(Castellammare di Stabia 1707–1789 Naples)
Portrait of a young boy, possibly Carlo Vanvitelli (1739–1821),
oil on canvas, 77 x 64 cm, framed

Bonito was celebrated for his portraits of the Neapolitan royal family and nobility. The Vite by Bernardo De Dominici, published in Naples between 1742 and 1745, conclude with an account of the painter Francesco Solimena (1657–1747) and his pupils, among whom Giuseppe Bonito appears prominently. Indeed, the biographer underlines his special ability as a portraitist and how this brought him to the attention of the Bourbon monarchs through their Secretary of State in Naples, the Marquis José Joaquin de Montealegre, Duke of Salas, an influential patron and artistic councillor to the king. Salas employed the young Bonito in his household as a portraitist.

Bonito received an extensive number of commissions from the royal family and aristocracy, beginning with The Turkish Embassy to the Neapolitan Court of 1741 (Madrid, Prado) and including the series of nine portraits of the children of Charles III of 1748–50 (Madrid, Prado).

In the present painting the young man, elegantly dressed in a courtly uniform, with elaborate braiding, the so called Brandenbourgs, is depicted in an interior, sitting on a Rococo armchair by a small side table studying geometry, which gives a hint as to the identification of the sitter. The date of circa 1750, which Spinosa proposes, is based on stylistic analysis, as well as details of the young man’s outfit and wig, and also the furniture depicted. Although it has not been possible to firmly identify the sitter, Spinosa proposes that it might be a portrait of the young Carlo Vanvitelli, comparing it with two other portraits (see N. Spinosa [ed.], Alla corte di Vanvitelli. I Borbone e le arti alla Reggia di Caserta, exhibition catalogue, Milan 2009, pp. 124–125).

Carlo Vanvitelli (1739–1821) was an Italian architect and engineer, who worked mainly in Naples and its surrounding area. He was the son of the architect Luigi Vanvitelli, and two of his brothers were also architects. He was apprenticed under his father in the construction of the Palace of Caserta. Both worked at the decoration of Piazza Dante in Naples and at Villa Giulia. During the last years of his father’s life, he resided in Caserta directing the works; when Luigi died (1773), Carlo Vanvitelli became director of the construction. The Vanvitellis were important members of the Neapolitan court. Carlo Vanvitellis best known work is the iconic Royal Hunting House, today known as Casina Vanvitelliana, built 1782 near the shores of Lake Fusaro, in Bacoli, near Naples. 

Bonito was named official painter to the King of Naples in 1751, elected to the Accademia di San Luca, Rome in 1752 and nominated director of the Accademia del Disegno, Naples in 1753. His influence on the succeeding generation of Neapolitan artists was significant, and in particular he showed himself to be adept in adjusting his style to the changing taste of his patrons without ever renouncing his essentially Neapolitan heritage and character.

Provenance:
with Galleria Sangiorgi, Rome;
acquired by Denman Waldo Ross (1853–1935), 1896;
thence by descent to Patricia Ross Pratt (1929–2020),
Cambridge, Massachusetts;
art market, USA;
where acquired by the present owner

We are grateful to Nicola Spinosa for suggesting the attribution and for proposing a date of circa 1750 for the present painting (written report available).