This second edition of Masterpieces of Painting in the J. Paul Getty Museum contains only thirteen of the paintings previously illustrated, indicating the number of significant acquisitions made by the Museum’s Department of Paintings since 1981. The fifty-three color plates reflect the emphasis that has been given to broadening the scope of the collection. Among the outstanding pictures acquired and featured here are works by Pissarro, Monet, Degas, and Lautrec, as well as masterpieces by Bouts, Mantegna, and Salviati. Each color illustration is accompanied by a text entry that provides both commentary and background information.
[V. 1] contains all the paintings belonging to the museum as of October, 1971, plus a few of the more important acquisitions made before the manuscript was submitted to the printer five months later." -- Preface.
An intimate history of the Getty Museum from its early relatively modest days until it unexpectedly received the endowment that made it the worlds wealthiest museum and eventually a private foundation of worldwide influence. Following the death of Getty in 1976 it was necessary to adapt the institution to radically different circumstances and much higher expectations, virtually none of which had been anticipated. This evolution was guided by some of the most prominent managers and historians available, but was also marred by some unfortunate and widely publicized mis-steps that made the transition unusually erratic. Institutional histories are normally written and published by the institutions themselves, with the result that its blunders or mistakes are normally glossed over. The present memoir is meant to be an objective and relatively frank appraisal of the history of this exceptional institution by an early participant in the process.
Focusing on two paintings in the collection of the Getty Museum, the authors of this monograph reassess the works assigned to Benvenuto di Giovanni and his son Girolamo di Benvenuto, who worked together in the late fifteenth and early sixteenth century. The text is augmented by a summary catalogue of paintings by both artists in American collections.
The wood paneled chests, or cassoni, painted by Francesco di Giorgio early in his career are thought to represent the pinnacle of his achievements. This monograph treats Francesco’s fifteenth-century cassone paintings in terms of chronology, iconography, and overall importance; included is his Triumph of Chastity, now in the collection of the Getty Museum.
The Getty Museum’s curator of paintings traces the provenance of the so-called Poggibonsi Altarpiece, one of the Museum’s fifteenth-century triptychs, attributing it to Giovanni di Francesco. He also discusses the possible identification of Giovanni as the Master of Pratovecchio and then catalogues works attributed to both painters that form part of other museum collections.
This book is intended to introduce and guide visitors to the painting collection of the J. Paul Getty Museum. The collection includes Tuscan (Florentine and Sienese) paintings of the fifteenth century, Venetian works from the sixteenth century, and Dutch and Flemish paintings from the seventeenth century.
An intimate history of the Getty Museum from its early relatively modest days until it unexpectedly received the endowment that made it the worlds wealthiest museum and eventually a private foundation of worldwide influence. Following the death of Getty in 1976 it was necessary to adapt the institution to radically different circumstances and much higher expectations, virtually none of which had been anticipated. This evolution was guided by some of the most prominent managers and historians available, but was also marred by some unfortunate and widely publicized mis-steps that made the transition unusually erratic. Institutional histories are normally written and published by the institutions themselves, with the result that its blunders or mistakes are normally glossed over. The present memoir is meant to be an objective and relatively frank appraisal of the history of this exceptional institution by an early participant in the process.
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