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Circa cento fotografie realizzate da Francesco Paolo Michetti, tra la fine dell’Ottocento e gli inizi del Novecento

Circa cento fotografie realizzate da Francesco Paolo Michetti, tra la fine dell’Ottocento e gli inizi del Novecento, saranno esposte nella Sala “Carino Gambacorta” Bank of Teramo, Teramo, June 9 to 22 coming in celebration of the anniversary of the death of the painter of Abruzzo. The collection belongs to the doctor
francavillese Franco Di Tizio, a scholar of the most prolific as well as careful and Michetti, also of D'Annunzio and the cultural environment that revolves around these two characters. Inaugurating
at 18.00 next Tuesday, the photographic exhibition will be Professor Vito Salierno, author of the recent book "Letters to Barbara Leoni: 1887-1892" (ed. Carabba), who will speak on "Gabriel, Barbarella and FP Michetti.
are also provided for assistance from the President of the credit on. Antonio Tancredi, and the journalist Enrico Di Carlo. Vito
Salierno, plus interest of d'Annunzio, in respect of which he published about thirty works, he was director of the Italian Cultural Center in Pakistan and reader Italian Language and Literature at the University of Karachi, to act as cultural attache Embassy of Italy, also in Pakistan.



* * * According to some scholars, Michetti's interest in photography dates back to the rating, around 1883, when he would go to Miglianico (in the Chieti) to photograph the festivities in honor of the Patron Saint Pantaleone and its scenes of religious fanaticism who would later form the subject of the painting. According to tradition, the painter had to endure the challenge of superstitious people, believing that his camera equipment had been the cause of the outbreak of a violent storm that would have ruined the party.
At first, Michetti uses photography as a function of painting, ie as a 'tool' to make a painting. Then including the concrete values \u200b\u200bof this new means of reproducing reality and no longer regarded as an 'instrument' to prepare the materials for painting, but as an art in itself.
In the first decades of the twentieth century, Michetti try some cutting-edge photographic techniques, come la ripresa stereoscopica, le diapositve a colori e il ‘visore ad artigli’, una sorta di antenato dell’odierna moviola.