Behind the Scenes, Exhibitions and Installations, Getty Center, J. Paul Getty Museum, Prints and Drawings, Sculpture and Decorative Arts

Welcoming Leonardo to L.A.

More than any other exhibition I’ve worked on, Leonardo da Vinci and the Art of Sculpture: Inspiration and Invention feels historic. To stand there as the crate containing Leonardo’s painting of Saint Jerome from the Vatican was opened, to imagine that one of only a dozen paintings by Leonardo that still exist could be here in Los Angeles, was incredible. Over 30 years have passed since the last time one of his paintings was in the city.

Just as exciting are the three enormous bronze statues by Giovan Francesco Rustici. When I was a student in Florence, I saw them on the front of the baptistery, where they had stood for hundreds of years. Now they stand in a Getty Museum gallery (if only temporarily). Each statue weighs more than a ton. Watching the installation made me grateful that I am a curator of drawings! It also gave me a new respect for my colleagues in other departments: drawings can just be framed and put on the wall, but statues need plinths, supports, clips, perhaps earthquake isolators. It’s another world.

Installing Rustici's John the Baptist Preaching to a Pharisee and a Levite

Installing Giovan Francesco Rustici's John the Baptist Preaching to a Pharisee and a Levite. Museo dell'Opera del Duomo, Florence. Courtesy the Opera di Santa Maria del Fiore, Florence

Each Rustici bronze traveled here in a crate on its back, and had to be hoisted upright, lifted by a gantry, and swung gently into place. I breathed a huge sigh of relief when they were all there.

Wall mural (photograph by Ramak Fazel) of Nina Akamu's 24-foot-tall bronze sculpture Il Cavallo, made in homage to Leonardo da Vinci's plans for the Sforza horse

Wall mural (photograph by Ramak Fazel) of Nina Akamu's 24-foot-tall bronze sculpture Il Cavallo, made in homage to Leonardo da Vinci's plans for the Sforza horse

Already visitors have been taking their photographs in front of the giant 24-foot-high photo mural of a bronze horse in the entrance hall.

Sculptor Nina Akamu made the horse, which stands in Milan as an homage to Leonardo. Leonardo intended to make a bronze horse on such an unprecedented scale for the ruler of Milan; it would have weighed 70 tons.

We have many drawings relating to it in the exhibition, including some of the most beautiful drawings I know of horses, but the statue itself was never made. The bronze amassed for it was sent away by the ruler to make cannons. Such are the ways of men…

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  1. J. J. Miller
    Posted April 23, 2010 at 6:34 am | Permalink

    When does this exhibit open, and how long will it be open to the public?

  2. Debbie
    Posted April 25, 2010 at 8:55 pm | Permalink

    This is one of the most exciting exhibitions that I’ve seen at the Getty (close runner up to the Mt. Sinai exhibition). What an absolute DELIGHT to be able to savor so many Leonardo drawings up close. Then you turn the corner and there are those breath-taking colossal Rustici bronzes! Thank you and your staff for a stunning set-up. More, please!

  3. Aaron Loo
    Posted May 8, 2010 at 5:56 pm | Permalink

    Thank you Julian and Anne-Lise for “Leonardo da Vinci and Renaissance Sculpture: Looking Closely”.
    Learned so much and have gotten very inspired by the wealth of information. Looking forward to Sunday’s “Il Cavallo: A Sculptural Homage to Leonardo da Vinci.” Sculptor Nina Akamu talks about the creation of her giant 24-foot-high bronze horse in homage to Leonardo’s unfinished Sforza monument. And was lucky enough to get a ticket for “Leonardo da Vinci versus Michelangelo: Battles in the Palazzo Vecchio, Florence.” Julian Brooks, associate curator of drawings, the J. Paul Getty Museum, investigates the rivalry between Leonardo and Michelangelo, which was precipitated by their commissions in Florence, and the astonishing innovations that resulted.

  4. Posted July 5, 2010 at 10:47 am | Permalink

    Hi there.

    “The bronze amassed for it was sent away by the ruler to make cannons.”

    Typical the art of warfare.

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      #ProvenancePeek: July 31

      Every art object has a story—not only of how it was made, but of how it changed hands over time until it found its current home. That story is provenance.

      This small panel by Dutch master Gerrit Dou (photographed only in black and white) is now in the collection of the Sterling and Francine Clark Art Institute. It was sold to American collector Robert Sterling Clark, an heir to the Singer sewing machine fortune, in the summer of 1922.

      How do we know this? Archival sleuthing! A peek into the handwritten stock books of M. Knoedler & Co. (book 7, page 10, row 40, to be exact) records the Dou in “July 1922” (right page, margin). Turning to the sales books, which lists dates and prices, we again find the painting under the heading “New York July 1922,” with its inventory number 14892. A tiny “31” in superscript above Clark’s name indicates the date the sale was recorded.

      M. Knoedler was one of the most influential dealers in the history of art, selling European paintings to collectors whose collections formed the genesis of great U.S. museums. The Knoedler stock books have recently been digitized and transformed into a searchable database, which anyone can query for free.

      Girl at a Window, 1623–75, Gerrit Dou. Oil on panel, 10 9/16 x 7 ½ in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

      #ProvenancePeek is a monthly series by research assistant Kelly Davis peeking into #onthisday provenance finds from the M. Knoedler & Co. archives at the Getty Research Institute.


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