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“The Two Ways of Life” Progetto a Cura Di Elisa Mantovani 3°F Tecnico Grafico A.S

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“The Two Ways of Life” Progetto a Cura Di Elisa Mantovani 3°F Tecnico Grafico A.S “The two ways of life” Progetto a cura di Elisa Mantovani 3°F Tecnico Grafico a.s. 2016/17 Oscar Gustave Rejlander è stato uno dei personaggi più bizzarri e controversi fra quelli che hanno assistito in prima persona alla scoperta della fotografia, ma soprattutto fra coloro che hanno praticato, sperimentato e vissuto questa nuova forma di espressione. Nasce in Svezia, probabilmente nel 1813, figlio di uno scalpellino che è anche ufficiale dell’esercito svedese; viene a Roma per studiare arte e a partire dal 1840 si stabilisce nella città inglese di Lincoln. Si avvicina alla neonata fotografia durante la seconda metà degli anni Quaranta, in circostanze non del tutto chiarite, pare attraverso la conoscenza di uno degli assistenti di William Henry Fox Talbot. Ciò lo porta ad abbandonare progressivamente la pittura per dedicarsi alla nuova arte ed apre uno studio fotografico a Wolverhampton. Nel corso dei primi anni Cinquanta apprende la tecnica del collodio umido, iniziando a produrre immagini ancora poco convenzionali per l’epoca, alcune di contenuto esplicitamente erotico, nelle quali sono ritratti anche ragazzi di strada e giovanissime prostitute. Nel 1855 partecipa con alcune fotografie all’Esposizione Universale di Parigi, ma la notorietà arriva nel 1857 con l’opera per la quale è più conosciuto, The Two Ways of Life. Rejlander era stato uno dei primi a sperimentare la tecnica del fotomontaggio ed è appunto in tal modo che realizza questo suo lavoro, un’immagine di 30 x 16 pollici, (cm 76 x 40 circa), ottenuta dalla stampa di 32 diversi negativi; si tratta di una composizione chiaramente ispirata dal dipinto di Raffaello “La scuola di Atene”, nella quale vengono raffigurati due diversi modi di vita: da un lato la saggezza, la religione, l’operosità e la virtù, dall’altro il gioco d’azzardo, il vino, la dissolutezza e la sensualità. 2 Viene esposta per la prima volta a Manchester ed ottiene da un lato grandi consensi, dall’altro grandi critiche, provocando anche nette divisioni nel mondo della fotografia ufficiale; è comunque apprezzata dalla regina Vittoria che ne acquista una copia da regalare al principe Alberto. Nel 1860 realizza un altro fotomontaggio, non celebre quanto il primo, ma certamente singolare per la circostan- za che lo determina e per lo spirito con cui Rejlander la affronta. All’epoca un certo numero di inglesi pensa che sia il momento di muovere guerra alla Francia a causa della politica di Napoleone III nei confronti della Gran Bretagna: vengono formate allo scopo compagnie di volontari, composte in gran parte da persone non più giovanissime appartenenti alla media borghesia e al mondo delle professioni. Rejlander è con loro (1st Wolverhampton Volunteer Company), anche perché è un ottimo tiratore, tanto che questa sua dote sarà celebrata sul Wolverhampton Chronicle del 20 novembre 1861, dove si racconta di una sua performance nel poligono di tiro di Wightwick sparando da una distanza di 250 yards. La situazione diventa naturalmente una fotografia, un autoritratto in fotomontaggio nel quale Rejlander il foto- grafo presenta Rejlander il volontario. (Vedi foto 1) E’ in contatto con altri rappresentanti del mondo culturale inglese dell’epoca, come Charles Lutwidge Dodg- son, meglio conosciuto con lo pseudonimo di Lewis Carroll, l’autore di Alice nel paese delle meraviglie, che oltre ad essere scrittore, pratica anche la fotografia e che sarà a sua volta personaggio abbastanza controverso; è inoltre in rapporti di amicizia con la fotografa Julia Margaret Cameron, in compagnia della quale nel 1863 visita l’isola di Wight. 3 Nel 1862 si trasferisce nello studio londinese in Malden Road continuando a sperimentare doppie esposizioni, foto- montaggi, ritocchi ed elaborazioni diverse; è ormai molto esperto nella tecnica fotografica e realizza lavori ricer- cati che vende nelle librerie e nelle gallerie d’arte. La sua attività però non gli ha reso molto da un punto di vista economico ed egli vive gli ultimi anni in condizioni di quasi povertà; nel 1874 si ammala gravemente e il 18 gennaio 1875 muore a Clapham, nei pressi di Londra. Consensi e critiche continuano ad accompagnare la sua attività ed egli non perde occasione per far parlare di sé: il suo studio è strutturato in maniera molto particolare, a forma di cono, con la macchina fotografica situata al vertice, nella parte più stretta. L’apparecchio fotografico è in ombra in modo che i suoi soggetti non ne siano condizionati e per misurare la luce del giorno e valutare i tempi di esposizione tiene nello studio un gatto: se gli occhi dell’animale sono fessure c’è luce per esposizioni brevi, se sono semiaperti bisogna allungare il tempo di posa, se sono aperti completa- mente è inutile tentare lo scatto perché la luce è troppo poca. Non risultano altri casi documentati in cui un gatto venga usato come esposimetro e probabilmente si tratta di un aneddoto, ma la dice lunga sulle caratteristiche del personaggio. Si dedica anche a riprese fotografiche ispirate da impegno sociale, realizzando servizi sulle miserevoli condizioni dei bambini di strada londinesi da cui provengono immagini divenute famose come “Homeless” o “Povero Joe”. Sempre nel 1862 sposa Mary Bull, una sua modella di ventiquattro anni più giovane, che aveva fotografato fin dai tempi di Wolverhampton, quando la ragazza aveva 14 anni. Nel 1872 alcune sue foto vengono utilizzate per illustrare il trattato di Charles Darwin “The Expression of the Emo- tions in Man and Animals”. Rimangono di lui alcuni album di stampe e alcune decine di negativi al collodio. 4 1. 2. 3. 4. 5. 6. 5.
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