Behind the Scenes, Education, Getty Center, Getty Villa, J. Paul Getty Museum

Let Me Tell You a Story: Docent Tours That Entertain and Educate

If you’re planning to visit the Getty this holiday, you may be surprised to learn that we have no tour guides. Instead, we have engineers, film producers, social workers, photographers, teachers, doctors, artists, salespeople, landscapers, and just about every other profession you can name.

These are Getty docents, spirited volunteers who in their roles as educators draw on their individual experiences to create original, one-of-a-kind tours that introduce over 170,000 of our visitors each year to the architecture and gardens of the Getty Center and the Getty Villa.

Docent George Terrell at the Getty Center

Docent George Terrell under the row of crape myrtles and lavender outside the Museum entrance at the Getty Center

Each docent creates a unique theme to serve as the core of his or her tour—which means you’ll be treated to a fresh perspective each time you visit. How does Richard Meier use light as a building material? Why is the Getty Center like an island in the sky? How would we read the Getty Villa if it were a book titled Ancient Romans and Their Extravagant Lifestyles?

This creative slant is supported by Sue Denness, head of the docent program. “I have a somewhat different approach to touring than what’s found at many museums,” she told me. Yes, it’s essential to know the material and be accurate. “But I don’t believe in ‘canned’ talks. I encourage docents’ individual styles. This makes it challenging and fulfilling for docents and visitors alike.”

Docent Catherine Brackey giving a tour at the Getty Villa

Docent Catherine Brackey discusses the mosaic-and-shell fountain in the East Garden at the Getty Villa

“You’re encouraged to bring who you are to your tour,” agrees Sean Fox, a professional photographer who leads garden tours at the Center on Sundays. When he joined the program four years ago, Sean took 60 photos of Robert Irwin’s Central Garden and storyboarded his entire tour, step by step, visual by visual.

Pierre Escaron, a retired engineer with a philosophical bent, takes a very different approach to the same garden. “I love Robert Irwin’s writings,” he enthusiastically explained to me, “so my tour is two-thirds Irwin, one-third garden.”

Margaret Smith, a former teacher, has been telling stories—at the “old Getty,” then the Center, and now back at the Villa—for 30 years. (“I was ten when I started,” she joked.) Margaret has loved the ancient world since she spent her junior year abroad in Rome. If you visit the Villa with her, you’ll catch her enthusiasm as you explore what parts of a Roman villa were public, which parts private, and why.

Besides being great storytellers, Margaret, Pierre, Sean, and all Getty docents are amazingly dedicated. More than 103 have worked here for a decade or more, and fully a third give more hours than the program asks of them. As a new docent 29 years ago, Margaret calmly completed her shift despite labor pains. Now that’s dedication—and a good story, too!

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      #ProvenancePeek: July 31

      Every art object has a story—not only of how it was made, but of how it changed hands over time until it found its current home. That story is provenance.

      This small panel by Dutch master Gerrit Dou (photographed only in black and white) is now in the collection of the Sterling and Francine Clark Art Institute. It was sold to American collector Robert Sterling Clark, an heir to the Singer sewing machine fortune, in the summer of 1922.

      How do we know this? Archival sleuthing! A peek into the handwritten stock books of M. Knoedler & Co. (book 7, page 10, row 40, to be exact) records the Dou in “July 1922” (right page, margin). Turning to the sales books, which lists dates and prices, we again find the painting under the heading “New York July 1922,” with its inventory number 14892. A tiny “31” in superscript above Clark’s name indicates the date the sale was recorded.

      M. Knoedler was one of the most influential dealers in the history of art, selling European paintings to collectors whose collections formed the genesis of great U.S. museums. The Knoedler stock books have recently been digitized and transformed into a searchable database, which anyone can query for free.

      Girl at a Window, 1623–75, Gerrit Dou. Oil on panel, 10 9/16 x 7 ½ in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts


      #ProvenancePeek is a monthly series by research assistant Kelly Davis peeking into #onthisday provenance finds from the M. Knoedler & Co. archives at the Getty Research Institute.

      07/31/15

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