Estimate
€ 200 - 300
Sold
€ 245
The price includes buyer's premium
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Information
Gelatin silver print, printed 1940s/1950s
cm 24,2 x 17 | 9.5 x 6.6 in.
Photographer's credit stamp on the verso
Riccardo Moncalvo represents one of those not-so-common cases of a son of art who asserts himself to the same extent as his father Carlo Emilio. The latter belonged to a wealthy Piedmontese family that was open to the many innovations that were taking place at the end of the 19th century, which is why he began to take an interest in photography in Turin, in cinema in Naples, where he worked at Vesuvio Film from 1912 to 1914 with a highly successful pioneering activity, and in aerial photography in Brindisi. Back in Turin, where he made friends with Stefano Bricarelli, he alternated his filming activities (famous shots of the Mole Antonelliana and the Municipal Stadium) with entrepreneurial activities in an Artistic and Industrial Photography Atelier where he sold equipment and ran an innovative laboratory. In 1935, his son Riccardo inherited not only the latter but also all of his father's complex experience, which reverberated in his style. Attentive to the reality of the peasant world photographed without any rhetorical excesses, as well as to the architecture investigated with daring compositions, he accompanied his shooting activity with an attention to the creative dimension, testified by his membership in the historical Società Fotografica Subalpina and the many publications in the yearbook 'Luci e Ombre'.
cm 24,2 x 17 | 9.5 x 6.6 in.
Photographer's credit stamp on the verso
Riccardo Moncalvo represents one of those not-so-common cases of a son of art who asserts himself to the same extent as his father Carlo Emilio. The latter belonged to a wealthy Piedmontese family that was open to the many innovations that were taking place at the end of the 19th century, which is why he began to take an interest in photography in Turin, in cinema in Naples, where he worked at Vesuvio Film from 1912 to 1914 with a highly successful pioneering activity, and in aerial photography in Brindisi. Back in Turin, where he made friends with Stefano Bricarelli, he alternated his filming activities (famous shots of the Mole Antonelliana and the Municipal Stadium) with entrepreneurial activities in an Artistic and Industrial Photography Atelier where he sold equipment and ran an innovative laboratory. In 1935, his son Riccardo inherited not only the latter but also all of his father's complex experience, which reverberated in his style. Attentive to the reality of the peasant world photographed without any rhetorical excesses, as well as to the architecture investigated with daring compositions, he accompanied his shooting activity with an attention to the creative dimension, testified by his membership in the historical Società Fotografica Subalpina and the many publications in the yearbook 'Luci e Ombre'.