BRONZES OF HERCULANEUM, NAPLES (1999)
Référence :
Original author print of a black and white photograph by Ferrante Ferranti. The artist explores the vestiges of the past through the play of shadows and light created by the sun on the ruins. With the soul of an archaeologist, this architect by training combines his photographic work with his passion for antiquity and the Baroque.
Length : 16.93 in / 43 cm
Height : 0.79 in / 2 cm
Width : 24.8 in / 63 cm
Weigth : 6.61 lb / 3 kg
BRONZES OF HERCULANEUM, ARCHAEOLOGICAL MUSEUM, NAPLES, 1999
Artist : Ferrante Ferranti
Technique : Original author print of a silver photograph on pearl baryta paper
Supervision: Under glass, black wood frame and ivory mat
Dimensions: 45 x 30 cm (frame 63 x 43 cm)
Number of copies: Single signed print.
Year: 1999
Inspiration: In this photograph, Ferrante Ferranti captures the sensuality of an ancient bronze kept in the National Archaeological Museum of Naples. The close-up framing isolates the figure in a neutral background, revealing the suppleness of the body and the almost choreographic inclination of the gesture. The light glides over the dark surface of the metal, revealing the patina of time and the timeless beauty of ancient sculpture.
Ferrante Ferranti
FRANCE
Born January 13, 1960 in Algeria, of a Sardinian mother and a Sicilian father. He took his first photograph at the age of eighteen, a wave in Belle-Île-en-Mer. Passionate about Fernand Pouillon’s book, Les Pierres Sauvages, he began training as an architect in Toulouse, which he completed at Paris-UP6 in 1985 with a diploma in Theaters and scenography in the Baroque era. Traveling photographer, he has been involved for thirty years with Dominique Fernandez in a joint exploration of the Baroque and the different layers of civilizations, from Syria to Bolivia via Sicily and Saint Petersburg. His photographs dialogue with the texts of the writer, who defines him in the album Itinerrances (Actes Sud, 2013) as “the inventor of a language which links the sun to the ruins, in search of the meaning hidden in the forms” .
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