almerinda di benedetto
Associate Professor
History of Contemporary Art
C.U.N.S.T.A . (Consulta universitaria nazionale per la storia dell'arte)
Member
www.cunsta.it
S.I.S.C.A. (Società italiana di Storia della Critica d'Arte)
Member
www.siscaonline.it
Address: DILBEC - Dipartimento di Lettere e Beni Culturali
Università della Campania 'Luigi Vanvitelli'
Via Perla, 1
81055 - Santa Maria Capua Vetere (Ce)
History of Contemporary Art
C.U.N.S.T.A . (Consulta universitaria nazionale per la storia dell'arte)
Member
www.cunsta.it
S.I.S.C.A. (Società italiana di Storia della Critica d'Arte)
Member
www.siscaonline.it
Address: DILBEC - Dipartimento di Lettere e Beni Culturali
Università della Campania 'Luigi Vanvitelli'
Via Perla, 1
81055 - Santa Maria Capua Vetere (Ce)
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Papers by almerinda di benedetto
The Bacchante, a marble sculpture by Tito Angelini, signed and dated 1865, now owned by one of the Neapolitan artist’s
descendants, was commissioned by Giovanni Vonwiller, a banker of Swiss descent and well-known art collector in the
second half of the nineteenth century, as well as a generous patron of – among others – Domenico Morelli, who was
also his art consultant. The statue, which once held a place of honor in the center of one of the salons of the illustrious
Vonwiller Gallery in Naples, was a replica of the one Angelini had sculpted in the mid 1840s for the refined and extravagant
Marquis Filippo Ala Ponzone, the present wereabouts of which is unknown, like the whereabouts of the replica
done for King Vittorio Emanuele II, much praised by Vittorio Imbriani, sculpted sometime between 1863 and 1865. The
addition of the Bacchante to Angelini’s catalogue enriches critical discourse on the activity of this great sculptor, who
was Neoclassical by formation but drawn toward Purism, and also influenced by research being conducted beyond the
Alps, especially the innovational work of the Franco-Swiss artist James Pradier.
Fortunino Matania created for The Sphere more than 250 illustrations. Matania’s images present, with the
strength of representations in a realistic way, unique and clear vision of how the war was transmitted through
a medium so popular communication. What redeems the artist from the status of ‘mere illustrator’, is the
extraordinary ‘truth’ with which he used the pencil on the paper, so as to able to orient, in accordance with the
directions of the press, the mass perception of the conflict.