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.
Provides a history of the buildings that have housed the Getty Museum collections, overviews the collections themselves, and offers a biography of J. Paul Getty
He completed the assignment in two phases: The photographs made during the first phase (April 1984-March 1989) capture the natural ruggedness of the terrain and establish its relationship to the developed neighboring enclaves. Those made during the second phase (April 1992-August 1997) not only record the actual construction process but also reveal Deal's personal perspective on the qualities of light and the creation of form. Represented in this book as a selection from the resulting portfolio, Topos, a Greek word meaning place, site, position, and occasion - Deal's artistic legacy to the Gerry Center."--BOOK JACKET.
This revised and updated edition of the Guide to the Getty Villa is published in conjunction with the reinstallation of the Villa collection galleries. It offers an engaging introduction to the Villa’s history as well as an up-to-date look at its gardens, historical rooms, and galleries. It begins with the history of the site, recounting how, as J. Paul Getty’s art collection grew, he decided to house it in a replica of the ancient Roman villa at Herculaneum now known as the Villa dei Papiri. The second chapter chronicles the destruction of Herculaneum in 79 CE during the eruption of Mount Vesuvius, the Villa dei Papiri’s rediscovery in the eighteenth century, and more recent archaeological discoveries at the site. The third chapter leads readers on a tour of the Getty Villa, from the cobblestone “Roman road” through the outdoor theater, atrium, peristyles, and gardens; it includes detailed descriptions of special rooms such as the Basilica, the Room of Colored Marbles, the Temple of Herakles, and the Tablinum. The final chapter recounts how Getty began collecting art in the late 1930s, how the collection grew in the decades before and after his death in 1974, and how the displays at the Villa have evolved along with the collection, culminating in the chronological arrangement to be completed in early 2018. This edition includes a new director’s foreword as well as a revised and refreshed main text, including an entirely new chapter. It also includes updated illustrations throughout the book and updated floor plans of the newly reinstalled Villa.
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.
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.
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.
This revised and updated edition of the Guide to the Getty Villa is published in conjunction with the reinstallation of the Villa collection galleries. It offers an engaging introduction to the Villa’s history as well as an up-to-date look at its gardens, historical rooms, and galleries. It begins with the history of the site, recounting how, as J. Paul Getty’s art collection grew, he decided to house it in a replica of the ancient Roman villa at Herculaneum now known as the Villa dei Papiri. The second chapter chronicles the destruction of Herculaneum in 79 CE during the eruption of Mount Vesuvius, the Villa dei Papiri’s rediscovery in the eighteenth century, and more recent archaeological discoveries at the site. The third chapter leads readers on a tour of the Getty Villa, from the cobblestone “Roman road” through the outdoor theater, atrium, peristyles, and gardens; it includes detailed descriptions of special rooms such as the Basilica, the Room of Colored Marbles, the Temple of Herakles, and the Tablinum. The final chapter recounts how Getty began collecting art in the late 1930s, how the collection grew in the decades before and after his death in 1974, and how the displays at the Villa have evolved along with the collection, culminating in the chronological arrangement to be completed in early 2018. This edition includes a new director’s foreword as well as a revised and refreshed main text, including an entirely new chapter. It also includes updated illustrations throughout the book and updated floor plans of the newly reinstalled Villa.
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.
In his candid and witty autobiography, famed tycoon J. Paul Getty invites readers to glimpse the twentieth century from the vantage point of a man who lived, as he puts it, "through the most exciting and exhilarating - and most turbulent and terrible - eight decades of human history." Whether describing how he amassed his staggering fortune, recounting conversations with intriguing personalities of the day, or frankly discussing his marriages and liaisons, J. Paul Getty sets the record straight - once and for all. He even speaks honestly about his notorious stinginess and the bizarre problems faced by the impossibly wealthy.
In 1775 Prince Marcantonio Borghese IV and the architect Antonio Asprucci embarked upon a decorative renovation of the Villa Borghese. Initially their attention focused on the Casino, the principal building at the villa, which had always been a semi-public museum. By 1625 it housed much of the Borghese's outstanding collection of sculpture. Integrating this statuary with vast baroque ceiling paintings and richly ornamented surfaces, Asprucci created a dazzling and unified homage to the Borghese family, portraying its legendary ancestors as well as its newly born heir. In this book, Carole Paul reads the inventive decorative program as a set of exemplary scenes for the education of the ideal Borghese prince. Her wide-ranging essay also situates the Villa Borghese among the sumptuous palaces and suburban villas of Rome's collectors of antiquities and outlines the renovated Casino's pivotal role in the historic transition from the princely collection to the public museum. Rounding out this volume is a catalog of the Getty Research Institute's fifty-nine drawings for the refurbishing of the Villa Borghese and Alberta Campitelli's discussion of sketches for the short-lived Museo di Gabii, the Villa's other antiquities museum.
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.
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.
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.
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 has been published annually since 1974. It contains scholarly articles and shorter notes pertaining to objects in the Museum’s seven curatorial departments: Antiquities, Decorative Arts, Drawings, Manuscripts, Paintings, Photographs, and Sculpture and Works of Art. The Journal includes an illustrated checklist of the Museum’s acquisitions for the previous year, a staff listing, and a statement by the Museum’s director outlining the year’s most important activities. Volume 24 of the J. Paul Getty Museum Journal includes articles by John Walsh, Birgitta Lindros Wohl, Helmut Engelhart, Sabine Haag, Mari-Tere Alvarez, and Christiane Bron.
An international workshop on the Cult Statue of a Goddess was held at the Getty Villa on May 9, 2007. Sponsored by the J. Paul Getty Museum, it brought together distinguished speakers from Italy, New Zealand, and the United States as well as observers from the Sicilian Regional Ministry of Culture and Environmental Heritage, the Archaeological Institute of America, and colleagues from across the Getty. The topics addressed comprise pseudo-acrolithic sculpture in Archaic and Classical Greece, art-historical observations about the Cult Statue, petrographic and micropalaeontological data about the statue, survey of soil residues from the statue, and pollen analysis of those soil residues. The research undertaken and the information provided by this group will help better to determine the Cult Statue's ancient origins. The results of this workshop were a part of the Getty Museum's final stages of research before the statue was sent to Italy in 2011.
This revised and updated J. Paul Getty Museum Handbook of the Collections includes many major objects that recently have been added to the collections, as well as the more familiar masterpieces frequent visitors have become acquainted with over the years from the antiquities, drawings, manuscripts, paintings, photographs, and sculpture and decorative arts holdings. Among the notable new accessions is a major collection of modern and contemporary sculpture, a 2005 gift from the Fran and Ray Stark Trust. Moreover, the new edition of the Handbook marks the historic moment at which the Museum commences operating on two sites simultaneously--the dazzling Getty Center on a hilltop in Brentwood and the magnificently reimagined Getty Villa in Malibu, devoted to Western antiquities. Readers who have not been among the millions of visitors to the two sites will find this Handbook an inducement for paying a visit; for those who have seen the collections, it will help them recall the experience and enrich their recollection.
On October 14-19, 1990, the 6th International Conference on the Conservation of Earthen Architecture was held in Las Cruces, New Mexico. Sponsored by the GCI, the Museum of New Mexico State Monuments, ICCROM, CRATerre-EAG, and the National Park Service, under the aegis of US/ICOMOS, the event was organized to promote the exchange of ideas, techniques, and research findings on the conservation of earthen architecture. Presentations at the conference covered a diversity of subjects, including the historic traditions of earthen architecture, conservation and restoration, site preservation, studies in consolidation and seismic mitigation, and examinations of moisture problems, clay chemistry, and microstructures. In discussions that focused on the future, the application of modern technologies and materials to site conservation was urged, as was using scientific knowledge of existing structures in the creation of new, low-cost, earthen architecture housing.
Each object is described and analyzed in terms of its provenance and published history, as well as its construction, materials, and conservation. With its painstaking attention to detail, this volume is the definitive catalogue of the Getty Museum's collection of French Baroque furniture and will be of interest to scholars, conservators, and all students of French decorative arts."--BOOK JACKET.
The following report on ozone is a summary of the full 284-page report of the Environmental Quality Laboratory, California Institute of Technology, Pasadena (Cass et al. 1988), on this three-year project. The executive-summary format has been used to provide museum professionals, collectors, architects, and administrators with essential information that can be absorbed without specialized scientific training. The chapter on mathematical modeling of indoor pollutant concentration, briefly described in Chapter 4 of this report, has been appended unabridged from the original report since it constitutes one of the major findings and is a valuable tool for the planning of ventilation systems for buildings.
This is the second volume in a series on wide-ranging topics relating to objects in the Antiquities collection of the Getty Museum. It consists of seven articles in English, German, and Italian. Chronologically ranging from Pier Giovanni Guzzo's presentation of two early sixth-century-B.C. silver cups to a technical analysis by Maya Elston and Jeffrey Maish of a rare late-antique wooden sarcophagus from Egypt. Despoina Tsiafakis discusses a South Italian bronze askos in the shape of a siren, and Gina Salapata analyzes a pair of South Italian terra-cotta arulae. As a companion text to his publication of an important jewelry assemblage in Greek Gold from Hellenistic Egypt (see p. 13), Michael Pfrommer presents an in-depth scholarly interpretation of the jewelry. Janet Burnett Grossman has compiled a catalogue of portraits of Alexander the Great in various media from the Getty Museum; and two life-size bronze portraits of delicati, thought to be from Gaul, are the topic of John Pollini's detailed discussion.
Lisa Lyons, guest curator for Los Angeles's Getty Museum, chronicles a series of commissioned works in an array of media by eleven acclaimed artists in response to objects at the Getty. Fine bandw illustrations. Annotation copyrighted by Book News, Inc., Portland, OR
He completed the assignment in two phases: The photographs made during the first phase (April 1984-March 1989) capture the natural ruggedness of the terrain and establish its relationship to the developed neighboring enclaves. Those made during the second phase (April 1992-August 1997) not only record the actual construction process but also reveal Deal's personal perspective on the qualities of light and the creation of form. Represented in this book as a selection from the resulting portfolio, Topos, a Greek word meaning place, site, position, and occasion - Deal's artistic legacy to the Gerry Center."--BOOK JACKET.
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 series presents current research being conducted under the auspices of the Getty Conservation Institute.An overview of research from 1984 to 1994, including environmental controls in museums, the use of protective materials and analyses in the conservation of cultural objects and archaeological sites, and the use of new technologies for monitoring, documentation, and analysis.
This series presents current research being conducted under the auspices of the Getty Conservation Institute.An overview of research from 1984 to 1994, including environmental controls in museums, the use of protective materials and analyses in the conservation of cultural objects and archaeological sites, and the use of new technologies for monitoring, documentation, and analysis.
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