By Peggy Fogelman, Peter Fusco, Marietta Cambareri

The Getty Museum confirmed its Sculpture division in 1984. seeing that then its holdings have grown to surround a few one hundred seventy works of ecu sculpture ranging in date from the Renaissance to the early 20th century, with specific strengths in 16th- and seventeenth-century bronzes and Neoclassical works in marble and terracotta. even if the gathering boasts many works by way of popular sculptors, it's also exceptional by way of gadgets of excessive aesthetic caliber and historic curiosity by means of lesser-known artists.
The current quantity makes a speciality of Italian and Spanish sculpture within the Museum’s assortment, together with such unprecedented works as Antico’s Bust of a tender guy, Benvenuto Cellini’s Satyr, Gianlorenzo Bernini’s Boy with a Dragon, Giuliano Finelli’s Bust of a Noblewoman, and Antonio Canova’s Apollo Crowning Himself. as well as offering copious information regarding the historical past and iconography of the sculptures, a lot of it in line with new findings, Italian and Spanish Sculpture comprises distinct discussions of the manufacture, fabrics, and situation of every paintings. The technical descriptions within the catalogue entries are complemented through appendixes containing X-rays of chosen sculptures and analyses of the bronze alloys. is amply illustrated, together with a number of perspectives of every sculpture.

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Additional resources for Italian and Spanish Sculpture Catalogue of the J. Paul Getty Museum Collection

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Lomazzo, Trattato deWarte della pittura, scultura ed architettura w i t h the Baptism as a manifestation o f the foundation o f the Church (Milan, 1584; reprint, Rome, 1844), vol. 2, 164 (bk. 6, chap. 17): is made explicit. "d'onde nei pili antichi, e loro bassorilievi si sono ritrovate gambe, These ideas are also conveyed i n representations o f the V i r g i n and ed altre parti tonde, siccome hanno imitato poi anco gli eccellenti C h i l d w i t h Saint Anne. " For an image o f the infant Christ w i t h the orb, surmounted by the 17.

14. rect opposites, because they offer a great contrast to each other. . w i t h Saint John the Baptist, including the importance o f Leonardo's Thus have the . . old next to the young. . I n this way there is as Madonna of the Rocks i n spurring interest i n the subject i n northern much variety, as closely juxtaposed as possible" ( M . , were most popular i n Florence. Leonardo on Painting [New Haven and London, 1989], 220). 15. 6. 7. See Meditations, 4 6 - 4 7 , where the association o f the Epiphany Warmest thanks to Giancarlo Gentilini, who recognized the signa­ ture, indicated the relevant bibliography, and was therefore instru­ See Lavin, "Giovannino Battista," for the inherent association o f the mental i n the attribution o f the Getty relief to Benedetto Cervi.

A l ­ 6 though the reversal of the pose may suggest an intermediate print source, none is known to exist, and it is equally pos­ sible that Riesener modified the figure to conform to his de­ sign for the commode. Cellini's inclusion of satyrs i n the design o f the Porte Doree reflects his profound engagement with antiquity. Nicholas Penny has pointed out the significance of two ancient marble satyrs owned by the della Valle family i n Rome for Cellini's conception. The della Valle satyrs were used from 7 the 1530s onward as supporting figures i n a courtyard loggia (a deceptive function, since they were attached to loadbearing pilasters).

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Italian and Spanish Sculpture Catalogue of the J. Paul Getty Museum Collection by Peggy Fogelman, Peter Fusco, Marietta Cambareri


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