gemito catalogo

A. Pallesi & C. s.r.l. Trinity Fine Art

Vincenzo GemitoD R AW I N G S

Saturday 5 July–Friday 11 July 2008

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A. Pallesi & C. s.r.l.


In his beguiling essay La seconda vita di Vincenzo Gemito1, Alberto Savinio comments that “Gemito was more of a sculptor in his

drawings than in his statues”, commenting, somewhat enigmatically, that: “As a sculptor, Gemito dominates his material by the

greatness of his spirit and the strength of his hands, reducing it to the bare minimum, no longer striving for lyricism but for material

perfection”, and adding “Gemito’s statues were simply the creator’s pastime”.

Savinio’s text is imbued with profound poetic understanding, an effective way of approaching the work of this great master. And,

indeed, as Baudelaire would have wished it, perhaps it is only a poet who may be able to properly decipher the work of this artist.

From the start, whilst Gemito was still living, great interest was shown in his drawings. In 1916 Pica published, in the periodical

Emporium, a long article in which he compared Gemito’s graphic work to that of Constantin Meunier and Auguste Rodin2.

Later, in 1944, O.H. Giglioli presented a selection of magnificent drawings from private sources including many from the Minozzi and

Consolazione collections3 - demonstrating that Gemito was indeed a born draughtsman. The critic Argan4 was later to describe the

artist’s ability to reveal with a few strokes all that was most immediate and spontaneous in the movement of a body or a face, captur-

ing, with his eye for detail and movement, both the anatomical and the psychological characteristics. Lacking both proper training and

education, Gemito yet managed to attach these aspects to the paper surface with the rapidity and power of a bird of prey.

As a young boy, Gemito astonished his masters, Emanuele Caggiano and Stanislao Lista, with his ability to draw precisely in red

chalk, a medium that allows for little correction. After his somewhat unconventional apprenticeship with Caggiano (for whom

Gemito retained fond memories) and then Lista (for whom instead he had less liking, as is perhaps revealed by his later reluctance

to discuss the relationship), Gemito was enrolled at the Real Istituto di Belle Arti in 1864. Here, four years later, Domenico Morelli

was installed as teacher, demonstrating considerable interest in our sculptor whom he supported in the competition for an artistic

scholarship in Rome. Even if Gemito did not greatly admire Morelli, he was undoubtedly influenced by certain aspects of the older

painter’s work; this can be seen, for example, in Gemito’s handling of ink wash and in the use of strokes of gouache in many of his

sketches, both in turn influenced by Morelli’s revisitation of Venetian eighteenth century painting (as has been commented else-

where5). Further, it is likely that the older painter’s style can be discerned in Gemito’s vibrant treatment of the surfaces of his sculp-

tures, rendered with a sense of reality yet tied to a structure of classical origin.

Gemito’s self-styled personality has always created problems in the interpretation of his work. In the preface to the monograph on

Gemito by A. Schettini, published in 1944, E. Somarè praised the artistic personality of the Neapolitan artist in elegiac terms whilst

at the same time pointing out not only Gemito’s lack of formal education but also the absence of any political message or sentimen-

tality in his work. To quote Somarè, in his original Italian: ‘La comparsa di un genio che fa epoca, nel senso che riconosce in lui il

figlio del suo tempo, mentre il tempo che fu suo s’impronta reciprocamente delle sue creazioni; costituisce un portento che si spie-

ga…’, only in the case of an individual, ‘..che fa parte a sé stesso, come fosse separato dall’epoca che assiste al suo processo senza

determinarlo’ and ‘..rappresenta un assurdo, nel quale la divina o demoniaca libertà di un arte indifferente ad ogni cronologia, ci

costringe a credere’. He adds at the end his view that Gemito’s personality is such that ‘one remains perplexed and does not really

know how to deal with it critically’6.

It thus becomes clear that there are considerable difficulties in investigating the work of this Neapolitan genius with the usual criti-

cal apparatus. To this it may be added that the documentary, social and biographic details concerning the artist, if not completely

Notes on Gemitoby Bruno Mantura

irrelevant, produce further difficulties in that they lead us into the realms of legend. Only the consistency of his stylistic develop-

ment allows us to discern the source of his stylistic coherence: the Antique (in particular, the excavations at Pompei and the collec-

tions of the Museo Nazionale) was the first, powerful visual experience at the start of his artistic career. As an example of the impact

of this, one can cite the visual transformation of his model Mastro Ciccio into the form of a pseudo-Seneca.

During 1887 Gemito entered into what was to be a lengthy period of dark mental anguish, often and imprecisely described, with the

incorrect medical diagnosis, as ‘madness’. In reality, several unhappy events had left him deeply perturbed: firstly, on a personal

level, the death of his companion Mathilde Duffaut, and, secondly, problems concerning his work on two important royal commis-

sions, the never-to-be-completed thirty-three metre centrepiece commissioned by King Umberto I for the Reggia of Capodimonte

and the statue of Charles V, destined for the façade of the Royal Palace.

Initially confined to the clinic Fleurent, Gemito managed to return to his home in Via Tasso and there he was to remain, isolated, for

nearly twenty years. During this long period of torment, particularly during the first ten years when he almost totally abandoned

sculpture, he continued to draw, helped by the loving care of his wife Anna Cutolo, the mother of their daughter Giuseppina. Anna

proved to be the patient model for some of his most extraordinary graphic works, sheets totally complete in every detail, amongst

which several rennaissance-like works notable for their technical excellence and intense inspiration. It is at the end of this period of

segregation, in 1906, that Gemito produced one of his most sublime drawings: the image of Coserella (as Gemito had named Anna)

depicted in a pose of intense sadness, shortly before her death.

Finally emerging from this self-imposed exile, and divested of any modern realistic concerns, the artist returned to his dialogue with

the Antique, now freed from its limitations, as if he wished to penetrate its pure essence. It proved to be a grandiose moment in our

artist’s career, a period when the forms that he developed expand to comfortably fill the figurative space, freed from tension. In

these years, when the artist was working on his studies and sculptures of Alexander the Great, one sees the faces open as if infused

with light. Gemito worked on the image of the Macedonian king, depicted in profile for a medallion and shown again in the round,

images of the Cosmocrator (as Alexander was denominated in the Middle Ages) which shine with a god-like youthfulness. Thus

Gemito carried his art into the world of mythology.

In this later period of his life Gemito also worked on a Medusa, a subject with a rich and symbolic significance: an example, per-

haps intended to evoke Perseus’s shield, is cast in silver7. The creation of this Medusa seems to be related to an anecdote (but then,

of course, the anecdotes concerning Gemito are infinite): the artist, during his last sojourn in Paris in 1924, searched for a girl with

long hair, a fitting model for the Medusa, and he eventually found a dancer with long golden trusses. Once found, he knelt at her

feet and exclaimed: “You are the Sun”.

1 A. Savinio, Narrate, uomini, la vostra storia, Milan, 1984, page 69 et seq.

2 V. Pica, “Disegni di tre scultori moderni. Gemito, Meunier, Rodin”, in Emporium, vol. XLIII, no. 258, pages, 403-425.

3 H.O. Giglioli, Disegni di Gemito, Florence, 1944

4 S. Di Giacomo, Gemito, la vita – l’opera, reprint, Naples, 1988, with preface by C.G. Argan.

5 F. Bellonzi, R. Frattarolo, Gemito, Rome, 1952, page 6 (concerning a sheet with a fisherboy, plate III, “..che nella sua calma solenne, con tutta laluce che lo imbeve, affaccia la memoria di un Piazzetta”).

6 E. Somarè, preface to A. Schettini, Gemito, Milan, 1944, page 9.

7 The silver example is to be found at the J. Paul Getty Museum, Los Angeles.

View of the Gemito Collection, Cairo, Egypt, circa 1940

1.

VINCENZO GEMITO(Naples 1852-1929)

Portrait of Giuseppina

Graphite, drawn on the back of an envelope

Signed, in graphite, centre right: V. GEMITOThe envelope addressed, in brown ink: Illmo Sig. VincenzoGemito artista scultore, Via Tasso N. 24, Città and printedwith the title: Prima Mostra Nazionale d’Arte pura edapplicata Napoli, Edificio Municipale Galleria Principe diNapoli

mm 112 x 145

Gemito married Anna Cutolo, who had modelled forDomenico Morelli, in 1882; their only child, Giuseppina,was born in 1885. He portrayed his daughter in numerousdrawings throughout the remainder of his life, as he alsodid his four grandchildren: Bice, Annita (or Anita), Carlottaand Alessandro. This sketch can be compared with aportrait of Giuseppina, dated 1927, in the Galleria d’ArteModerna, Rome1, which depicts her at the age of forty-two.

It has not proved possible to find further details concerningthe exhibition printed on the envelope, perhaps becauseGemito did not in fact participate. Gemito occupied thehouse in Via Tasso from 1887 until moving to Parco Grifeoin 1910-11 and must therefore have kept this old envelopein his studio, utilising it some twenty years later. Hispractice of drawing on old scraps of paper that came tohand is well documented and underlines the constant needto draw that persisted throughout his life.

1 De Marinis, plate 200.

2.


Study of an Archer

Graphite

Inscribed, signed and dated lowerleft, in graphite: Sesto istantaneo /V. Gemito 1911 and numbered 15

Watermark: G & CR / ExtraStrong

mm 420 x 290

The drawing is an elaboration ofan earlier sketch in the sameseries, entitled ‘Primoistantanteo’, exhibited here, cat. no. 3.

Whilst dating from the years1908/1911, the whole series ofarchers is reminiscent of Gemito’searlier studies of youngfisherboys, dating from the 1870’sonwards. These studies of youngboys, often shown in contrappostoposes, continued later in theartist’s career with sculptures suchas ‘La sorgente’ and ‘L’acquaiolostorto’ 1.

1 McArthur and Ganz, nos. 16-17.

3.


Three sheets with studies of Archers

Black chalk, graphite and whiteheightening

Inscribed in graphite: Primo istantaneo,Quarto istantaneo, Settimo istantaneoand signed in graphite, lower left: V.Gemito; the first and third dated 1911

mm 104 x 134; mm 190 x 105; mm120 x 166

These lively life studies are related toseveral more elaborate drawings ofyoung archers dated between 1908 and1911; amongst these, two are in theMinozzi collection, one is undated1, andthe other is dated 19082. The first of thethree drawings presented here is apreliminary sketch for a furtherdrawing in the series, Sesto istantaneo(exhibited, cat. no. 2).

Other drawings with the title‘istantaneo’ do not appear to berecorded. The inscriptions undoubtedlyemphasize the importance that Gemitoplaced on these quickly-realised lifesketches of young male models as ameans of capturing a vivid sense ofmovement.

1 De Marinis, plate 284.2 Ibid., plate 42.

4.


Study after the Libyan Sybil by Michelangelo; studyof a head

Graphite

Signed and dated lower right, in graphite: V. Gemito 11ottobre 1922

mm 188 x 273

Gemito’s evident interest in the works of Michelangelo istestified by this study after the famous figure from theSistine Chapel, and by other drawings after the master,including several studies of the marble ‘Moses’ in SanPietro in Vincoli, Rome1.

The drawing was very possibly made during a visit to theSistine Chapel since Gemito was in Rome for much of1922, where, following in the footsteps of BenvenutoCellini, he was hoping to procure a workshop within thehistoric precincts of Castel Sant’Angelo.


5.


Study after the Toilet of Venus (‘The Rokeby Venus’)by Velasquez

Black chalk and graphite

Signed and dated lower left, in graphite: Studio / Gemito /Parco Grifeo 1913

mm 136 x 222

This is another example of Gemito’s interest in the OldMasters (see the preceeding entry); the famous image ofVenus seen from the back clearly appealed to Gemito andis indeed echoed in a drawing of 1915 of a sleeping girl1.

Gemito moved to a house in the Parco Grifeo, situatedbetween the Riviera di Chiaia and the Villa Floridiana,during the course of 1911.

1 Private collection, Schettini, plate 85.

6.


Male Torso after the Antique

Pen, black ink and wash, over traces ofgraphite

Signed lower right, in black ink:GEMITO

mm 239 x 179

This accomplished drawing is a rareexample of Gemito working almostsolely with a brush and black ink; heuses the pen only to highlight the shapeof the torso’s thighs.

Gemito made a number of drawings ofGreek and Roman statues, most notablyseveral studies of Alexander the Great(see no.7 below).

The antique original for the presentdrawing was perhaps a figure in thecollection of the Museo Archeologico inNaples. However, the torso is alsosimilar to that of the famous‘Narcissus’, discovered in a house inPompei in August 1862 and now housedin the Museo Archeologico1. Gemitomade a bronze version of this figure in18852 and it likely that our drawingshould be dated to about the same time.

1 Haskell & Penny, fig. 141.2 Mantura, no. 138: McArthur and Ganz, no. 12.

7.


Recto: Two studies of a Head of AlexanderVerso: Study for the Head of Alexander in profile; astudy for a bust of a Philosopher

Two sheets, mounted back to backRecto: black chalk and graphite with traces of whiteheighteningVerso: blue chalk

Signed on recto, lower centre, in black chalk: V. Gemito

mm 155 x 205

These two views of a head of Alexander are related toa drawing of a similar head on a sheet which alsoshows the hero’s rearing horse1, no doubt partly

inspired by the antique group in the MuseoArcheologico, Naples2, and also by the famous groupof Alexander and Bucephalus in Piazza del Quirinale,Rome3.

Gemito returned to the subject of Alexander manytimes in the course of hiscareer. The head in profile onthe verso relates to a series ofsimilar heads of Alexander inbronze, marble, gesso and wax,of various dates from 1912onwards4.

1 Schettini, plate 127.2 Di Giacomo, page XLV.3 Haskell & Penny, figs. 71-72.4 Mantura, nos. 155-159.

8.


Self-portrait of the Artist, agedtwenty

Black chalk, with some black wash

Signed and dated lower right, inblack chalk: V. Gemito 1872

mm 445 x 327

This self-portrait of the artist at theage of twenty is one of two in whichhe is depicted without a beard and ispossibly the earliest survivingexample of the long series of self-portraits that he producedthroughout his life. The otherbeardless self-portrait, a lively(undated) sketch executed in blackink, showing the same wild hair, isin the Minozzi collection, Naples1.

In 1872, the young sculptor wasconcentrating on a series ofterracotta heads, using a studio inthe old monastery of Sant’Andreadelle Dame, working alongside agroup of young artists, amongstwhom the sculptors d’Orso andAmendola and the painters Mancini,Buonacore, Ragione and Fabron.


9.


Self-portrait

Graphite

Signed and dated, in graphite,lower left: V. Gemito 1912

mm 270 x 208

The sixty-year old artist hasportrayed himself with his rightarm raised as if resting on a shelf.This sensitive and compellingdrawing, made at the time of theartist’s move to his new home inParco Grifeo, is one of a largenumber of self-portraits that hemade throughout his life. It can becompared with a fine graphitedrawing of 1914 in the collectionof the Banco di Napoli1.


10.


Study of a River God; a putto astride a skull andthe figure of a man, possibly a study for anEvangelist

Black chalk and graphite on tracing paper (laid down)

Signed lower left, in black chalk: Gemito

mm 120 x 430

This study is possibly connected with the numerous sketchesexecuted by Gemito for the neo-baroque silver centrepiece,intended for a table over thirty metres long, commissionedby King Umberto I in 1886. The centrepiece was nevercompleted and, indeed, Gemito’s frustrations over thiscommisssion were one of the main causes of the artist’snervous breakdown in 1887. The wax model still exists inthe Galleria Nazionale d’Arte Moderna in Rome1, as donumerous studies, amongst which a fine pen, ink andwatercolour sketch of the central section which wasexhibited in New York in 20002.1 Di Giacomo, p. 144-5.2 McArthur and Ganz, no. 14.

11.


Study for a River God, probablythe Nile

Graphite, on tracing paper

Signed lower right, in graphite:Gemito

mm 415 x 315

This study of a river god holdingan oar relates to another drawing(exhibited Cat. no. 10), also ontracing paper. Like the river godon that sheet, the present drawingis also possibly connected withGemito’s project for the silvercentrepiece commissioned in 1886by King Umberto I.

12.


Study of a Dolphin and a Dolphin Skull

Pen, black/brown ink with some wash

Signed and dated lower left, in graphite: V. Gemito 1923

mm 230 x 320

There are several drawings by Gemito of fish: two fineink drawings of scorfani (the French rascasse) are in thecollection of the Banco di Napoli1. The present sheet,however, is different in that it would seem that Gemitohas copied his dolphin not from life, but from a stylisedantique prototype. He has then put this in juxtapositionwith a study of a dolphin’s skull, as if he wished toemphasize the difference.

1 Schettini, plate 146.

13.


Seated Dog

Graphite, black chalk, heightenedin white, on light brown paper

Signed lower centre, in graphite: V. Gemito

mm 560 x 500

This large and lively study of adog can be dated to circa 1913.The dog resembles that sittingbeside the young Laura Bertoliniin a fine large drawing, dated1913, in the Philadelphia Museumof Art1.

1 The pair of drawings in graphite andblack chalk depict Laura Bertolini andher brother, dated respectively 1913 and1914; each cm. 136 x 78, inv. nos. 199-4-2&1.

14.


Youth (Enrico Bellisario) in theguise of a Fisherboy seated on aRock

Black chalk heightened with whiteover traces of graphite, on greypaper

Signed lower centre, in graphite:GemitoInscribed and dated lower left: 31luglio/compie il 12º anno / 1925Gemito fece a Enrico Bellisario

mm 355 x 240

This fine drawing, made in thesummer of 1925 by the still sure-handed seventy-three year old artist,shows the model, Enrico Bellisarioaged twelve, posed on a rock in aposition reminiscent of Gemito’sfamous compositions ofPescatorelli of fifty years earlier1.

1 Mantura, nos. 4-6.

15.


Portrait of a Girl with braided hair, drawnover a study of a young boy

Black chalk over graphite, the sheet extendedby the artist at the bottom and laid down onboard

Signed and dated lower left, in graphite:Gemito ad Avena 1885

mm 466 x 330

The same young model is depicted with herhair hanging loose over her left shoulder inanother more elaborate drawing (watercolourover graphite with white heightening) madein the same year, presumably on the samejourney, now in the collection of the Banco diNapoli1.

1885 was an important year in the life ofGemito. His wife Anna gave birth to theirdaughter Giuseppina and, later, he undertookhis second journey to Paris to seek advicefrom his great friend, the painter ErnestMeissonier, concerning the commission thathe had recently received from the king for alarge statue of Charles V to be placed in oneof the vacant niches on the facade of thePalazzo Reale in Naples. It was a commissionthat was to cause Gemito many problems,principally in the adaptation of his bozzetto tosuit the marble chosen for the finished figure.


16.


Portrait of a Lady

Black chalk over graphite

Signed and dated lower right, inblack chalk: GEMITO / 1925

mm 490 x 340

The girl, possibly one of Gemito’sgrand-daughters, is depicted withthe suggestion of a shawl over herhead and with a neck band. Made in1925, it confirms the continuingability of Gemito as a draughtsmantowards the end of his life.

17.


Head of a Woman, one of theartist’s grandchildren

Graphite

Signed lower left, in graphite: V. GemitoTyped label on back of mount:ritratto della nipotina

mm 195 x 145

This small drawing of a youngwoman with a pin in the form of aflower bud holding her hairprobably represents one of the threedaughters of Giuseppina – Bice,Annita or Carlotta (there was also afourth grandchild, Alessandro).Both the old label on the back ofthe drawing and the resemblance toGemito’s wife Anna and daughterGiuseppina suggest this is the case.It is probable that the girl depictedis the oldest daughter Bice1. Agraphite drawing of Annita, dated1916, was exhibited in New York in20002.

1 Another drawing of a girl, probablyBice, dated 1916, was sold by Christie’s,Rome, 27 May 2002, lot 251, thereerroneously described as a portrait ofGemito’s daughter Giuseppina.

2 McArthur and Ganz, no. 27.

18.


Portrait of an Officer

Pen, black ink and wash, black,blue and red chalks with whiteheightening over traces ofgraphite, on grey paper

Signed lower left, in black ink,with brush: V. Gemito

mm 530 x 470

It has been suggested that theman in this portrait resembles adrawing depicting the youngpainter Buonacore1, one of thecompagni, a group of youngpainters and sculptors whoworked alongside Gemito in themakeshift workshop in the ex-monastery of Sant’Andrea delleDame (see no. 8).

Whilst there is undoubtedly aresemblance to the young painterof the early sketch, the presentdrawing, with its evolvedtechnique and delicate use ofcolour, would appear to belong toGemito’s maturity. It is perhapsmore likely that this weary youngofficer was depicted by Gemito atthe time of the First World War.

1 Di Giacomo, page 42; pen and ink, 1878.

19.


Zingarella

Black chalk, graphite and white heightening, on brownpaper

Signed lower right, in graphite: GEMITOand inscribed in another hand, presumably that of AchilleMinozzi, in black ink: alla gentile Signora Catalani / AcMinozzi / dicembre 1901

mm 415 x 290

The present drawing is closely related to two others in theMinozzi collection in Naples. The first is a black chalksketch where only the outlines of the girl’s head are drawnwhilst there is some working up of her facial features1. Thesecond is the finished work in black chalk, graphite, whiteheightening and some red chalk on the girl’s lips2.

The present drawing is a second version of the finishedMinozzi ‘Zingarella’, differing only in small details suchas the lack of red on the girl’s lips. The pen inscription,which appears to be in the hand of Achille Minozzi, givessome indication of the purpose of this replica: it can besupposed that the ‘signora Catalani’ must have admired thework already in Minozzi’s collection and that the collectorpersuaded Gemito to produce a second version. In 1901Gemito and his most important collector were still onexcellent terms; the later bitter falling-out between the two,caused by a legal battle between them, was to occur in1911 and continue until the end of the sculptor’s life.

1 De Marinis, plate 141.2 B. Mantura, no. 101; the Minozzi drawing is undated and measures

mm. 350 x 245.

20.


Recto: Study of a Youth reclining, leaning against an urnVerso: Another similar study

Black chalk

Signed, dated and inscribed lower left, in black chalk: V.Gemito / 1923 / Napoli

mm 240 x 345

The staff held by the youth on both the recto and verso,together with the vase against which he rests, suggest thatthis life study was perhaps connected with a composition foran acquaiolo, a theme to which Gemito returned many times.

21.


Portrait of a Young Woman

Pen and black ink over traces of graphite

Signed and dated lower right, in black ink: V. Gemito 1919

mm 415 x 275

This superbly drawn head of a young woman, viewed inprofile with her hair gathered up, is a good example ofGemito’s style of hatching, here used to emphasize thecontours of the shoulders and head. Another similar drawingof a young woman in the same technique is in the Treccanicollection in Milan, dated 19191; the same collection hasanother head of a woman (1918), similarly shown in profilebut executed in black chalk heightened with white2.

1 Schettini, plate 101.2 Ibid., plate 100.

Select Bibliography

A. Schettini (introduction di E. Somaré), Gemito, Milan, 1944

F.Haskell & N. Penny, Taste and the Antique, New Haven and London, 1981

S.Di Giacomo, Vincenzo Gemito, la vita – l’opera,Naples 1905, reprinted (ed.M. Bonuomo),Naples, 1988

M. S.DeMarinis, Gemito, Roma, 1993

B.Mantura (ed.), Temi di Vincenzo Gemito, exh. cat.,Spoleto, 1989

K.McArthur and K.Ganz, Vincenzo Gemito (1852–1929)Drawings & Sculpture in Naples and Rome, exh. cat.,New York, 2000

A. PALLESI & C. S.R.L.Via Margutta 54

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TRINITY FINE ART

Catalogue no. 33

First published to accompany the exhibition

Vincenzo Gemito Drawings5 to 11 July 2008

at Trinity Fine Art Ltd, London

Trinity Fine Art Limited

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London w1j 6qp

© 2008 Trinity Fine Art Limited

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