German art

Posted in Art, J. Paul Getty Museum, Prints and Drawings

This Just In: The Romantic Zeitgeist

A Swan among Reeds by Moonlight, September 18, 1852, Carl Gustav Carus, charcoal with white chalk heightening on brown paper. The J. Paul Getty Museum.
A Swan among Reeds by Moonlight, September 18, 1852, Carl Gustav Carus, charcoal with white chalk heightening on brown paper. The J. Paul Getty Museum.

Three Romantic drawings are on view for the first time. More»

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Posted in Getty Research Institute, Prints and Drawings, Research

Treasures from the Vault: Heinrich Geissler’s Groundbreaking Archive

Black and white photograph of an unsigned drawing of a man holding a bow
Study photograph of an unsigned drawing of a man holding a bow

A newly catalogued archive sheds light on how art history was written in Germany after the war. More»

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Posted in Art, Getty Research Institute, Prints and Drawings

Philipp Otto Runge’s “Times of Day,” A Monument of German Romantic Art

Detail of the female figure in Evening from the Times of Day suite / Philipp Otto Runge

This remarkable four-print series depicts the coming and departing of light, which points to the cycles of life from conception to death. More»

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Posted in Getty Research Institute, Publications, Research

New Online Resource to Reveal Stories about Nazi-Looted Art, Wartime Art Market

Paintings in storage at the Munich Central Collecting Point / Johannes Felbermeyer
Paintings in storage at the Munich Central Collecting Point, ca. 1945–49, Johannes Felbermeyer. This was one of several sites used by the Allies to identify, photograph, and restitute Nazi-seized artworks after the war. Photo Study Collection. The Getty Research Institute, 89.P.4

Featuring over 2,000 newly digitized catalogs, a new database will revolutionize Nazi-era art research. More»

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Posted in Art, Exhibitions and Installations, J. Paul Getty Museum, Photographs, Film, and Video

All in the Family: Lyonel Feininger, His Sons, and Photography

Bauhaus / Lyonel Feininger, March 22, 1929

Many know Lyonel Feininger as an accomplished painter, printmaker, and caricaturist whose work is forever linked to the Bauhaus movement. He was Walter Gropius’s first faculty appointment to the Weimar art school in 1919, and he helped shape an artistic… More»

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Posted in Exhibitions and Installations, J. Paul Getty Museum, Photographs, Film, and Video

Lyonel Feininger’s Photographic Vision

Moholy's Studio Window around 10 p.m. / Lyonel Feininger

In the 1920s, Lyonel Feininger was one of Germany’s best-known artists. He painted, drew, and made prints; he sketched caricatures and composed music; he even created a miniature city that would presage stop-motion animation. But in 1928, at age 58,… More»

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Posted in Art, Exhibitions and Installations, J. Paul Getty Museum, Prints and Drawings

The Nazarenes: German Artists Illuminating the Spirit of the Age

The Coronation of Charlemagne, Julius Schnorr von Carolsfeld, 1840. Brown ink over graphite on paper. The J. Paul Getty Museum, 2009.5

In the emerald-green galleries of the exhibition Spirit of an Age: Drawings from the Germanic World, I was drawn to a cluster of quiet drawings that convey beautiful stories: miraculous healings, heroic quests of medieval knights, momentous coronations. These are… More»

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Posted in Art, J. Paul Getty Museum, Sculpture and Decorative Arts

In Search of Messerschmidt’s “Vexed Man”

The Vexed Man, Franz Xaver Messerschmidt, 1771–83. Alabaster, 16 9/16 in. high

New for summer 2012—The Vexed Man is back at the Getty, but he’s moved from his usual haunts for the exhibition Messerschmidt and Modernity, July 24–October 13, 2012. The show brings together several of Messerschmidt’s Character Heads, including the excellently… More»

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Posted in Art, J. Paul Getty Museum, Sculpture and Decorative Arts

Cabinet of Wonders

cabinet

The Augsburg Display Cabinet—the Getty Museum’s 17th-century “cabinet of curiosities” on display starting tomorrow in our New Galleries for Medieval and Renaissance Sculpture and Decorative Arts—is both a work of art and an early prototype of museums. With dozens of… More»

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      Corita said that ads and billboards were the carriers of man’s loves, hopes, and beliefs, and that she was restoring life to words by taking them back from advertising. For Corita, “the big G” wasn’t General Mills, it was God; the dots on the Wonder Bread wrapper weren’t a decorative element, they were hosts. But her work was not a commentary or criticism of mass-market commercialism, as some may read it today. Her work was about joy and, she said, giving people an idea of what harmony might look like.

      If she were alive today, I’m sure Corita would still be an advocate for social justice and creating work with a message. I’m sure she would be delighted to communicate with people all over the world through social media. For Corita, looking was a spiritual act and she would invite you to do that: just look.

      Corita Kent, An Artist Who Sees Holiness in Wonder Bread

      All images: Corita Art Center, Immaculate Heart Community, Los Angeles, CA. Photographs by Arthur Evans, courtesy of the Tang Museum at Skidmore College

      08/28/15

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