Masterpieces of the J. Paul Getty Museum: Decorative Arts
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These lavish volumes feature highlights of five of the collections in the J. Paul Getty Museum. Each volume contains between seventy-five and one hundred objects, handsomely reproduced in full color and described by members of the curatorial staff.
Height: 83.3 cm (32 3/4 in.) Max. width: 29.8 cm (H 3 /4 in.) 93.DF.20.1-.2 The comple x rhythm o f curves and countercurves lends a bold an d dynamic profile t o these elegant candlesticks. The base s and centra l portions displa y a flaming heart an d eight-pointed stars , both symbols of Saint Filippo Neri (1515-1595) , who founded th e Congregation o f the Oratory, a community o f priests without vows , dedicated t o prayer and preaching ; i t was given officia l statu s by Pope Gregory XIII
of Vases (?) Frenc h (Paris), circa 1765-1770 After a n engraving by Benigno Bossi (1727-1792) of a design by Ennemond-Alexandre Petitot (1727-1801) Porphyry; red marble; gilt-bronze mounts Height: 38.7 cm (15V 4 in.) Width: 41 cm (16 % in.) Depth: 27.7 cm (10 7/s in.) 83.DJ.16.1.-.2 The desig n of the Museums pair of vases closely follows an engraving of a design by Petitot tha t was published in 176 4 as one of a set of thirty-one print s of vases. Petitot , though bor n i n France, moved t o
quarter of the fifteenth century, when Francois de Rochechouart, chamberlain of the due d'Orleans and of the future Louis XII, married Blanche d'Aumont and established a stoneware factory in SaintAmand. D'Aumont, a native of the Beauvais region where stoneware was being produced from at least the mid-fifteenth century, might have helped bring the technology of stoneware production to the Puisaye. 14 DECORATIVE ARTS 8 Oval Basin French (Paris), circa 1550 Attributed to Bernard Palissy
earthenware Height: 5.7 cm (21A in.) Diameter: 41.4 cm (165/i6 in.) 84.DE.117 The painter of this plate was arguably the most talented and celebrated maiolica artist of the sixteenth century, who signed his works Nicola da Urbino. His pieces are characterized by a delicate and sophisticated rendering of figures and space in an exceptionally rich and varied palette. Because of his great skill, Nicola's work was much sought after by important sixteenth-century patrons of maiolica. Around 1525, for
the Order of Santo Stefano, whose cross insignia he wears. Giovanni Battista Calandra was perhaps the greatest mosaic artist active in early-seventeenth-century Rome, and his work was much sought after among contemporary noble and papal families. Seventeenth-century mosaics were appreciated not only as architectural decoration but also as "eternal" imitations of paintings. Calandra likely copied a portrait by one of his contemporaries—such as Andrea Sacchi or Guido Reni—whose paintings share the