About one hundred photographs by Mariano Fortuny (1871 – 1949) have been selected and printed following a philological method by Giorgio Molinari, who chose them from a body of more than 11.000 negatives, and they are now exhibited until the beginning of July in the Fortuny museum in Venice. The exhibition is called “Fortuny: the artist’s eye. Panoramas, portraits and other visions”. The first group of pictures, dated between 1901 and 1908, comprises pictures taken during the trip of this polyedric artist from France to Italy, passing through Germany and the Alps. They are taken with dauntless modernity, using a Kodak- Panoram nr 4, a camera that allows the quadrangular shooting for huge spaces. The same tecnique is applied also to the shootings of Venice taken in 1907, which suggest an unusual vision of typical places of the centre of Venice, such as San Marco square and its basin, the Punta della Dogana or the Giudecca canal. The other group of photos refers to the enchanted places where the artist worked, such as Palazzo Martinengo in Venice (1896) or to portraits of models and of his wife Henriette, who shows an unchanged charme during the years (the shots go from 1905 to 1930). This second group intersecates with paintings, often contrapposed to the photos; it is also in contrast with the precious clothes made of prismatic velvet, like the famous peplos “Delphos” ; with closets, carpets and other exotic objects, result of the passioned and eclectic collectionism of Fortuny. All this is blended by the indirect and dim light of the lamps created by himself, as the ones made of silk lint. An apart section is composed by the sketches for the setting of the Wagner cycle (Fortuny made the settings for the first night of “Tristan and Isotta” at the theatre La Scala in Milan), to begin with the “Parsifal” of 1898 and ending with the “Walkyrie” of 1928. Fortuny shared Wagner’s idea or illusion of total theatre, of a synthesis between music and painting. In this sense has to be considered also his atelier at the Fortuny palace, which represents a unique and unrepeatable synthesis of his manifold knowledge and of his endless will to try new things. Curated by Silvio Fuso and Giorgio Molinari. Catalogne edited by Marsilio.