Aurelio Amendola’s photographic research is almost equally divided between images dedicated to architecture and ancient sculpture, from Jacopo della Quercia and Donatello to Canova, and portraits of contemporary artists, from Marino Marini and De Chirico to various leading contemporary figures.
A comparison between his black and white photographs that focus on historical subjects and those dealing with contemporary art, usually in color, reveals the power with which Amendola manages to convey the physicality of the material, volume, and, literally, weight of sculptures and architectural elements. [...] 
