We are comfortable then with a brief essay on the birthday of Fulvio Roiter (November 1, 1926 to April 18, 2016), because although we could not find a verifiable cat photograph of this photographer's, he is considered perhaps the greatest artist whose subject was Venice.
One writer says:
'[L]ong before the phenomenon of instant pictures shot by foreigners, Fulvio Roiter, one of Venice's own photographers, introduced the world... [to Venice].....Born in Meolo in the province of Venice, Roiter graduated as a chemical expert, but since 1947 he devoted himself to photography, which became his professional activity since 1953...'
'After making numerous reports for some magazines, he published his first photographic book in 1954, the black and white volume Venise a fleur d'eau. In 1956 Roiter won the second edition of the Nadar Award with the book of black and white photo Umbria. Land of St. Francis (Ombrie, Terre de Saint-François).'
until
'.... after a long illness, Fulvio Roiter died at the hospital in Venice. Roiter ...[had been] married to the Belgian photojournalist Louise "Lou" Embo.'
'After making numerous reports for some magazines, he published his first photographic book in 1954, the black and white volume Venise a fleur d'eau. In 1956 Roiter won the second edition of the Nadar Award with the book of black and white photo Umbria. Land of St. Francis (Ombrie, Terre de Saint-François).'
until
'.... after a long illness, Fulvio Roiter died at the hospital in Venice. Roiter ...[had been] married to the Belgian photojournalist Louise "Lou" Embo.'
And there is this instance:
'One man almost single-handedly defined the photographic image of Venice in the late twentieth century: Fulvio Roiter.'
That writer continues:
'Roiter is strongly influenced by the humanist photojournalism of the 1950s, the period in which his career began. From his first book about Venice through to his latest, cats are content, children are playful, and tourists are for the most part respectful, appreciative and enthusiastic. In a recent interview, he underlined his continuing hostility towards ‘critical’ photography, referring specifically to Oliviero Toscani, who was commissioned in 1999 to draw attention to the problems created in Venice by mass tourism.
‘[Y]ou do not see Venice in his advertising campaign. There are two dogs mating, sewer rats ... New York too has dogs mating and sewer rats ... They say it’s “a way of drawing attention to problems” … “Problems” is a word for intellectuals that is fashionable nowadays. I don't photograph them’.
'One man almost single-handedly defined the photographic image of Venice in the late twentieth century: Fulvio Roiter.'
That writer continues:
'Roiter is strongly influenced by the humanist photojournalism of the 1950s, the period in which his career began. From his first book about Venice through to his latest, cats are content, children are playful, and tourists are for the most part respectful, appreciative and enthusiastic. In a recent interview, he underlined his continuing hostility towards ‘critical’ photography, referring specifically to Oliviero Toscani, who was commissioned in 1999 to draw attention to the problems created in Venice by mass tourism.
‘[Y]ou do not see Venice in his advertising campaign. There are two dogs mating, sewer rats ... New York too has dogs mating and sewer rats ... They say it’s “a way of drawing attention to problems” … “Problems” is a word for intellectuals that is fashionable nowadays. I don't photograph them’.
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