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    Dentro Roma
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    Dentro Roma

    Photographs by Massimo Listri

    Photographs by Massimo Listri

    Three hundred photos invite readers to live an aesthetic experience of the Eternal City, through Massimo Listri's "art of representing art". Internationally known master as an architectural photographer, especially of interiors, Listri rejects conventional iconographies and proposes an interpretation of photography that transforms all places into interiors characterized by an unusual intimacy.
    Entering the heart of Rome, and demonstrating that a click can pay homage to the architectural space better than direct experience, this volume documents years of work and the results of an ad hoc reportage.


    The volume opens by celebrating the myth of Rome. Leafing through the pages of the section entitled «Signs of the classic» slowly, one after the other, one encounters metaphysical images, which aim at symbolic evocation.
    In the undisputed monochrome that praises white, it flashes colored flashes: cobalt blue at the Quirinale, emerald green at Palazzo Altemps and golden yellow at Palazzo Farnese. In the Vatican Museums as in the Centrale Montemartini manipulates the saturation of the colors to light up the backgrounds and bring out the whiteness of the plaster or marble silhouettes.
    The images of the second section, dedicated to the «Palaces of power», are dominated by colors that sparkle in a tonal world of warm plasticity. Unpublished interior portraits of the main institutional offices and aristocratic residences describe an opulent city, which for two millennia has been at the center of power. Next to the monumental staircase, which dominates the broad perspectives of the Salone dei Corazzieri or of the princely galleries, the lens enhances the refinement of the furnishings of many sitting rooms and studios.
    The photographs collected in the third section of the volume, dedicated to «sacred spaces», launch an appeal to pure spirituality, embarking readers on a mystical adventure in the complexity of cultic architecture. Tracing the geometries of the Renaissance or indulging the whirling rhythms of the Baroque, they make readers feel part of a divine plan.
    The dynamism of the swollen and ribbed vaults and that of the walls modulated with overlapping shapes communicates a supernatural magic in the miraculous harmony of risky balances. Some shots condense the glorious vibrating and latent mystery of this magnificent religious spatiality into fragments. The semi-darkness of the catacombs and the oldest crypts diverges from the glow of the domes, which seem to have been built for angels and saints rather than for men.