Giovanni Battista Foggini, “Laocöon,” circa 1720, bronze © J. Paul Getty Museum 2017

Only weeks remain for a fascinating exhibition at the J. Paul Getty Museum in Los Angeles, California, that delves into the intertwining of drawing and sculpting. What’s the story?

Although drawing and sculpting might appear to be two distinctly different artistic techniques, history has proven the near opposite — a story that takes center stage during the J. Paul Getty Museum’s current exhibition “The Sculptural Line.” On view through April 16, “The Sculptural Line” brings together a stellar selection of drawings and sculptures from the later 15th through the 20th centuries.

Baccio Bandinelli, “Study of Two Men,” circa 1525, pen and brown ink on paper, © J. Paul Getty Museum 2017
Baccio Bandinelli, “Study of Two Men,” circa 1525, pen and brown ink on paper, © J. Paul Getty Museum 2017

“Since the Renaissance, the practice of drawing after ancient sculpture has played a central role in the training of artists,” says Timothy Potts, director of the Getty Museum. “Offering a repertoire of forms from which to derive inspiration, the appeal of classical statuary derived both from its embodiment of perfect proportions and from its unrivalled aesthetic and expressive appeal. The exhibition will also include neoclassical works in which draftsmen integrated antique statues into their compositions, and work by contemporary artists who use sculpture to experiment with the movement and position of the body before representing it on paper or canvas.”

Among the artists represented in the exhibition are Alberto Giacometti, Auguste Rodin, and Baccio Bandinelli. To learn more, visit The J. Paul Getty Museum.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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