By Marco Massetani
It was a sunny day in Florence in the year 1890. A man dressed in black slowly walked up the stairs of the tower in order to enjoy the unique panorama over the city and the Cathedral from on high. There is something universal in this period ‘snapshot’: the anonymous human presence ‘captured’ in all its simplicity; the urban landscape-painting theme; the effect of the eternal dynamicity of the individual that is the vital nectar of every great photographer.
One is tempted to make a rash comparison with the Cyclist of Hyères by Henri Cartier-Bresson, even if almost half a century, different techniques, and different visual cultures inevitably divide the two historic moments. However, the intuition is the same: to document life, to grab the moment, to stop history. In the end, it is not very important whether that was truly the moment décisif, to put…
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