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Search the Historical Archive of the Pirelli Foundation for sources and materials. Select the type of support you are interested in and write the keywords of your research.
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To request to view the materials in the Historical Archive and in the libraries of the Pirelli Foundation for study and research purposes and/or to find out how to request the use of materials for loans and exhibitions, please fill in the form below. You will receive an email confirming receipt of the request and you will be contacted.

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I declare that I have read and understood the privacy statement concerning the processing of my personal data[DTJI1] ,  and, pursuant to Art. 6 of the GDPR, I authorise the Pirelli Foundation to process my personal data for the purposes described therein. .

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I declare that I have read and understood the privacy statement concerning the processing of my personal data[DTJI1] ,  and, pursuant to Art. 6 of the GDPR, I authorise the Pirelli Foundation to process my personal data for the purposes described therein. .

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I declare that I have read and understood the privacy statement concerning the processing of my personal data[DTJI1] ,  and, pursuant to Art. 6 of the GDPR, I authorise the Pirelli Foundation to process my personal data for the purposes described therein. .

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Do you want to organize a training programme with your students? For information and reservations, write to universita@fondazionepirelli.org

Visit the Foundation
We communicate that all visits and activities of the Pirelli Foundation are temporarily suspended in accordance with the indications of the Ministry of Health. We will communicate the reopening day as soon as possible. For information contact the number 0264423971 or write to info@fondazionepirelli.org

I declare that I have read and understood the privacy statement concerning the processing of my personal data[DTJI1] ,  and, pursuant to Art. 6 of the GDPR, I authorise the Pirelli Foundation to process my personal data for the purposes described therein. .

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Italy through the Camera Lens

In the mid-1960s, great-name photography burst onto the scene in publications, such as Pirelli magazine, that also catered for the general public. A generation of photographers began taking these magazines by storm, and they included such young artists as Enzo Sellerio, Fulvio Roiter, and Pepi Merisio. Their reports began taking over more and more space at the expense of the text. In the “Travel and Tourism” sections, words were reduced to just a short caption, because the image alone was enough to tell the whole story. In 1964 Antonio Stefani published an article entitled “La cara estate”, with a precise, critical analysis of the situation of tourism in Italy in the mid-1960s, with photographs by Fulvio Roiter: views of Rome from on high, the look of a tourist in Venice, a group of American sailors in Pompeii. In 1967 Raffaello Baldini described the Ciociaria, poised between an archaic past and a present of health spas: the text is accompanied, and completed, by black-and-white pictures by Pepi Merisio, a photographer of hidden countryside views and villages. The following year, in 1968, Merisio’s camera left the land and the woods for a nocturnal look at the sea dotted with the lights of lampara fishing boats. Just a few words say it all: “Once the net is thrown, they wait in the yellow light of the lampara”, all the rest is in the magic of the colours and of the slow movements captured by the photographer. Enzo Sellerio had already created his masterpiece The Volcano in Bloom in 1964, showing Etna, with its lava-stone villages, black-and-white portraits of peasants, and the coloured lamps at a patron saint’s festival. Reminding us in just a few words that “fighting the giant takes patience and strength, which is why the villagers never go up to the crater”. The balance between text and image had been reversed: the great masters’ photographs showed Italy in a universal language.

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