Review: Waiting for the Magic: The Photography of Oscar Marzaroli

 

Saturday 23 November 2013 20:00 EST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Photographer Oscar Marzaroli was born in Castiglione Vera, Italy, in 1933, and came to Scotland with his family at the age of two. He studied at Glasgow School of Art and was subsequently a photo-journalist in Stockholm and London before returning to Glasgow in 1959. Although best known for his acclaimed and evocative photographs of Glasgow in the 1960s (above), he was also a film cameraman, and directed more than 70 times for Ogam Films, a company he co-founded in 1967. He died in 1988.

This book celebrates Marzaroli’s extraordinary talent with a number of specially commissioned essays and a selection of previously unpublished photographs, as well as many of the iconic images for which he is renowned. The first section, “Europe: A Man with a Vision” highlights Oscar’s journey into photography and features figure and landscapes from Scotland and beyond. “Glasgow: A Dear Green Place” contains some of Marzaroli’s most familiar Glasgow shots, as well as many images never before published. The last section is “Marzaroli’s People”. Marzaroli’s portraits always had a purpose and a point; his empathy is apparent, as is his lack of intrusion and respect for people in their unique landscape.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in