲʦʁȦɔȉɫȲ ȬȲɫɫȉɅʁʰʁɆʟȉεȉȲȬȲɔɴȲˢˢɔȬɔȦʁɴʹɷɔȦȉˢɔʁɷȲȬɔɴȉʦʦȉूɴʁɴȲɷʰʁ ɔɷʰȲʟȲʦʦȉɷʰȲʜȲʟ̍ʹȉɷʰʁʟɔɆʹȉʟȬȉɔɫȬȲɫɔȦȉʰʁʰȲɴȉȬȲɫɫȉʜʟʁʜȉɆȉɷȬȉ ɔȬȲʁɫʁɆɔȦȉ२Áȉɫʰʁʟʰȉूࣈ࣐࣏࣐े
23 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO Fig. 22: Edwin Locke,
)GSRSQMGWERHEVGLM-XIGXYVILSYWMRKRIEV*SKIPWZMPPI, Pennsylvania,
1937. © Library of Congress, Washington
Fig. 23: Arthur Rothstein, 7IZIVEPSJXLI
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1939. © Library of Congress, Washington
Fig. 24: Andreas Reininger, 9XEL'STTIV
&MRKLEQ1MRI9XEL'STTIV'SQTER] &MRKLEQ'ER]SR9XEL0SSOMRKHS[R'EVV *SVO'ER]SR, 1942. © Library of Congress,
^ȉɅʁʰʁɆʟȉεȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉȉʦʦʹɴȲʹɷʟʹʁɫʁȬɔɷʁʰȲˑʁɫȲʟɔɫɔȲˑʁɷȲɫ ȦʁɷʰȲʦʰʁȦʹɫʰʹʟȉɫȲȦɏȲʦɔȦʁʦʰʟʹɔʦȦȲɷȲɔʜʟɔɴɔȉɷɷɔȬȲɫÇÇʦȲȦʁɫʁे ^ȲȦɔʰʰȚȉɴȲʟɔȦȉɷȲूɔɷɅȉʰʰɔूʦʰȉˑȉɷʁȉΦʟʁɷʰȉɷȬʁɫȉ=ʟȉɷȬȲ$ȲʜʟȲʦ -sioneूɫȉȦʟɔʦɔȦɏȲɷȲɫࣈ࣐ࣉ࣐ʦȦʁʦʦȲɫউȲȦʁɷʁɴɔȉɴʁɷȬɔȉɫȲूʜʁʟʰȉɷȬʁɔɫ ʜʟȲʦɔȬȲɷʰȲʁʁʦȲˑȲɫʰȉʜʟʁɴʹʁˑȲʟȲʹɷʜɔȉɷʁȬɔʟɔɅʁʟɴȲȲȦʁɷʁɴɔȦɏȲ e sociali, il lDZʑ&DZLjȪेJȦȉɴȥɔȉɴȲɷʰɔȬȲɫɫȉȦɔʰʰȚȲɫȉˑɔʰȉȬȲɆɫɔȉȥɔʰȉɷॼ ʰɔȬɔˑȲɷʰȉɷʁ̍ʹɔɷȬɔɔʜʟɔɷȦɔʜȉɫɔʦʁηȲʰʰɔȬȲɫɫȉɅʁʰʁɆʟȉεȉȉɴȲʟɔȦȉɷȉू ȦʁɷɫউʁȥɔȲʰʰɔˑʁȬɔɔɷȬȉɆȉʟȲूȬȲɷʹɷȦɔȉʟȲȲȬʁȦʹɴȲɷʰȉʟȲे^ȲȬʹȲεɆʹʟȲ ȬɔʟɔɅȲʟɔɴȲɷʰʁȬȲɫɫȉɅʁʰʁɆʟȉεȉȬɔ̍ʹȲʦʰɔȉɷɷɔूȦɏȲɔɷζʹɔʟȉɷɷʁʦɔȉ ɫȉʦʰʁʟɔȉɅʁʰʁɆʟȉεȉȉɴȲʟɔȦȉɷȉȦɏȲȲʹʟʁʜȲȉूʦʁɷʁÂȉɫɦȲʟ*ˑȉɷʦȲ ȲʟȲɷɔȦȲȥȥʁʰʰे ÂȉɫɦȲʟ*ˑȉɷʦ२ࣈ࣐ࣇ࣊ॼࣈ࣐࣎࣌३ʦɔȬȲȬɔȦȉȉɫɫȉɅʁʰʁɆʟȉεȉȬɔȉʟȦɏɔʰȲʰʰʹʟȉȉ ʜȉʟʰɔʟȲȉɫɫȉʜʟɔɴȉˑȲʟȉȬȲɫࣈ࣐࣊ࣈू̍ʹȉɷȬʁɫʁʦʰʁʟɔȦʁȬȲɫɫউȉʟʰȲ^ɔɷȦʁɫɷ ZɔʟʦʰȲɔɷɆɫɔȦʁɴɴɔʦʦɔʁɷȉɫȉȬʁȦʹɴȲɷʰȉˢɔʁɷȲȲɫɫȲȦȉʦȲˑɔʰʰʁʟɔȉɷȲȉ ʟɔʦȦɏɔʁȬɔȬȲɴʁɫɔˢɔʁɷȲɷȲɔȬɔɷʰʁʟɷɔȬɔʁʦʰʁɷे*ˑȉɷʦʟȲȉɫɔˢˢȉȦɔʟȦȉ ࣈࣇࣇˑȲȬʹʰȲȬȲɆɫɔȲʦʰȲʟɷɔȬȲɫɫȲˑɔɫɫȲ२εɆेࣉ࣌३ेjȲɫɫȲʦʹȲɅʁʰʁूȲɆɫɔʜʟɔˑɔॼ ɫȲɆɔȉɫȲˑȲȬʹʰȲȬɔʰʟȲ̍ʹȉʟʰɔूȉɷȦɏȲʦȲɷʁɷɴȉɷȦȉɷʁɫȲˑɔʦʰȲɅʟʁɷʰȉɫɔू e privilegia le ore centrali del giorno per esaltare i dettagli ornaॼ ɴȲɷʰȉɫɔȬȲɆɫɔȲȬɔεȦɔेÁɔȲɷȲʟɔȦʁʟȬȉʰʁूʰʟȉɫȲȉɫʰʟȲȦʁʦȲूʜȲʟɫউȲʦʜʁʦɔॼ ˢɔʁɷȲȎɀɯɀȅɞLjɛȎɥɀȄlȓȶDZɯDZDZȶɯȎՒ DZȶɯɸɞʗȳDZɞȓǥLjȶGɀɸɥDZɥǤʗÄLjȪȥDZɞ ,ʐLjȶɥूȦɏȲʦɔʦˑʁɫʦȲȉɫgʁgɷȲɫࣈ࣐࣊࣊ȲȦɏȲɅʹɫȉʜʟɔɴȉʜȲʟʦʁɷȉɫȲȬɔ ʹɷɅʁʰʁɆʟȉɅʁʁʦʜɔʰȉʰʁȉɫɫউɔɷʰȲʟɷʁȬȲɫɅȉɴʁʦʁɴʹʦȲʁɷȲ˒˘ʁʟɦȲʦȲे Berenice Abbott २ࣈ࣏࣏࣏ॼࣈ࣐࣐ࣈ३ȦʁɴɔɷȦɔȉȉɫȉˑʁʟȉʟȲȉɫʜʟʁɆȲʰʰʁ ȎLjȶ-ȅȓȶȅlDZʑÊɀɞȥȉʜȉʟʰɔʟȲȬȉɫࣈ࣐࣊ࣈूȬȲȬɔȦȉɷȬʁȉ̍ʹȲʦʰʁʦʁɫʁɔɴȲʟȦʁɫȲȬɝ ɫɔȥȲʟɔȲɆʟȉˢɔȲȉɫʦʁʦʰȲɆɷʁȲȦʁɷʁɴɔȦʁȬɔʦɔɷɆʁɫɔʜʟɔˑȉʰɔूɅʁɷȉˢɔʁɷɔ ȲʁʟɆȉɷɔˢˢȉˢɔʁɷɔेjȲɫࣈ࣐࣊࣌ू̍ʹȉɷȬʁʁʁʦȲˑȲɫʰɫȉɷȦɔȉɔɫʜʟʁɆʟȉɴɴȉ federale ÄɀɞȥȓȶȅɞɀȅɞDZɥɥǫȳȓȶȓɥɯɞLjɯȓɀȶ२Â३ȦʁɷɫʁʦȦʁʜʁȬɔ ʟɔɫȉɷȦɔȉʟȲɫউȲȦʁɷʁɴɔȉȉʰʰʟȉˑȲʟʦʁɫȉʟȲȉɫɔˢˢȉˢɔʁɷȲȬɔʁʜȲʟȲȬɔʜʹȥȥɫɔȦȉ utilità, vi include un progetto per fotografare le facciate anteriori ȲʜʁʦʰȲʟɔʁʟɔɔʰʹʰʰɔɆɫɔȲȬɔεȦɔȬȲɔȦɔɷ̍ʹȲȬɔʦʰʟȲʰʰɔȬȲɫɫȉȦɔʰʰȚȬɔjȲ˒ ÈʁʟɦूɆʟȉˢɔȲȉɫ̍ʹȉɫȲˑȲʟʟȉɷɷʁʟȲȉɫɔˢˢȉʰȲȦɔʟȦȉ࣎ࣇࣇेࣇࣇࣇɔɴɴȉɆɔɷɔे ȥȥʁʰʰʟɔȲʦȦȲȉʁʰʰȲɷȲʟȲʹɷεɷȉɷˢɔȉɴȲɷʰʁूʦʁʰʰʁɫɔɷȲȉɷȬʁʜȲʟʍɫউɔɷॼ tento artistico e non solamente documentario del proprio progetto, ʜȉʟɫȉɷȬʁȬɔʹɷȉআɔɷʰȲʟʜʟȲʰȉˢɔʁɷȲȬʁȦʹɴȲɷʰȉʟɔȉইȦɏȲȦʁɴʜʟȲɷȬȲʦʦȲ ȉɷȦɏȲɆɫɔȉʦʜȲʰʰɔʦʁȦɔȉɫɔेɔȲʦȦȲȦʁʦɝȉȬʁʰʰȲɷȲʟȲɔɫεɷȉɷˢɔȉɴȲɷʰʁȲ ʹɷȉʦ̍ʹȉȬʟȉȬɔࣈࣉʜȲʟʦʁɷȲे^ȲɅʁʰʁɆʟȉεȲˑȲɷɆʁɷʁȲΦȲʰʰʹȉʰȲȬȉɫɫȉ ɅʁʰʁɆʟȉɅȉूɴȲɷʰʟȲɔʦʹʁɔȦʁɫɫȉȥʁʟȉʰʁʟɔʦɔʜʟȲʁȦȦʹʜȉɷʁȬɔʟȲȉɫɔˢˢȉʟȲ ʹɷȬʁʦʦɔȲʟȬɔɔɷɅʁʟɴȉˢɔʁɷɔʜȲʟȦɔȉʦȦʹɷȉɔɴɴȉɆɔɷȲे JɫʜʟʁɆȲʰʰʁεɷȉɫȲʟȉȦȦʁɫʦȲȦɔʟȦȉ࣊ࣇࣉɔɴɴȉɆɔɷɔूɔɷȦʹɔˑȲɷɔˑȉɷʁɅʁʰʁॼ grafate strade e scene di vita, documentando la vita e i cambiamenti ȬȲɫɫȉȦɔʰʰȚे
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25 FOTOGRAFIA, ARCHITETTURA, PAESAGGIO Fig. 25: Walker Evans, %FERHSRIH%RXM&IPPYQ
4PERXEXMSR,SYWI Vicksburg, Mississippi,
1936.
Fig. 28: Berenice Abbott, ,IRV]7XVIIX
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Fig. 26: Berenice Abbott, 0EQTSVX)\TSVX
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1935. © The New York Public Library Fig. 27: Berenice Abbott, (ITEVXQIRXSJ
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Manhattan, 1935. © The New York Public Library
JɷʹɷȦɫɔɴȉȬɔʜʟʁɅʁɷȬȉεȬʹȦɔȉɷȲɫʜʟʁॼ gresso, e con il sostegno della corrente ʁʦɔʰɔˑɔʦʰȉूɷȲɫࣈ࣏࣏࣏=ȲʁʟɆȲ*ȉʦʰɴȉɷूʹɷ impiegato di banca americano appasॼ ʦɔʁɷȉʰʁȬɔɅʁʰʁɆʟȉεȉूɫȉɷȦɔȉɔɫZʁȬȉɦ, ʹɷȉʜʜȉʟȲȦȦɏɔʁɫȲηȲʟʁȲʦʁʜʟȉʰʰʹʰʰʁ economicamente e tecnicamente alla ʜʁʟʰȉʰȉȬɔʰʹʰʰɔेĎʹȲʦʰʁʜʁʟʰȉʹɷȉ ʟɔˑʁɫʹˢɔʁɷȲʦȲɷˢȉʜʟȲȦȲȬȲɷʰɔɷȲɫɫȉʦʰʁʟɔȉ ȬȲɫɫȉɅʁʰʁɆʟȉεȉुʜȲʟɫȉʜʟɔɴȉˑʁɫʰȉू
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