Search results for ""J. Paul Getty Museum""

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.

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"I am convinced that the true collector does not acquire objects of art for himself alone. His is no selfish drive or desire to have and hold a painting, a sculpture, or a fine example of antique furniture so that only he may see and enjoy it. Appreciating the beauty of the object, he is willing and even eager to have others share his pleasure." -J. Paul Getty, The Joys of Collecting, 1965 Rooted in a passion for the Italian Renaissance as well as Dutch and Flemish Baroque works, the original collection of J. Paul Getty (1892-1976) has been transformed over four decades to include seminal pieces by celebrated masters such as Masaccio, Titian, Parmigianino, Cranach, El Greco, Rubens, van Dyck, Rembrandt, Poussin, Canaletto, Fragonard, Turner, Manet, Degas, Renoir, Monet, van Gogh, Cezanne, and Ensor. Masterpiece Paintings in the J. Paul Getty Museum surveys more than one hundred of the most exquisite and significant paintings displayed in the museum's famed, daylight-suffused galleries. Vibrant full-colour illustrations and engaging descriptions of these masterworks reveal their fascinating histories and cultural, social, and religious meanings. Sure to enchant and edify all art lovers, this book is a spellbinding tour through the history of Western painting.

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The first comprehensive catalogue of the Getty Museum's significant collection of French Rococo ebenisterie furniture. This catalogue focuses on French ebenisterie 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-Francois 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. www.getty.edu/publications/rococo

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"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. "

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French Tapestries and Textiles is a survey of the Getty Museum's seventeenth-and eighteenth-century French textiles-one of the world's finest collections. Featuring twenty-five extraordinary tapestries woven at the Gobelins and Beauvais manufactories, the catalogue also highlights three carpets, two knotted-pile screens, and two sets of embroidered bed hangings, one of which is the only complete lit a la duchesse surviving from the period. Among the magnificent textiles discussed in this lavish volume are the Emperor of China tapestry series, the whimsical Story of Don Quixote, and Boucher's cycle The Story of Psyche. A gatefold in the book opens to reveal a photograph of the stately twenty-nine-foot carpet commissioned for Louis XIV's Galerie du Bord de l'Eau at the Louvre, a piece not publicly displayed for more than 120 years. Each entry includes a listing of artists and weavers, date and place of manufacture, and materials and techniques used, followed by a complete description and a condition statement. The accompanying commentary provides information on the literary, historical, and visual source of design imagery as well as the context of the textile's commission and production. In addition, each textile shown has a complete provenance, exhibition history, and bibliography. For lovers of French decorative arts and connoisseurs of textiles, this book offers a study both of the art of tapestry- and textile-making and of the aesthetic tradition exemplified by these remarkable objects.

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This volume is devoted to the smaller and more unusually-shaped works of Carleton E. Watkins, many of which have not been published before. The book also contains an overview of his life, and an edited transcript of a colloquium on his career.

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Shortly after the dawn of photography, the unlikely partnership between the respected painter David Octavius Hill and the young engineer Robert Adamson produced some of the most important photographs in the history of the medium. Their alliance began when Hill, while working on his large commemorative painting of the people involved in forming the Free Chruch of Scotland in 1843, began using photography as a tool to document the church elders. What followed was a four-and-a-half-year partnership - cut short by Adamson's untimely death in 1848 - that produced a large body of work. During their association Hill and Adamson experimented with some of the earliest calotype processes creating hundreds of portraits, staged dramatic photographs, and architectural and landscape images. The Getty Museum holds more than 400 works by Hill and Adamson, 47 of which are featured in this volume. The plates are accompanied by commentary from Anne M. Lyden, curatorial assistant in the Department of Photographs at the Museum. A colour foldout of Hill's above-referenced painting "The Signing of the Deed of Demission (The Disruption Picture)" appears in the back of the book. The book includes a chronology of the key events of the artists' partnership and an edited transcript of a colloquium on the artists, with participants: Lyden; Weston Naef, curator of photographs at the J. Paul Getty Museum; Sara Stevenson, curator of photographs at the Scottish National Portrait Gallery; Alison Morrison-Low, curator, History of Science Section, National Museums of Scotland; Jonathon Reff, photographer, Los Angeles; Michael Wilson, private collector, Los Angeles and London; and David Featherstone, independent editor and curator, San Francisco.

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With more than 26,000 works, the Samuel J. Wagstaff Jr. collection of photographs is the largest single group of artworks in any medium at the J. Paul Getty Museum. Wagstaff (1921-1987) amassed his extraordinary collection between 1973 and 1984, recognizing early that photography was an undervalued art form on which he might have a profound impact as a collector. He was mainly attracted to photographs that stimulated his imagination, and his taste ran toward the idiosyncratic-images that surprised him chiefly because he had never seen them before.In choosing the 147 works reproduced in this volume, Paul Martineau selected masterpieces as well as images from obscure sources: daguerreotypes, cartes-de-visite, and stereographs, plus mug shots, medical photographs, and works by unknown makers. The latter category contains some of the most outstanding objects in the collection, demonstrating Wagstaff's willingness to position unfamiliar images alongside works by established masters as well as underrepresented contemporary artists of the time, including Jo Ann Callis, William Garnett, and Edmund Teske.This book is published to accompany an eponymous exhibition on view at the J.Paul Getty Museum from March 15 to July 31, 2016; at the Wadsworth Atheneum in Hartford, CT, from September 10 to December 11, 2016; and at the Portland Museum of Art in Portland, ME, from February 1 to April 30, 2017.

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This set brings together three photographers who have strong European ties - Kertesz and Moholy-Nagy were born and grew to maturity there, and Man Ray spent almost 40 years there. Each was also active in America. The social and artistic ferment of two continents is reflected in their work. Each volume contains approximately 50 images with extended captions, an edited transcription of a colloqium and a time line of important dates in each photographer's life.

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This is a delightfully illustrated volume that offers readers an entertaining and informative virtual tour through the magnificent art of the J. Paul Getty Museum. Featuring works of art from the legendary collections of the J. Paul Getty Museum, this exquisite little volume provides readers with an entertaining and informative virtual tour through the Getty Centre - perfect for those who have visited in person and those who have not. Drawn from every curatorial department at the Getty Centre - Paintings, Drawings, Sculpture & Decorative Arts, Manuscripts, and Photography - the works included in "Seeing the Getty Collections" span hundreds of years of art history.

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Vincent van Gogh was one of the greatest of the Post-Impressionist painters, though he experienced much turmoil in his personal life. After admitting himself to the Saint-Paul Asylum following a severe mental health crisis, Van Gogh began his recuperation by painting the asylum garden, notably its irises. We are honoured to feature this seminal painting from the J. Paul Getty Museum in our collection.  

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Vincent van Gogh was one of the greatest of the Post-Impressionist painters, though he experienced much turmoil in his personal life. After admitting himself to the Saint-Paul Asylum following a severe mental health crisis, Van Gogh began his recuperation by painting the asylum garden, notably its irises. We are honoured to feature this seminal painting from the J. Paul Getty Museum in our collection.

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In his Spring painting (1894), Lawrence Alma-Tadema represented the Victorian custom of children collecting flowers on May Day. By placing the scene in ancient Rome, he suggested the festival’s history through architecture, dress, sculpture and instruments. Alma-Tadema incorporated his knowledge of antiquity into over 300 paintings. We are honoured to feature a detail from Spring as part of our collaborative The J. Paul Getty Museum Collection.  

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Vincent van Gogh was one of the greatest of the Post-Impressionist painters, though he experienced much turmoil in his personal life. After admitting himself to the Saint-Paul Asylum following a severe mental health crisis, Van Gogh began his recuperation by painting the asylum garden, notably its irises. We are honoured to feature this seminal painting from the J. Paul Getty Museum in our collection.  

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Displaying astounding plays of naturalistic illusionism, the luxurious book known as the Spinola Hours is one of the most visually sophisticated 16th-century Flemish manuscripts. A book of hours contains a calendar of Church holidays, the Hours of the Virgin, the Office for the Dead, and other prayers, hymns and readings. The Spinola Hours also includes weekday offices and masses, providing even more possibilities for rich illuminations. The book was commissioned for a wealthy patron, perhaps Margaret of Austria, and in the 1700s it belonged to the Spinola family, for whom it is now named. We are honoured to reproduce this unparalleled example of illumination from the J. Paul Getty Museum.

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Dutch artist Vincent van Gogh (1853–1890) was one of the greatest of the Post-Impressionist painters. Though much of his work, like this Irises study, is filled with brightness and light, Van Gogh’s own life was filled with personal turmoil. A severe mental health crisis, in which he now-famously cut off his own ear, prompted Van Gogh to admit himself to the Saint-Paul Asylum at Saint-Rémy in the south of France. His recuperation began with painting of the asylum garden, Irises chief among the resulting output.We are honoured to feature this seminal painting from the J. Paul Getty Museum in our collection.

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Dutch artist Vincent van Gogh (1853–1890) was one of the greatest of the Post-Impressionist painters. Though much of his work, like this Irises study, is filled with brightness and light, Van Gogh’s own life was filled with personal turmoil. A severe mental health crisis, in which he now-famously cut off his own ear, prompted Van Gogh to admit himself to the Saint-Paul Asylum at Saint-Rémy in the south of France. His recuperation began with painting of the asylum garden, Irises chief among the resulting output.We are honoured to feature this seminal painting from the J. Paul Getty Museum in our collection.

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Displaying astounding plays of naturalistic illusionism, the luxurious book known as the Spinola Hours is one of the most visually sophisticated 16th-century Flemish manuscripts.A book of hours contains a calendar of Church holidays, the Hours of the Virgin, the Office for the Dead, and other prayers, hymns and readings. The Spinola Hours also includes weekday offices and masses, providing even more possibilities for rich illuminations. The book was commissioned for a wealthy patron, perhaps Margaret of Austria, and in the 1700s it belonged to the Spinola family, for whom it is now named.We are honoured to reproduce this unparalleled example of illumination from the J. Paul Getty Museum.

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A fascinating look at one of photography's most controversial and beloved iconsThe legacy of Robert Mapplethorpe (1946-1989) is rich and complicated, triggering controversy, polarizing critics, and providing inspiration for many artists who followed him. One of the most influential figures of his time, today Mapplethorpe stands as an example to emerging photographers who continue to experiment with the boundaries of acceptability and concepts of the beautiful.Robert Mapplethorpe: The Photographs offers a timely and rewarding examination of his oeuvre and influence. Drawing from the extraordinary collection jointly acquired in 2011 by the J. Paul Getty Museum and the Los Angeles County Museum of Art from the Robert Mapplethorpe Foundation, as well as the Mapplethorpe Archive housed at the Getty Research Institute, the authors were given the unique opportunity to explore new resources and present fresh perspectives. The result is a fascinating introduction to Mapplethorpe's career and legacy, accompanied by a rich selection of illustrations covering the remarkable range of his photographic work.All of these beautifully integrated elements contribute to what promises to become an essential point of access to Mapplethorpe's work and practice. This publication is issued on the occasion of the exhibition Robert Mapplethorpe: The Perfect Medium on view at both the J. Paul Getty Museum and at the Los Angeles County Museum of Art from March 15 through July 31, 2016; at the Musee des Beaux-Arts de Montreal from September 9, 2016, through January 7, 2017; and at the Art Gallery of New South Wales, Sydney, from October 2017 through February 2018.

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Cataloging some hundred thousand examples of ancient Greek painted pottery held in collections around the world, the authoritative Corpus Vasorum Antiquorum (Corpus of Ancient Vases) is the oldest research project of the Union Académique Internationale. Nearly four hundred volumes have been published since the first fascicule appeared in 1922. This new fascicule of the CVA-the tenth issued by the J. Paul Getty Museum and the first ever to be published open access-presents a selection of Attic red-figured column and volute kraters ranging from 520 to 510 BCE through the early fourth century BCE. Among the works included are a significant dinoid volute krater and a volute krater with the Labors of Herakles that is attributed to the Kleophrades Painter.

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What is a historiated initial? What are canon tables? What is a drollery? This revised edition of Understanding Illuminated Manuscripts: A Guide to Technical Terms offers definitions of the key elements of illuminated manuscripts, demystifying the techniques, processes, materials, nomenclature, and styles used in the making of these precious books. Updated to reflect current research and technologies, this beautifully illustrated guide includes images of important manuscript illuminations from the collection of the J. Paul Getty Museum and beyond. Concise, readable explanations of the technical terms most frequently encountered in manuscript studies make this portable volume an essential resource for students, scholars, and readers who wish a deeper understanding and enjoyment of illuminated manuscripts and medieval book production.

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In his Spring painting (1894), Lawrence Alma-Tadema represented the Victorian custom of sending children to collect flowers on the morning of May 1, or May Day. By placing the scene in ancient Rome, he suggested the festival’s great antiquity through architectural details, dress, sculpture and musical instruments based on Roman originals. Alma-Tadema’s curiosity about the ancient world was insatiable, and he incorporated his knowledge into over 300 paintings of ancient archaeological and architectural design. In later years, his large panoramic depictions of Greek and Roman life caught the attention of Hollywood. The set design of certain scenes in Cecil B. DeMille’s film Cleopatra (1934) was inspired by this painting. We are honoured to feature a detail from Spring as part of our collaborative The J. Paul Getty Museum Collection.  

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This is a stunningly illustrated examination of nearly two-hundred of the most important pieces in the J. Paul Getty Museum's Antiquities Collection. The antiquities collection at the J. Paul Getty Museum in Los Angeles contains more than fifty thousand objects. Spanning thousands of years - from Pre-classical times as far back as the third millennium B.C. through the third century A.D. - it encompasses Cycladic, Greek, Etruscan, South Italian, Roman, and Romano-Egyptian cultures. The collection includes one of the world's finest assemblages of ancient Greek vases, monumental marble sculptures and diminutive bronzes, Greek and Roman gems, as well as Hellenistic silverware, jewellery and glass. In lively prose accompanied by a full-colour photograph of each object, this handbook presents nearly two hundred of the Getty Museum's most important pieces in its collection.

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In his Spring painting (1894), Lawrence Alma-Tadema represented the Victorian custom of sending children to collect flowers on the morning of May 1, or May Day. By placing the scene in ancient Rome, he suggested the festival’s great antiquity through architectural details, dress, sculpture and musical instruments based on Roman originals. Alma-Tadema’s curiosity about the ancient world was insatiable, and he incorporated his knowledge into over 300 paintings of ancient archaeological and architectural design. In later years, his large panoramic depictions of Greek and Roman life caught the attention of Hollywood. The set design of certain scenes in Cecil B. DeMille’s film Cleopatra (1934) was inspired by this painting. We are honoured to feature a detail from Spring as part of our collaborative The J. Paul Getty Museum Collection.  

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This book presents a lavishly illustrated survey of the art of illumination from the collection of the J. Paul Getty Museum. It features 71 full-colour reproductions. This sumptuous volume presents more than 70 full-colour reproductions of some of the most highly-prized German and Central European manuscript illuminations in the world. This outstanding volume is the perfect introduction to an exquisite art form that flourished for centuries before the advent of the printing press and one that is now making a comeback in the world of bespoke art and design. The full-colour reproductions of these masterpiece works range from a sumptuously illuminated Ottonian texts from the late 10th and early 11th centuries to a copy of Rudolf von Em's Weltchronik, produced in the early fifteenth century, and chivalric and dynastic manuscripts from the sixteenth to the eighteenth centuries.

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'Beasts Factual and Fantastic' is the first in the Medieval Imagination series of small, affordable books that will draw on manuscript illuminations from the Middle Ages and early Renaissance. Often, as is in the case of the imaginary beasts that readers will encounter in this volume, artists depicted that which they did not see or know but which was nonetheless shaped by the prevailing beliefs, fears, and rudimentary science of the time. In other cases, manuscript illuminators recorded what they indeed did see - which, centuries later, reveals much about the world in which they lived. This volume features vivid and charming details from the wealth of manuscripts in the collections of the J. Paul Getty Museum and the British Library, along with a lively text; together both word and image provide an accessible and delightful introduction to the imagination of the medieval world.

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This book reproduces in color all fourteen images from a fifteenth-century manuscript, now part of the J. Paul Getty Museum collection. One of the finest illuminated secular manuscripts produced in the Netherlands during the period, the manuscript features miniatures that illustrate important episodes from the short life of the legendary Macedonian general. Titled Les fais d'Alexandre le grant, the manuscript is itself a translation of a text attributed to first-century Roman historian Quintus Curtius Rufus, whose Latin text is one of our principal literary sources for our knowledge of Alexander. McKendrick's authoritative text places the Getty's manuscript in its contexts as history and art and explains how the text and illuminations have much to tell us as well about the politics and aesthetics of the Burgundian Netherlands and the development of secular culture in Western Europe.

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'Faces of Power and Piety' is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favour of emphasising qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. 'Faces of Power and Piety' also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting.

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Vibrant colour was essential to the paintings of the American pop artist Roy Lichtenstein (1923-1997), and when he began exploring outdoor sculpture in the late 1970s, vivid hues-often achieved through the use of recently developed industrial paints and coatings-remained an important part of his artistic vocabulary. Today, preserving these remarkable works after they have endured decades in outdoor environments around the world is an issue of pressing concern. This abundantly illustrated volume is based on extensive archival research of his studio materials, interviews with his assistants, and a thorough technical analysis of the sculpture Three Brushstrokes, now in the collection of the J. Paul Getty Museum. The book concludes with a chapter showing various options for the care, conservation, and restoration of Lichtenstein's sculptural works, making this an essential resource for conservators, curators, and others interested both in the iconic artist and modern sculpture in general.

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Some of the great and lasting achievements of the Middle Ages and the Renaissance are the architectural wonders of soaring cathedrals, grand castles and palaces. While many of these edifices survive, many more are lost, and it is within the pages of illuminated manuscripts that we often find the best record of the appearance of these amazing buildings. This volume illustrates the creative ways in which medieval artists represented architecture, offering insight into what these buildings meant for medieval people. Such structures were not just made to be inhabited - they symbolised grandeur, power, and even heaven on earth. 'Building the Medieval World' is fourth in the popular Medieval Imagination series of small, affordable books drawing on manuscript illumination in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme and provides an accessible, delightful introduction to the imagination of the medieval world.

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In his Spring painting (1894), Lawrence Alma-Tadema represented the Victorian custom of sending children to collect flowers on the morning of May 1, or May Day. By placing the scene in ancient Rome, he suggested the festival’s great antiquity through architectural details, dress, sculpture and musical instruments based on Roman originals. Alma-Tadema’s curiosity about the ancient world was insatiable, and he incorporated his knowledge into over 300 paintings of ancient archaeological and architectural design. In later years, his large panoramic depictions of Greek and Roman life caught the attention of Hollywood. The set design of certain scenes in Cecil B. DeMille’s film Cleopatra (1934) was inspired by this painting. We are honoured to feature a detail from Spring as part of our collaborative The J. Paul Getty Museum Collection.  

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In his Spring painting (1894), Lawrence Alma-Tadema represented the Victorian custom of sending children to collect flowers on the morning of May 1, or May Day. By placing the scene in ancient Rome, he suggested the festival’s great antiquity through architectural details, dress, sculpture and musical instruments based on Roman originals. Alma-Tadema’s curiosity about the ancient world was insatiable, and he incorporated his knowledge into over 300 paintings of ancient archaeological and architectural design. In later years, his large panoramic depictions of Greek and Roman life caught the attention of Hollywood. The set design of certain scenes in Cecil B. DeMille’s film Cleopatra (1934) was inspired by this painting. We are honoured to feature a detail from Spring as part of our collaborative The J. Paul Getty Museum Collection.  

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Edward Henry Weston (1886-1958) first started taking photographs at the age of sixteen with a camera given to him by his father. Over the next five decades, he would come to be regarded by his peers as one of the greatest photographers of the twentieth century.This unique volume is a collection of his photographic studies of the nude form, first put together in 1953 with co-operation of acclaimed photography critic Nancy Newhall, and is the only book on the subject that Weston himself participated in. In the 1950s, however, publishers of fine art photography were reluctant to address the subject, and the proposal was rejected.In 1985, an incomplete version of the original mock up was acquired by the J. Paul Getty Museum. It was only in 2006 that the previously unpublished volume was able to be re-created in its original form - finally realizing Weston and Newhall's true vision.

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Jean-Honore Fragonard (1732-1806) was a French painter whose manner is distinguished by remarkable facility, exuberance, and hedonism, as well as a prolific output - he produced more than 550 paintings.One of his most striking pieces, "The Fountain of Love", is part of a series of works known as the 'Allegories of Love' that display an exquisite sense and atmosphere of intimacy and eroticism. This lavishly illustrated volume presents a detailed and engaging comparison and analysis of the compositions, iconography, and sources of the Allegories in their historical and artistic context. It also discusses the transcendental aspect of love in the Allegories and the concept of Romanticism on the eve of the French Revolution. This volume accompanies Consuming Passion: Fragonard's Allegories of Love, an exhibition of the artist's work that opens at the J. Paul Getty Museum in February 2008.

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Dutch artist Vincent van Gogh (1853–1890) was one of the greatest of the Post-Impressionist painters. Though much of his work, like this Irises study, is filled with brightness and light, Van Gogh’s own life was filled with personal turmoil.A severe mental health crisis, in which he now-famously cut off his own ear, prompted Van Gogh to admit himself to the Saint-Paul Asylum at Saint-Rémy in the south of France. His recuperation began with painting of the asylum garden, Irises chief among the resulting output. The close study of nature was the foundation of Van Gogh’s art, as his precise delineation of individual flowers suggests, but he also brought to that study an astonishing degree of subjective intensity. One can emotionally feel the painting’s strong colours, thickly applied paint and powerful decorative rhythms, all of which convey the artist’s sense of nature’s surging vitality.We are honoured to feature this seminal painting from the J. Paul Getty Museum in our collection.

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This is a comprehensive and superbly illustrated account of the Getty Museum's research into outdoor sculpture conservation. When the J. Paul Getty Museum received twenty-eight sculptures created by a who's who of twentieth-century artists, it took on the responsibility for their preservation, interpretation, and long-term stewardship. Donated from the private collection of the late film producer Ray Stark and his wife, Fran, the sculptures thrust the Getty into the evolving field of outdoor sculpture conservation. To honour its responsibility, the Museum embarked on new research into the collection's materials - bronze, lead, ceramic, and painted metal - and construction techniques. This book presents the conservators' comprehensive account of the process. Chapters are organized around phases of the project rather than individual sculptures and address key issues facing anyone charged with caring for works of art displayed outdoors, including: organization and planning; installation and grounds management; scientific analyses; collaborating with artists; structural issues; mounts, paint, coatings, and patinas; and, long-term maintenance.

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This is an extravagantly illustrated and engrossing exploration of the art of medieval fighting. This volume offers an intriguing look into the world of late medieval martial arts, from wrestling to swordsmanship and to the subtle tricks that could be employed when jousting on horseback. Using exceptional pen drawings (with gold leaf highlights) the book features some of the most interesting abstracts from Fior di Battaglia (The Flower of Battle), a manuscript by the renowned Italian fencing master Fiore dei Liberi depicting the knightly arts of fighting. The copy in the collection of the J. Paul Getty Museum, created in the early 15th-century, is the finest and most complete manuscript to survive. Offering detailed visual documentation of Fiore's techniques coupled with the author's genius for explaining sophisticated methods of offense and defence, the manuscript provides a comprehensive record of the skills by which men lived and died in the Middle Ages.

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With pages displaying astounding plays of naturalistic illusionism, the luxurious personal prayer book known as the Spinola Hours is one of the most visually sophisticated Flemish manuscripts of the 16th century.A book of hours contains texts including a calendar of Church holidays, the Hours of the Virgin (a cycle of prayer services devoted to the Virgin Mary), the Office for the Dead, and other prayers, hymns and readings. This particular example augments these contents with a special series of weekday offices and masses, providing even more possibilities for rich illuminations. The book was undoubtedly commissioned for a wealthy patron, perhaps Margaret of Austria, for whom the Master of James IV of Scotland, a famed manuscript illuminator and painter, produced other works. In the 1700s it belonged to the Spinola family in Genoa, from whom it takes its modern name.We are honoured to feature this unparalleled example of illumination from the J. Paul Getty Museum as part of our collaborative collection.

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In the years following the invention of photography in 1839, practitioners in France gave shape to this intriguing new medium through experimental printing techniques and innovative compositions. The rich body of work they developed proved foundational to the establishment of early photography, from the introduction of the paper negative in the late 1840s to the proliferation of more-standardized equipment and photomechanical technology in the 1860s. The essays in this elegant volume investigate the early history of the medium when the ambiguities inherent in the photograph were ardently debated. Focusing on the French photographers who worked with paper negatives, especially the key figures E douard Baldus, Gustave Le Gray, Henri Le Secq, and Charles Ne gre, Real/Ideal explores photography's status as either (or both) fine art or industrial product, its repertoire of subject matter, its ideological functions, and even the ever- experimental photographic process itself. This book is published in conjunction with an exhibition of the same name on view at the J. Paul Getty Museum at the Getty Center from August 30 through November 27, 2016.

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Due to the technological advances of the nineteenth century, an abundance of black drawing media exploded onto the market. Charcoal, conte crayon, and fabricated black chalks and crayons; fixatives; various papers; and many lifting devices gave rise to an unprecedented amount of experimentation. Indeed, innovation became the rule, as artists developed their own unique-and often experimental-processes. The exploration of black media in drawing is inextricably bound up with the exploration of black in prints, and this volume presents an integrated study that rises above specialization in one over the other. This richly illustrated catalogue brings together such diverse artists as Francisco de Goya, Maxime Lalanne, Gustave Courbet, Odilon Redon, and Georges Seurat and explores their inventive works on paper. Sidelining labels like "conservative" or "avant-garde," the essays in this book employ all the tools that art history and modern conservation have given us, inviting the reader to look more broadly at the artists' methods and materials. This volume accompanies an exhibition of the same name on view at the J. Paul Getty Museum from February 9 to May 15, 2016.

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Between 1561 and 1562 Georg Bocskay, secretary to Emperor Ferdinand I, assembled a large selection of contemporary and historical writings in the Mira Calligraphiae Monumenta, in an attempt to demonstrate his technical skill as a court scrivener. Around thirty years later, Ferdinand’s grandson, Emperor Rudolf II commissioned Joris Hoefnagel, one of the last great European manuscript illuminators, to provide exclusive illuminations for the pages. Currently in the collection of the J. Paul Getty Museum, this unique book—the only one worldwide—was fi rst published in facsimile form in 1993, with extensive commentary by Lee Hendrix and Thea Vignau-Wilberg. Now, at last, there is a newly produced facsimile edition in German. Besides biographies of these two exceptional artists, as well as an analytical observation of the role the manuscript played in the careers of both, Hoefnagel’s illuminations are examined more closely. An indispensable volume for anyone interested in design, typography, manuscript illumination, and exquisite craftsmanship. “The ultimate book-lover’s gift book,” raves The Los Angeles Times.

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From the costly velvets and furs worn by kings to the undyed wools and rough linens of the peasantry, the clothing worn by the various classes in the Middle Ages played an integral role in medieval society. In addition to providing clues to status, profession, and/or geographic origin, textiles were a crucial element in the economies of many countries and cities. Much of what is known about medieval fashion is gleaned from the pages of manuscripts, which serve as a rich source of imagery. This volume provides a detailed look at both the actual fabrics and composition of medieval clothing as well as the period's attitude toward fashion through an exploration of illuminated manuscripts in the collection of the J. Paul Getty Museum. The last portion of the book is dedicated to the depiction of clothing in biblical times and the ancient world as seen through a medieval lens. Throughout, excerpts from literary sources of the period help shed light on the perceived role and function of fashion in daily life.

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