in his shots the Italy of the rebirth – Corriere.it

He chose to return home, from where he left in 1949, poor and full of hope, but also full of an irrepressible visionary energy. Paolo Di Paolo, a great photographer with a biography worthy of a novel, passed away on 12 June at the age of 98 in Larino, little more than a village in his beloved Molise. He had left his land in his early twenties, taking with him only some money to reach Rome and an idea of ​​the future. To understand this truly unique figure in the panorama of Italian photography, it is worth dwelling on the singular and unpredictable biography of this man with a sweet and ironic gaze who he has been able to tell like few others the cultural and social transformation of the Italy of the rebirth. Once in Rome, that boy has two wishes: to enroll in philosophy and buy a camera.

For years he attended the university classrooms with his high school friend Lucio Colletti, until two exams before graduating: in fact, he has already been working for some time. He collaborates with Il Mondo di Pannunzio: the photographer who publishes (among the over two hundred authors) the most images of all, a good 573, becoming the magazine’s leading photographer who made the history of Italian culture. Many reportages followed, endless services for many other magazines: from Il Tempo to The Illustrated Week. But something unexpected happens. You know, love, like death, changes everything. . And to die Pannunzio.

Paolo di Paolo makes a risky, resolute choice, yet perfectly in line with his intransigent character, as a severe intellectual with peasant origins. He decides not to take pictures anymore. He no longer likes the world of shouted journalism, that of stolen photographs, of paparazzi chasing divas on their Lambrettas down the street: They asked me for spicy photos, they asked me to do what I have never done in my life: betray the trust of those I photographed, of those who had given me affection and friendship. He, who was called by the divas on purpose, because they only wanted him for his attentive gaze, his delicacy, the grace of his images, his elegance and human sensitivity. Here you are, that world no longer belongs to him. After only 12 years of work as a photographer and tens of thousands of shots he decides to disappear. Just disappear. In the silence. Obviously, it also vanishes from the radar of the world of information, of photography, from everything. He marries the young and beautiful Elena who was his secretary. A difficult choice, psychologically very hard: for years he will continue for a conditioned reflex to use his index finger as if to release the shutter of his Leica.

Even in the family, nobody knows the past of this photographer who with Pier Paolo Pasolini had traveled all the coasts of Italy, for a memorable reportage (The long sand road), no one knows of his friendship with Anna Magnani, with many intellectuals and artists, from Flaiano to Maccarino one knows of the many photographic stories made with the sharp gaze of the anthropologist but with the heart of a child in front of the amazement of the world.

Paolo di Paolo, the photographer who lived twice. Sometimes fate imposes unexpected surprises. Thus, as in the surreal plot of a novel, one winter day his daughter Silvia discovers by chance, in the cellar, the hidden life of her father: a drawer full of negatives, a real treasure trove of important, beautiful images. When asked for information, the father first denies it, then has to admit his past life. Even her mother, the only one who knows about this fascinating and turbulent past. The affectionate, aware and “concealing accomplice” must admit that her husband had been a great photographer, much loved by women and much appreciated for the intensity of his work.

From that discovery (which took place in the early 2000s) Paolo Di Paolo begins to come to terms with his own past and despite his constant reluctance, some vintage prints from that secret archive begin to circulate. His images appear for the first time in a small but fascinating antiquarian gallery in the Ghetto of Rome, the Louvre Museum. The intense, unexpected and unpublished photos portray the legends of the Dolce Vita: faces of actresses and actors who were protagonists of that unrepeatable season.

Passing through Rome, Bruce Weber sees them, the celebrated American photographer and director. He buys all the photos, without knowing whose they were, but wants to know more about that unknown author. Then he finally manages to contact Paolo Di Paolo and they become friends. Weber is enchanted by his story which evokes that of Vivian Maierthe nanny-photographer, whose beautiful photos were abandoned and found by chance, transforming her into a true international legend of street photography.

Bruce Weber, as a photographer enchanted by Di Paolo’s eye and two years ago he made an exciting film successfully presented at the Rome Film Festival. Alessandro Michele, creative director of Gucci, also sees Di Paolo’s photos. And he too falls in love with it: thus, in 2017, the exhibition at the Maxxi museum in Rome was born. International attention is growing towards this disappeared and reborn author.

In 2021 Milan hosts the first stage of a surprising exhibition: The long sand road which is going around the world. Now in Mexico City, I’m going to Canada shortly. Until five years ago Paolo Di Paolo lived in total anonymity. But everything changed very quickly: thus, precisely coinciding with his last birthday, last May 16, the Sapienza University of Rome wanted to pay homage to its distant student and awarded him the honorary degree in art history recognizing him as one of the highest voices of Italian humanistic photography.

A great satisfaction for that boy who loved studying and philosophy, but was only two exams away from graduating because he was intent on fixing the story of his time on film. His new book dedicated to his journey will be released this summer, on the summer of the Italians created with Pier Paolo Pasolini. A powerful story, in its own way absolute and full of humanity. Poetic images, full of memory. Paolo Di Paolo did not have time to review them.