Renaissance

Posted in Art, Art & Archives, Scholarship, technology

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 Art, Art & Archives, J. Paul Getty Museum, Prints and Drawings

Depicting the Sacred through Fabric

Studies of Christ’s Loincloth / Master of the Coburg Roundels
Studies of Christ’s Loincloth, about 1490, Master of the Coburg Roundels. Pen and brown and black ink with brown and gray wash, 11 x 8 1/8 in. The J. Paul Getty Museum, 93.GA.10

What is this unusual drawing all about? More»

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Posted in Art, Art & Archives, Behind the Scenes, Getty Research Institute

A Beginner’s Guide to the Renaissance Book

Page in Liber amicorum
Page in Liber amicorum, 1602–12, Johann Heinrich Gruber. The Getty Research Institute, 870108. See full digitized book

A tour of the early printed page. More»

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Posted in Art & Archives, Exhibitions and Installations, J. Paul Getty Museum, Paintings

Andrea del Sarto’s Seductive Saints

Saint John the Baptist / Andrea del Sarto
Istituti museali della Soprintendenza Speciale per il Polo Museale Fiorentino. Su concessione del Ministero dei beni e delle attività culturali e del turismo

Why Renaissance artists rendered sacred bodies beautiful and erotic. More»

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

A Renaissance Mystery, from a Marriage to a Sacrifice

The Sacrifice of Isaac / Andrea del Sarto
Gemäldegalerie Alte Meister, Dresden

A chance discovery within an Andrea del Sarto panel. More»

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

The Secrets of Renaissance Creativity

Studies of Figures behind a Balustrade / Andrea del Sarto
Studies of Figures behind a Balustrade (detail), about 1522, Andrea del Sarto. Red chalk, 6 7/8 x 7 7/8 in. The J. Paul Getty Museum, 92.GB.74

A curator’s take on Andrea del Sarto. More»

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

The Rise and Fall of a Court Artist in Renaissance Italy

Initial A: Young Christ Blessing (detail) from Antiphonal P of San Giorgio Maggiore, Belbello da Pavia, about 1467-1470. The J. Paul Getty Museum, Ms. 96, verso
Initial A: Young Christ Blessing (detail) from Antiphonal P of San Giorgio Maggiore, Belbello da Pavia, about 1467-1470. The J. Paul Getty Museum, Ms. 96, verso

The unusual life tale of Renaissance illuminator Belbello da Pavia More»

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

Parallel Exhibitions on Renaissance Courts

Initial L: The Nativity, Master B. F., about 1542–45. Archivio Storico Civico e Biblioteca Trivulziana, Milan
Corale A, fol. 33 (© Comune di Milano. All rights reserved.)
Initial L: The Nativity, Master B. F., about 1542–45. Archivio Storico Civico e Biblioteca Trivulziana, Milan Corale A, fol. 33 (© Comune di Milano. All rights reserved.)

Los Angeles and Milan host parallel exhibitions of illuminated manuscripts. More»

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Posted in Behind the Scenes, Getty360, J. Paul Getty Museum

How to Eat Like a Renaissance Courtier

Armorial Dish with the Flaying of Marsyas
This istoriato plate bears the coat of arms of the Brescian Calini family and presents the myth of a musical contest between Apollo and the satyr Marsyas. Armorial Dish with the Flaying of Marsyas, mid-1520s, Nicola da Urbino. Tin-glazed earthenware, 2 1/4 x 16 5/16 in. The J. Paul Getty Museum, 84.DE.117

What did the Renaissance Italians really eat? More»

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Posted in Art & Archives, Behind the Scenes, J. Paul Getty Museum, Manuscripts and Books

A Manuscript Collector’s Perspective

What draws an art collector to focus on Renaissance manuscripts? More»

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      A Brief History of the Fleur-de-lis in Art

      The fleur-de-lis, a familiar symbol with varied meanings and a rather obscure origin.

      If you read the labels of objects in museums bearing the fleur-de-lis (in French, fleur de lys, pronounced with the final “s”), you might notice that they were all made in France before the French Revolution of 1789. 

      What’s less apparent is that the fleur-de-lis marks objects that bear witness to a dramatic history of monarchy, democracy, and war: they speak to the inherent power of trappings commissioned for and by France’s pre-revolutionary kings.

      Adopted as a royal emblem in France by the 1100s, the fleur-de-lis can be traced to early Frankish monarchs including Clovis I, who converted to Christianity in 496, and the renowned Charlemagne. 

      A French word, fleur-de-lis translates literally to “lily flower.” This is appropriate given the association of lilies with purity (and the Virgin Mary) and given that France has long been known as the “Eldest Daughter of the Church.” In truth, the stylized flower most closely resembles a yellow iris. 

      As a heraldic symbol used in the arms of the French monarchy, the fleur-de-lis often appears in yellow or gold tones and set on a blue shield. 

      Given its intimate royal associations, the fleur-de-lis invoked the ire of revolutionaries even before the fall of the monarchy in 1792. In addition to toppling royal statues, vandals chipped away at crowns and fleurs-de-lis adorning the façades of buildings.

      Full blog post on the Getty Iris here.

      04/28/16

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