Photographic Club "La Gondola"



The photographic club,"La Gondola", was first created in 1948 during the post-war art renaissance. Many of the new artistic tendencies were embraced and expanded in the currents of neorealism.

Also in photography, a new style contrasted the old idealised and conservative ways of "La Bussola".

La Gondola Photographic Club was founded by Monti, Bolognini, Scattola and Bresciani. It is characterized by its capacity to act as mediator between Formalism and Neorealism. Its photographic style is mostly "lyrical-realistic", while at the same time, as in Paolo Montì's works, recalls Otto Steiner's "subjective photography".

There was no real "La Gondola" Club style, even though Europe often refered to their style as the "école de Venise" (the school of Venice) and a new generation of young photographers were inspired by its photographic works. These artists were looking at Venice as the mother of their inspiration.

It was the age of : Roiter, Berengo Gardin, Ciol, Rosso, Del Tin and many others. It was also the age of the great photography shows which, thanks to the collaboration between "La Gondola" Club and Romeo Martinez of "Camera" magazine, made the best in international photography renown.

The inevitable renewal of members continued throughout the '60s. The photographic activity and production were rich, lyrical and impeccable, even if the original freshness was partially lost.

In the succesive decade many students, mainly from the University of Architecture, became members of "La Gondola" and the activity of the club became more intellectual and less in search of mere aesthetics.

The cultural vocation of La Gondola was renewed, thanks to the influence of Lanfranco Colombo (Member of the Milano Photgraphic Club, "Il DIAFRAMMA") who organized photographic exhibitions of enormous relevance, such as : French Photography from 1840 to the present, Swiss Photography and American Avant-garde Photography , just to name a few.

Today, while the acumulated experience of culture and criticism constitutes an inestimable wealth, it is also a motive of attraction and reference for the non-professional Venetian photographer and a guide to the active club memebers in the verification of their research and experimentation. At the same time, the work of photographically documenting the difficult and problematic reality of Venice continues. .


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