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Sebastian Hau

IMPORTANT, HIGHLY IMPRESSIVE LATIN AMERICAN COLOR PHOTOBOOK:
Horacio Fernandez, The Latin American Photobook, pages 186 and 187

VERY SCARCE - especially with the very beautiful original dustjacket.

Welcome to the 1st auction of Latin American Photobooks gathered by Anatole Desachy (France) and Ecki Heuser (Germany). Enjoy the Seminal Photobooks referenced by Horacio Fernandez in "The Latin American Photobook" published in 2011 and discover also some unknown publications including amazing pictures & innovating graphic design.

Photographer and architect, Graziano Gasparini (1924-2019) was born in Gorizia, on the ItalianSlovenian border, in 1924. After completing his education in Venice, he worked for Carlo Scarpa in connection with the Biennale. After a break caused by the Second World War, the famous exhibition resumed in 1948, and Graziano Gasparini first visited Venezuela that year while promoting it. He settled in Caracas and pursued a career as an architect. He specialised in restoring Spanish Colonial architecture, while developing a parallel career as an architectural historian.

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Ediciones Del Grupo Montana, Caracas, Venezuela. 1969. First edition, first printing.

Hardcover with photo-illustrated dustjacket. 240 x 290 mm. 166 pages. 80 color photographs. Photos: Graziano Gasparini. Design: John Lange. Text: Isaac Chocrón. Text in Spanish.

Condition:
Book inside clean with no marks, the first and the last two pages lightly foxed, all other pages, so also all photo pages free of foxing; pages smell of moisture. Book outside fresh (protected by the jacket). Dustjacket quite fresh and complete with no missing parts, still very impressive and better than usual; at the edges with small flaws and a few small tears, marginally foxed from behind. Overall fine condition.

Very beautiful Latin American photobook - rare, especially with the dustjacket.

"The Venetian-born architect Graziano Gasparini arrived in Venezuela at the age of twenty-four knowing just a few words of Spanish. As he has confessed, "The country interested me immediately from the viewpoint of my great passion, which was always the history of architecture." This explains why, in the early 1950s, he spent his honeymoon traveling the country and gathering material for what would become his first book, Templos coloniales de Venezuela (Colonial Churches of Venezuela). Since then, he has published more than fifty books, many of them with his own photographs.
The 1960s offered three examples of his work.
First there was Promesa de Venezuela (Promise of Venezuela, 1964), a tour through the past and present of the country with a very brief text by Mariano Picón Salas. In this case Gasparini preferred black and white, which he used with the same sobriety employed in captioning the photos in the book, which also shows images of refineries, courtesy of several oil companies.
Three years later, in 1967, Muros de Venezuela (Walls of Venezuela, 1967) appeared, published by Ediciones Armitano, with brief commentaries by the writer Guillermo Meneses on the photographs of walls, windows, and doors, in both black-and-white and color. In color Gasparini surpasses himself: his images reveal an innate ability to capture in the peeling walls of country houses a range of blues, ochers, and whites that, more than simply imitating Venezuelan nature (skies, earth, clouds), seems to celebrate it and rearrange it into geometrical forms, as if the houses themselves, under Gasparini's gaze, were being transformed into painted pictures.
Color natural (Natural Color) was published in 1969, with an exquisite graphic design by John Lange and texts by the playwright and novelist Isaac Chocrón, who was not afraid to quote James Joyce's Ulysses or the definition of color gleaned from the popular illustrated dictionary Petit Larousse Illustré.
And the focus is on color: black and white have disappeared to give way to the "yellows, creams, dark tones, monochrome mattes" with which the world is painted, in Chocrón's words. Indeed, even before the first photo, Chocrón throws out the question that defines the rest of the photobook: "What is there left to color?“
Graziano Gasparini has described the genesis of this photobook: "Toward the end of the 1950s I had an opportunity to visit the Shell and Esso Standard Oil refineries on the Paraguaná peninsula. Apart from visiting the installations, I observed that the company colors were yellow for Shell and red for Standard Oil.
I encountered the same colors in the workers' houses that sprang up around the refineries. In the village of Cardón [Shell] the wall plinths, doors, and sometimes even the windows were painted yellow, whereas in Amuay [Standard Oil] the predominant color was red.
This use of corporate colors as an identity made me realize that colors were also used in neighboring villages to give directions: 'my house is the one with the green wall, the yellow door, and the blue base.' It was a short step from there to Color natural. Everything around us is painted, which is why is seems natural."
In this photobook Gasparini turned to motifs he was already familiar with chipped and peeling walls, doors and shutters, pipes and gas tanks, walls painted in solid colors--while exploring others of a newly urban character: automobiles, signboards, advertise-ments, posters, fairground attractions, traffic signs, and fire hydrants. The harvest was plentiful and not difficult to gather, given the abundance of supply. As Chocrón wrote: "In Maracaibo there is enough heat and enough color, in that order, to provide for every human being on earth." Unnatural color, let it be understood: painted and fabricated color. There is nothing of landscape or nature in Gasparini's photo-book, and Lange took advantage of that fact, displaying only reds, greens, yellows, blues, and dazzling whites, without feeling obligated to deal with nature and art. Color natural--which could also be called "local color" _highlights the geometry of everyday life. The result charms and surprises by its expressive force and by anticipating a photographer who would be the great master of color of the following decade, William Eggleston."
(Horacio Fernandez, The Latin American Photobook)

Fotografi, Kunst - Antal: 1 - Smudsomslag - Bog

Graziano Gasparini - Color Natural - 1969

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