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
Featuring works of art from the collections of the J. Paul Getty Museum, this volume provides readers with a virtual tour through the Getty Center. Drawn from every curatorial department at the Getty Center, the works included here span hundreds of years of art history.
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.
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.
Kertesz created some of the most acclaimed photographs of the twentieth century, and the J. Paul Getty Museum is fortunate to own a wide selection of his work. This volume - the first in the Museum's new In Focus series, which is devoted to photographers whose work is particularly well represented in the Getty - presents a handsome selection from the 164 Kertesz photographs in the Museum's collection. The photographs are accompanied by commentaries by Weston Naef, the Getty's Curator of Photographs.
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.
The J. Paul Getty Museum’s collection of European sculpture featured in this French-language volume ranges in date from the late fifteenth century to the very early twentieth and includes a wide variety of media: marble, bronze, alabaster, terracotta, plaster, wood, ivory, and gold. The earliest sculpture represented is the mysterious Saint Cyricus by Francesco Laurana; the latest is a shield-like portrait of Medusa by the eccentric Italian sculptor Vincenzo Gemito. Among the more than forty works included in this handsomely illustrated volume are sculptures by Antico (Bust of a Young Man); Cellini (a Satyr designed for Fontainebleau); Giambologna (a Female Figure that may represent Venus); Bernini (Boy with a Dragon); and Carpeaux (Bust of Jean-Léon Gérôme). Well represented here is the Museum’s splendid collection of Mannerist and early Baroque bronzes, including such masterpieces as Johann Gregor van der Schardt’s Mercury and two superb works by Adriaen de Vries: Juggling Man and Rearing Horse. These works are indicative of the extraordinary quality of the J. Paul Getty Museum’s collection of post-Classical European sculpture.
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
Publisher Fact Sheet Presents nearly 50 photographs from the unlikely partnership (1843-1848) between the respected painter David Octavius Hill & the young engineer Robert Adamson, including experiments with portraits, staged dramatic photographs, & architectural & landscape images.
The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.
In the collection of the J. Paul Getty Museum are more than six hundred ancient lamps that span the sixth century BCE to the seventh century CE, most from the Roman Imperial period and largely created in Asia Minor or North Africa. These lamps have much to reveal about life, religion, pottery, and trade in the ancient Graeco-Roman world. Most of the Museum’s lamps have never before been published, and this extensive typological catalogue will thus be an invaluable scholarly resource for art historians, archaeologists, and those interested in the ancient world. Reflecting the Getty's commitment to open content, Ancient Lamps in the J. Paul Getty Museum is available online at http://www.getty.edu/publications/ancientlamps and may be downloaded free of charge in multiple formats, including PDF, MOBI/Kindle, and EPUB, and features zoomable images and multiple views of every lamp, an interactive map drawn from the Ancient World Mapping Center, and bibliographic references. For readers who wish to have a bound reference copy, a paperback edition has been made available for sale.
Released from his prison of incrustation, having rested on the ocean floor for thousands of years, the bronze statue of an athlete stands in a quietly arrogant pose, having just placed an olive crown—the symbol of victory in the Olympic Games—on his head. In this monograph devoted to the Getty Bronze, Dr. Frel analyzes the technique and style that point to its attribution to the great fourth-century Greek sculptor Lysippos. The conservation of the bronze, its possible identity as a Hellenistic prince, and its place in Lysippos’s oeuvre are discussed.
Vividly illustrated, this is the first comprehensive catalogue of the J. Paul Getty Museum’s celebrated collection of seventeenth- and eighteenth-century French silver. The collection of seventeenth- and eighteenth-century French silver at the J. Paul Getty Museum is of exceptional quality and state of preservation. Each piece is remarkable for its beauty, inventive form, skillful execution, illustrious provenance, and the renown of its maker. This volume is the first complete study of these exquisite objects, with more than 250 color photographs bringing into focus extraordinary details such as minuscule makers’ marks, inscriptions, and heraldic armorials. The publication details the formation of the Museum’s collection of French silver, several pieces of which were selected by J. Paul Getty himself, and discusses the regulations of the historic Parisian guild of gold- and silversmiths that set quality controls and consumer protections. Comprehensive entries catalogue a total of thirty-three pieces with descriptions, provenance, exhibition history, and technical information. The related commentaries shed light on the function of these objects and the roles they played in the daily lives of their prosperous owners. The book also includes maker biographies and a full bibliography. The free online edition of this open-access publication is available at getty.edu/publications/french-silver/ and includes 360-degree views and zoomable high-resolution photography. Also available are free PDF and EPUB downloads of the book, and JPG downloads of the main catalogue images.
French Illuminated Manuscripts in the J. Paul Getty Museum introduces the public to the richness of the J. Paul Getty Museum's holdings in French manuscripts from the ninth to the eighteenth century. This volume includes full-color reproductions of masterpieces from such works as a bible from ninth-century Tours; a sacramentary attributed to Nivardus of Milan from the first quarter of the eleventh century; the Shah Abbas Bible, made in northern France about 1250; a book of hours made in the atelier of the Bedford Master in Paris about 1450; and a book of prayers of the mass, written and illuminated in Paris by Jean Pierre Rousselet about 1720-30. It also includes many multiple illuminations from such manuscripts as a psalter by the Master of the Ingeborg Psalter, made after 1205 and probably in Noyon; the Wenceslaus Psalter from 1250; and the Boucicaut Master's illuminated manuscript of Boccaccio's Des cas des nobles hommes et femmes from about 1415. French Illuminated Manuscripts in the J. Paul Getty Museum introduces the public to the richness of the J. Paul Getty Museum's holdings in French manuscripts from the ninth to the eighteenth century. This volume includes full-color reproductions of masterpieces from such works as a bible from ninth-century Tours; a sacramentary attributed to Nivardus of Milan from the first quarter of the eleventh century; the Shah Abbas Bible, made in northern France about 1250; a book of hours made in the atelier of the Bedford Master in Paris about 1450; and a book of prayers of the mass, written and illuminated in Paris by Jean Pierre Rousselet about 1720-30. It also includes many multiple illuminations from such manuscripts as a psalter by the Master of the Ingeborg Psalter, made after 1205 and probably in Noyon; the Wenceslaus Psalter from 1250; and the Boucicaut Master's illuminated manuscript of Boccaccio's Des cas des nobles hommes et femmes from about 1415.
This heavily illustrated catalogue is devoted to the Museum’s collection of silver and gold from the Hellenized East—one of the largest yet assembled. Among the objects included are rhyta, bowls, cups, jewelry, and decorative gold and silver ornaments for horse bridles and clothing. In an extensive introduction, the author dates the various groups of objects and places them within a wider cultural and archaeological context, providing a detailed stylistic analysis of the ornamental motifs of many pieces. Of particular importance is the inclusion of illustrations of some 50 little-known comparative objects as well as extensive bibliographic references.
This volume, another in the In Focus series on photographers well represented in the collection of the J. Paul Getty Museum, features the work of the British artist Julia Margaret Cameron (1815-79). Approximately fifty plates by this pioneer of the medium are reproduced, along with commentary by Julian Cox, Assistant Curator in the Museum's Department of Photographers.
In the last years of his life Paul Cézanne produced a stunning series of watercolors, many of them sill lifes. Still Life with Blue Pot is one of these late masterpieces that is now in the collection of the Getty Museum. In Cézanne in the Study: Still Life in Watercolors, Carol Armstrong places this great painting within the context of Cezanne’s artistic and psychological development and of the history of the genre of still life in France. Still life—like the medium of watercolor—was traditionally considered to be “low” in the hierarchy of French academic paintings. Cézanne chose to ignore this hierarchy, creating monumental still-life watercolors that contained echoes of grand landscapes and even historical paintings in the manner of Poussin—the “highest” of classical art forms. In so doing he changed his still lifes with new meanings, both in terms of his own notoriously difficult personality and in the way he used the genre to explore the very process of looking at, and creating, art. Carol Armstrong’s study is a fascinating exploration of the brilliant watercolor paintings that brought Cézanne’s career to a complex, and triumphant, conclusion, The book includes new photographic studies of the Getty’s painting that allow the reader to encounter this great watercolor as never before, in all of its richness and detail.
Janet Backhouse, who originally assembled the evidence that revealed this long-forgotten masterpiece, introduces the Hours of Louis XII and its cycle of miniatures. Thomas Kren discusses the book's provocative miniature of Bathsheba bathing within the context of the king's own taste and predilections and within the then-emerging genre of the female nude in French painting. Nancy Turner considers the importance of Bourdichon's painting and illuminating technique in the Hours of Louis XII in relation to his other work. Mark Evans examines the individual histories of each of the surviving portions of the book. Lastly, an appendix reconstructs the book's devotional contents and program of illumination."--BOOK JACKET.
In the 1720s and 1730s, Jean-Baptiste Oudry established himself as the preeminent painter in France of hunts, animals, still lifes, and landscapes. Oudry’s Painted Menagerie focuses on a suite of eleven life-size portraits of exotic animals from the royal menagerie at Versailles, painted by Oudry between 1739 and 1752. These paintings eventually found their way into the ducal collection in Schwerin, Germany. Among them is the magnificent portrait of Clara, an Indian rhinoceros who became a celebrity in mid-eighteenth-century Europe. Her portrait has been out of public view for more than a century, and it is presented here in its newly conserved state.
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