Abstract
In 1984, an exhibition and a book entitled Italian Journey signalled the beginning of the advenrure of contemporary Italian photography. Notwithstanding the title's echoes of Goethe, the images shown in the exhibition and collected in part in the book revealed the horizon of a landscape that undoubtedly no longer possessed the charm of a natural environment as uncontaminated as on the first day of creation, which had enchanted visitors on the Grand Tour. Instead, the journey of this photographic eye uncovered a landscape where the signs of narure and history coexisted with the great signs of urban artifice.
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