Abstract
Roberto Innocenti’s illustrations have been qualified as “ contemporary paintings ” by Marco Magnani, inasmuch as they reconcile modernity and tradition, classical systems and new approaches to representation. This article focuses on Innocenti’s visual take on “ Little Red Riding Hood ” in The Girl in Red (2012), in order to highlight some of its iconographic references, as well as their social and philosophical implications. Innocenti indeed sheds light on the living and housing systems of our times, characterised by indifference, isolation and lack of communication according to anthropologists Marc Augé and Franco La Cecla. In this respect, they evoke the photographic work on suburbia done by the great photographer Gabriele Basilico1.
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