Luisa Ricciarini Photo Agency

 

Beautiful high resolution images, bright colors and magnificent details: Luisa Ricciarini Photo Agency content is now available via Bridgeman Images. We met with the agency's founder Luisa and asked some questions.

 

Luisa Ricciarini, agency founder / photo © Max Mandel

 

When and how was the photo agency Luisa Ricciarini founded?

In 1970, after a long experience at a publishing house, I decided that it was time for me to move independently in the publishing world. My agency was initially suppling iconographic picture research and the publishing house I had left was my first big "client".

 

    Dore bronze candlestick draws by Victor Paillard (1805-1886). Apartments of Maria Brignole Sale (Brignole-Sale) De Ferrari, Duchess de Galliera (1811-1888), the furniture comes from the Hotel Matignon, his Parisian residence. Palazzo Rosso, Genes / © Luisa Ricciarin / Leemage / Bridgeman Images

 

I was entrusted with the picture researchers for books and encyclopaedias and, since I had to indicate where to find the illustrations, I decided that I could supply them directly. Thanks to my previous work as an iconographer, I knew a great number of photographers who were very happy to be represented by me.

I was then able to offer the complete package for an illustrated book. These were the good times when one worked side by side with the author of the book, when I learned and studied many things: from biology to botany and economic geography. Initially my archive was mainly made up of photographs related to the natural sciences (I was instructed by French publishers  to illustrate entire encyclopedias on this topic). Then I met great art photographers and the agency took a more "artistic" turn.

 

The spring, Detail - Zephyr seizing at flight Chloris (Flora) wearing a transparent veil - Sandro Botticelli (1445-1510) 1477-1478 / Florence, Uffizi / © Luisa Ricciarini/Leemage / Bridgeman Images

 

 

If you had to describe your archive in a sentence, what would it be?

A lot of passion, a lot of study and a lot of effort.

 

Which one was the first image you ever licensed?

If I remember correctly, it was a microscopic photograph of a Drosophila (fruit fly), an insect studied by biologists for genetics research. It was required for the cover of a science book. An insect, therefore, was my first exploit.

 

Greek Art: Head of Poseidon (or Zeus) - Bronze sculpture, by Kalamis (480-460 BC) 5th cent. BC, found in the sea of Cape Artemision - National Archaeological Museum, Athens, Greece / © Luisa Ricciarini / Leemage / Bridgeman Images

 

What is the photo in the archive that was more difficult to shoot and why?

Surely the most difficult was not a single picture, but a service that I realized following the expedition of the great volcanologist Hauroun Tazieff ("Fire poet", as Jean Cocteau called him). It was 1967 or '68 on the occasion of one of the many eruptions of Etna. We left at night; the vulcanologists completely harnessed by fireproof suits; I too harnessed myself, but I needed eyes and hands free to take photos. To make it short, it was a very hot photographic experience to the point that I feared that the films melted. The good Kodak resisted ... and me too. My adventure companions were a Leica and a Zonica Bronica 6x6.

 

Manuscript ”De Bello Gallico, Comments on the War of the Gauls” by Jules Cesar (ms. 541) Blazon of humanist Niccolo Tranchedini, owner of the manuscript. 14th century Biblioteca Riccardiana Naples / © Luisa Ricciarini / Leemage / Bridgeman Images

 

Is there a photo of the archive you are particularly fond of?

This is the million dollar question. Instinctively I would say The Flagellation of Christ by Caravaggio in Capodimonte. But where to put that other spectacular Flagellation of Piero della Francesca in Urbino? But I will never forget the fainting effect that caused me to see the Deposition of Rosso Fiorentino in Volterra. Appropriately, in front of the big picture, there is a bench on which you can go into swoon without falling on the ground. I knew the work from books, of course, but finding yourself in front of it has a certain effect. The modern, exasperated, angry and painful trait of the characters took my heart. Not to mention the colours... And Matisse where do we put it? And Picasso? In short, I can't choose.

 

The Deposition, 1521, Rosso Fiorentino, Giovanni Battista (1494-1540) / Pinacoteca, Volterra, Italy / © Luisa Ricciarini / Leemage / Bridgeman Images


Today, how has the role of the photo agency changed since you started?


To put it in a nutshell: I miss the picture research. Perhaps everything is easier; the user chooses an image and you send the high definition. But it is really a lot less fun ...

 

Chimaera di Arezzo o la Chimaera ferita da Bellerofonte (particolare della testa) - Scultura in bronzo, arte etrusca, 380-360 a.C. - Museo Archeologico, Firenze, Italia / © Luisa Ricciarini / Leemage / Bridgeman Images

 

The images from the Luisa Ricciarini Photo Agency are now available via Bridgeman Images. Contact us for more information.

 

 

 

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