CLAUDE NORI - Stromboli. Contrejour, 2015. - Lot 15

Lot 15
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CLAUDE NORI - Stromboli. Contrejour, 2015. - Lot 15
CLAUDE NORI - Stromboli. Contrejour, 2015. In 1989 and 1990, Claude Nori set off for Stromboli in the footsteps of Roberto Rosselini and Ingrid Bergman, on a journey of love and a photographic tribute to this mythical film, resulting in a violent and passionate work that gave rise to a book published in 1991. In 1949, Roberto Rosselini was already in love with Ingrid Bergman, a Swedish actress living in Hollywood, married and coming out of a romance with Robert Capa, the famous photojournalist who, with Henri Cartier-Bresson, had founded the Magnum agency. In 1949, Ingrid Bergman had seen Roberto Rossellini's two films Païsa and Roma città aperta. They had loved them, and had sent her a declaration of love, to which the director had responded by offering to shoot in Stromboli, on a black-and-white island dominated by an erupting crater, in order to extract her from the world and have her all to himself in the fury of the volcano and the harshness of its inhabitants. A reprint was in order. And it has. Claude Nori made it a point of honor to re-edit and select new photographs, and to propose a new model accompanied by a preface by Alain Bergala, critic at Cahiers du Cinéma, filmmaker and author of numerous works on Rossellini, Kiarostami and Godard. / In 1989 and 1990, Claude Nori left for Stromboli in the footsteps of Roberto Rosselini and Ingrid Bergman for a journey of love and a photographic tribute to this mythical film to draw from it a violent and passionate work which will give rise to a book published in 1991. In 1949, Roberto Rosselini was already in love with Ingrid Bergman, a Swedish actress living in Hollywood, married and emerging from an idyll with Robert Capa, the famous photojournalist, creator with Henri Cartier-Bresson of the Magnum agency. In 1949, Ingrid Bergman had seen the two films Païsa and Roma città aperta by Roberto Rossellini. They had adored them and had sent her a true declaration of love to which the director had responded by offering to shoot in Stromboli on a black and white island dominated by an erupting crater in order to extract her from the world and the to have entirely to himself in the fury of the volcano and the harshness of its inhabitants. A reprint was in order. That's done. Claude Nori made a point of carrying out a new editing and selecting some new photographs and proposing a new model accompanied by a preface by Alain Bergala, critic for Cahiers du Cinéma, filmmaker, author of numerous works on Rossellini, Kiarostami and Godard.
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