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Vincenzo Gemito

Italy (Napoli 1852 -  1929 ) Wikipedia® : Vincenzo Gemito
GEMITO Vincenzo Mask Of Alexander The Great

Sotheby's
Dec 16, 2015
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Artworks in Arcadja
562

Some works of Vincenzo Gemito

Extracted between 562 works in the catalog of Arcadja
Vincenzo Gemito - Full-figure Portrait Of Jean-louis-ernest Meissonier

Vincenzo Gemito - Full-figure Portrait Of Jean-louis-ernest Meissonier

Original
Estimate:

Price:

Gross Price
Lot number: 143
Other WORKS AT AUCTION
Description:
Vincenzo Gemito (Naples 1852-1929) Full-Figure Portrait of Jean-Louis-Ernest Meissonier, on the base signed Gemito, bronze, height 55 cm (with base), (GG) Provenance: Gift from the artist to the great-grandfather of the current owner; thence by descent; Italian private collection. Specialist: Gautier Gendebien
Vincenzo Gemito -  Il Filosofo

Vincenzo Gemito - Il Filosofo

Original
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Price:

Lot number: 23
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Description:
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR Vincenzo Gemito ITALIAN IL FILOSOFO (THE PHILOSOPHER) signed:GEMITO and stamped: FONDERIA / GEMITO / NAPOLI bronze, dark and warm brown patina 54cm., 21¼in. Sotheby's London, 23 November 2010, lot 124 Gemito's bust ofIl Filosofois one of his most engaging images. Inspired by the dishevelled and angular face of his adoptive father, Francesco Jadicicco, and the antique, this study foreshadows the phyical appearance of the sculptor himself in later life. This combination of ancient and modern sources with a deep personal affinity with his subject is what defines Gemito's style.Il Filosofo'scorkscrew curls allow Gemito to show off his consummate skill in casting bronze. The bust was exhibited at the Paris Exposition Universelle in 1900 and three years later at the Venice V Esposizione Internazionale d'Arte. RELATED LITERATURE I. Wardropper & L. Licht,Chiseled with a brush: Italian Sculpture 1860-1925 from the Gilgore Collections, Chicago, 1994, p. 90, no. 20;Temi di Vincenzo Gemito, ex. cat.Palazzo Racani Arroni Spoletto, 1989, p. 124, no. 132
Vincenzo Gemito - Study Of A Young Child Asleep

Vincenzo Gemito - Study Of A Young Child Asleep

Original
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Price:

Lot number: 119
Other WORKS AT AUCTION
Description:
Vincenzo Gemito

STUDY OF A YOUNG CHILD ASLEEP, POSSIBLY THE ARTIST'S DAUGHTER GIUSEPPINA

NAPLES 1852 - 1929

Black chalk heightened with white chalk; bears inscription, verso: Proprietà di Giuseppina Gemito 625 by 477 mm; 24 3/8 by 18¾ in

Provenance

The artist\’\’\’\’\’\’\’\’s daughter, Giuseppina Gemito; Mario and Pico Cellini, Rome; Private Collection, Florence

Catalogue Note

The grand scale of this highly impressive sheet, executed by the Neapolitan sculptor and draughtsman Vincenzo Gemito in a combination of black and white chalk, belies its deeply intimate subject matter. Although Gemito is most widely recognised as a draughtsman for the numerous self portraits that he executed throughout his lifetime, he is also known to have focused many of his artistic energies on his family, creating a number of portraits of his wife, Anna Cutolo, as well as their daughter Giuseppina. The present drawing, which manages, in the most moving fashion, to simultaneously depict both the contentedness of youth and the vulnerability of a young child, is all the more emotive given Gemito's own abandonment by his parents shortly after his birth in 1852. Though the inscription on the verso of the sheet acknowledges that the drawing once belonged to the artist's daughter Giuseppina, what is less clear cut is the identity of the young child. It does however seem likely that a scene of such intimacy could only be achieved by the artist whilst portraying a close family member. One can therefore safely assume that the present work must portray either his own daughter, Giuseppina, or one of his four grandchildren: Bice, Annita, Carlotta or Alessandro, all of whom Gemito was known to have drawn on a regular basis.
Vincenzo Gemito - L'acquaiolo (water Vendor)

Vincenzo Gemito - L'acquaiolo (water Vendor)

Original
Estimate:

Price:

Lot number: 93
Other WORKS AT AUCTION
Description:
Vincenzo Gemito
1852 - 1929
ITALIAN
L'ACQUAIOLO (WATER VENDOR)
inscribed: 
DALL ORIGINALE / PROP
TA
 
DEL RE DI NAPOLI / SM FRANCESCO II / NAPOLI GEMITO, 
and:
PROPRIETA / ARTISTICA.
at the back of the base, and numbered:
120

to the underside

bronze, mid-brown patina

55cm., 21 5/8 in.
Vincenzo Gemito - Mask Of Alexander The Great

Vincenzo Gemito - Mask Of Alexander The Great

Original
Estimate:

Price:

Gross Price
Lot number: 114
Other WORKS AT AUCTION
Description:
Vincenzo Gemito
1852 - 1929

ITALIAN

MASK OF ALEXANDER THE GREAT

signed: V. GEMITO

bronze, dark brown patina, on a bronze socle and a veined green marble base

bronze: 51cm., 20 1/8 in. overall

base: 1.9cm., ¾in.

Provenance
family of Vincenzo Gemito;
by descent to the artist's daughter, Giuseppina Gemito;
private collection, Italy
Literature
E. Somaré and A. Schettini, Gemito, 1944, pp. 201 and 213, fig. 53
Catalogue Note
The subject of Alexander the Great preoccupied Vincenzo Gemito for a decade. During this period he returned to the legendary conqueror time and again, producing some of his most iconic works. The series began with a pencil drawing made in 1912, shortly after the sculptor emerged from the twenty years of seclusion which followed a mental breakdown. The drawing was inspired by a small bronze of Alexander the Macedonian in the Museo Archeologico Nazionale in Naples. The Mask of Alexander was created around 1920 alongside profiles of the hero in high and low relief. These works were the product of ten years' focus on the subject. In that time Gemito had sought out fourteen different antique portraits of Alexander to study. He famously concluded that \‘When I saw Alexander and found that he resembled what I had created I realised that if an artist is ignorant of the past he can never produce a masterpiece.\’\’
The Mask of Alexander differs from the two reliefs in the style of the modelling. Both the high relief bust (terracotta in the Galleria Nazionale d\’\’Arte Moderna inv. 5043) and the low relief medallion are characterised by a delineation of form and a jewel-like level of detail. The Mask, in contrast, preserves the immediacy of the artist\’\’s conception as he worked the clay.
Unusually, the mask includes the curious iconography of Alexander\’\’s horns: an emblem of the emperor which originates from his conquest of Egypt and his association with the Ram god Ammon. As Mantura notes, Gemito found a source for the imagery in a small Pompeiian bust of a satyr in the Museo Archeologico Nazionale (inv. 5306), whose horns likewise emerge from locks of hair.
The present bronze is the first cast of the model and was preserved in the artist\’\’s collection and later by his heirs. At one time it was owned by the artist\’\’s daughter Giuseppina who recalled her father\’\’s obsession with Alexander in an interview published by Corriere della Sera on 1
September 1938. She told the journalist, Raffaele Carrieri, that she \‘grew up with Alexander\’\’ and claimed that \‘Papa was closer to Alexander than to me, his own daughter.\’\’ A wax version of the Mask with slight variations was acquired by the Galleria d\’\’Arte Moderna from Giuseppina in 1938 (inv. 1038). Another bronze cast is in the Accademia di Belle Arti in Naples and a further cast, formerly in the Minozzi collection, was included in the 2009 exhibition of Gemito\’\’s works at the Villa Pignatelli, Naples.
RELATED LITERATURE M. Pagano, Gemito, exh. cat. Museo Diego Aragona Pignatelli Cortes, Naples, 2009, pp. 210-17, nos. 80-86; B. Mantura, Temi di Vincenzo Gemito, Rome, 1989, pp. 127-128

LA BIOGRAFIA DI Vincenzo Gemito

GEMITO Vincenzo nato nel 1852 e morto nel 1929 a Napoli.
Scultore italiano, iniziò la sua attività nella bottega di E.
Caggiano, ma antiaccademico di natura, lasciò la bottega del maestro per lavorare con A.
Mancini e tentare la strada del verismo.
Negli anni successivi eseguì una serie di bustini e figurette di mendicanti e popolani in creta, riuscendo a cogliere il carattere del personaggio.
Espose al Salon di Parigi e lavorò per l'Esposizione universale, durante quel soggiorno a Parigi ritrasse alcuni tra i più noti personaggi dell'epoca, come G.
Boldini e J.
-L.
-E.
Meissonier.
Nel 1880 rientrò a Napoli e nel 1883 ebbe una propria fonderia, nell'anno seguente ricevette importanti commissioni, ma dal 1886 al 1905 si chiuse in un volontario e totale isolamento.
Le sue prime opere apparvero legate alla tradizione del verismo meridionale, solo negli ultimi anni abbandonò la poetica realistica per una ricerca che alle volte rimandò a certi manieristi alesandrini.

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