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La dolce vita - Limited Edition 4 of 10
View In My Room


La dolce vita - Limited Edition 4 of 10 Photograph

Michele Pero



Size: 24 W x 16.9 H x 0 D in

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About The Artwork

La Dolce Vita Made in Germany Germany, Italy, Japan. Three countries that, at the end of the Second World War, shared the same destiny. Three countries burned to the ground. Three countries that shared a past but whose present could not have been more different. At the time of my travels, Germany was the unquestioned leader in every industry sector: technology, medical science, chemistry, research, business, and… photography. Travelling far and wide, from east to west, from north to south, my impression of Germany was that of a highly organised country, whose people were extremely efficient, who worked hard, yet in a seemingly effortless way. Despite this, Germans knew how to relax, enjoy their free time, go to the Biergarten, and have fun with their friends at leisure facilities. The balance between work and rest allowed them to maximise productivity without sacrificing leisure time. For this reason, I have always felt happy, privileged and relaxed in Germany. I started thinking of this lifestyle as ‘dolce’, sweet. That is when scenes from Federico Fellini’s ‘La Dolce Vita’ came to mind. Perhaps most Italians hold the misconception that German people only think about work and are unable to enjoy what life has to offer outside the office. This is not true. What I have seen has left me astonished, especially in this day and age. You can read more about my German experience on my book "La Dolce Vita Made in Germany" - ISBN 9788899478346, Editions ZeroTre - but here I just want to drive your attention on this picture. The German high quality of life differs a lot from Italian one. In my opinion, the sweet Italian lifestyle recalled by Fellini’s La Dolce Vita, is perhaps a myth. What Germany is teaching me is that a welfare society is based on work and cooperation for the common good. That's what I truly call "la dolce vita". This is the picture that I entitled "La dolce vita" for it recalls those unquestioned summer days of our childhood when life seemed so quiet, sweet and possible for everyone. This picture is part of the project "La Dolce Vita Made in Germany".

Details & Dimensions

Photography Print:Black & White on Paper

Artist Produced Limited Edition of:10

Size:24 W x 16.9 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I took my first picture in 1984 and became full time professional photographer in 1992. Throughout the years I could make a wide range of experiences in the fields of commercial photography and photojournalism, as well as in the school system with my own courses and, later on, with my own school of photography. How did it all started? I was introduced to darkroom by photographer Attilio Di Bacco, an expert photographer of my town and, above all, a master darkroom printer. Attilio taught me all the photography tricks and trade secrets so I began my journey into the world of black and white photography. Throughout the nineties and the first years 2000 decade, while I was studying biology at the University of Florence, I began working with a commercial photography studio. My work for the studio would help me to become an expert in all professional photographic techniques. In the same years I was carrying out documentary photography. In 1996 I completed my most important reportage of the times: Albania’s Albanians. Later retitled ‘Albania Felix’ by ‘Sette’ magazine Italy’s first photo-editor Amilcare Ponchielli, it was acclaimed for being the first photo essay on Albania that showed the human side of the country. My Albania, a poor, yet happy country, ‘normal’ in its being different from our culture, went against the trends of photojournalism. Indeed, unlike the most hit photojournalistic subjects such as sad and dirty faces of street children, the despair of the poor and urban neglect, I regarded my subjects with impartial eyes. I was able to go beyond preconceived ideas and stereotypes and thus capture an unexpected reality. A testament to the effectiveness of such an approach to photojournalism came from Giovanna Calvenzi’s assessment, the photo-editor of Lo Specchio magazine and currently one of the top photo-editor in the world: ‘I see you are not a talker. You are not like your colleagues who go on and on about the stories behind their photos… - I replied: – If I had wanted to talk, I would have become a lawyer. I believe a good picture should speak on its own.’ - She bought my photo essay and I got my first commission with her. My photographs have been featured and republished in all Italian newspapers and magazines. They have also been featured in numerous magazines in the world. My series of photographs of Kosovo has been critically acclaimed worldwide for their originality.

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