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BERNHARD HARTMANN

OPERA FERRARA

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The artist

Born in Frankfurt in 1955, Bernhard Hartmann began his artistic career at the age of 18 as a press photographer for a German newspaper. Self-taught, he studied art and became a landscape photographer after discovering this medium with the aid of his parents? Polaroid. He creates dramatic and cinemascopic images that are often compared to the Romantic paintings of Caspar David Friedrich, but also to the dramatic natural scenes by English painter William Turner. He prefers to photograph places where the arts are practised and expressed and thus presents series on operas, theatres, or European manors. A lawyer in Munich, Bernard Hartmann now lives near Lake Starnberg in the Bavarian Alps. His works belong to numerous private collections and have been shown in the United States, Spain, Italy, and Germany. He was elected ?Photographer of the Year? by a Swiss magazine and won the ?American Black-and-White Photo Awards? as well as the ?Panoramic Epson Award?.  ... See more See less

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I love what is beautiful. The serenity of a beautiful garden and the grave of an architectural monument must provoke the same emotion for the viewer. They must be enchanted through their emotions.

BERNHARD HARTMANN

About the artwork

German artist Bernhard Hartmann owes his recent success to his breathtaking representations of historical buildings that are highly symbolic and entirely dedicated to art and culture. The photographer, in his passion for classical music, once again demonstrates his artistic sensibility and multidisciplinarianism, a sensibility developed in his youth, during his fine arts studies at the famous Städel School in Frankfurt. On this image shot in 2016, both the depth of field and the empty seats reinforce the solemnity and silence reigning in the Ferrare opera house outside of performance times. The hub of the Italian Renaissance, the city has held the majestic Teatro Communale within its walls since 1789. The building was commissioned by Cardinal Spinelli, the then newly appointed envoy of the Pope, and its construction began in 1786 under the direction of architects Cosimo Morelli and Antonio Foschini. Through the prism of his lens, Bernhard Hartmann suggests in a ghostly manner the echo of past events: “The echo of the thunderous applause of spectators reacting to the passion of opera, to the ardour of the orchestra as well as to the human tragedies and to their triumphs can still be heard.”

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