“… What we are interested in pointing out about this beautiful book is its rare, really rare and strange charge of art that is lurking in detail, in the elements of past time, in rains, snow and snow that overlapped, in A word in the passage of generations ……. ”
Goffredo Parise (Corriere della Sera, August 1981)

Goffredo Parise

“This book seems happy, especially in the idea indicated in the title: with this vis vis, which is apparently a Frenchman, but which, as Lorenzo Capellini has meant, not represents Giotto, but a” Head Giotto “……. It was also a happy idea for Capellini’s compositional module, to make a sly of faces in the different psychological conditions of happiness, anxiety, anticipation, hope and old age.
…… This book is the book of Giotto pure poet, poet of the faces, poet of feelings, poet of emotions. A Giotto that makes the feelings of his deep heart feel. Here, this Giotto came out of these images of faces and hands out of the story, which makes us feel how much feeling, how much heart, how pure poetry were there in this painter ………. ”
Vittorio Sgarbi (December 2002)

Vittorio Sgarbi

“… .. Photographs are a prolongation in space and time: they fit into a critical function in a new and different view of the photographic look. Each of them, in fact, has open spaces and rhythms in itself, not necessarily in the single formally framed shot and random impression, but vice versa tends to cohesion with the other photographs, to a fitting in the picture and beyond the picture. ”
Giuseppe Turroni (Corriere della Sera, March 1978)

Giuseppe Turroni

“……. That is why every new exhibition, every new book, becomes a feast of the soul for me. The bearded Lorenzo Capellini, with her sweet smile, has fired a series of books and exhibitions that had risen, without a year of pause. In short, to retrace its long itinerary, which has become a tale for images close to becoming a precious document of history, it is discovered that fantasy and desire to discover the shadowy sense of artistic reality have been for him a kind of moral commitment, penitential exercise Lived in lightness of spirit during all the seasons of his erratic existence … .. ”
Gian Antonio Cibotto (Il Gazzettino, March 1996)

Gian Antonio Cibotto

“…… The use of photography in the Pomodoro exhibition has goals that go beyond the simple didactic task. The intent is rather aesthetic. It is, therefore, to establish a symbiosis, almost a “coation” relationship between sculpture and photography, which modifies the concept of artwork as pure objectivity completed in a certain amount and variety of properly crafted matter. The elements on which the combined action of sculpture and photography gains the most significant effects are time and space … .. Tomato and Capellini enormously dilate the time and space of the object-work, opening it to the moments that preceded the realization Ended and determining a continuum where present and past, place of vision and places of preparation, end up being confused in a different dimension … ”
Vittorio Sgarbi (Today, March 1998)

Vittorio Sgarbi

“The World of Pannunzio will remain in the history of newspapers, politics and costume a headline that has marked an era of direct moral and civility and prestige of signatures and images. Of pictures, because the photographs that Pannunzio chose personally should have been very particular and should have the strength of an article. A tough choice. From London, Elio Nissim, a collaborator of the World from the foundation, told Pannunzio a photographer living in London, Lorenzo Capellini. Pannunzio put all the pictures on his table: he saw, took one in his hand and, observing, said, “Well.” He told Capellini to set the target on images that were costume detectives. From that moment wherever he was, Capellini thought of the World: he was watching, screaming, and sending. Pannunzio chose and published …… ”
Gaetano Afeltra (Corriere della Sera, 1996)

Gaetano Afeltra

“Hundreds of bare and dressed backs of women and men, Masai dancers and golfers. Lorenzo Capellini, Genoese, a reporter professor.
The exhibition intrigues the visitor not only for the sensuality he can communicate but also for the great technique: the backs are sculptures that emanate an erotic suggestion intensified by the physical distortion-twisting of the bodies ……… .. ”
Eleonora Attolico (L’Espresso, February 2002)

Eleonora Attolico

“…… Among the many aspects of Lorenzo Capellini’s activity, the most fruitful one is related to the reportage of the art world: where, in other words, the photographer responds to that strange irresistible need of the observer who wants to see who is behind ‘Artwork, perhaps trying to reconstruct a “look-alike” map of glances, wrinkles and expressions as “physiognomic symptoms” of what we see in the same work … ”
Franco Fanelli (The Journal of Art 1995)

Franco Fanelli

“From the friendship between Goffredo Parise and Lorenzo Capellini this book was born. From friendship, who is able to hear silences and read inside the lines, these images of the Veneto of Parise are born. Behind there is more passion than craft. There is a sense of friendship that has become common sense of shots when Lorenzo accompanied Goffredo in his itineraries through the “homeland of Veneto” and the identity of the eye, of love, in the photographs that were inspired by the pages of Parise … … ”
Guido Vergani (New Alfa Editorial 1986)

Guido Vergani

“He has immortalized innumerable celebrities and filmed the whole world, but in this exhibition photographer Lorenzo Capellini presents completely different works: 150 shots that have protagonist’s back. He shrugs for a really unusual gallery, in which there are no expressions of the face, but only the force of the naked seen from behind: the personality of the subjects emerges abruptly … .. ”

GQ (January 2001)


“…….. Faces and hands of women, above all, that Capellini catches and sags in a sylloge that becomes a confrontation of feelings, a breakdown with Andy Warhol that exalts the lyrical appetite of a Giotto that we have so far known throughout the Its epic, dramatic, iconographic dimension. The book is of great figurative refinement. With her photographs Capellini managed to make the readability even more striking. It is an intense, realistic, almost carnal Giotto, what now appears to us from these close-ups …… .. ”

Marco Bevilacqua (New Venice, November 2002)

Marco Bevilacqua

“…… .. The exhibition is dedicated to Giò Pomodoro, accompanied by the images of Lorenzo Capellini: a wonderful example of a photographer who has known and continues to show that he can interpret the work of an artist. The catalog with suggestions and unforeseeable and concrete solutions at the same time would have greatly liked Paul Valéry in the sense that visual visualization does not lose touch with the reality of objects and, above all, with the work of the artist called – in Tomato’s case is all too obvious – to solve his problems vertically … ”
Carlo Bo (Corriere della Sera, March 1998)

Carlo Bo

“A sinuous curve, a shaded hue, a perfect harmony. Profiles of a solemnity almost statuary, exalted by the perfection of details; Human visions that are able to express – with astonishing effectiveness – plastic power and inner richness at the same time. But in those images there is also fear and shyness, arrogance and melancholy – a kind of inner exploration. They are the backs, naked or dressed, by Lorenzo Capellini, one of the most eclectic representatives of contemporary photography … ”
Roberto Ballarin (The Gazzettino, February 2001)

Roberto Ballarin

“……. Capellini tells her life in a confident tone in the twist of frames, paints her like a painter with her curiosity and sensitivity, comparing her with a journey in which she does not stop looking, crossed by myriad situations and figures who decided to let us know . ”
Donatella Mercati (The Nation, January 1999)

Donatella Mercati

“Comfortably by Alberto Moravia in long journeys in Africa, a friend of Hemingway in Spain between bulls and bulls and tied by a fellowship with Parise, photographer Lorenzo Capellini is a sublime master of cultural reportage. And certainly his shots transmit great emotions, the portraits above all. The artist gives us splendid pictures of writers, poets, painters, actors and actresses, composers and dancers … Pictures like poetry and stories in these images, for an insatiable curiosity that is never indiscreet but always elegant. ”
Novella Barbolani (The Journal, January 1999)

Novella Barbolani

“……. This is the birthplace of photography Lorenzo Capellini, a life behind the goal of London, Africa, Venice and Milan, combining the two passions of his life, art and photography. Art in all its forms: visual, theatrical, fixed in a verse or novel, enclosed in a score or ballet. For forty years Capellini has become one of the prominent names of cultural reportage, so much so that the Italian Foundation for Photography dedicates an anthology … .. ”
Stefania Berbenni (Panorama, October 1995)

Stefania Berbenni

“Welcome to the world. The world hung on the walls of Palazzo Vecchio in Florence, the world that then is an existence. That of Lorenzo Capellini. Of photo photos, it is understood that the master’s world has its own mythology with heroes, warriors, muse and gods. There is Alessandra Ferri who knows how to combine the grace with sensuality. There is Patty Smith, a mixture of violence and grace that is all in one hand raised to the sky with retrospective and sweetness ………. ”
Fulvio Paloscia (La Repubblica, January 1999)

Fulvio Paloscia

“…… They are male and female body fragments through which Capellini reconsiders one of the most popular spots of naked painting:” The photographer’s eye is like that of the painter who enjoys shape, structure and light “, declares on purpose Of references to other areas of visual arts, starting from Toulouse Lautrec …… .. ”
Franco Fanelli (The Journal of Art, December 2000)

Franco Fanelli

“…… It is on this wake that meets the latest work of Lorenzo Capellini, a Genoese birth photographer but a vanguard of vocation: an exhibition with 150 color and black and white images that portray bare backs in situations and contexts different. But they always seem to express a vitality in themselves, revealing the most intimate, and therefore sensual, nature of the subject portrayed … ”
Donatella Bogo (7, December 2000)

Donatella Bogo

“……. Thank you very much for the beautiful photographs of the undersigned.
He managed to make I do not say pleasing but at least tolerable one of the faces that in my life most abhorred ……. ”
Dino Buzzati (Milan, January 1971)

Dino Buzzati

Vienna, public toilets. Paris, Brasserie Lipp. London, laundry service. Venice, Joseph Beuys. The beautiful story of “Places and People of Art” is told by the objective of Lorenzo Capellini, in the retrospective organized by the Alinari Brothers at Palazzo Vecchio in Florence. Quantum of photographs that probe faces, moments, and intervals of the lives of barefoot and strains: we are all involved in this illustrated story … .. ”
Manuela Gandini (The Sole-24 Hours, January 1999)

Manuela Gandini

“… .. The world of art, from literature to sculpture and architecture, from cinema to theater to classical and non-dance, is represented in an anthology of the century, which after piece rebuilds the history of creativity and thought Of this twentieth century that turns to the end …… ”
The Manifesto (1 January, 2000)

Il Manifesto

“My friend Lorenzo Capellini, who was a great hunter in Africa, a companion of Hemingway (then) and Moravia (today) on trips to Africa, and the reader will know for his beautiful photos, stopped hunting suddenly because he saw sweet eyes of a dying zebra after Lorenzo shoot her. He was upset because they were looking at him with sorrow: perhaps the mischief (who knows) of abandoning life forever. He never took the shotgun again. ”

Goffredo Parise (Corriere della Sera, September 1981)

Goffredo Parise