illuminated manuscripts

Posted in Exhibitions and Installations, J. Paul Getty Museum, Manuscripts and Books

Talking the Global Middle Ages with Curator Bryan Keene

Bryan Keene

Curator Bryan Keene takes questions from inquiring Instagrammers More»

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Posted in Art, Scholarship

Global Pathways through Medieval Manuscripts and the Modern Museum

Global inspiration from the Getty permanent collection.
Global inspiration from the Getty permanent collection.

Contextualizing early book arts in world history. More»

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Posted in J. Paul Getty Museum, Manuscripts and Books

Who’s More Gluttonous, the Rich or the Poor?

The Temperate and the Intemperate in The Memorable Deeds and Sayings of the Romans, about 1475–80, Master of the Dresden Prayer Book, artist, Valerius Maximus, author. Tempera colors and ink on parchment, 6 7/8 x 7 5/8 in. The J. Paul Getty Museum, Ms. 43, recto
The Temperate and the Intemperate in The Memorable Deeds and Sayings of the Romans, about 1475–80, Master of the Dresden Prayer Book, artist, Valerius Maximus, author. Tempera colors and ink on parchment, 6 7/8 x 7 5/8 in. The J. Paul Getty Museum, Ms. 43, recto

The worst sin? Illuminated manuscripts present two different perceptions of gluttony. More»

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Posted in J. Paul Getty Museum, Manuscripts and Books, Scholarship

Heraldry Illuminated: Deciphering Coats of Arms and other Manuscript Mysteries

A Young Knight in Armor Kneeling in Prayer before Saint Anthony, Dreux Jean, from The Invention and Translation of the Body of Saint Anthony, about 1465-70. The J. Paul Getty Museum, Ms. Ludwig XI 8, fol. 50
A Young Knight in Armor Kneeling in Prayer before Saint Anthony, Dreux Jean, from The Invention and Translation of the Body of Saint Anthony, about 1465-70. The J. Paul Getty Museum, Ms. Ludwig XI 8, fol. 50

Help us solve a heraldry mystery. More»

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Posted in Exhibitions and Installations, J. Paul Getty Museum, Manuscripts and Books

7 Things to Look for in Paintings of the Last Supper

The Last Supper, about 1525–30, Simon Bening. Tempera colors, gold paint, and gold leaf on parchment; 6 5/8 x 4 1/2 in. The J. Paul Getty Museum, Ms. Ludwig IX 19, fol. 83v
The Last Supper, about 1525–30, Simon Bening. Tempera colors, gold paint, and gold leaf on parchment; 6 5/8 x 4 1/2 in. The J. Paul Getty Museum, Ms. Ludwig IX 19, fol. 83v

Things to know to decipher the images in one of the most depicted subjects in the history of art More»

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Posted in J. Paul Getty Museum, Manuscripts and Books

Star Wars and Medieval Manuscripts

A Star Wars-inspired tour of celestial images in our manuscripts collection. More»

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Posted in J. Paul Getty Museum, Manuscripts and Books, Miscellaneous

Noodles Fit for the Mother of God

Detail of Joseph cooking in a Renaissance manuscript

A food historian recreates a dish that Mother Mary may have been served. More»

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Posted in Art, Exhibitions and Installations, Manuscripts and Books

Why Aren’t People Eating in Medieval Depictions of Feasts?

Temperate and the Intemperate, Master of the Dresden Prayer Book, miniature from Valerius Maximus, The Memorable Deeds and Sayings of the Romans, Bruges, about 1470-80, The J. Paul Getty Museum, Ms. 43, recto
Temperate and the Intemperate, Master of the Dresden Prayer Book, miniature from Valerius Maximus, The Memorable Deeds and Sayings of the Romans, Bruges, about 1470-80, The J. Paul Getty Museum, Ms. 43, recto

The medieval struggle to resist sin. More»

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Medieval Mysteries: Considering a Recent Acquisition

The Rejection of Joachim and Anna’s Offering, leaf from a book of hours, about 1410–30, attributed to the Rohan Master or immediate circle. Tempera colors and gold on parchment, 10 ¼ x 7 5/16 in. The J. Paul Getty Museum, Ms. 112, recto
The Rejection of Joachim and Anna’s Offering, leaf from a book of hours, about 1410–30, attributed to the Rohan Master or immediate circle. Tempera colors and gold on parchment, 10 ¼ x 7 5/16 in. The J. Paul Getty Museum, Ms. 112, recto

A manuscript page bursting with art historical mysteries. More»

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Posted in J. Paul Getty Museum, Manuscripts and Books

Medieval Manuscripts and Digital Curation

Eat, Drink, and Be Merry virtual exhibition

From tasty to terrifying, three virtual exhibits explore the wealth of illuminated manuscripts. More»

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      #ProvenancePeek: Shark Attack!

      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 dynamic painting of a 1749 shark attack in Havana, Cuba, by John Singleton Copley was too good to paint only once. The original hangs at the National Gallery of Art in Washington, D.C. A second full-sized version of the painting, which Copley created for himself, was inherited by his son and eventually gifted to the Museum of Fine Arts, Boston.

      The third version (shown here) is slightly reduced in size, with a more vertical composition. It resides in the Detroit Institute of Arts.

      A quick peek into the digitized stock and sales books of art dealer M. Knoedler & Co. at the Getty Research Institute shows the sale of Copley’s masterpiece. It was entered under stock number A3531 in July 1946 and noted as being sold to the Gallery by Robert Lebel, a French writer and art expert. The Knoedler clerk also carefully records the dimensions of the painting—30 ¼ x 36 inches, unframed.

      On the right side of the sales page you’ll find the purchaser listed as none other than the Detroit Institute of Arts. The corresponding sales book page gives the address: Woodward Ave, Detroit, Mich., still the location of the museum.

      Watson and the Shark, 1782, John Singleton Copley. Detroit Institute of Arts

      _______

      #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.

      02/10/16

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