Organized by MUS.E and sponsored by the City of Florence and the Florentine Civic Museums, with support from the Ministry of Heritage, Cultural Activities and Tourism and the Ministry of Foreign Affairs and International Cooperation, the exhibit one of the first of a series held in the Quirinale rooms in Rome, where it ran until October 11, kicking off the celebrations of the 700th anniversary of the death of the Great Poet (in 2021).
Massimo Sestini, an
internationally renowned photo-reporter, pursues this theme and analyzes it
with a highly original eye with experimental and unconventional photography
techniques. It ranges from Florence to Ravenna, where Dante’s remains are
preserved, passing the source of the Arno River on Mount Falterona. It also goes to Venice, Rome, Verona and Poppi, to discover the extent in
which the poet’s countenance continues to be part of our lives.
Accompanying the 23 shots is a Renaissance masterpiece: a wooden door from the Palazzo Vecchio Museum, made in 1480 by Giuliano da Maiano and Francesco di Giovanni (known as Francione), based on a drawing by Sandro Botticelli. The full figure of Dante is portrayed in wooden inlay. It is a precious work, both for its intrinsic value and the image of the poet handed down to us by him.
Sestini’s eye avoids that postcard picture affect by using innovative equipment.
For example, by mounting an ultralight camera on a telescopic pole, Sestini literally lifts us the viewer to the height of the statue of Dante in Piazza Santa Croce, in Florence, deserted due to Covid.
Firenze, piazza Santa Croce, Statue of Dante
Then with a drone he photographs the artist Enrico Mazzone as he works on his 97-meter-long Divina Commedia inside the Covered Market in Ravenna.
Among the exhibition highlights are two other photos that offer unprecedented points of view.
The first is an incredible image of the Last Judgment by Giorgio Vasari and Federico Zuccari that adorns the inside of the Cathedral’s dome Santa Maria del Fiore in Florence. It is the first time ever that the fresco has been photographed from top to bottom, and this was achieved by lowering a radio-controlled camera with a fishing line from the top of the cathedral’s lantern, 85 meters above the ground..................