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ANALECTA ROMANA
INSTITUTI DANICI
XLIII
ANALECTA ROMANA
INSTITUTI DANICI
XLIII
2018
ROMAE MMXVIII
ANALECTA ROMANA INSTITUTI DANICI XLIII
© 2019 Accademia di Danimarca
ISSN 2035-2506
Scientific Board
Karoline Prien Kjeldsen (Bestyrelsesformand, Det Danske Institut i Rom, -30.04.18)
Mads Kähler Holst (Bestyrelsesformand, Det Danske Institut i Rom)
Jens Bertelsen (Bertelsen & Scheving Arkitekter)
Maria Fabricius Hansen (Københavns Universitet)
Peter Fibiger Bang (Københavns Universitet)
Iben Fonnesberg-Schmidt (Aalborg Universitet)
Karina Lykke Grand (Aarhus Universitet)
Thomas Harder (Forfatter/writer/scrittore)
Morten Heiberg (Københavns Universitet)
Michael Herslund (Copenhagen Business School)
Hanne Jansen (Københavns Universitet)
Kurt Villads Jensen (Stockholms Universitet)
Erik Vilstrup Lorenzen (Den Danske Ambassade i Rom)
Mogens Nykjær (Aarhus Universitet)
Vinnie Nørskov (Aarhus Universitet)
Niels Rosing-Schow (Det Kgl. Danske Musikkonservatorium)
Poul Schülein (Arkitema, København)
Lene Schøsler (Københavns Universitet)
Erling Strudsholm (Københavns Universitet)
Lene Østermark-Johansen (Københavns Universitet)
Editorial Board
Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom)
Patrick Kragelund (Danmarks Kunstbibliotek)
Sine Grove Saxkjær (Det Danske Institut i Rom)
Gert Sørensen (Københavns Universitet)
Anna Wegener (Det Danske Institut i Rom)
Maria Adelaide Zocchi (Det Danske Institut i Rom)
Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From
1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca.
ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within
the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be
considered for publication should be sent to: accademia@acdan.it
Authors are requested to consult the journal’s guidelines at www.acdan.it
Contents Maurizio Paoletti: “Kleom(b)rotos, figlio di Dexilaos, (mi) dedicò”. L’offerta di un atleta vincitore ad Olimpia nel santuario di Francavilla Marittima 7 Jan Kindberg Jacobsen, Peter Attema, Carmelo Colelli, Francesca Ippolito, Gloria Mittica, Sine Grove Saxkjær: The Bronze and Iron Age habitation on Timpone della Motta in the light of recent research 25 Daniel Damgaard: Architectural Terracottas from Etrusco-Italic Temples on the Later Forum of Ostia Archaic Ostia Revisited 91 Christine Jeanneret: Making Opera in Migration. Giuseppe Sarti’s Danish Recipe for Italian Opera 111 Nikola D. Bellucci: Danici sodales. Schow e Zoëga nel carteggio Baffi (e Baffi nel carteggio Zoëga). Analisi e confronti 135 Marianne Saabye: P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 149 Anna Wegener: Italian Translations of Scandinavian Literature in the Interwar Period: A Bibliographic Overview 179 Reports: Gloria Mittica & Nicoletta Perrone: Espressioni votive e rituali nel Santuario arcaico di Timpone della Motta. Le novità dagli scavi DIR 2017 237 Domenico A. M. Marino & Carmelo Colelli: Crotone. Lo scavo urbano di Fondo Gesù 265
P.S. Krøyer, Pasquale Fosca
and the Neapolitan art scene
by Marianne Saabye
Abstract. The article addresses the relationship between the Danish painter P.S. Krøyer (1851–1909) and the Italian sculptor Pasquale
Fosca (1852–1928). They met in 1880, shared a studio in Naples for a few months and maintained a lifelong acquaintance ever since,
as is evident from thirty hitherto unpublished letters. This material, in conjunction with the recent emergence of works held in
private collections, has made it possible to shed new light on this previously quite unknown sculptor’s work. Through exhibitions in
Paris and Turin, Krøyer was familiar with works by artists associated with the Neapolitan Verismo style. He was a great admirer of
several Verismo artists, which were affiliated with the city’s art scene and as such also part of Fosca’s background. Although Krøyer’s
stay in Naples was brief, it expanded his knowledge of Neapolitan art and helped him form an impression of specific themes and
the bright southern light that would be part of the backdrop for his further development.
Introduction contribute new information about the two
While staying in Italy in 1880, the young artists.
Danish artist P.S. Krøyer (1851-1909) became The general awareness and knowledge
acquainted with Pasquale Fosca (1852-1928), of Pasquale Fosca and his work has been
a Neapolitan sculptor belonging to the same relatively modest in scope, based mainly
generation. The two men formed a lasting on contemporary exhibition lists and older
friendship that only ended with the death of printed sources, and many of his works have
Krøyer; a friendship documented by the letters, been unknown to scholars. As is stated in the
thirty in all, found among Krøyer’s surviving catalogue for the Il Bello o il Vero exhibition
papers at The Hirschsprung Collection in of sculptures presented in Naples in 2014-15,
Copenhagen. The correspondence available Fosca never won great fame on the Neapolitan
to us is one-sided: only Fosca’s letters survive art scene.1 However, a range of works in private
today. However, they do at times directly ownership have emerged, displaying a quality
reflect the contents of the letters that the that reaffirms the merits of seeking to throw
Danish painter had sent to him. Never new light upon the sculptor’s endeavours,
previously published, this collection of letters examining them against the backdrop of the
constitutes valuable source material that can letters.
1
Saut 2014, 508.
150 Marianne Saabye
It should be noted that this effort does under the French painter Léon Bonnat (1833-
not denote an attempt at creating a complete 1922), and his travels also included long
inventory of the works of Fosca; the material sojourns in Spain and Brittany. Crucially, he
available is as yet too sparse and too difficult had become acquainted with the most recent
to manage for such an undertaking – partly tendencies in the realm of art at the Paris
due to the fact that the dating currently Salons and at the 1878 World Exposition.
associated with his sculptures pertain to the In October of 1879, partly funded by his
time at which they were cast, not when they friend and patron, the art collector Heinrich
were originally created, which may be many Hirschsprung (1835-1908), Krøyer travelled
years previously. What is more, the titles of to Italy and spent the winter in Rome.
some works appear to have changed over the In mid-April 1880, Krøyer spent a few
time, making several sculptures difficult to weeks in Naples and its environs in the
identify. Thus, this article will focus primarily company of the Danish painter Harald Foss
on the new contributions to our knowledge (1843–1922) and a few Scandinavian friends.
provided by the Krøyer letters. On his way back, Krøyer broke his journey
The main emphasis falls on the period in the town of Sora, southeast of Rome,
prior to Fosca’s emigration to South America on the outskirts of the Abruzzi Apennines.
in 1889, at which point the correspondence Enchanted by the town and area, he decided
between the two men grew less frequent in to return there to engage in plein-air studies
scope. Based on the material available at and to paint a few larger-scale paintings.2 Later
present, the article will venture to offer an that summer, he was joined by two Norwegian
assessment of the quality of Fosca’s work and painters: Christian Meyer Ross (1843–1904)
of the stylistic tendencies that can be observed and Eilif Peterssen (1852–1928), the latter
in his pieces, seen in relation to Neapolitan accompanied by his wife, Nicoline. Krøyer
art of the time which still retained its own stayed on until mid-October, producing two
schooling and distinctive character within its large-scale paintings: Italian Field Labourers
wider Italian context. (Brandts, Odense) and Italian Village Hatters
Unlike Fosca’s body of work, Krøyer’s (The Hirschsprung Collection, Copenhagen)
oeuvre is well elucidated, which is hardly – the Village Hatters scene would win him his
surprising given his status as one of the most international breakthrough at the Paris Salon
prominent Danish artists of the late nineteenth the following year.
century. Indeed, his association with Fosca in While in Sora, Krøyer met the young
Sora and his subsequent work at the sculptor’s sculptor Pasquale Fosca (1852–1928). Born in
studio have already been referred to in the Sora, Fosca retained close ties to the city even
available literature. However, the new review though he had lived in Naples ever since he
of Fosca’s letters has given cause to examine was a child. Fosca also struck up a friendship
whether they yield up new information that with the two Norwegian painters Meyer Ross
may shed new light on the impact of Krøyer’s and Peterssen, with whom he stayed in touch
two-month sojourn in Naples on his art. in the years that followed, for example while
staying in Rome in early 1882. In the case
Meeting in Sora. Krøyer’s debut as a sculptor of Ross, the friendship lasted right up until
P.S. Krøyer arrived in Italy as part of a year- his death in 1904. Fosca’s circle of friends in
long grand study tour commencing in France Sora also included the young lawyer Vincenzo
in the summer of 1877. In Paris he studied Simoncelli (1860–1917), another native of
2
PSK to Heinrich Hirschsprung, Sora 3.5.1880, DHS, HH Arkiv no. 723.
P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 151
Sora who worked in Naples. He would support
Fosca on several occasions later in life.3
Krøyer did his very first sculpture in Sora,
presumably with guidance from Fosca. There
are signs suggesting that Meyer Ross also tried
his hand at sculpting.4 While the results of the
Norwegian artist’s efforts are unknown today,
we do know that Krøyer sculpted A Peasant
from the Abruzzo, of which he brought home
a plaster version. (Fig. 1) The bust represents
a young man with a distant look in his eyes,
tight features in a delicately chiselled face,
which wears a solemn expression. A similar
mood is evident in Krøyer’s drawing of a
Roman campagnol, 1881, (The Hirschsprung
Collection), an interesting demonstration of
Fig. 1. P.S. Krøyer: A Peasant from the
the artist’s endeavours to arrive at a realistic Abruzzo / En Bonde fra Abruzzerne,
mode of expression.5 Given that this was 1880. Plaster. H. 40.3 cm. Inscribed: S.
Krøyer’s first venture into sculpting, the result Krøyer. Sora 188[0]. The Hirschsprung
Collection, Copenhagen. (Photo: The
can only be described as successful. Fosca must Hirschsprung Collection).
have kept a plaster version of the bust, for
shortly afterwards he states in a letter that he
has carved ‘the bust of the peasant in marble’,
suggesting that Krøyer might want to exhibit to Denmark in 1881, presumably while
it at the Paris Salon. However, this never came summering with the Hirschsprung family,
to bear.6 We know that Fosca also created a during which time he also painted a large
bust, its current whereabouts unknown, of family portrait of them.8 Krøyer sculpted
a peasant from Sora, Contadino di Sora. The a portrait bust of his host, of which we
date of its creation is unknown; all that we now know one terracotta version and one
know is that a marble version was exhibited in plaster, each painted in a different way, a
in Turin in 1884.7 Whether the inception of method that Krøyer may have seen employed
the two works is connected remains a matter in Naples. He also did a bust of his friend
of conjecture. Anton Svendsen, a violinist, and the two
Encouraged by this initial attempt and by portraits were shown alongside the plaster
spending time with Fosca, Krøyer created a version of A Peasant from the Abruzzo at the
number of busts in the years to come, mainly annual juried Charlottenborg exhibition in
depicting friends. The first of these busts Copenhagen in 1882.9 On that occasion,
were created immediately after his return Krøyer wrote the following in a letter to the
3
Gulia 2010. 5
Kokkin 2016c, 225, fig. 44. The drawing is a pre-
4
Christian Meyer Ross to PSK, Sora 13.7.1882, DHS, liminary study for a painting acquired by Bernhard
PSK Arkiv no. 2441 ‘where we bought our plaster, you’ll Hirschsprung.
recollect’. PF to PSK, Sora 2.10.1883, no. 2722 – here 6
PF to PSK, Naples 6.12.[1881], no. 2741
Fosca states that “Ross also wants to do sculpture 7
Giannelli 1916, 584; Esposizione Generale 1884, cat.
like his two painter friends”. These friends are pre- no. 254.
sumably Theodor Philipsen and Viggo Pedersen, 8
Schram Vejlby 2011.
who were staying in Sora at the time and whom 9
Kunstudstillingen ved Charlottenborg, Charlottenborg
Fosca mentions by name in the same letter. See 1882, cat. nos. 306, 307 & 308.
“Kronologi” in Kokkin et al. 2016, 282 & 284.
152
Marianne Saabye
painter Laurits Tuxen: Fosca tried to sell the original terracotta bust
and a plaster version to Peterssen, who had to
Did you hear that I have done a bust of decline on financial grounds.
Svendsen and another of Hirschsprung? It would appear that the bust, whose
They are not bad at all. Yet I do believe current whereabouts are regrettably unknown,
that the best of the lot is the bust I did in shipped in late December 1880. Whether due
the Abruzzi last summer. It was very well to the aforementioned stains on the forehead
received among the artists here.10 or no, it would appear that Eilif Peterssen was
not entirely pleased with the result; we know
He also sent photographs of his busts to Fosca, this from a reply by Fosca to Krøyer, stating
who praised them highly and encouraged him that he is only sorry that the bust failed to fully
to continue sculpting. satisfy Eilif. Fosca also states that he hopes to
be able to do another when he, as he puts it,
Fosca’s busts of Nicoline Peterssen and P.S. Krøyer has ‘improved my art’.14
On 11 October Krøyer left Sora and travelled Krøyer’s bust is mentioned in a letter sent
to Naples, where he joined Eilif and Nicoline by Fosca in mid-December 1880, but more
Peterssen. They visited numerous places than a year would pass before the final result
together, including Capri, where they spent could be shipped to Copenhagen.15 When one
ten days. It would appear that they met up with of Krøyer’s friends from Paris, the painter
Meyer Ross upon their return to Naples. Eilif and sculptor Constantine Sinanides (1856–
and Nicoline Peterssen returned to Rome in 1940?), arrived in Naples in July 1881, Krøyer
early November, whereas Krøyer stayed in apparently asked him to investigate the
Naples until some time in December.11 matter and its progress. In his reply, Sinanides
While in Sora, Pasquale Fosca sculpted reaffirms that the work is underway and that
a bust of Krøyer – and presumably this the foundry is responsible for the delay.16
was also where he did a portrait of Eilif Subsequent stumbling blocks include sprues
Peterssen’s wife.12 Back in Naples that and flash to be removed, the chiselling and
autumn, Fosca prepared to cast the bust of patination processes, and problems with the
Nicoline Peterssen, and in early December base. When the sculpture is finally ready to
1880 Krøyer was able to write the following ship, financial matters become a problem too,
in a letter to Eilif Peterssen: for in addition to shipping the bust, Fosca and
Krøyer had apparently agreed that Fosca was
Well – your wife’s bust arrived today, and to include a large quantity of wine for Krøyer
most comely it looks, much, much better in the same shipment, which would of course
than the clay. The base also does it credit, entail a considerable outlay. A similar scenario
it is a lovely stone. Sadly, a few stains have would take place again at a later date.
appeared on the forehead, but Fosca says The small bronze bust and the original
they will fade and disappear in time. Other terracotta model were eventually shipped
than this, the colouring is excellent, and I towards the end of 1881, but it would appear
greatly look forward to seeing my own in a that the shipment was late in arriving, for in
similar form.13 early 1882 a clearly impatient Fosca presses
10
PSK to Laurits Tuxen, Nørrevold 20.11.1881, KB. 3.10.1880, DHS, HH Arkiv, no. 730 .
NKS 2339,5 2*. 13
PSK to Eilif Peterssen, Naples 3.12.1880, Univer-
11
PSK to Eilif Peterssen, Naples 25.10.1880, Univer- sity of Oslo Library, Brevsml. 209, no. 651.
sity of Oslo Library, Brevsml. 209, no. 649. Eilif 14
PF to PSK [1881], no. 2733.
Peterssen to PSK, Rome 6.12.1880, DHS. PSK 15
PF to PSK [dec. 1880], no. 2738.
Arkiv, no. 2416 16
Constantine Sinanides to PSK Paris 15.10.1881,
12
PSK to Heinrich Hirschsprung, Sora di Campagna DHS, PSK Arkiv, no. 2787.
P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 153
Krøyer for a response.17 – We do not know Nannina – Krøyer in Fosca’s studio
his reply, but looking at the two busts now Krøyer used his travels in the region of Naples
found at Skagens Museum, we see that the in the autumn of 1880 as a way to relax. In
terracotta version with the ’smiling’ eyes has a addition to his time on Capri, he had visited
particularly exquisite lifelike immediacy. (Figg. Pompeii, Sorrento, Amalfi and, later, the
2 and 3.) ancient city of Herculaneum. Krøyer himself
writes that he has held neither pen nor brush
throughout this period, presumably as a
response to the exertions of painting the two
monumental paintings he had created in Sora.18
In November, however, he settled in Naples
and took up work in Fosca’s studio, which
was located in the Santa Lucia neighbourhood
near the harbour. Part of his objective was to
do a commission for Heinrich Hirschsprung,
who at the time collected a number of works
depicting colourful Southern European types,
especially picturesque individuals. Krøyer had
been specifically asked to depict ‘an Italian
woman’.
On 22 November, Krøyer wrote a letter to
Hirschsprung:
I have resumed painting. I am currently
painting a young girl from Naples, around
the age of sixteen, a small flower seller.
I am painting her in the studio of an
Fig. 2. Pasquale Fosca, Bust of Peter Severin Krøyer / Buste
af P.S. Krøyer, 1880. Terracotta. H. 40.5 cm. Skagens Italian friend. She is dressed in light and
Kunstmuseer, Skagen (Photo: Skagens Kunstmuseer). bright colours, holding a basket of roses
and a wealth of lovely flowers in her lap.
I imagine it would be well suited for you
and your vestibule. First, we must see if
anything good comes of it all. The girl
herself is certainly comely.
A few days later, he offered the following
report to Eilif Peterssen:
I have begun to paint. Nothing very
significant, but it will be enough to fulfil
the commission that you may recall I got
Fig. 3. Pasquale Fosca, Bust of
Peter Severin Krøyer / Buste af P.S. from back home. For I am painting Fosca’s
Krøyer, 1880. Bronze. H. 39 cm. little model – you know of whom I speak,
Skagens Kunstmuseer, Skagen I presume – as a flower girl, wearing real
(Photo: Skagens Kunstmuseer).
17
PF to PSK, Naples 6.12.[1881] and Rome 16.2.1882, 18
PSK to Heinrich Hirschsprung, Naples 22.11.1880,
nos. 2741 and 2721. DHS, HH Arkiv, no. 732.154 Marianne Saabye
Fig. 4. P.S. Krøyer, Nannina. A Neapolitan Flo-
wer Seller / Nannina. En napolitansk blomstersæl-
gerske, 1880. Preliminary work. Oil on panel.
32.7 x 23.9 cm. Sign.: ‘P.S. Krøyer 1880’. Pri-
vate collection (Photo: Bruun Rasmussens
Kunstauktioner).
Fig. 5. P.S. Krøyer, Nannina. A Neapolitan Flower Seller / Nannina.
En napolitansk blomstersælgerske, 1880. Oil on canvas. 75.8 x 63.5 cm.
Sign.: ‘S. Krøyer Napoli Decbr-80’. The Hirschsprung Collection,
Copenhagen (Photo: The Hirschsprung Collection).
Neapolitan costume with light, bright November, dedicated to ‘mio caro amico’,
colours, large pins in her hair and a basket and a second, rather larger preliminary study
on her lap filled with glorious roses, pansies painted on panel. (Fig. 4 ) We know of the
and the like, smiling out at the observer. I former by reputation and reference only,
am working at Fosca’s studio. At first, the whereas the latter, which has been on the
entire subject was slightly distasteful to me, auction circuit, is quite identical to the final
not natural enough, too contrived, but now painting in terms of its composition, the
that I have spent some time working on angled point of view leading up to the sitter,
it, I find that it interests me, and I believe and in the details.20
that I have achieved good colours in it. As The finished painting of Nannina can
a result, I will stay on here in Naples for yet be described as a large genre portrait. (Fig.
another half-score days or so.19 5) While it does put emphasis on the ‘folk
scene’ aspect of the image, it nevertheless
Two sketches for the final painting exist: a differs from the traditional genre pieces done
small preliminary study given to Fosca on 20 by Danish Golden Age artists by putting
19
PSK to Eilif Peterssen, Naples 25.11.1880, Univer- cm); Mentze 1969, 94; Hornung 2002, 132–133;
sity of Oslo Library, Brevsml. 209, no. 650 . Halkier & Saabye, 204-207, cat. no 50. fig. 26.
20
Christensen 1923, no. 248 (dimensions: 12.5 x 9.5P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 155
Fig. 6. Hans Thoma, A Neapolitan
Girl with a Guitar / Napolitanerin, 1880.
Watercolour, opaque pigments and
pencil on paper. 484 x 370 mm. Sign.:
‘Neapel 2. Arpil 80’. Preliminary work
for oil painting. Staatliche Kunsthal-
le Karlsruhe (Photo: bpk. Staatsliche
Kunsthalle Karlsruhe/Annette Fi-
scher/Heike Hohler).
Fig. 7. P.S. Krøyer: Young Girl Playing with a Cat / En lille
greater emphasis on character and by being Pige som leger med en Kat, 1880. Oil on canvas. 73.7 x 52.5
quite substantial in size. Genre portraits were cm. Sign.: ‘S. Krøyer Rom 80’. Private collection (Pho-
popular at the time, and while in Spain Krøyer to: Das Kunst & Auktionshaus, Hannover).
had painted another painting in the same
style, depicting The Old Isabel, 1879, (Brandts,
Odense). Stylistically, the portrait of Nannina
was entirely in keeping with the painting that
the German painter Hans Thoma (1839–
1924) had painted in Naples a few months
earlier: a commission piece showing a young
woman playing the guitar, dressed in colourful
local costume and wearing distinctive earrings,
hairpins and a shawl.21 (Fig. 6)
As Krøyer stated in his letter to Eilif
Fig. 8. Gesualdo Gatti,
Peterssen, he was initially rather sceptical The Cat and the Mouse /
about the commission, describing the subject Il gatto e il topo, bronze.
as ‘not natural enough, too contrived’. For the H. 142 cm. Sign.: ‘G.
Gatti’, ‘Fonderia Bra-
Naturalists of the day, such artificially arranged cale Napoli’, ‘Galata’.
subjects was anathema to their ambition of Collezione Gargiulo,
Naples (Reproduced
depicting their subject matter as it appeared after the catalogue Il
in real life at a specific moment. Earlier in the Bello o il Vero).
21
Thode 1909, reproduced p. 149 (Napolitanerin. 1880, oil on canvas, 70 x 50 cm); Thoma 1989, fig. 62; Thoma 1919, xxxii.156 Marianne Saabye
spring, while in Rome, Krøyer had painted a
picture possessed of a very different kind of
spontaneity and dynamism: a scene showing
a little Italian girl playing with a cat.22 (Fig. 7)
In this work, the artist succeeded in conjuring
up a single moment, conveying the trickles of
excitement running all the way through the Fig. 9. P.S.
girl’s body out into the very tips of her fingers. Krøyer, Nannina
Krøyer’s subject shares many similarities with Holding Tubes of
Paint / Nannina
the Neapolitan sculptor Gesualdo Gatti’s stående med Farve-
(1855-93) The Cat and Mouse (Il gatto e il topo). tuber, 1880. Oil
Originally exhibited in Naples in 1877, the on canvas. 58
x 36 cm. Sign.:
sculpture was subsequently copied and ‘Krøyer Napoli
reproduced many times.23 (Fig. 8) Krøyer may 3 Decbr 80’. Pri-
vate collection
or may not have been familiar with Gatti’s (Photo: Mogens
sculpture, but whatever the case may be, this Winther).
picture demonstrates that he was entirely
on board with the issues that interested the
Italian Verists of the time, their emphasis on
realism and the sense of depicting a single
moment. Presumably Krøyer would have
liked to see more of that kind of immediacy
in his depiction of the flower seller.
Back in Copenhagen, however, the
large portrait of Nannina was greeted with
tremendous enthusiasm by the Hirschsprung
household. The family kept the painting
under wraps until it could be presented at the
annual juried Charlottenborg exhibition in
Copenhagen in 1881, where it attracted a great
deal of attention. And when Hirschsprung
staged the first public presentation of his
art collection at Charlottenborg in 1888 – a
collection that was already substantial by then
– this was the painting chosen for the cover of
Fig. 10. Vincenzo
the catalogue and for the poster advertising the Caprile, The Dowry
show. In the words of Pauline Hirschsprung, of Rita / La dote di
Nannina had become part of the family. 24 Rita, 1880. Oil on
canvas. Sign.: ‘V.
Shortly before Krøyer left Naples he Caprile’. Owner
painted another picture of Nannina: a half- unknown (Photo:
Michaan’s Auction
length portrait that was recently traced to a Home, Alameda,
private collection.25 (Fig. 9) In this painting, California).
22
A Girl with a Cat sold to Oscar Prior for 400 kro- 23
Romano D’Orsi 2014a, 253-54. A smaller copy was
ner, PSK Regnskabsbogen (Accounts book) 1880, done by Vincenzo Alfano: see Esposito 2011, 40-41.
DHS, PSK Arkiv. PSK to Heinrich Hirschsprung, 24
Hornung 2002, 128-133; Saabye 2002, 122-125.
Rome 6.4.1880, DHS, HH Arkiv, no. 722. Kokkin 25
Christensen 1923, no. 249. I am grateful to actor Joen
2016b, 211, fig. 7. Bille and Mrs Birthe Sliben, Copenhagen, for their in-P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 157
Nannina is shown holding a couple of the flower girl and is presumably ‘Fosca’s little
artist’s tubes of pigment. The situation is a model’, Nannina. (Fig. 11) Signed ‘P Fosca
brief, fleeting moment at the studio, giving 80’, the bust may have been created earlier
the subject a far more relaxed, unofficial feel. that year, meaning that this could be the exact
Here, the model is not posing for the painter. same bust of an ‘Italian female’ that Krøyer
She is seen at an angle from behind; we can mentions even during his time in Sora, stating
barely make out her face, which remains that he is excited to see the work when he
shadowed, whereas her neck, her bare shoulder arrives in Naples (see p. 158). However, the
and the blouse are hit by the light. Engrossed bust might just as well have been created
in examining the paints, she appears to have during Krøyer’s time in Naples. Fosca certainly
been observed without being aware of it. The worked on A Flower Seller (Una fioraia) while
depiction combines sensuous observation Krøyer was there. We know this because he
with deeper psychological insights. Krøyer
would often apply this way of observing a
model in subsequent works. He would have
been able to study similar subjects in the
works of the Dutch masters and Velázquez.
Most recently, he had seen, while visiting an
exhibition in Turin in June (see p. 162), a
painting by the Neapolitan painter Vincenzo
Caprile (1856-1936): The Dowry of Rita (La
dote di Rita), which has a striking similarity to
Krøyer’s study.26 (Fig. 10) Perhaps this was
how he ideally wanted to paint Nannina. The
painting was signed in the still-wet paint on
3 December, a few days before Krøyer left
Naples to return to Rome.
Fosca’s Nannina
That same year, Fosca sculpted an exquisite,
small terracotta bust in his studio. It depicts
a young girl with a scarf around her hair.
The sculpture has sustained damage over
the years, meaning that we now see only the
stalks of the roses that would once have been
a significant part of the right-hand side of the
composition. The model’s soft face with the
rounded cheeks, the hair underneath the scarf,
the smile playing around her lips, allowing a
glimpse of her teeth – all these aspects make
the bust convey a very vivid impression of
the young girl and her demeanour as seen in Fig. 11. Pasquale Fosca, Bust of a Young Girl with Roses (Nan-
nina), 1880. Terracotta. H. 37 cm. Sign.: ‘P Fosca 80’. (The
the here and now, in a realistic single moment. bust has sustained damage). Private collection. (Photo
She closely resembles Krøyer’s Neapolitan Rocco de Ciantis & figlio, Sora).
valuable assistance in locating the current owners. Reproduced in llustrazione Italiana 1880. Regarding
26
Vincenzo Caprile: La dote di Rita. / Rita’s Dowry. Krøyer’s time in Turin, see Saabye 2011, 58.158 Marianne Saabye
later makes several references to the ‘fioraia’ The many subsequent letters often include
he did ‘back when you painted my portrait in greetings from Nannina, who also wrote a few
Naples’. Perhaps this small bust with the roses letters to Krøyer herself.
was on the artist’s modelling stand.27 Another
possibility is that the ‘fioraia’ mentioned by the Pasquale Fosca’s artistic background in Naples
artist might be a preliminary work for Fosca’s While still in Sora, P.S. Krøyer had described
statuette of a young woman carrying a basket Pasquale Fosca in a letter to Heinrich
of flowers down a staircase; however, the first Hirschsprung, making the following
known example of this sculpture is a bronze observations:
version from 1882 (see p. 166). (Fig. 17)
Sadly, the portrait that Krøyer painted Here in Sora I have made the acquaintance
of Fosca in his studio and went on to give of a very gifted young Neapolitan sculptor,
him as a gift is now lost. We know that Fosca. […] He has indicated that next year,
Fosca presented it to various visitors with he should like to exhibit in Copenhagen,
great pride; for example, it held a prominent showing an Italian woman he has sculpted
position when he threw a major party and which I shall see in Naples. If it is as
celebrating the opening of a new studio in the good as I expect, seeing it at Charlottenborg
spring of 1881. On that occasion, its admirers would be most pleasant indeed; he is
included the painter Domenico Morelli particularly skilled at the modelling and
(1826–1901), Fosca’s teacher and a key figure treatment of flesh and fabrics. His art is
on the Neapolitan art scene of the time. On a very much in the vein of the well-known
subsequent occasion, the writer and politician Neapolitan Boy with a Fish by Gemito –
Ruggiero Bonghi (1826–95) also voiced his perhaps you are familiar with that work?
enthusiasm for the portrait.28 The painting He possesses a great deal of vitality and
ultimately suffered a dismal fate: in 1908, life force and might be a boon to our rather
prompted by an inquiry from Krøyer, Fosca ailing domestic sculpture with its realism
had to confess that pecuniary embarrassment and fresh outlook on nature.31
had compelled him to pawn it at one point –
and that problems arose when he later sought At that point in time, Krøyer had no in-depth
to reclaim it. He now hoped to be able to insight into Fosca’s work, but the two men
retrieve the portrait with help from his friend must have exchanged ideas about art and felt
Vincenzo Simoncelli, a lawyer.29 that they agreed on matters such as realism
‘Fosca’s little model’ was more than just and the study of real life.
a model. A few years later, in 1883, Fosca Pasquale Fosca came relatively late to the
reported to Krøyer that Nannina had become world of art. He had first attended a military
his ‘legitimate wife’ and that the couple were academy, then medical school. In 1872, at
now the parents of an infant girl. The letter the age of twenty, he began studying under
was written during a sojourn in Sora, where he the Neapolitan sculptor Stanislao Lista
had just sculpted Mother and Child. The couple (1824–1908) at the Istituto di Belle Arti in
went on to have another four children.30 Naples. His early beginnings were not entirely
27
PF to PSK, Naples 12.[6.?]1886 and London he spent time in the company of the Nordic paint-
[spring 1889], nos. 2723 & 2740. ers Christian Meyer Ross, Theodor Philipsen and
28
PF to PSK, Naples 13.[spring].1881 and 29.7.1881, Viggo Pedersen. Fosca relates that he has modelled
nos. 2717 and 2719; Borrelli 1922, 299. a statue of Nannina with the child and intends to
29
PF to PSK, Buenos Aires [1908/1909], no. 2746. cast the piece in bronze.
30
PF to PSK, Sora 2.8.1883, no. 2722. While in Sora 31
PSK to Heinrich Hirschsprung, Sora di CampagnaP.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 159
without teething troubles, and things only hit draw together. He had also invited Gemito.
their stride when he became a pupil of the Other young students from the art academy
aforementioned painter Domenico Morelli, met there, too – in a letter, Fortuny describes
who supported him, and when he was awarded how the students came sailing out to the villa
first prize at an exhibition in 1878.32 from Naples, praising him in song and playing
With Lista and the painters Morelli and the mandolin.35
Filippo Palizzi (1818–99) as teachers, the After his stay in Naples, Fortuny returned
Neapolitan art academy taught a range of to Rome, where he lived and he had set up a
very talented young artists around this time; famous studio filled with his rich collections.
artists that would go on to win international Tragically, however, Mariano Fortuny died
prominence. The three sculptors Achille unexpectedly just a few months later in
D’Orsi (1845–1929), Vincenzo Gemito November 1874, only 36 years of age.
(1852–1929) and Francesco Jerace (1853– In his own lifetime – and later through
1937) became leading figures within the 1870s exhibitions of his works – Fortuny exercised
Verism movement in Italian sculpture, and a remarkable influence on Spanish, French,
each in their own way, the painters Antonio American and Nordic artists alike, including
Mancini (1852–1930) and Francesco Paolo Krøyer (see p. 162). Art historians even speak
Michetti (1851–1929) represented new of what they call ‘Fortunyism’.36 The Spanish
departures in Italian art. In the 1870s, Mancini, painter had a particularly prominent impact
Gemito and Michetti all exhibited their work on the Neapolitan art scene. Those influenced
in Paris, and the French art dealer Goupil & by him included the slightly other artists such
Cie strongly promoted Neapolitan artists.33 as Domenico Morelli, who was a close friend
Fosca belonged to the same generation as of Fortuny, and the marine painter Eduardo
these younger artists, and even though he had Dalbona (1841–1915), but also younger
gotten off to a later start than they, he was of painters such as Mancini and, especially,
course familiar with them and had followed Michetti. Thus, winning Fortuny’s favour
their development and success. The fact that and encouragement would have been a major
Fosca was considered talented is evident from boon and confidence booster for Fosca.
an account provided by Nicola Borrelli.34 In
the summer of 1874, the Spanish painter Fosca’s early realist works
Mariano Fortuny (1838–74), who was much Fosca was firmly anchored in Neapolitan
admired and highly influential in his own realism, to which he upheld his allegiance.
day, took a villa in Portici by the Gulf of Even in 1899 he wrote: ‘I am, however, still
Naples. Upon visiting the academy one day a Verist and am currently doing works in the
in the company of Morelli, he saw Fosca Verismo vein …’.37
in the process of drawing after an ancient Indeed, the titles of his exhibited works
statue. An enthusiastic Fortuny pronounced from the earliest years of his career do
the drawing superior to the original, and he point towards keen social commitment: A
supposedly returned to see Fosca work in Compassionate Look (Un sguardo compassionevole),
the days that followed. He eventually invited 1873, Woman Praying (La Pia), 1874, The
Fosca to join him in Portici so that they could Natural and Necessary Attitude. Foundling
3.10.1880, DHS, HH Arkiv no. 730. 35
Davillier 1875, 125; Donate et al. 2003, 567.
32
Borrelli 1922, 286-291; Saut 2014, 508. 36
González López 2003, 545-548; Saabye 2011b, 57–58.
33
Serafini 2013. 37
PF to PSK, Naples 12.8.1899, no. 2728.
34
Borrelli 1922, 286-288.160 Marianne Saabye
of a range of writings on church history.
Comparison to the reference material shows
that the slightly melancholy, introspective air
of the ageing man is very ably represented.
(Fig. 12) A bust will usually show only the
sitter’s head and upper chest, but Fosca
included an additional realistic detail: one of
the cardinal’s hands, which would originally
have held a quill as a reference to Baronio’s
writings. Over the years, the fragile terracotta
bust has sustained considerable damage,
including the loss of the quill, but in 1908
Fosca cast a bronze copy of the bust which
shows the entire piece intact.39
Another early portrait commission was a
Bust of Cardinal Siciliano di Rende, a task which
Fig. 12. Pasquale Fosca, Cardinal Cesa- several other artists had already failed to
re Baronio (1538–1607), 1908. Bronze, carry out to the patron’s satisfaction. Fosca
cast after a terracotta model 1878.
Chiesa di San Bartolomeo, Sora. (Pho- proved successful, however, and the work was
to: Rocco de Ciantis & figlio, Sora). exhibited in Naples in 1880.40
Il Vecchietto
(Attitudine naturale e necessità. Trovatello), 1877, Fosca’s early realistic works include The Old
Bust of an Old Sailor from Ischia (Testa di un vecchio Man from Sora (Il vecchietto di Sora), which
marinaro d’Ischia), 1879.38 Looking further originally carried another name, Martino
ahead to his works from the early 1880s, the Samples the Wine (Martino saggia il vino). (Fig.
titles still contain hints of the social focus 13) The artist originally sculpted the statue
of realism: After the Wine Harvest (Dopo la in Sora in 1882 and makes a reference to it
vendemmia), 1884, Peasant from Sora (Contadino di in a letter to Krøyer, suggesting that Krøyer
Sora) and Peasant Girl from Naples (Contadina di would probably recognise the sitter, who
Napoli). The latter two busts were both done appears to have been one of Sora’s colourful
in marble and exhibited in 1884, but were older characters and very fond of drink.41 The
presumably sculpted by the artist at a notably bronze statuette shows an old, fine-boned man
earlier date. None of these works are known wearing a small cap on his head, balancing on
today. a three-legged stool while holding a mug of
Fosca’s interest in realistic depictions also wine in one hand and the entire jug in the other.
manifests itself in the earliest known work His characteristic Ciociaria footwears attests to
by his hand, the posthumous portrait bust of his ties to the region. One variation of the
Cardinal Cesare Baronio (1538–1607), which he statuette shows the man sitting on a barrel of
sculpted in 1878 on the basis of an older print. wine. The sculpture displays a great deal of
Cesare Baronio was born in Sora, appointed realism, and its sitter would have felt entirely
cardinal in 1596 and won fame as the author at home among one of the farm workers seen
38
Giannelli 1916, 584 . 41
PF to PSK, Naples 12.[6.?]1886, Naples 12.8.1899
39
Squilla 1963, 433-434, plates 44-45. PF to PSK, and Naples [ca.1899], nos. 2723, 2728 and 2742.
Naples 21.1.1908, no. 2730. Giannelli 1916, 584; Borrelli 1922, 296 .
40
Borrelli 1922, 289.P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 161
It was first exhibited at Esposizione Generale
Italiana i Torino 1884 and later in 1887 at the
Esposizione Nazionale Artistica in Venice, where
it was, according to Fosca himself, a major
success with several copies sold. He also sold
a copy to the Spanish court at a later date.
However, he also reported that fake replicas
of the statuette had been produced.43
Krøyer helped bring Il Vecchietto to
Denmark too. It was sold to Det Danske
Kunstindustrimuseum (now Designmuseum
Danmark), as is apparent from Borrelli’s report,
indirectly from Fosca’s correspondence and
from a letter that Krøyer sent, presumably just
around the turn of the century, to the museum
director Pietro Krohn, reminding the museum
on behalf of Fosca about the still-outstanding
payment of 150 lire, the price agreed for the
purchase. We can only assume that the money
was duly sent, for as late as 1908 Fosca writes
a letter to Krøyer, suggesting that Krøyer
might assist him on selling another bronze
statuette, Lotta, which could then be presented
alongside ‘il vecchietto sorano, which you
Fig. 13. Pasquale Fosca, The Old Man from Sora or Marti- sold on my behalf to the aforementioned
no Samples the Wine / Il vechietto di Sora or Martino saggia museum’.44 However, nothing came of this.
il vino, 1882. Bronze. H. 28 cm. Sign.: ‘P FOSCA. NA- The statuette of the Old Man from Sora is no
POLI’, ‘Fonderia propria’. Private collection (Photo:
Rocco de Ciantis & figlio, Sora). longer at the museum. It was presumably sold
on or discarded, possibly in connection with
a subsequent critical review of the earliest
in Eilif Peterssen’s masterpiece Siesta in an acquisitions of the museum.45
osteria in Sora, 1880 (The National Museum,
Oslo), which stays true to its naturalist tenets Krøyer and the Neapolitan art scene
in its unsentimental, characterful portrayal Little information can be found about the
of local agricultural workers.42 Fosca later extent of Krøyer’s interaction with the local
mentions that the statuette was a response to art scene in Naples during his approximately
the sculptor Constantino Barbella’s (1852– two-month stay. Fosca presumably sought
1925) statuettes of shepherds. Many of those to introduce him; for example, he mentions
pieces had a highly sentimental feel. that they visited a private collector together in
The statuette won Fosca several prizes. order to see some paintings by the academy
42
Kokkin 2016a, 27-32, fig. 22. Buenos Aires [1908], no. 2743.
43
PF to PSK, Naples 12.8.1899, no. 2728 45
According to information provided by Design-
44
Borrelli 1922, 298. PF to PSK, Naples [ca. 1899], museum Danmark, a number of early acquisitions
no. 2742. PSK to Pietro Krohn, Bergensgade 10, were purged from the collection during Emil Han-
Copenhagen [undated], Designmuseum Danmark, nover’s tenure as director.
Copenhagen, Korrespondancearkivet. PF to PSK,162 Marianne Saabye
professor Filippo Palizzi (1818–99).46 The acquainted with works by some of the most
letters also make repeated references to a important Neapolitan artists during his visit to
mutual acquaintance, Signor Nobile, who the fourth large and highly important national
sends greetings to Krøyer. Vincenzo Gemito exhibition held in Turin in 1880.49 He visited
and Antonio Mancini were both in Naples the city en route for Paris at the recommendation
at this time, but the sources available remain of fellow painter Laurits Tuxen and with
silent on this matter. However, there can the express objective of seeing Michetti’s
be no doubt that Krøyer met Domenico paintings. Among the Italian painter’s many
Morelli, who, in his capacity as Fosca’s works, his large, ground-breaking scenes from
teacher and mentor, remained in touch with the Adriatic – full of bathing children, ships
his former pupil. In connection with a later and sails – stood out with their brilliantly clear
letter urging Krøyer to return to Naples, light, distinctive freshness and unusual wealth
written in April 1881, Fosca wrote hopefully of colour.
of the vast reunion celebration they would In a departure from Krøyer’s general
throw with ‘Morelli and the other greats’ who practice, one of his sketchbooks contains a
enthusiastically awaited his return.47 Knowing series of sketches copying down paintings
the identity of these ‘other greats’ would be that he particularly wished to recollect.
useful, to say the least. Perhaps they were Several of these motifs would appear to
some of the Neapolitan artists who stayed and be clearly linked to Michetti. However, it
painted at the small fishing port and village of transpires that Krøyer’s notes were done
Mergellina on the outskirts of Naples? on his return journey from Italy in 1881, at
Through Fosca, Krøyer would have been which point he must have gone via Milan
able to gain insight into the Neapolitan art to see the large Esposizione Nazionale, which
scene, which we may confidently assume to was set in Milan that year. At this exhibition,
have interested him given that he was already Michetti exhibited no less than 35 relatively
a great admirer of several of the artists whom small, sketch-like pictures under the common
Fosca had known and with whose works heading Studi dal vero a tempera.50 Concurrently
Krøyer had become acquainted at the Salons with the Esposizione Nazionale, Milan was also
and the World Exposition in Paris 1878. They home to a large representation of Fortuny’s
included the aforementioned Mariano Fortuny, works, giving Krøyer the opportunity to see
whose paintings Krøyer had praised in 1878, those too.
lavishly and in great detail, accentuating But let us return to the exhibition in Turin
Fortuny’s ‘wondrously enchanting imaginative held the year before. At that show, Krøyer
colour’, the bright light and the wealth of would have been able to view a range of
detail.48 Fosca was presumably also able to tell important paintings by Giuseppe de Nittis
him about Francesco Paolo Michetti, another (1846–84), including one of his major
native of Naples who had, however, relocated masterpieces The Train Passes (Un treno che passa)
to the Adriatic coast several years previously. and various scenes from Naples. Krøyer would
In the spring, Krøyer had excellent also have been able to study marines from the
opportunities for becoming directly Gulf of Naples and scenes from the port of
46
PF to PSK, Naples 9.6.[1881], no. 2736. Tommasi, Dopo l’acquazzone – paese, which was fea-
47
PF to PSK Naples 20.4.1881, no. 2718. tured at the exhibition in Milan and reproduced in
48
Regarding PSK’s familiarity with the works of For- the exhibition catalogue. This verifies that Krøyer
tuny and Michetti, see Saabye 2011b, 57-60. was indeed in Milan: Esposizione Nazionale 1881, Sala
49
Esposizione Nazionale 1880; Mimita Lamberti 1982, IV, no. 6. The catalogue also features the 32 tempera
37-54. studies by Michetti, 64-65, cat.nos. 35-67. (PSK’s cop-
50
P.S. Krøyer Skitsebog no. 42, DHS. The sketchbook ies include a sketch after Michetti’s La figlia di Jorio.)
includes a drawing done after a painting by AdolfoP.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 163
Mergellina done by artists such as Eduardo slumped down on the ground, a pickaxe
Dalbona (1841–1915) and Alceste Campriani between his splayed legs, his eyes empty.
(1848–1933); scenes full of Southern light, The sculpture is a quintessential portrayal of
clearly conveying the atmosphere of everyday hopelessness – and the Latin title (Proximus
life in a fishing village. tuus) accentuates the polemical point with its
A darker counterpoint was offered by appeal to the Christian concept of charity. The
Domenico Morelli’s realistic and highly erotic sculpture bears many similarities to a painting,
painting The Temptation of Saint Anthony (Il much celebrated in its own day, by the French
tentazione di Sant’Antonio), 1878, (Galleria painter Jules Bastien-Lepage: Hay Making
Nazionale d’Arte Moderna, Rome), a major (Les Foins), 1877 (Musée d’Orsay, Paris), in
work which garnered a great deal of attention. which an exhausted peasant girl sits in a field
In her introduction to the exhibition Il Bello o in a similar pose, staring vacantly ahead.52
Il Vero, Isabella Valente calls attention to how However, D’Orsi’s sculpture and Morelli’s
the 1880 Turin exhibition played a prominent depiction of Saint Anthony both have a
part in the overall turn of Italian Verism darker and rougher feel than one would find
towards an involvement in social issues – she in the French painter. One might reasonably
speaks of ‘the birth of social art’, meaning speculate that this exhibition helped prompt
the depiction of poverty and adverse living Krøyer to venture into the more sombre and
conditions.51 One of the most noteworthy serious realism evident in e.g. Italian Village
and modern works in this regard was the Hatters, on which he commenced work in
key work presented by Neapolitan professor Sora immediately after having visited Turin
Achille D’Orsi (1845–1929): the large bronze and Paris, and in his subsequent depiction of
sculpture Proximus tuus, 1880 (Galleria a Roman campagnol (see p. 151).
Nazionale d’Arte Moderna, Rome). (Fig. 14) Proximus tuus was not the only work
The sculpture depicts an emaciated labourer exhibited by Achille D’Orsi. He also showed
a bronze sculpture that evinced a different,
more poetic kind of realism: a young fisherboy
squatting over a large basket of fish, inspecting
the results of his labours.53 (Fig. 15) Called A
Posillipo in reference to the fishing community
in the Gulf of Naples, the sculpture shares
thematic similarities with Vincenzo Gemito’s
Young Fisherboy from Naples (Giovane pescatore
Napoletana), 1876, also known as The Fisherboy
(Il pescatorello), which Krøyer had seen in Paris
and mentioned to Hirschsprung (see. p. 158).
(Fig. 16) Gemito’s boy has just taken his catch
out from the small net tied around his waist
and now sits tensely on the rock, bent tautly
Fig. 14. Achille D’Orsi: Proximus tuus / Thy Neighbour, backwards as he seeks to keep his wriggling
1880. Bronze. H. 106 cm. Sign.: ‘A.D’Orsi 1880’. (Pho- prey close against his chest.54 The sculpture
to: Galleria Nazionale d’Arte Moderna, Rome. By con-
cession of Ministero per i Beni e le Attività Culturali). shows a specific, brief moment in time,
51
Valente 2014. 54
Puccio 2014, 276-277. Several versions of the
52
The subject can be traced back to Jean-François sculpture can be found in museums in Naples, Mi-
Millet’s ‘Le vigneron’, 1869–70. See Hebert et al. lan and Florence. The Bargello version is the black
1975, cat. no. 182. patinated version exhibited at the Paris Salon.
53
Romano D’Orsi 2014b, 278.164 Marianne Saabye
works with similar subject matter, and the
theme was subsequently picked up by several
Neapolitan sculptors.
The picture that was never painted
It is likely that these sculptures and Michetti’s
vast Adriatic scenes were at the back of
Fig. 15. Achille
D’Orsi, From Po- Krøyer’s mind when one day, he came across
sillipo / A Posillipo, a subject he would have liked to treat. In late
1880. Bronze. H. November, he offers an in-depth description
111 cm. (Illustra-
tion from: Ricordo of the scene in a letter to Eilif Peterssen. In the
della Esposizione Na- low morning sunlight, he had seen a number
zionale di Belle Arti
in Torino 1880, Mi- of ‘brown magnificent human beings’ at the
lan 1880). beach, witnessing one of them ‘tie a small net
around his waist, cross himself and jump out,
dive, stay down for a long time, emerge again
with shells and then dive again’.55
Having previously painted fishermen in
Hornbæk in Denmark, Krøyer had sought in
vain to find a similar subject in Brittany, and
when setting out for Naples, where he was to
paint an ‘Italian woman’ for Hirschsprung,
Fig. 16. Vincen-
zo Gemito, Young he wrote that ‘he fisheries around Naples will
Neapolitan Fisherboy offer up suitable material for me’.56 However,
or The Fisherboy /
Giovane pescatore na- time constraints no longer permitted him
poletano or Pescato- to embark on a large scene. Loath to give
rello, 1877. Bronze. up his plan to return to realise the picture
H. 115 cm. Mu-
seo Nazionale del in his mind, he kept the option open in the
Bargello, Firenze. many letters sent from Rome to family and
(Photo: Galleria
degli Uffizi. Gabi- friends during the winter and spring of 1881.
netto Fotografico) Eventually, Krøyer had to concede that after
four years of studies abroad, his financial
situation compelled him to return. Still, there
was no shortage of encouragement to return
evoking it in a lifelike fashion reminiscent of to Naples from Fosca, and his entreaties
the aforementioned sculpture by Gesualdo were regularly renewed in the years that
Gatti. (Fig. 8) The theme was concerned with followed. For example, Fosca asked when
the depiction of young fisherboys, so-called Krøyer would come back to paint ‘beautiful
monelli, whose near-nudity made it possible to pictures from the sea of fishermen catching
view them in the light of ancient classical art fish, mullets, mussels, squids and octopus
while also making them an excellent naturalist of every kind and so on. ...’.57 Fosca offers
subject. Gemito had already done several Krøyer the opportunity to stay at his home
55
PSK to Eilif Peterssen, Naples 25.11.1880. Univer- 56
PSK to HH, Sora di Campagna 3.10.1880, DHS,
sity of Oslo Library, Brevsml. 209, no. 650. The HH Arkiv no. 730.
letter is quoted in its entirely in Saabye 2011b, 60. 57
PF to PSK [1882?], no.2737.P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 165
in Naples and to avail himself of the various Portraits
studios Fosca used in Posillipo and on the In the early 1880s, Fosca appears to have
beach of Mergellina. However, Krøyer would received quite a few commissions for portraits.
eventually create his paintings of fishermen In December 1881 he sends a photograph of a
and beaches in Skagen in Denmark. bust of a ‘Girfield’, as he puts it. Fosca himself
describes the bust as ‘the best I have done so
Krøyer and Fosca’s correspondence and information far’.59 He also did a bust of Signor Nobile,
about sculptures 1881–89 with whom Krøyer was acquainted, and of
After Krøyer left Naples, the two artists Signor Capiani, manager of the Hotel Royal at
engaged in regular correspondence up the port of Naples; Fosca had installed a new
through the 1880s. During this period, Fosca studio in a building in the hotel’s garden.60
was based in Naples, but also spent time in That same year, 1881, Fosca received
Sora. He is known to have spent some time an important commission for a bust of the
in Rome in 1881–82. He later went abroad, influential cultural figure Ruggiero Bonghi
presumably making stops in Spain, and set out (1826–95) – a scholar, writer and politician
via Paris to London where he, Nannina and who was also minister of public affairs at
their children settled in 1888–89. the time. A native of Naples, Bonghi sat for
Through the years, the two artists kept Fosca once a fortnight. Upon completing the
each other informed about their own current bust, Fosca sent a photograph to Krøyer, who
works, and the letters make it plain that they praised his work in a later letter. Based on
often sent photographs of their works to information provided in connection with an
each other. Fosca’s letters include references exhibition, the date of the bust has hitherto
to numerous commissions and works, been set at 1904, but this correspondence
including pieces that have not previously been shows that the bust was in fact created back
mentioned in the literature. Similarly, some in 1881.61
of the information provided may serve as Through the acquaintance of Bonghi,
correctives to previous assumptions regarding Fosca was given to understand that he might
the dating of his work. do a portrait of the heir apparent, who was
In 1881, for example, Fosca mentions two summering in Naples with Margherita of
sketches done in preparation of allegorical Savoy, queen consort of Italy (1851–1926).
representations. One featured a scene from Sadly, however, the court left the city before
Dante’s Divine Comedy, depicting Amore e the plans could come to fruition, but prior to
Intelligenza (Love and Wisdom), as symbolised by this Fosca had conducted a long conversation
Dante standing on a globe, lovingly embracing with the heir apparent at the palace, and
an eagle. The other work was a sketch for a following that interview the queen’s cavaliere
monument, La Speranza d’Italia (The Hope of di onore had joined Bonghi and the royal
Italy), personified here in the form of the heir palace steward in visiting his studio. In
apparent, Vittorio Emanuele (1869–1947), connection with these plans, Bonghi had
wearing military uniform and brandishing an invited Fosca to stay with him in his house in
anchor resting on a roll of rope. However, Rome in November in order to carry out the
no final commission was made for the latter commission.62 In all likelihood Fosca went to
piece.58 Rome back in the autumn of 1881, creating
58
PF to PSK, Naples 9.6.[1881], no. 2736. the bust is said to be housed at the Academia di
59
PF to PSK, Naples 6.12.[1881], no. 2741. Belle Arti, Naples, but it has proven impossible to
60
PF to PSK, [Naples 1881], no. 2733. identify it there.
61
PF to PSK, Naples 9.6.[1881] and 3.10.1881, DHS, 62
PF to PSK, Naples, 29.7., 3.10. and 23.10. 1881,
nos. 2736 and 2720. Saut 2014, 508. In SAUR 2004 nos. 2719, 2720 and 2735.You can also read
