An Ode to the Femminielli
Giuseppe Bonito's "Il Femminiello" (1740/1760) offers the only known depiction of overlooked members of Neopolitan society
Femminielli
Due to social prejudice, cross-dressing was rarely depicted in European art until the modern era. This recently discovered painting from the mid-eighteenth century is a testament to the exceptional and long-standing acceptance of cross-dressers known as femminielli in Naples.
The term, which might be translated “little female-men,” is not derogatory, but rather an expression of endearment.
Femminielli come from impoverished neighborhoods, as is evidenced by this individual’s missing tooth and goiter, a common condition among the poor.
Although femminielli cross-dress from an early age, they do not try to conceal their birth sex completely.
Rather than being stigmatized, they are deemed special and accepted as a “third sex” that combines the strengths of both males and females. They are thought to bring luck.
Femminielli are also popular companions for an evening of gambling. This association is represented by the necklace of red coral, which is similarly thought to bring good fortune.
Neapolitan genre paintings (images of everyday life) frequently feature a grinning figure to engage the viewer. We are invited to consider the artist’s playful inversion of traditional views of gender, which contrasts a "pretty" young male with the more masculine femminiello.
The Femminiello (1740/1760) by Giuseppe BonitoPortland Art Museum
In spite of Neapolitan acceptance, this painting is the only known representation of a femminiello before photographs made at the end of the nineteenth century.
Giuseppe Bonito (Italian, 1707–1789), Il Femminiello, 1740/1760. Oil on canvas; 30 3/8 × 24 7/8 in. Gift of the Ross Family Fund of Equity Foundation, 2014.107.1
