Mario Testino, the photographer 'expelled' from the fashion dome, claims his scepter in Milan

Should we separate the works from the artists who created them?

Or defenestrating those who have broken the laws or ethics?

The debate has been hovering for years on characters such as

or

and has leaned decidedly in favor of the latter in cases such as those of the photographers

or

in 2017, both of whom were accused of abusing their models.

For the once all-powerful

favorite photographer

star of all the great fashion magazines for decades, head photographer of

and so many other celebrities, 2018 was the edge of an unexpected precipice, a fall to the depths of ostracism.

revealed that 13 people, male models and assistants, had accused Testino of abuses committed by the photographer ranging from stolen kisses to throwing himself onto the bed.

The star of the photograph denied everything, but that did not prevent that, just a year after having received the distinction of

, the most select doors were closed to him; the

said they would never be photographed by him again, and

said that

not publish a picture of him from then on. His Farewell: The January 2018 cover, featuring

and her baby.

And while it is true that a month after the scandal the photographer was already in the limelight for a super-sexy photo of

it is no less so that from then until now tracking Mario Testino has been a rather boring task , not to say sterile.

Until 2021.

Amber Valletta, Rio de Janeiro, Vogue, 1997

On October 21, the Milanese gallery 29 Arts in Progress inaugurated an exhibition of the photographer entitled

(without filter), "the first major

of this artist's work never before shown in a gallery."

On

proceeded to a

of images and added new, an extra incentive for fans of the genius are dropped by Milan.

It consists of

including never-before-seen works, intimate portraits, "authentic snapshots of the artist's life," explains the organizer, "along with some of the faces that have left an indelible mark on his extraordinary career".

Model Doutzen Kroes, for Allure magazine, 2008.

Among those faces and bodies, those of

and, as the gallery promises in its statement, true strangers and some 'inner landscape' of the controversial photographer.

Will the grandeur of these iconic images, many of them inseparable from the graphic history of the turn of the millennium, redeem the artist behind the man?

The debate is not over.

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