We've asked curators from the Getty Museum and Getty Research Institute to share short reflections on works of art they’re thinking about right now. These short recordings feature stories related to our daily lives.

This week, Getty drawings curator Stephanie Schrader considers the upside-down world of An Enchanted Cellar with Animals, made by Cornelis Saftleven around 1655 to 1670. To learn more about this artwork, visit:  https://www.getty.edu/art/collection/objects/160/

Over the next few weeks, look for new recordings every Tuesday.

Transcript:

JAMES CUNO: Hi, I’m Jim Cuno, president of the J. Paul Getty Trust. As we all adapt to working and living under these new and unusual circumstances, we’ve asked curators from the Getty Museum and Getty Research Institute to share short reflections on works of art they’re thinking about right now. We’ll be releasing new recordings on Tuesdays over the next few weeks. I hope you’ll find these stories about our daily lives—from laundry on the line to a dog at a scholar’s feet—thought provoking, illuminating, and entertaining.

STEPHANIE SCHRADER: Hi my name is Stephanie Schrader and I’mcurator of drawings at the J. Paul Getty Museum. I’m recording this podcastfrom a closet, during my 8th or 9th week from working at home because of the COVID-19pandemic. And like many people with children who are working from home, I’mhiding in here to avoid my daughter as she takes her online chemistry class inthe other room.

Normally, I look after the Dutch and Flemish drawings in ourcollection, and especially now, I’m feel very fortunate that I can escape theworld of 17th century Dutch art and culture. 17th-century Dutch artists excelledat making images that poke fun at human foolishness. And there’s one drawing inour collection that I keep coming back to, which is speaking to me much morevividly than it did before. It is a drawing by Cornelius Saftleven, who isknown for his animal satires and his images of hell.

This particular drawing shows a cellar full of animals doingall different human-like activities. It is an enchanting scene with lots ofcolor that accentuates the animals’ curious behavior. There are chickensstanding on wooden fences as baked bread cools above them and rats warming theirfeet by the fire and a chained monkey who is looking out, sort of jeering atthe viewer as overturned kitchen utensils are scattered on the floor in frontof hims. And overhead there’s a swirl of bats, who suddenly feel more menacingas I think about the likely origins of COVID-19. The animals have taken overhere in this vaulted cellar.

But one aspect of this drawing that really stands out to menow is a monkey who’s pretending to be a conductor and trying to wrangle agroup of owls into singing from a book that has been propped open on the floor.These distracted owls are not interested in learning how to sing and certainly notinterested in learning from this very eager and enthusiastic monkey. As Irepeatedly remind my daughter to stay focused on her studies and to get off herphone, I really relate to this foolish monkey trying to encourage these owls tosing.

In my moments of frustration, though, I am grateful for thisdrawing. Saftleven reminds us to laugh at the absurd, and God knows there’senough absurd out there. He urges us to be critical consumers of images, toquestion our actions, and to remain attentive to the world we live in,especially now, when it’s upside down.

CUNO: To view the drawing An Enchanted Cellar with Animals, made by Cornelis Saftleven around1655 to 1670, click the link in this episode’s description or look for it on getty.edu/art/collection