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The J. Paul Getty Museum Journal Volume 17 1989

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The J. Paul Getty Museum Journal Volume 17 1989 The J. Paul Getty Museum JOURNAL Volume 17/1989 Including Acquisitions/1988 Unless otherwise specified, all photographs are courtesy of the institution owning the work illustrated. © 1989 The J. Paul Getty Museum 17985 Pacific Coast Highway Malibu, California 90265 (213) 459-7611 ISBN 0-89236-157-3 ISSN 0362-1979 THE J. PAUL GETTY MUSEUM JOURNAL VOLUME 17/1989 Contents ANTIQUITIES An Ivory Fulcrum Medallion 5 Elisabeth Doumeyrou DRAWINGS A New Drawing by Giovanni Battista Naldini 15 Gerhard Gruitrooy A New Drawing by Hanns Lautensack 21 Lee Hendrix The Significance of Titian's Pastoral Scene 29 Clark Hulse Two Bronzes in Poussins Studies of Antiquities 39 David J affé DECORATIVE ARTS Science and Luxury: Two Acquisitions by the J. Paul Getty Museum 47 Jean-Nérée Ronfort PHOTOGRAPHS Portrait of a Marriage: Paul Strand's Photographs of Rebecca 83 Belinda Rathbone ACQUISITIONS/1988 Introduction: The Collections 100 Drawings 126 and the Year's Activities Decorative Arts 140 Notes to the Reader 106 Sculpture and Works of Art 146 Antiquities 107 Photographs 153 Manuscripts 116 Trustees and Staff List 167 Paintings 123 This page intentionally left blank An Ivory Fulcrum Medallion Elisabeth Doumeyrou In the beginning of 1987, the J. Paul Getty Museum forehead they become tormented and complex, stand­ acquired a very handsome Hellenistic ivory applique ing upright upon the eyebrow and giving the face a depicting the head of the god Pan in profile (figs, wild expression. la—b). The carving's quality, inspired iconography, and The frown is the most expressive element in the face: function make it a unique piece. it offsets the lack of a right eye and forms a dark The figure stands out in profile, turned toward the shadow that gives force to the whole piece. This ab­ left. The relief, flat at the top and the nape of the neck, sence of the right part of the face is also made less becomes deeper in the locks on the forehead, and is so obvious by the slight deviation of the muzzle. This high around the nose, the mouth, and the chin that shifting (noticeable when seen from the front) disap­ these parts seem almost carved in the round. pears in the general design of the profile. The violent When first created, the object must have had approx­ movement of eyebrows is common in Hellenistic Pans imately the same shape as today and thus did not be­ and can be found in a simplified version on coins. long to a broader composition. The original silhouette The very detailed eye, with thin eyelids and marked is formed by the top and the back of the head (almost pupil and iris, is seen, for instance, on a silver oinochoe entirely preserved) and the profile down to the middle of tomb II in Vergina.2 A Hellenistic terracotta head of the nose. The lower part of the piece is limited by the from the Treviso Museum also shows the same features incised edge under the chin, delineating the turn of the (fig. 2). The flat nose with goatlike triangular nostrils is beard. This detail indicates that the applique was meant rare in representations of Pan. A statue in the National to be seen from below. The major losses are the nape Museum in Athens presents a similar, but more natu­ and the background on which the lower part of the ralistic, nose.3 muzzle stands out. Only the beginning of this back­ The prognathous mouth opens on a delicate row of ground exists today, but according to the general bal­ upper teeth. The prominent chin curves softly and the ance of the piece, it must not have been very wide. The wavy beard, formed of thin strands, joins the hair of the back of the applique is flat and a hole is drilled through cheeks and turns under the chin at the edge of the piece. it, emerging on the face close to the temple. An equivalent beard treatment can be found in a ter­ The figure is unique in the mix of human and goatish racotta bust of Pan in the Varvakeion.4 The delicate and features. The general silhouette, round head, thick expressive cheeks, with supple muscles, high cheek­ neck, expressive forehead, and rather regular profile are bones, and thin hair, are particularly well carved, es­ more human, while the fleece, flat muzzle, beard, thin pecially around the nose, the mouth, and the corner of lips, pointed ears, and horns reflect the animal side of the lips. the god. A flat, double-edged bacchic fillet is tied around the Little comma-like curls, themselves incised in the head, although the knot on top is not apparent. This curved locks, are very close to the style of hair tradi­ area was roughly carved, perhaps to save space for a tionally used in Hellenistic sculpture and metalware, nail. The cloth fillet falls down the cheeks and in front yet here they are woollier to represent fleece.1 On the of the temple in a soft, thick bow, then rolls diagonally I would like to thank here Dr. Marion True, Curator of Antiq­ ter) (Athens, 1978). uities, the J. Paul Getty Museum, for giving me the opportunity to 2. M. Andronicos, "The Royal Graves in the Great Tumulus (Ba- publish an article on this wonderful piece. I am also grateful to Dr. F. silikos taphoi tes megales toumpas)," AAA 10 (1977), pp. 1-72. The Causey, Dr. H. Prag, Dr. E. R. Williams, K. Wight, A. Smitt, A. abbreviations used are the ones listed in American Journal of Archaeol­ Leinster, and all of those who helped me during this study. ogy 82 (1978), pp. 3^10 and 84 (1980), pp. 3-4. 1. On sculpture, see for example, L. Laurenzi, Ritratti Greci 3. Statuette of Pan seated on a rock. From the Olympeion. (Rome, 1968); M. Bieber, Sculpture of the Hellenistic Age (New York, Athens National Archaeological Museum 683. 1955); C. Vermeule, Greek Art: Socrates to Sulla (Cambridge, Mass., 4. A. Furtwangler, "Buste Pans in Terracotta," AM 3 (1878), 1980); idem, Greek and Roman Sculpture in America (Boston, 1981). For pp. 155-160, pi. 8. goldware, see E. Gioure, O Krateras tou Derveniou (The Derveni Kra- 6 Doumeyrou Figure 1a. Applique depicting the head of Pan, three- Figure lb. Side view of figure la. quarter view. Hellenistic, circa 2d-lst cen­ tury B.C. Ivory. H: 8.56 cm (37s in.); W: 7.97 cm (37» in.); Th (max): 2.3 cm (15/i6 in.). Malibu, J. Paul Getty Museum 87.AI.18. around the ear and floats freely in a decorative twist. Its short lines of the hair on the nose, the eyebrows, and end has been chipped away. the ear. Some details add to the sensitivity and natural­ In the fleece, a space had been drilled for a horn too ism of the figure, for example, the small wrinkles on large to be worked from the same piece of tusk. This the nose and under the lower eyelid, and the lock of horn, now missing, may have been made from another hair between the eye and the forehead. piece of ivory or from a nonreactive material (for ex­ Among ivories, a very beautiful group from the first ample, wood or bone). In keeping with the general century B.c. depicting Achilles and Penthesilea, now proportions of the object, it probably was not very in the Nelson-Atkins Museum of Art in Kansas City prominent. (fig. 3), shows the same interest in details as the Getty The extremely fine and skillful craftsmanship makes Museum's Pan, but in a more Neoclassical and sculp­ the appliqué unique. The little details are highly tural manner.5 This artful rendering of the small motif finished and decorative: the treatment of the hair, for and the accurate miniature without sacrificing the sensi­ example, ranges from the large curls of the fleece to the tive expression and general coherence is distinctive of small incisions of the beard (typical for the representa­ the artist. To achieve such effects, including the hole of tion of beards on Hellenistic bronze statues), and the the iris, he used only a small gouge or chisel. The 5. E. C. Banks, "A Roman Ivory of the First Century B.C.," pp. 189-286, pis. 1-3. Nelson Gallery and Atkins Museum Bulletin 5, no. 5 (September 1979), 7. Athenaeus, 5.204e, 5.207c. pp. 3-22. 8. For Syrian and Phoenician ivories, see R. D. Barnett, "Phoeni­ 6. Athenaeus, 2.49a, 5.202, 6.2-552. On the use of bone see Pliny, cian and Syrian Ivory Carving," PEQ (1933), pp. 12ff For Etruscan NH 2.8. White details on furniture in black-figure vases may repre­ ivories, see Y. Huis, Ivoires d'Etrurie (Bruxelles-Rome, 1957). For My­ sent ivory inlays. See C. Ransom, Studies in Ancient Furniture: Couches cenaean ivories, see J. C. Poursat, Catalogue des ivoires mycéniens du and Beds of the Greeks, Etruscans and Romans (Chicago, 1905), p. Musée National d Athènes (Paris, 1977). For Archaic ivories, see R. D. 40, n. 4. On ivory furniture, see also P. Bernard, "Sièges et lits en Barnett, "Early Greek and Oriental Ivories," JHS 68 (1948), pp. 1-25. ivoire d'époque hellénistique en Asie Centrale," Syria 67 (1960), For late antique ivories, see W. F. Volbach, Elfenbeinarbeiten der Spàtan- An Ivory Fulcrum Medallion 7 Figure 2. Bust of a bearded man. Hellenistic, circa sec­ Figure 3. Group in the round of Achilles and Pen- ond half of the 2d century B.C. Terracotta. thesilea. Graeco-Roman, circa late 1st cen­ H: 15 cm (57/32 in.).
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