The series Il Mare (The sea) has a metaphysical quality. The stretch of shoreline is undisturbed, without the scent of sun cream and sound of splashing in the shallows. The beach is ensconced in out-of-season silence.
Throughout his life, Giacomelli observed the sea, both from the shore and flying above it in a Piper plane, as he did for his Landscapes.
Several series explore the sea: Bambini al mare (Children by the sea) (Colonie, 1960s), Il mare (The sea) (1960/90s), Le mie Marche (My Marche) (1970/80s), Al molo (At the quay) (1980/90s), Il mare dei miei racconti (The sea of my memories) (1983/87). Giacomelli took his very first photograph, L’approdo (Landing place), on the shore in Senigallia, and returned here for his final series: a landscape of solitude belonging to someone on the verge of departure, whose silence is only interrupted by the wind whipping between the cabins and around the palm trees wrapped up for the autumn season; this is the beach we find in La domenica prima (The Sunday before) (2000).