In the late 1950s, Uliano Lucas frequented Milan’s Brera neighborhood and the bar Giamaica, then a meeting place for artists, artisans, intellectuals, photographers, and journalists. The environment there was like a school of life and a source of continuous cultural stimulation for the young, only seventeen years old Lucas. A desire for independence and consistent civic responsibility led him to devote himself to photography.
Over the course of the 1960s, his portraits of artists, including Piero Manzoni, Enrico Castellani and Agostino Bonalumi, document the sense of friendship and the human, even more than the intellectual, relationship that Lucas succeeded in establishing with his subjects. [...] 
