The Getty Museum By: Jacqueline Hannah Kaplan

Anthropology 121

Dr. Leanna Wolfe

December 10, 2014

Portrait of Leonilla, Princess of Sayn-Wittgenstein-SaynFranz Xaver Winterhalter

German, 1843

Oil on canvas

The Princess Leonilla of Sayn-Wittgenstein reclines on a low Turkish sofa on a veranda overlooking a lush tropical landscape. Known for her great beauty and intellect, the Princess is dressed in a luxurious gown of ivory silk with a pink sash around her waist. A deep purple mantle wraps around her back and falls across her smooth arms. Under carefully arched eyebrows, her heavy lidded eyes gaze at the viewer while she playfully toys with the large pearls around her neck.

Pan and SyrinxJean-François de Troy

French, 1722 - 1724

Oil on canvas

As told by the Roman poet in the Metamorphoses, the lusty satyr Pan eagerly pursued the wood nymph Syrinx. Guarding her virtue, she ran until she

reached a river and desperately begged her sisters of the stream to transform her. Just as Pan was about to embrace her, Syrinx changed into reeds.

When Pan discovered that he was holding nothing but reeds, he sighed in disappointment, causing the wind to blow through the reeds. He was

enchanted by the sound, believing it to be the mournful cry of his beloved Syrinx; from the reeds he fashioned a set of pipes so that he could have her

always with him. Syrinx, who is seen both before and after the transformation, looks fearfully at Pan as she falls into the arms of Ladon, the river

god. Half in shadow, the river nymphs watch apprehensively and huddle together protectively. As he grasps the clump of cattails, Pan seems near

ecstasy.

MinervaJoseph Nollekens

British, 1775

Marble

Goddess of war and wisdom, Minerva

stands like a majestic column as she

raises her helmet. At her side rests a

large shield, on which is carved the

frightening head of the Medusa, used

to ward off enemies.

According to ancient mythology, Paris

was chosen to decide between Juno,

Minerva, and Venus for the title of "the

fairest." Although Minerva promised

him fame and glory in war, Paris chose

Venus.

Flower Still LifeAmbrosius Bosschaert the Elder

Dutch, 1614

Oil on copper

A pink carnation, a white rose, and a yellow tulip with red stripes lie in front of a basket of

brilliantly colored flowers. Ambrosius Bosschaert the Elder conveyed the silky texture of the petals,

the prickliness of the rose thorns, and the fragility of opening buds. Each of the insects that are

crawling on the flowers are carefully described and observed, from the dragonfly's transparent wings

to the butterfly's minutely painted antennae. Although both insects and flowers are short-lived, this

painting is a reminder of the beauty of life's offerings.

There was a rising interest in botany and a passion for flowers led to an increase in painted floral at

the end of the 1500s in the Netherlands and Germany. Bosschaert was the first great Dutch artist in

fruit and flower painting and was the head of his family. He established a tradition that influenced an

entire generation of fruit and flower painters in the Netherlands.

Perseus Confronting Phineus with the Head of MedusaSebastiano Ricci

Italian, about 1705 - 1710

Oil on canvas

In Greek mythology, the hero Perseus was famous for killing Medusa, the snake-haired Gorgon whose grotesque appearance turned men to stone. This

painting, however, shows a later episode from the hero's life. At Perseus's and Andromeda's wedding, their vows were interrupted by a mob led by Phineus, a

disappointed suitor. After a fierce battle, Perseus finally triumphed by brandishing the head of Medusa and turning his opponents into stone.

Sebastiano Ricci depicted the fight as a forceful, vigorous battle. In the center, Perseus lunges forward, his muscles tense as he shoves the head of Medusa at

Phineus and his men. One man holds up a shield, trying to reflect the horrendous image and almost losing his balance. Behind him, soldiers already turned to

stone are frozen in mid-attack. All around, other men have fallen and are dead or dying.

Mars & Venus, Allegory of

PeaceLouis Jean François Lagrenée

French, 1770

Oil on canvas

In this gentle allegory of peace by Louis Jean François Lagrenée, Mars, the Roman god of War, throws back the rich green bed curtains that frame the scene. As the drapery parts, the morning light spills in to reveal the form of the sleeping Venus, the Roman goddess of love. Mars gazes at her, utterly captivated by her beauty. Her love has tempered his fierce character, and his shield and sword lie abandoned on the floor. Echoing the lovers' bliss, a pair of white doves, symbolizing Peace, build a nest in Mars's helmet.

Lagrenée created his finest works, including this small, jewel-like painting, around 1770. The lavish folds of drapery, the delicate play of light over fabric and skin, and the rich, restrained palette combine to create a captivatingly beautiful image.

VaseJean-Désiré Ringel d"Illzach

French, 1889

Bronze and copper

This monumental bronze vase was first

exhibited at the Exposition Universelle

(world's fair) in Paris in 1889. On the

surface, it applies spiders, a juniper

branch, peacock feathers, lace, ribbons,

and snails. This fantastical imagery is

reminiscent of the art of contemporary

Symbolist artists, who were

preoccupied by visionary themes. Its

scale is also consistent with other

works of art during the last decades of

the 1800s. Yet its overall form, and

twisted, fluted handles are directly

based on an ancient Roman volute

krater (mixing vessel) from Pompeii

that the sculptor drew during a visit to

the archaeological museum in Naples

in 1877.

The Return from War: Mars Disarmed by VenusPeter Paul Rubens, painter; Jan Brueghel the Elder, painter

Flemish, Antwerp, about 1610 - 1612

Oil on panel

Venus leans into the embrace of her lover, Mars, who is transfixed by her alluring gaze. Caught up in his attraction to the aggressively seductive goddess,

Mars is no longer able to carry out his military exploits. Venus removes his helmet, while mischievous angels remove his sword and shield. In the 1600s, the

subject of Venus disarming her lover Mars was understood as an allegory of Peace. Weapons production continues in the background at the burning fires of

Vulcan's hearth, signaling that love's conquest of war may be only temporary. This painting displays each of the artists talents: Rubens's robust figural style

and Brueghel's intricate still life details. The luminous figure of Venus, the reflective quality of the weapons and armor, and the tactile quality of the lush

painting testify to their skill.

The Sacrifice of Polyxena

Giovanni Battista Pittoni

Italian, about 1733 - 1734

Oil on canvas

According to Greek legend, Achilles fell in love with the Trojan princess Polyxena, the daughter of the king of Troy. He was offered her hand in marriage if he agreed to end the war between the Greeks and the Trojans. At Polyxena's request, Achilles came to make a sacrifice to Apollo, but he was ambushed by Paris, Polyxena's brother, as he knelt at the altar. Paris shot a fatal arrow into Achilles' heel, his one vulnerable spot. Before he died, Achilles vengefully proclaimed that the treacherous Polyxena be sacrificed at his tomb.

Here Giovanni Battista Pittoni depicted the ghost of Achilles demanding that his bride be killed. Polyxena, wearing a white wedding gown, extends her arm toward the priest holding a knife and with great dignity steps forward toward the tomb. Around her, Greeks and Trojans watch with mixed emotions. Although a violent subject, Pittoni's elegant, richly garbed figures and elaborate antique architecture make an appealing picture of mythological martyrdom.

The Farewell of Telemachus and EucharisJacques-Louis David

French, 1818

Oil on canvas

Fixing the viewer with a dreamy gaze, the fair-haired Telemachus grasps Eucharis's thigh with his right hand while holding his sword upright with the

other. In the 1699 French novel loosely based on characters from the Odyssey, the author describes how Telemachus, the son of Odysseus, fell

passionately in love with the beautiful nymph Eucharis. His duty as a son, however, required that he end their romance and depart in search of his

missing father. The ill-fated lovers say farewell in a grotto on Calypso's island. Facing towards us, Telemachus's blue tunic falls open to reveal his

naked torso. Eucharis encircles Telemachus's neck and gently rests her head upon his shoulder in resignation. In this way, Jacques-Louis David

contrasts masculine rectitude with female emotion. David painted The Farewell of Telemachus and Eucharis during his exile in Brussels.