Gemito was born in Naples in 1852 from unknown parents who left him at Pia Casa dell'Annunziata;Giuseppina Baratta was his second mother.

At the age of 9 he presented himself to sculptor Emmanuele Caggiano who employed him and took him to live with him.

Gemito started to design, copying in chalk models of the old sculptor. He did not remain for long with Caggiano; after accidentally falling from a ladder, on which he was imitating a circus acrobat, he provoked a serious trauma. Fully recovered, he returned back at the Caggiano studio, but after some time he disappeared.

At the age of 12, in 1864, he was accommodated at the studio of Stanislao Lista, but also there he did not remain for long. He established his first studio in an abandoned room of S.Andrea delle Dame, shared with his friend Antonio Mancini.

During his apprenticeship with Lista, he participated in a competition for the statue of Bruto, established bySocietà Promotrice di Belle Arti.

His sketch, consented by D.Morelli, was not rewarded, but was asked to create it in marble, the material for which Gemito nourished aversion as it did not allow him to work fast.

In 1868, at the age of 16, he modelled the portrait of Mancini and the Gladiator, presented later at the

Vincenzo Gemito old photo

Promotrice di Napoli and bought by the King (Capodimonte Museum). From 1873 till 1880 were the glorious years.

He set up a foundry, met Mariano Fortuny, and got engaged with gracious Matilde Duffaud, friend of his French neighbour antique dealer. These years are the portraits of Fortuny, Morelli and F.P. Michetti. 1876 is the year of the "Pescatorello", obtaining a grand success at the Salon in 1877.

In the nineteenth century scenario, the Gemito pattern instinctively is set against any academic dogmatism and also the relationship with Hellenistic sculpture is totally relived in full expressive autonomy: significant are the two Medallions representing "Alessandro Magno" (1920).

The years between 1877 and 1880 are the years of great transformation during his Parisian stay, which gave impetus to his activity as portrait painter confirming his notoriety.

In 1881, after the death of Duffaud, he returned in Naples, finding comfort in Anna Cutolo, his best model, and in his work.

This Neapolitan period is the period of the "Carmela", the "Zingara Maria", "Narciso", the very famous "Acquaiolo" and the "Filosofo", with which he won first place at the International Exhibition in Paris.

In the second half of the '80s, two facts affect the mental balance of Gemito, who, as known, has in front of him the years of profound crisis: the death of Anna Cutolo, who became his wife, and the interior clash after the placing of an order for the statue of Carlo V, for the niche in the facade of the Royal Palace of Naples.

The commitment for this work worsened the crisis in Gemito's life: it was absolutely a strange theme compared to his vision filled with simple figures, everyday topics, giovinetti, and pescatorelli.

Thanks also to the help of his friend Meissonier, Gemito completed this historical art in chalk, then in marble by an artisan. Unluckily, this mediocre artisan was the brother of the Chief of Police of Naples, following a violent gesture by Gemito against the finished statue, which for him was unacceptable, was hospitalised in a nursing home.

From the nursing home he escaped, taking refuge in his residence at Via Tasso in Naples, plunging himself in work as carver for "Trionfo da tavola" in silver for King Umberto I, which remained unfinished.

From the voluntary segregation, he went out only occasionally, for twenty years, alternating from moments of work to periods of lonely madness (this is the period of splendid designs).

In 1906 returned back to work creating goldsmith's arts, trying to obtain a studio in Castel Sant' Angelo, in Rome.

The last sculpture was done in 1926: portrait of the actor Raffaele Viviani.

At the age of seventy-seven Gemito died in Naples on the first of March 1929.

The majority of his works can be found in some Italian museums and in private collections.

A good part of Gemito art works, is still today reproduced by Gemito Artistic Foundry, directed by Francesco Guerritore and Andrea Guerritore, of whom Gemito was their great-grandfather.