For many years, the Getty
Villa was a most wonderful place to visit – not only because of its
precious collection of antiquities but mostly for the general atmosphere it created.
One could so readily imagine walking through the gardens and rooms of a real
Roman villa. After all, the Getty
Villa is a near-faithful replica of the Villa dei Papiri from Herculaneum
as it shone in all its splendor till it was destroyed during the eruption of
the Vesuvius in 79 AD.
Entering the villa
through one of the Stoas or alongside the central pool is pure luxury as new
perspectives along the box hedges and oleanders are revealed at each step. The
walls of the Stoas are painted imitating ancient frescoes and the Doric columns
on the garden side alternate with hanging bronze lamps whose light is dimmed by
the alabaster “glass”. When visiting the villa at night, these lamps are lit
and shine in a most intimate and melancholic way. The gardens and the pool are enhanced
with faithful copies of original bronze statues. At the far end of this Peristyle,
the Villa is luring with its clean white façade decorated with slender
Corinthian columns. Even the blue skies and the light of Southern California
are merging with that of Southern Italy. The illusion
is perfect.
Once inside the Main
Vestibule, the visitor is immediately taken by the overwhelming details of the
geometric patterns of the marble walls which are in strong contrast with the
floral ornamentation of the painted ceiling. The colored marble floors and
white fluted columns make the picture complete. Looking back over your
shoulder, the shimmering Pacific Ocean blends with pictures of the Mediterranean.
From the Vestibule, you
step back into the daylight of the Inner Peristyle (actually copied from the
House of the Faun in Pompeii)
with its narrow pool guarded by five bronze female statues. This courtyard is
surrounded by a roofed gallery supported by Ionian columns and otherwise
decorated with stucco. To the left it opens up into the Atrium, the heart of
the Roman house from where we can access a number of small rooms, which
originally were meant as bedrooms. The Atrium is rather simple with its black
and white mosaic floor laid out around a rectangular pool.
Behind the Inner
Peristyle and following the straight line from the Main Peristyle
Garden through which you entered,
there is a temple dedicated to Heracles next to a small Basilica. The circular Temple of Heracles
is domed and its floor is covered with a round spiral mosaic recovered from a
sanctuary at Monte dell’Incastro in
central Italy.
The showpiece Hercules (Roman name for Heracles) is an original marble from 125
AD. The Basilica, on the other hand, is a gem by itself. The barrel-vaulted
ceiling is made using coffered panels and supported by eight white marble columns
dividing the Basilica in three naves. In between these columns stand a few marble
statues, smaller than life-size, among which those of four gracious muses from Cremna
in Turkey
and dated to 200 AD. A true pleasure for the eye.
East and west of the
back of the villa there is a garden, the west one serving as an herb garden –
partially occupied by a tea room. Well, this was still the case when I visited
the Villa before the Getty Center
was built in 1997 to house the collection of European art that was
crammed in the upstairs rooms of the Getty
Villa.
It is obvious that I
enjoyed the reconstructed villa far beyond its precious collection. I feel that
the initial idea of Paul Getty was to build an environment that would be
appropriate to house his selected artifacts. In my eyes, this is the true
success of the Getty
Villa.
But times have
changed and today’s visitors have a different knowledge and background of
antiquities. As a result, the new Getty
Center was built on a grand location some 10 miles east of the Villa
and this is where the entire European collection of paintings, sculptures, and
furniture found an adequate space.
The Getty
Villa, in turn, underwent three years of thorough restoration. Rethinking the
entire layout, the upstairs’ space is now made available for the artifacts
from ancient Greece, the Roman Empire, and the Etruscan civilization. Today’s visitor will discover the collection
in chronological order, starting with the Neolithic and Bronze Age (Cycladic,
Minoan, Mycenaean), to continuing with the Greek art ranging from the Archaic
period to the Classical and Hellenistic. He will end with the ancient Roman sculptures.
Parallel and
complementary to the Villa’s collection, the Getty
Villa will organize a number of exhibitions that will explore the exchange
and influence of classical cultures with neighboring countries but also
highlight the influence of the classical world on contemporary art.