Assailed by the desire to analyse of his own narrator's identity, Giacomelli began travelling; but they were only brief forays into other ways of life, rather than real journeys, which served to remind him of the social exclusion of his childhood. Various situations and stimuli then lead Giacomelli to visit towns around Italy. In Spring 1957 he went to Scanno, a village in central Italy which had already fascinated Cartier- Bresson, where Giacomelli produced such masterpieces as "Scanno Boy". - noiregallery.com
"Mario Giacomelli exhibits at Studio 28 in Paris" rec. St. Manbel in "Young photograph" February 1962 "hospice Life. That's definitely the exposure Summit. This service on a old people's home puts in value all the genius of Mario Giacomelli. It is by means of poetry that photographer dug the wall of desolation and loneliness, is by means of communication and a delusion thread that it has penetrated these beings torn from active life, the hopes, the future ...- mariogiacomelli.it
Non-Representational Art, in fact, fascinates Giacomelli so much that, from the end of the 50s up to the 70s, he himself creates hundreds of pictorial works; and in the sixties he joins a Senigalliese artistic group where they debate on art and abstractionism, a group formed around the figure of the frame maker and seller Mario Angelini in via Arsilli, where painters and sculptors such as Marinelli, Ciacci, Donati, Gatti, Genovali, Bonazza, Mandolini, Moroni, and Sabbatini gathered.- archiviomariogiacomelli.it
Mario Giacomelli (Senigallia, 1 August 1925 – Senigallia, 25 November 2000) was an Italian photographer. Giacomelli was a self-taught photographer. At 13, he left high school, began working as a typesetter and spent his weekends painting. After the horrors of World War II, he turned to the more immediate medium of photography. He wandered the streets and fields of post-war Italy, inspired by the gritty Neo-Realist films of Vittorio De Sica and Roberto Rossellini, and influenced by the renowned Italian photographer Giuseppe Cavalli, eventually developing a style characterized by bold compositions and stark contrasts
Of course [photography] cannot create, nor express all we want to express. But it can be a witness of our passage on earth, like a notebook.
Nature is a mirror in which I am reflected, because by rescuing this land from sad devastation [through recreating it in photographs], I am in fact trying to save myself from my own inner sadness.
I don’t know about other people’s cameras. Mine is a thing I had cobbled up, it holds together with tape and is always losing parts. All I need to set is the distance and that other thing—what do you call that other thing?