The J. Paul Getty Museum and Its Collections: A Museum for the New Century
"I don't think there's any glory in being remembered as old moneybags," said oil baron J. Paul Getty in the early l950s, when he was vacillating between amassing all kinds of art and narrowing his focus to ancient sculpture. Getty's fabulous billions have spawned three museums, most recently the "architectural commission of the century," as Richard Meier's hilltop Getty Center, 13 years in creation, is called. In the early '70s, Getty oversaw the previous museum, the fabulous, 48,000-square-foot, pseudo-Roman villa overlooking the Pacific just north of Los Angeles that was greeted with critical jeers and popular accolades when it opened in 1974. As this beautiful book makes clear, Getty's spending has not been in vain. Written by John Walsh, longtime director of the J.  Paul Getty Museum, and Deborah Gribbon, associate director, it serves three purposes: it is a biographical sketch of the eccentric, high-living billionaire; it is a selective catalog of the Getty's peerless collections of sculpture, illuminated manuscripts, paintings, drawings, and decorative arts: and it is a history of the three "eras" of the Getty's three locations. The quality of the museum's holdings, from Greek statuary to early-20th-century photographs, is breathtaking, and the 200 color plates here do them justice. Carpaccio'sHunting on the Lagoon, van Gogh'sIrises, and Michelangelo's sketch forThe Holy Family with the Infant Saint John the Baptist, along with drawings by Titian, Raphael, da Vinci, Rubens, Poussin, Watteau, Cézanne, and Rembrandt are pictured, as is the classical statuary for which the Getty is justly world-renowned.--Peggy Moorman