Gemito Catalogo DEF:Layout 1

Vincenzo Gemito
D R AW I N G S
A. Pallesi & C. s.r.l.
Trinity Fine Art
A. Pallesi & C. s.r.l.
Vincenzo Gemito
D R AW I N G S
Saturday 5 July–Friday 11 July 2008
10 am–6 pm daily
Saturday and Sunday 11 am–5 pm
Trinity Fine Art
29 Bruton Street, London W1J 6QP
Telephone 0044 (0) 20 7493 4916
Telefax 0044 (0) 20 7355 3454
mail@trinityfineart.com
www.trinityfineart.com
Notes on Gemito
by Bruno Mantura
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, capturing, 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 elsewhere5). Further, it is likely that the older painter’s style can be discerned in Gemito’s vibrant treatment of the surfaces of his sculptures, 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 sentimentality 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 spiega…’, 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 critical apparatus. To this it may be added that the documentary, social and biographic details concerning the artist, if not completely
irrelevant, produce further difficulties in that they lead us into the realms of legend. Only the consistency of his stylistic development allows us to discern the source of his stylistic coherence: the Antique (in particular, the excavations at Pompei and the collections 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 commissions, 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, perhaps 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 la
luce 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. GEMITO
The envelope addressed, in brown ink: Illmo Sig. Vincenzo
Gemito artista scultore, Via Tasso N. 24, Città and printed
with the title: Prima Mostra Nazionale d’Arte pura ed
applicata Napoli, Edificio Municipale Galleria Principe di
Napoli
mm 112 x 145
Gemito married Anna Cutolo, who had modelled for
Domenico Morelli, in 1882; their only child, Giuseppina,
was born in 1885. He portrayed his daughter in numerous
drawings throughout the remainder of his life, as he also
did his four grandchildren: Bice, Annita (or Anita), Carlotta
and Alessandro. This sketch can be compared with a
portrait of Giuseppina, dated 1927, in the Galleria d’Arte
Moderna, Rome1, which depicts her at the age of forty-two.
It has not proved possible to find further details concerning
the exhibition printed on the envelope, perhaps because
Gemito did not in fact participate. Gemito occupied the
house in Via Tasso from 1887 until moving to Parco Grifeo
in 1910-11 and must therefore have kept this old envelope
in his studio, utilising it some twenty years later. His
practice of drawing on old scraps of paper that came to
hand is well documented and underlines the constant need
to draw that persisted throughout his life.
1
De Marinis, plate 200.
2.
VINCENZO GEMITO
(Naples 1852-1929)
Study of an Archer
Graphite
Inscribed, signed and dated lower
left, in graphite: Sesto istantaneo /
V. Gemito 1911 and numbered 15
Watermark: G & CR / Extra
Strong
mm 420 x 290
The drawing is an elaboration of
an earlier sketch in the same
series, entitled ‘Primo
istantanteo’, exhibited here,
cat. no. 3.
Whilst dating from the years
1908/1911, the whole series of
archers is reminiscent of Gemito’s
earlier studies of young
fisherboys, dating from the 1870’s
onwards. These studies of young
boys, often shown in contrapposto
poses, continued later in the
artist’s career with sculptures such
as ‘La sorgente’ and ‘L’acquaiolo
storto’ 1.
1
McArthur and Ganz, nos. 16-17.
3.
VINCENZO GEMITO
(Naples 1852-1929)
Three sheets with studies of Archers
Black chalk, graphite and white
heightening
Inscribed in graphite: Primo istantaneo,
Quarto istantaneo, Settimo istantaneo
and signed in graphite, lower left: V.
Gemito; the first and third dated 1911
mm 104 x 134; mm 190 x 105; mm
120 x 166
These lively life studies are related to
several more elaborate drawings of
young archers dated between 1908 and
1911; amongst these, two are in the
Minozzi collection, one is undated1, and
the other is dated 19082. The first of the
three drawings presented here is a
preliminary sketch for a further
drawing in the series, Sesto istantaneo
(exhibited, cat. no. 2).
Other drawings with the title
‘istantaneo’ do not appear to be
recorded. The inscriptions undoubtedly
emphasize the importance that Gemito
placed on these quickly-realised life
sketches of young male models as a
means of capturing a vivid sense of
movement.
1
2
De Marinis, plate 284.
Ibid., plate 42.
4.
VINCENZO GEMITO
(Naples 1852-1929)
Study after the Libyan Sybil by Michelangelo; study
of a head
Graphite
Signed and dated lower right, in graphite: V. Gemito 11
ottobre 1922
mm 188 x 273
Gemito’s evident interest in the works of Michelangelo is
testified by this study after the famous figure from the
Sistine Chapel, and by other drawings after the master,
including several studies of the marble ‘Moses’ in San
Pietro in Vincoli, Rome1.
The drawing was very possibly made during a visit to the
Sistine Chapel since Gemito was in Rome for much of
1922, where, following in the footsteps of Benvenuto
Cellini, he was hoping to procure a workshop within the
historic precincts of Castel Sant’Angelo.
1
De Marinis, plate 91.
5.
VINCENZO GEMITO
(Naples 1852-1929)
Study after the Toilet of Venus (‘The Rokeby Venus’)
by Velasquez
Black chalk and graphite
This is another example of Gemito’s interest in the Old
Masters (see the preceeding entry); the famous image of
Venus seen from the back clearly appealed to Gemito and
is indeed echoed in a drawing of 1915 of a sleeping girl1.
Gemito moved to a house in the Parco Grifeo, situated
between the Riviera di Chiaia and the Villa Floridiana,
during the course of 1911.
Signed and dated lower left, in graphite: Studio / Gemito /
Parco Grifeo 1913
mm 136 x 222
1
Private collection, Schettini, plate 85.
6.
VINCENZO GEMITO
(Naples 1852-1929)
Male Torso after the Antique
Pen, black ink and wash, over traces of
graphite
Signed lower right, in black ink:
GEMITO
mm 239 x 179
This accomplished drawing is a rare
example of Gemito working almost
solely with a brush and black ink; he
uses the pen only to highlight the shape
of the torso’s thighs.
Gemito made a number of drawings of
Greek and Roman statues, most notably
several studies of Alexander the Great
(see no.7 below).
The antique original for the present
drawing was perhaps a figure in the
collection of the Museo Archeologico in
Naples. However, the torso is also
similar to that of the famous
‘Narcissus’, discovered in a house in
Pompei in August 1862 and now housed
in the Museo Archeologico1. Gemito
made a bronze version of this figure in
18852 and it likely that our drawing
should be dated to about the same time.
1
2
Haskell & Penny, fig. 141.
Mantura, no. 138: McArthur and Ganz, no. 12.
7.
VINCENZO GEMITO
(Naples 1852-1929)
Recto: Two studies of a Head of Alexander
Verso: Study for the Head of Alexander in profile; a
study for a bust of a Philosopher
Two sheets, mounted back to back
Recto: black chalk and graphite with traces of white
heightening
Verso: blue chalk
Signed on recto, lower centre, in black chalk: V. Gemito
inspired by the antique group in the Museo
Archeologico, Naples2, and also by the famous group
of Alexander and Bucephalus in Piazza del Quirinale,
Rome3.
Gemito returned to the subject of Alexander many
times in the course of his
career. The head in profile on
the verso relates to a series of
similar heads of Alexander in
bronze, marble, gesso and wax,
of various dates from 1912
onwards4.
mm 155 x 205
1
These two views of a head of Alexander are related to
a drawing of a similar head on a sheet which also
shows the hero’s rearing horse1, no doubt partly
Schettini, plate 127.
Di Giacomo, page XLV.
3
Haskell & Penny, figs. 71-72.
4
Mantura, nos. 155-159.
2
8.
VINCENZO GEMITO
(Naples 1852-1929)
Self-portrait of the Artist, aged
twenty
Black chalk, with some black wash
Signed and dated lower right, in
black chalk: V. Gemito 1872
mm 445 x 327
This self-portrait of the artist at the
age of twenty is one of two in which
he is depicted without a beard and is
possibly the earliest surviving
example of the long series of selfportraits that he produced
throughout his life. The other
beardless self-portrait, a lively
(undated) sketch executed in black
ink, showing the same wild hair, is
in the Minozzi collection, Naples1.
In 1872, the young sculptor was
concentrating on a series of
terracotta heads, using a studio in
the old monastery of Sant’Andrea
delle Dame, working alongside a
group of young artists, amongst
whom the sculptors d’Orso and
Amendola and the painters Mancini,
Buonacore, Ragione and Fabron.
1
De Marinis, plate 75.
9.
VINCENZO GEMITO
(Naples 1852-1929)
Self-portrait
Graphite
Signed and dated, in graphite,
lower left: V. Gemito 1912
mm 270 x 208
The sixty-year old artist has
portrayed himself with his right
arm raised as if resting on a shelf.
This sensitive and compelling
drawing, made at the time of the
artist’s move to his new home in
Parco Grifeo, is one of a large
number of self-portraits that he
made throughout his life. It can be
compared with a fine graphite
drawing of 1914 in the collection
of the Banco di Napoli1.
1
De Marinis, plate 92.
10.
VINCENZO GEMITO
(Naples 1852-1929)
Study of a River God; a putto astride a skull and
the figure of a man, possibly a study for an
Evangelist
Black chalk and graphite on tracing paper
(laid down)
Signed lower left, in black chalk: Gemito
This study is possibly connected with the numerous sketches
executed by Gemito for the neo-baroque silver centrepiece,
intended for a table over thirty metres long, commissioned
by King Umberto I in 1886. The centrepiece was never
completed and, indeed, Gemito’s frustrations over this
commisssion were one of the main causes of the artist’s
nervous breakdown in 1887. The wax model still exists in
the Galleria Nazionale d’Arte Moderna in Rome1, as do
numerous studies, amongst which a fine pen, ink and
watercolour sketch of the central section which was
exhibited in New York in 20002.
1
mm 120 x 430
2
Di Giacomo, p. 144-5.
McArthur and Ganz, no. 14.
11.
VINCENZO GEMITO
(Naples 1852-1929)
Study for a River God, probably
the Nile
Graphite, on tracing paper
Signed lower right, in graphite:
Gemito
mm 415 x 315
This study of a river god holding
an oar relates to another drawing
(exhibited Cat. no. 10), also on
tracing paper. Like the river god
on that sheet, the present drawing
is also possibly connected with
Gemito’s project for the silver
centrepiece commissioned in 1886
by King Umberto I.
12.
VINCENZO GEMITO
(Naples 1852-1929)
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 fine
ink drawings of scorfani (the French rascasse) are in the
collection of the Banco di Napoli1. The present sheet,
however, is different in that it would seem that Gemito
has copied his dolphin not from life, but from a stylised
antique prototype. He has then put this in juxtaposition
with a study of a dolphin’s skull, as if he wished to
emphasize the difference.
1
Schettini, plate 146.
13.
VINCENZO GEMITO
(Naples 1852-1929)
Seated Dog
Graphite, black chalk, heightened
in white, on light brown paper
Signed lower centre, in graphite:
V. Gemito
mm 560 x 500
This large and lively study of a
dog can be dated to circa 1913.
The dog resembles that sitting
beside the young Laura Bertolini
in a fine large drawing, dated
1913, in the Philadelphia Museum
of Art1.
1
The pair of drawings in graphite and
black chalk depict Laura Bertolini and
her brother, dated respectively 1913 and
1914; each cm. 136 x 78, inv. nos. 199-42&1.
14.
VINCENZO GEMITO
(Naples 1852-1929)
Youth (Enrico Bellisario) in the
guise of a Fisherboy seated on a
Rock
Black chalk heightened with white
over traces of graphite, on grey
paper
Signed lower centre, in graphite:
Gemito
Inscribed and dated lower left: 31
luglio/compie il 12º anno / 1925
Gemito fece a Enrico Bellisario
mm 355 x 240
This fine drawing, made in the
summer of 1925 by the still surehanded seventy-three year old artist,
shows the model, Enrico Bellisario
aged twelve, posed on a rock in a
position reminiscent of Gemito’s
famous compositions of
Pescatorelli of fifty years earlier1.
1
Mantura, nos. 4-6.
15.
VINCENZO GEMITO
(Naples 1852-1929)
Portrait of a Girl with braided hair, drawn
over a study of a young boy
Black chalk over graphite, the sheet extended
by the artist at the bottom and laid down on
board
Signed and dated lower left, in graphite:
Gemito ad Avena 1885
mm 466 x 330
The same young model is depicted with her
hair hanging loose over her left shoulder in
another more elaborate drawing (watercolour
over graphite with white heightening) made
in the same year, presumably on the same
journey, now in the collection of the Banco di
Napoli1.
1885 was an important year in the life of
Gemito. His wife Anna gave birth to their
daughter Giuseppina and, later, he undertook
his second journey to Paris to seek advice
from his great friend, the painter Ernest
Meissonier, concerning the commission that
he had recently received from the king for a
large statue of Charles V to be placed in one
of the vacant niches on the facade of the
Palazzo Reale in Naples. It was a commission
that was to cause Gemito many problems,
principally in the adaptation of his bozzetto to
suit the marble chosen for the finished figure.
1
De Marinis, plate 163.
16.
VINCENZO GEMITO
(Naples 1852-1929)
Portrait of a Lady
Black chalk over graphite
Signed and dated lower right, in
black chalk: GEMITO / 1925
mm 490 x 340
The girl, possibly one of Gemito’s
grand-daughters, is depicted with
the suggestion of a shawl over her
head and with a neck band. Made in
1925, it confirms the continuing
ability of Gemito as a draughtsman
towards the end of his life.
17.
VINCENZO GEMITO
(Naples 1852-1929)
Head of a Woman, one of the
artist’s grandchildren
Graphite
Signed lower left, in graphite:
V. Gemito
Typed label on back of mount:
ritratto della nipotina
mm 195 x 145
This small drawing of a young
woman with a pin in the form of a
flower bud holding her hair
probably represents one of the three
daughters of Giuseppina – Bice,
Annita or Carlotta (there was also a
fourth grandchild, Alessandro).
Both the old label on the back of
the drawing and the resemblance to
Gemito’s wife Anna and daughter
Giuseppina suggest this is the case.
It is probable that the girl depicted
is the oldest daughter Bice1. A
graphite drawing of Annita, dated
1916, was exhibited in New York in
20002.
1
2
Another drawing of a girl, probably
Bice, dated 1916, was sold by Christie’s,
Rome, 27 May 2002, lot 251, there
erroneously described as a portrait of
Gemito’s daughter Giuseppina.
McArthur and Ganz, no. 27.
18.
VINCENZO GEMITO
(Naples 1852-1929)
Portrait of an Officer
Pen, black ink and wash, black,
blue and red chalks with white
heightening over traces of
graphite, on grey paper
Signed lower left, in black ink,
with brush: V. Gemito
mm 530 x 470
It has been suggested that the
man in this portrait resembles a
drawing depicting the young
painter Buonacore1, one of the
compagni, a group of young
painters and sculptors who
worked alongside Gemito in the
makeshift workshop in the exmonastery of Sant’Andrea delle
Dame (see no. 8).
Whilst there is undoubtedly a
resemblance to the young painter
of the early sketch, the present
drawing, with its evolved
technique and delicate use of
colour, would appear to belong to
Gemito’s maturity. It is perhaps
more likely that this weary young
officer was depicted by Gemito at
the time of the First World War.
1
Di Giacomo, page 42; pen and ink, 1878.
19.
VINCENZO GEMITO
(Naples 1852-1929)
Zingarella
Black chalk, graphite and white heightening, on brown
paper
Signed lower right, in graphite: GEMITO
and inscribed in another hand, presumably that of Achille
Minozzi, in black ink: alla gentile Signora Catalani / Ac
Minozzi / dicembre 1901
mm 415 x 290
The present drawing is closely related to two others in the
Minozzi collection in Naples. The first is a black chalk
sketch where only the outlines of the girl’s head are drawn
whilst there is some working up of her facial features1. The
second is the finished work in black chalk, graphite, white
heightening and some red chalk on the girl’s lips2.
The present drawing is a second version of the finished
Minozzi ‘Zingarella’, differing only in small details such
as the lack of red on the girl’s lips. The pen inscription,
which appears to be in the hand of Achille Minozzi, gives
some indication of the purpose of this replica: it can be
supposed that the ‘signora Catalani’ must have admired the
work already in Minozzi’s collection and that the collector
persuaded Gemito to produce a second version. In 1901
Gemito and his most important collector were still on
excellent terms; the later bitter falling-out between the two,
caused by a legal battle between them, was to occur in
1911 and continue until the end of the sculptor’s life.
1
2
De Marinis, plate 141.
B. Mantura, no. 101; the Minozzi drawing is undated and measures
mm. 350 x 245.
20.
VINCENZO GEMITO
(Naples 1852-1929)
Recto: Study of a Youth reclining, leaning against an urn
Verso: 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 that
this life study was perhaps connected with a composition for
an acquaiolo, a theme to which Gemito returned many times.
21.
VINCENZO GEMITO
(Naples 1852-1929)
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 in
profile with her hair gathered up, is a good example of
Gemito’s style of hatching, here used to emphasize the
contours of the shoulders and head. Another similar drawing
of a young woman in the same technique is in the Treccani
collection in Milan, dated 19191; the same collection has
another head of a woman (1918), similarly shown in profile
but executed in black chalk heightened with white2.
1
2
Schettini, plate 101.
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
00187 Roma
Tel/fax 0632600338
a.pallesi@libero.it
www.galleria-pallesi.it
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TRINITY FINE ART
Catalogue no. 33
First published to accompany the exhibition
Vincenzo Gemito Drawings
5 to 11 July 2008
at Trinity Fine Art Ltd, London
Trinity Fine Art Limited
29 Bruton Street
London w1j 6qp
© 2008 Trinity Fine Art Limited
Texts copyright © the authors
All rights reserved.No part of this publication may be
transmitted in any form or by any means, electronic or
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in writing from the copyright holders and publisher.
Printed in Italy by
Fotolito d’Arte s.r.l.
Vincenzo Gemito
D R AW I N G S
A. Pallesi & C. s.r.l.
Trinity Fine Art