FOR IMMEDIATE RELEASE
J. Paul Getty Museum Presents Marks of Collaboration: Drawings in Context
J. PAUL GETTY MUSEUM PRESENTS
MARKS OF COLLABORATION: DRAWINGS IN CONTEXT
On view for the first time, The Ecce Homo, King Caspar, the Virgin and Child, and the Arms of the Families Kündig and Pfyffer (1592), a drawing by Christoph Murer
At the J. Paul Getty Museum, Getty Center
February 5–April 14, 2019
Christoph Murer (Swiss, 1558 - 1614), Ecce Homo, the king Caspar, the Virgin and Child and the Arms of the Families Kündig and Pfyffer, 1592. Black ink, gray wash, traces of black chalk on four joined sheets of paper. 63.4 × 64.1 cm (24 15/16 × 25 1/4 in.).
LOS ANGELES—Stained-glass panels enjoyed great popularity in Switzerland during the 16th century, decorating both sacred and secular spaces. The production of these panels was laborious, often requiring the specialized skills of draftsmen, glass makers, and glass painters. The collaboration between these masters was made possible by drawings which conveyed not only the composition but also the colors to be used and the position of lead strips that held the pieces of glass in place.
Centered on the Museum’s recently acquired design for a painted glass window by Christoph Murer, Marks of Collaboration, on view through April 14, 2019 at the J. Paul Getty Museum, explores the remarkable partnership between 16th-century Swiss Renaissance designers and glass painters through a group of five drawings.
Murer’s Ecce Homo, King Caspar, the Virgin and Child, and the Arms of the Families Kündig and Pfyffer (1592), is an exquisite drawing that was made to scale for one of the 67 stained-glass windows that once decorated the Cistercian abbey of Rathausen. The window, which was painted by Franz Fallenter closely following Murer’s design, is now preserved in a Swiss private collection.
“With the acquisition of The Ecce Homo, King Caspar, the Virgin and Child, and the Arms of the Families Kündig and Pfyffer (1592), we were inspired to take a closer look at the evidence of artistic collaboration—sometimes barely visible—on the surface of the paper,” says Edina Adam, curator of the installation.
Marks of Collaboration will be on view February 5 through April 14, 2019 at the J. Paul Getty Museum. The exhibition is curated by Edina Adam, assistant curator in the Department of Drawings.
The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Pacific Palisades.
The J. Paul Getty Museum collects Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts to 1900, as well as photographs from around the world to the present day. The Museum’s mission is to display and interpret its collections, and present important loan exhibitions and publications for the enjoyment and education of visitors locally and internationally. This is supported by an active program of research, conservation, and public programs that seek to deepen our knowledge of and connection to works of art.
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