Vincenzo Aurisicchio - Lady Luck

Fortuna is the deity associated with chance or fate and originated in classical antiquity, both in Greek (Tyche) and Roman contexts. The cult of the goddess Fortuna flourished in Rome, especially during the era of King Servius Tullius. Even in the Christian era, despite the decline of pagan worship, Fortuna remained, in the literary and artistic imagination in general, as a symbolic figure of the randomness of fate. In the Middle Ages, the image of the Wheel of Fortune became widespread. It was during the Renaissance, however, that the image of the blindfolded goddess randomly distributing wealth from a cornucopia was coined.

The work is a prime example of the Neapolitan veristic sculpture movement between the 19th and 20th centuries. It's clear that sculptor Vincenzo Aurisicchio, despite treating a mythological subject (the Lady Luck), does so with a highly realistic approach, characterizing the image as if it were a portrait of a commoner. Thus, the profoundly veristic nature of Aurisicchio's sculpture emerges in the meticulously rendered details that identify the Lady Luck's social status: her disheveled hair, her large teeth, her vulgar expression. Aurisicchio thus creates a work perfectly connected to its context, offering a vivid image of the typically Neapolitan superstition of popular origin.

Vincenzo Aurisicchio was a Neapolitan sculptor who lived between 1855 and 1926. He can be considered a typical representative of Neapolitan realism between the late nineteenth and early twentieth centuries. He devoted himself primarily to sculptures of "scugnizzi" (street urchins) and curious depictions of blindfolded goddesses.

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