Burri e Pistoia
a cura di Bruno Corà
a cura di Bruno Corà
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
was that he was not at all easy to approach. Later I understood why:<br />
the artist devoted his whole day to his creations, and didn’t like to be<br />
distracted from them.<br />
“In 1976 Amendola, just back from New York, went to see Fazzini, who lived<br />
on Passeggiata di Ripetta in Rome, right next door to <strong>Burri</strong>; imagining that<br />
the two knew each other, he asked the sculptor if it was really so difficult to get<br />
an appointment with the Umbrian artist. Fazzini knew that his painter friend<br />
was loth to grant appointments, but was aware of Amendola’s quality. Sure<br />
that <strong>Burri</strong> too would be able to appreciate that quality, he invited him to meet a<br />
good friend, omitting, deliberately, to say that he was a photographer, in order<br />
not to put him off.”<br />
CS: Did you know that it was Fazzini who noticed <strong>Burri</strong>’s talent right from his<br />
first exhibition in Rome at the Margherita, in 1947, and who introduced him<br />
into various circles, so that he would get the recognition he deserved?<br />
AA: I was not aware of the special bond between them. A long time<br />
afterward, Fazzini revealed to me that in 1952 he had intervened on<br />
his behalf to get his work shown at the Biennale! I never told <strong>Burri</strong><br />
about this conversation. It was a surprise when, in the last years of our<br />
association, he confided to me that it was something he had never said<br />
before, but he felt he owed a debt to his sculptor friend.<br />
Going back to that day, <strong>Burri</strong> accepted the invitation and joined us.<br />
Fazzini introduced me to him as the young photographer who was<br />
working for him and enthusiastically declared his appreciation of my<br />
pictures. <strong>Burri</strong>’s expression was discouraging: he pulled a face that said<br />
clearly: “Another pain in the neck!” In contrast to what had happened<br />
with other artists, the fact that I was Marini’s photographer seemed not<br />
to impress him in the slightest.<br />
He told me he was leaving for engagements, first in Japan and then in<br />
the United States, and that I would not be able to contact him again for<br />
three months. It seemed to be a polite way of getting rid of me. But he<br />
did give me, the telephone number of his home in Città di Castello and,<br />
Alberto <strong>Burri</strong>, Città<br />
di Castello, 1976<br />
130 131