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

The Middle Ages and Modern Abstraction

The Virgin and Child with the Archangels Michael and Gabriel from Gospel Book, about 1504 - 1505. 13 9/16 x 10 ¼ in. (34.5 x 26.5 cm). MS. 102, FOL. 19V
The Virgin and Child with the Archangels Michael and Gabriel from Gospel Book, about 1504 - 1505. 13 9/16 x 10 ¼ in. (34.5 x 26.5 cm). MS. 102, FOL. 19V

Abstraction was no modern innovation—it’s been an integral part of art across the centuries. More»

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Posted in Art, J. Paul Getty Museum, Paintings

A Horse, Of Course! Curator Anne Woollett on Equine Painting

The "Piebald" Horse,  Paulus Potter, Dutch, about 1650 - 1654, Oil on canvas, 19 1/2 x 17 11/16 in., The J. Paul Getty Museum
The "Piebald" Horse

Horses have been the subject of paintings, sculptures, drawings, and other renderings for thousands of years. They have been depicted as companions of man, within picturesque landscapes, and in dynamic races, chases, and battles. Anne Woollett, curator of paintings at… More»

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Posted in Art, J. Paul Getty Museum, Paintings

Watteau’s Serious Clown Comes to the Getty

The Italian Comedians in a Park / Antoine Watteau

Antoine Watteau is famous for his theatrical pictures of the 18th-century French megarich at their elegant balls and fêtes galantes. Theater of a different kind figures in The Italian Comedians, a beautiful and poignant painting that has just joined the… More»

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A “French ‘Mona Lisa’” Comes to L.A.: Manet’s “Portrait of Madame Brunet”

Portrait of Madame Brunet / Edouard Manet

Museum-quality paintings by Édouard Manet still remaining in private hands are exceptionally rare, and the Getty Museum is extremely fortunate in its most recent addition to the paintings collection: Manet’s Portrait of Madame Brunet, which goes on view at the… More»

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Posted in Art, J. Paul Getty Museum, Paintings

The Princess Is Back

Portrait of Leonilla, Princess of Sayn-Wittgenstein-Sayn by Franz Xaver Winterhalter in Gallery W201 at the Getty Center

In March, one of the most elegant women at the Museum was forcibly escorted out of the galleries. I was there and saw the whole thing. Princess Leonilla, who’d been on constant view since the Getty Center opened in 1997,… More»

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Posted in Behind the Scenes, J. Paul Getty Museum, Paintings

Audio: Gallery Talk on Turner’s “Modern Rome”

Modern Rome–Campo Vaccino, Joseph Mallord William Turner (English, 1775–1851), 1839. Oil on canvas, 36 1/8 x 48 1/4 in. (unframed), 48 1/4 x 60 3/8 x 4 3/8 in. (framed). The J. Paul Getty Museum, 2011.6
Modern Rome–Campo Vaccino, Joseph Mallord William Turner (English, 1775–1851), 1839. Oil on canvas, 36 1/8 x 48 1/4 in. (unframed), 48 1/4 x 60 3/8 x 4 3/8 in. (framed). The J. Paul Getty Museum, 2011.6

Emily Beeny of the Museum’s paintings department recently gave a gallery talk for eager Getty staff to acquaint us with the Museum’s new painting by J.M.W. Turner, whose arrival and installation we posted about on Friday. We invite you to… More»

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Posted in Art, Behind the Scenes, Conservation, Exhibitions and Installations, Paintings

Behind the Scenes with J.M.W. Turner’s “Modern Rome”

framing_a_masterpiece

How long does it take to install a painting in the Museum, from loading dock to gallery wall? For J.M.W. Turner’s Modern Rome—Campo Vaccino, the answer is seven days: really busy days, with lots of people working together to make… More»

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Posted in Art, Behind the Scenes, J. Paul Getty Museum, Paintings

Labeling Turner

Modern Rome–Campo Vaccino, Joseph Mallord William Turner (English, 1775–1851), 1839. Oil on canvas, 36 1/8 x 48 1/4 in. (unframed), 48 1/4 x 60 3/8 x 4 3/8 in. (framed). The J. Paul Getty Museum, 2011.6

Writing the gallery label for a painting can sometimes feel like an art form in itself, a kind of circumscribed descriptive poetry not unrelated to haiku. How, in fewer than 100 words, do you capture the essence of an object,… 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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