About: Bryan C. Keene

I’m assistant curator in the Department of Manuscripts at the Getty Museum. I'm pursuing a PhD at The Courtauld Institute of Art in London and I hold a master’s from Syracuse University in Italian Renaissance art as well as a bachelor’s degree from Pepperdine University in art history and Romance linguistics and cultures. My most recent project was the exhibition and book Gardens of the Renaissance. I was also contributing curator and author to the exhibition and catalogue Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. I am currently working on the exhibition Renaissance Splendors of the Northern Italian Courts, which opens March 31, 2015.

Posts by Bryan C.

Posted in J. Paul Getty Museum, Manuscripts and Books

Deathly Meditations in Medieval Manuscripts

The Martyrdom of Saint Sebastian, Master of Sir John Fastolf, about 1430-40. The J. Paul Getty Museum, Ms. 5, fol. 36v
The Martyrdom of Saint Sebastian, Master of Sir John Fastolf, about 1430-40. The J. Paul Getty Museum, Ms. 5, fol. 36v

Death is coming. Prepare with these images from illuminated manuscripts. More»

Tagged , , , , , Leave a comment
Posted in 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»

Tagged , , , , Leave a comment
Posted in Art, Manuscripts and Books

The Wars to Come: Game of Thrones and Medieval Art

Philosophy Consoling Boethius and Fortune Turning the Wheel (detail) from The Consolation of Philosophy by Boethius, Coëtivy Master (Henri de Vulcop?), about 1460—70. The J. Paul Getty Museum, Ms. 42. Leaf 1v
Philosophy Consoling Boethius and Fortune Turning the Wheel (detail) from The Consolation of Philosophy by Boethius, Coëtivy Master (Henri de Vulcop?), about 1460—70. The J. Paul Getty Museum, Ms. 42. Leaf 1v

A medievalist’s-eye-view of Game of Thrones, season 5. More»

Tagged , , , 5 Responses
Posted in Art, Manuscripts and Books

Medieval Meditations on the Human Condition

Initial K: Caritas from Gradual, Master of the Cypresses (Pedro de Toledo?), about 1430-1440. The J. Paul Getty Museum, Ms. 15, verso
Initial K: Caritas from Gradual, Master of the Cypresses (Pedro de Toledo?), about 1430-1440. The J. Paul Getty Museum, Ms. 15, verso

In honor of Day With(out) Art, a selection of images that make us more human. More»

Tagged , , , , , Leave a comment
Posted in J. Paul Getty Museum, Manuscripts and Books

The Ghost That Wasn’t There

A Monk and Guy’s Widow Conversing with the Soul of Guy de Thurno (detail) in The Vision of the Soul of Guy de Thurno, Simon Marmion, 1475. The J. Paul Getty Museum, Ms. 31, fol. 7
A Monk and Guy’s Widow Conversing with the Soul of Guy de Thurno (detail) in The Vision of the Soul of Guy de Thurno, Simon Marmion, 1475. The J. Paul Getty Museum, Ms. 31, fol. 7

What does an invisible ghost look like? Um, well, like this. More»

Tagged , , , , Leave a comment
Posted in J. Paul Getty Museum, Manuscripts and Books

Delightfully Horrifying Manuscript Illuminations

Halloween5

Selections from the collection for Halloween. More»

Tagged , , , , , Leave a comment
Posted in Art, J. Paul Getty Museum, Manuscripts and Books, Research

Revisiting a Florentine Master

Left: A Bust of a Pope-Saint, about 1310-1315, Pacino di Bonaguida.  Pot-metal and clear glass, black and brown vitreous paint, 35 13/16 x 26 3/8 in. Museo dell’Opera di Santa Croce, Fondo Edifici di Culto, Ministero dell’Interno, Florence. Center: Saint Francis in Antiphonary, about 1320, Pacino di Bonaguida.  Tempera colors and gold leaf on parchment, 20 ½ x 13 15/16in.  Archivio di Santa Croce, Florence, Corale Q, fol. 121v (Photo: Bryan C. Keene). Right: Chiarito Tabernacle (detail), 1340s, Pacino di Bonaguida. Gilded gesso and tempera on panel, 39 7/8 x 44 11/16 in. The J. Paul Getty Museum, 85.PB.311
Left: A Bust of a Pope-Saint, about 1310-1315, Pacino di Bonaguida. Pot-metal and clear glass, black and brown vitreous paint, 35 13/16 x 26 3/8 in. Museo dell’Opera di Santa Croce, Fondo Edifici di Culto, Ministero dell’Interno, Florence. Center: Saint Francis in Antiphonary, about 1320, Pacino di Bonaguida. Tempera colors and gold leaf on parchment, 20 ½ x 13 15/16in. Archivio di Santa Croce, Florence, Corale Q, fol. 121v (Photo: Bryan C. Keene). Right: Chiarito Tabernacle (detail), 1340s, Pacino di Bonaguida. Gilded gesso and tempera on panel, 39 7/8 x 44 11/16 in. The J. Paul Getty Museum, 85.PB.311

New research on Pacino di Bonaguida, a central figure in the rise of the Renaissance in Florence. More»

Tagged , , , , , , , Leave a comment
Posted in Art, Manuscripts and Books

A Medievalist’s Viewing Guide to “Game of Thrones,” Season 4

Chess Problem (detail) from Book of Chess Problems, late 14th century.  Tempera colors and gold leaf on parchment, 9 ¾ x 6 5/8 in. (24.8 x 16.8 cm). Ms. Ludwig XV 15, fol. 97
Chess Problem (detail) from Book of Chess Problems, late 14th century. Tempera colors and gold leaf on parchment, 9 ¾ x 6 5/8 in. (24.8 x 16.8 cm). Ms. Ludwig XV 15, fol. 97

What a season it was. Let’s watch it again, manuscripts in hand. More»

Tagged , , , , , Leave a comment
Posted in Art, J. Paul Getty Museum, Manuscripts and Books

Medieval Manuscripts Alive

Medieval Manuscripts Alive - languages

Hear medieval manuscripts read aloud. First up: Ge’ez, the language of the Ethiopian church. More»

Tagged , , , , , Leave a comment
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»

Tagged , , , , , , Leave a comment
  • Facebook

  • Twitter

  • Tumblr

    • photo from Tumblr

      #ProvenancePeek: June 30

      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 portrait of actress Antonia Zárate by Goya is now part of the collection of the National Gallery of Ireland. The records of famed art dealer M. Knoedler & Co. at the Getty Research Institute reveal its recent provenance: the painting was sold by Knoedler on June 30, 1910, to financier Otto Beit. Part of his collection, including this painting, was later donated to the National Gallery of Ireland in Dublin. To this day the Gallery showcases some of its greatest masterpieces in the Beit Wing. This spread from a digitized Knoedler stock book records the transaction (second entry from top).

      M. Knoedler was one of the most influential dealers in the history of art. He sold European paintings to collectors (such as Henry Clay Frick, the Vanderbilts, and Andrew Mellon) whose collections formed the genesis of great museums such as the National Gallery of Art, the Metropolitan Museum of Art, the Frick Collection, the Huntington, and more. Knoedler’s stock books have recently been digitized and transformed into a searchable database, which anyone can query for free.

      Portrait of Doña Antonia Zárate, ca. 1805–06, José de Goya y Lucientes. Beit Collection, National Gallery of Ireland. Image courtesy of the National Gallery of Ireland.

      _______

      #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.

      06/30/15

  • Flickr