The Getty Museum contains many works of art from various periods and styles. This includes portraits, mythological scenes, still lifes and allegorical works. Many depict famous figures from classical mythology or historical events. The works showcase the technical skills of artists like Bosschaert, who established traditions in flower painting, and Lagrenée, praised for lavish drapery and delicate lighting effects. They illustrate themes like love conquering war, as in Mars Disarmed by Venus.

1. The Getty Museum
By: Jacqueline Hannah Kaplan
Anthropology 121
Dr. Leanna Wolfe
December 10, 2014

2. Portrait of Leonilla, Princess of Sayn-Wittgenstein-Sayn
Franz XaverWinterhalter
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.

3. Pan and Syrinx
Jean-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.

4. Minerva
Joseph 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.

5. Flower Still Life
Ambrosius 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.

6. Perseus Confronting Phineus with the Head of Medusa
Sebastiano 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.

7. Mars & Venus, Allegory of
Peace
Louis 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.

8. Vase
Jean-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.

9. The Return from War: Mars Disarmed by Venus
Peter 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.

10. 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.

11. The Farewell of Telemachus and Eucharis
Jacques-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.