National Gallery of Art

Posted in Art, Exhibitions and Installations

Garry Winogrand’s Scenes of Ebulliance, and Unease

Coney Island, New York. c. 1952. Gelatin silver print, 8 11/16 x 12 15/16" (22 x 33 cm). Purchase and gift of Barbara Schwartz in memory of Eugene M. Schwartz. Estate of Garry Winogrand, courtesy of Fraenkel Gallery
Coney Island, New York. c. 1952. Gelatin silver print, 8 11/16 x 12 15/16" (22 x 33 cm). Purchase and gift of Barbara Schwartz in memory of Eugene M. Schwartz. Estate of Garry Winogrand, courtesy of Fraenkel Gallery

A retrospective now at the Met captures America’s postwar “out-of-control-ness” More»

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Posted in Art, Getty Research Institute, Paintings, Research

Treasures from the Vault: Knoedler, Mellon, and an Unlikely Sale

Venus with a Mirror / Titian
Venus with a Mirror, about 1555, Titian. Oil on canvas, 49 x 41 9/16 in. The National Gallery of Art, Washington, D.C., 1937.1.34. Andrew W. Mellon Collection

One of the most remarkable art sales of the 20th century, as told in documents from the Knoedler archives at the Getty Research Institute. More»

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Posted in Art, Paintings, Photographs, Film, and Video, Prints and Drawings

Dogs Behaving Badly

A Merry Company / Jacob Jordaens
A Merry Company, about 1644, Jacob Jordaens. Watercolor and white gouache heightening over black chalk. The J. Paul Getty Museum, 2000.59

Most dogs are impeccably well behaved—in art, anyway. They sit quietly on laps, raise a paw for their beloved master, or contort themselves into perfect S curves. The king of Old Master dogs is Guercino’s heroic mastiff, who looks like… More»

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Posted in Getty Foundation, Research

Looking With New Eyes at Scholarly Art Catalogues

SFMOMA, one of the participants in the OSCI initiative, has chosen to focus on Robert Rauschenberg, given their significant holdings of his work, and their team is gathering together curatorial essays, conservation documentation, audio interviews and related materials in a single online resource. Image: Collection (formerly Untitled), Robert Rauschenberg, 1954, oil, paper, fabric, wood, and metal on canvas, SFMOMA
SFMOMA, one of the participants in the OSCI initiative, has chosen to focus on Robert Rauschenberg, given their significant holdings of his work, and their team is gathering together curatorial essays, conservation documentation, audio interviews and related materials in a single online resource. Image: Collection (formerly Untitled), Robert Rauschenberg, 1954, oil, paper, fabric, wood, and metal on canvas, SFMOMA

The scholarly catalogue has long been a critical part of a museum’s mission, providing authoritative information about collection objects for scholars, students, and the general public. Richly illustrated and often based on years of painstaking research, print catalogues form one… More»

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      I do not like crooked, twisted, blasted trees. I admire them much more if they are tall, straight, and flourishing. I do not like ruined, tattered cottages. I am not fond of nettles or thistles, or heath blossoms. I have more pleasure in a snug farm-house than a watch-tower—and a troop of tidy, happy villages please me better than the finest banditti in the world.”

      Marianne looked with amazement at Edward, with compassion at her sister. Elinor only laughed.

      —Jane Austen’s Sense and Sensibility, published on October 30, 1811

      Wooded Landscape by Paulus Lieder and Landscape with a Bare Tree and a Ploughman by Leon Bonvin, The J. Paul Getty Museum; Fantastic Oak Tree in the Woods, Carl Wilhelm Kolbe the Elder, The Getty Research Institute

      10/30/14

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