This series is a vehicle for texts generated through the experiences of writers, scholars, and artists who have been residents at the Getty Research Institute or involved in its programs.
The J. Paul Getty Museum Journal 18 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, illuminated manuscripts, paintings, and sculpture and works of art. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 18 includes articles written by Anthony Cutler, David A. Scott, Maya Elston, Ranee Katzenstein, Ariane can Suchtelen, Klaus Fittschen, Peggy Fogelman, and Catherine Hess.
The J. Paul Getty Museum's antiquities collection contains objects spanning thousands of years, from Preclassical times as far back as the third millennium B.C. through A.D. 600, encompassing Cycladic, Minoan, Mycenaean, Greek, Etruscan, South Italian, Roman, and Romano-Egyptian artifacts. The collection at the Getty Villa includes one of the finest assemblages of ancient Greek vases in the United States; monumental marble sculptures and diminutive bronzes; Greek and Roman gems; and Hellenistic silverware, jewelry, and glass. In lively prose accompanied by full-color photographs of nearly two hundred objects, this handbook presents the most important pieces in the collection.
In connection with the Los Angeles opening of the exhibition The Amasis Painter and His World, a colloquium and symposium were held at the Getty Museum between February 28 and March 2, 1986. An international panel of scholars presented papers on various aspects of Greek vase-painting; these papers are collected as fully annotated essays in the companion volume to the exhibition catalogue. They include an essay by Dietrich von Bothmer concerning the connoisseurship of Greek vases, as well as one by Martin Robertson on the status of Attic vase-painting in the mid-sixth century; John Boardman’s discussion of Amasis and the implications of his name; Walter Burkert’s presentation on Homer in the second half of the sixth century; and a paper by Albert Henrichs on representations of Dionysos in sixth-century Attic vase-painting.
Written by the Mercedarian friar Martín de Murúa, the Historia general del Piru (1616) is one of only three extant illustrated manuscripts on the history of Inca and early colonial Peru. This immensely important Andean manuscript is here made available in facsimile, its beautifully calligraphed text reproduced in halftone and its thirty-eight hand-colored images—mostly portraits of Inca kings and queens—in color.
Introduction to two decades of artistic ferment in postwar Japan. As that devastated nation confronted the fraught legacy of World War II, a rapid succession of avant-garde groups began experimenting with new media and processes of making art, disrupting conventions to address the changes occurring around them. The works that remain from this era are largely ephemeral - exhibition flyers, programs for performances, musical scores, issues of short-lived journals, documentary photographs, pieces of mail art, and multiples made from the detritus of modern life - but the ideals of engagement and innovation that invigorated this creative surge are not.
There has been a persistent tradition of enlivening sculptures with color. This book presents five essays on polychromy in classical Greek through contemporary sculpture, along with discussions of over 40 extraordinary polychrome sculptures.
Celebrating 20 years of collecting photographs at the Getty Museum, Photographers of Genius at the Getty spotlights the genius of 38 seminal photographers selected from the hundreds of artists represented in the collection.
Thoughts about Paintings Conservation : a Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001
Thoughts about Paintings Conservation : a Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001
In this volume, conservators, curators, and conservation scientists candidly reflect on the challenges and sometimes controversial choices involved in treating works of art.
For nearly three decades, the J. Paul Getty Museum has played a leading role in the development of seismic mitigation for museum collections. Contributors to this volume--ranging from museum conservators, mount makers, and historical archaeologists to seismologists and structural engineers--discuss and illustrate a wide variety of earthquake-mitigation efforts for collections, from the simple and inexpensive to the complex and costly. The book's essays examine the techniques applied to large collections and to small house museums, to exhibition cases containing objects as well as to monumental works of art and historical structures. Approaches range from securing and restraining objects to decoupling them from the ground through a variety of base-isolation mechanisms. These pioneering efforts have been developed in the face of significant challenges since, as any engineer, conservator, or mount maker who has undertaken this work can attest, a small sculpture can often be a far greater challenge to protect than a multistory building.
Dosso's rich color schemes are akin to those of his fellow North Italian Titian; he learned something about innovative composition from Raphael and about the force of the body from Michelangelo. But his paintings have a very individual appeal. In leafy natural surroundings containing an array of animals and heavenly bodies, events unfold that are often enigmatic, enacted by characters whose interrelationships elude definition.
Papers Delivered at a Symposium Organized by The J. Paul Getty Museum and The Getty Center for the History of Art and the Humanities and Held at the Museum, April 22–25, 1993
Papers Delivered at a Symposium Organized by The J. Paul Getty Museum and The Getty Center for the History of Art and the Humanities and Held at the Museum, April 22–25, 1993
One of the great seats of learning and repositories of knowledge in the ancient world, Alexandria, and the great school of thought to which it gave its name, made a vital contribution to the development of intellectual and cultural heritage in the Occidental world. This book brings together twenty papers delivered at a symposium held at the J. Paul Getty Museum on the subject of Alexandria and Alexandrianism. Subjects range from “The Library of Alexandria and Ancient Egyptian Learning” and “Alexander’s Alexandria” to “Alexandria and the Origins of Baroque Architecture.” With nearly two hundred illustrations, this handsome volume presents some of the world’s leading scholars on the continuing influence and fascination of this great city. The distinguished contributors include Peter Green, R. R. R. Smith, and the late Bernard Bothmer.
The J. Paul Getty Museum Journal, published annually, is a compendium of articles and shorter notes on the Museum's permanent collection--Antiquities, Decorative Arts, Drawings, Manuscripts, Painting, Photographs, and Sculpture and Work of Art. It includes a full illustrated checklist of recent acquisitions, with an introduction by John Walsh, Director of the museum. This year's articles include: Dawson Carr on Pier Francesco Mola's Vision of Saint Bruno; Thomas DaCosta, Kaufmann, and Virginia Roehrig on tromope l'oeil in Netherlandish book painting of the fifteenth and sixteenth centuries; Nicholas Penny's "Lord Rockingham's Sculpture Collection and The Judgement of Paris by Nollekens"; and Carl Brandon Strehhlke on Cenni di Francesco, the Gianfigliazzi, and the Church of Santa Trinita in Florence.
By exploring the intense interaction between painting and printmaking between art theory and unbridled artistic ambition, Printing the Grand Manner breaks new ground in its analysis of both the reproductive prints and Le Brun's original compositions. --Book Jacket.
This book is a revised and fully updated guide to major objects in the collections at the Getty. This gorgeous new edition of The J Paul Getty Museum Handbook of the Collection features over 350 of the museum's most beloved objects. Updated to include numerous exciting new acquisitions-from the Gillion manuscript to Gauguin's Arii Matamoe (The Royal End), from J M W Turner's Modern Rome to Robert Mapplethorpe's famous Self Portrait-the handbook presents an overview of the Getty's world-renowned collections and provides a history of the museum and its famous founder. From treasures of the ancient world and medieval manuscripts to Renaissance drawings, French furniture, Impressionist paintings, iconic American photographs, and much more, the handbook offers an indispensable look at both the magnificently reimagined Getty Villa in Malibu and the dazzling Getty Center on a hilltop in Brentwood. Whether a regular visitor to the two sites or someone who hasn't yet made the trip, this richly illustrated and beautifully redesigned volume is a must-have for any art lover.
In 1988 the GCI and the Department of Antiquities of Cyprus agreed to conserve an important floor mosaic excavated in 1984–1985 in Paphos, Cyprus. The mosaic, which depicts Orpheus and the Beasts together in a single panel, is representative of an iconographic tradition common throughout the Mediterranean Basin. It is unusual, however, in that Orpheus is shown with his arm outstretched, and is further distinguished by an inscription naming the person who commissioned the work, a feature not present in any other Roman mosaic in Cyprus. Although the mosaic was in generally good condition when excavated, root damage had dislodged much of the tessellatum from its setting-bed and also had created several large lacunae. Subsidence caused by partial support of the mosaic on an underlying wall became more pronounced after excavation, and cracking appeared. For this reason, the mosaic was lifted, provided with a new support, and replaced in situ. The decision was made to lift the tesellatum by rolling it onto a drum rather than by cutting it into smaller sections, respecting the single pictorial composition of the work. The project included training in this relatively unusual technique for conservators from the region. The Conservation of the Orpheus Mosaic at Paphos, Cyprus, chronicles each element of the project, including the evaluation, documentation, detachment, reinstallation, and cleaning of the mosaic. It includes a clearly illustrated, step-by-step discussion of the procedures used to roll the mosaic and to install its new support system of fiberglass and aluminum. Environmental monitoring, analysis of tesserae samples, and the development and evaluation of a protective shelter are also covered, along with historical and iconographic material on this remarkable mosaic.
In sixteen essays, prominent art historians, sculptors, scientists, and conservators discuss ancient marble sculpture. The essays are based on a symposium held at the J. Paul Getty Museum in April 1988. Topics include the provenancing of marble, the detection of marble forgeries, scientific analysis and authentication of ancient marble, marble quarrying and trade in the ancient world, and the techniques used in ancient sculpture.
This is a study of the structure of the Soviet Communist Party in the 1930s. Based upon archival and published sources, the work describes the events in the Bolshevik Party leading up to the Great Purges of 1937-1938. Professor Getty concludes that the party bureaucracy was chaotic rather than totalitarian, and that local officials had relative autonomy within a considerably fragmented political system. The Moscow leadership, of which Stalin was the most authoritarian actor, reacted to social and political processes as much as instigating them. Because of disputes, confusion, and inefficiency, they often promoted contradictory policies. Avoiding the usual concentration on Stalin's personality, the author puts forward the controversial hypothesis that the Great Purges occurred not as the end product of a careful Stalin plan, but rather as the bloody but ad hoc result of Moscow's incremental attempts to centralise political power.
For the first time, the award-winning Education Department of the J. Paul Getty Museum is making one of its much-lauded K–12 curricula available nationwide in an attractive and inexpensive print format. Art & Science was developed by the Getty’s expert educators, scientists, curators, and conservators, and tested by classroom teachers, and it connects to national and California state standards. Teachers and parents will find engaging lessons and activities divided into beginning, intermediate, and advanced levels for step-by-step learning. Art & Science mines the treasures of the Getty Museum to explore the many intersections of the visual arts with scientific disciplines. Full-color images of antiquities, decorative arts, drawings, manuscripts, painting, photography, and sculpture illuminate lesson plans about, for example: • The laws of physics that keep a bronze sculpture of a juggler from tipping over • The science that allows photographers to manipulate light and capture images on paper • The processes of radiation and convection that turn clay into porcelain • Scientific observation of the natural world as the subject for art • How scientists removed 2,000 years of oxidation and encrustation to reveal a priceless ancient sculpture The curriculum also contains a trove of resources, including handouts, “Questions for Teaching,” a timeline, glossary, and list of print and web sources for further research. There are also links to additional related lessons and images available on the Getty website. The full-page color images and special “lay flat” binding of Art & Science make it ideal for use with a digital document reader.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.