Milano di Giulia Pirelli e Carlo Orsi. Presentazione di Dino Buzzati. Milano, Bruno Alfieri Editore, 1965. In-4 (cm 40 x 30), legatura editoriale in mezza tela, pagine 18 + 54 fotografie in bianco e nero. Edizione originale. Piccoli difetti marginali alla copertina – una cerniera allentata (vedi foto), disponibili su richiesta ulteriori fotografie.
-Martin Parr, The Photobook: A History volume I. Phaidon, 2004. Pagina 224/225: “Only a mere half-a-dozen years on from Mario Carreri’s Milano, the treatment of the same subject mater made by Giulia Pirelli and Carlo Orsi decisevely reveals the influence of the Swinging 60s’. In a decade when optimism was suddenly around like spring in the air, Carrieri’s pessimism ha been transformed into exuberance, and the book looks and feels more like a company report on the city than a photojournalistic essay. Although there are a few distressed walls, they are there for picturesque, graphic effect rather than to denote poverty. The book’s whole emphasis has changed from that of the socialist-inspired neo-realism of Carrieri, concentrating not on grim industrial pollution and grime, but on the dynamic, go-ahead character of Italy’s economic hub and most cosmopolitan city. The graphic design of this book, too, is different. It is bigger and bolder, the gravure has changed from grey halftones to a strak, soot and whitewash black and white. Everything is harder-edged, more superficially attractive, with a distinctly commercial feel, the graphic effects being used more for their own sake than to underpin the meaning of the narrative. This makes Milano a typical 1960s photobook, just as Carrieri’s was a perfect representative of the 1950s. In only a few years the angst of the 1950s had been replaced by the buoyancy of the 60s, though some might say that art suffered as a result as a result. Nevertheless, this is a vibrant, energetic, sharp and covetable book, and if style tends to win out substance, that was the 60s, that was”.
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