About: Erene Rafik Morcos

I’m a curatorial assistant in the Department of Manuscripts at the J. Paul Getty Museum, and perform an assortment of curatorial duties with our manuscripts including coordinating documentation initiatives for new acquisitions, hunting down and compiling bibliographic information about the pieces in our collection, and co-curating a manuscript exhibition: Gothic Grandeur: Manuscript Illumination 1200–1350. I hold a bachelor’s degree with concentrations in both architecture and art history from Yale University and am currently contemplating my next academic steps.

Posts by Erene

Posted in Behind the Scenes, Getty Foundation, Manuscripts and Books, Philanthropy

Putting the Pieces Together: A Multicultural Undergraduate Internship

Erene Morcos at the entrance to the Getty Center manuscripts exhibition Gothic Grandeur

My relationship with the Getty began when I was still an undergrad studying architecture and the history of art. As a junior I applied for the Multicultural Undergraduate Internship offered by the Getty Foundation, and was thrilled to receive an… More»

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Posted in Art, Behind the Scenes, J. Paul Getty Museum, Manuscripts and Books

Time for a Manuscript Close-Up! Welcoming the Abbey Bible to the Museum

Erene Rafik Morcos documenting the Abbey Bible in the Manuscripts Study Room at the J. Paul Getty Museum

The 13th-century illuminated manuscript known as the Abbey Bible recently joined the collection of the Getty Museum—and when the special book arrived, the task of documenting it fell to me. This meant I had to spend a lot of time… More»

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      ROSE

      This milky pink boomed into popularity because of a marketing ploy, a mistress, and its ambiguous origins.

      In an effort to compete with the renowned Meissen porcelain factory, the French Sèvres manufactory recruited the glamorous Madame de Pompadour (mistress to King Louis XV). Like a smart sponsorship deal, Sèvres gave her all the porcelain she requested. 

      Introduced in 1757, this rich pink exploded on the scene thanks to favoritism by Madame Pompadour herself. 

      The glaze itself had a weird history. To the Europeans it looked Chinese, and to the Chinese it was European. It was made based on a secret 17th-century glassmaker’s technique, involving mixing glass with flecks of gold.

      For more on colors and their often surprising histories, check out The Brilliant History of Color in Art.

      12/19/14

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