About: Juvenio L. Guerra

Ramblin' man, son of a gun, art lover, cinephile... media relations pro.

Posts by Juvenio

Posted in J. Paul Getty Museum, Photographs, Film, and Video

The Alfred Hitchcock Peepshow

rearwindow1

In Hitchcock’s Rear Window, voyeurism morphs into an inverted reflection of our own fears and desires. More»

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Posted in Exhibitions and Installations, Photographs, Film, and Video, Voices

Getty Voices: Directing Landscape

werner_herzog

Music and landscape combine to create a powerful “separate reality” in Werner Herzog’s work. More»

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Posted in Architecture and Design, Getty Center, Photographs, Film, and Video

Do Androids Dream of Electric L.A.?

Do Androids Dream of Electric L.A.?
Rutger Hauer as Roy Batty in Blade Runner, 1982. Courtesy of and © The Blade Runner Partnership | © Warner Bros. Entertainment Inc.

As some parts of the world approach the dystopian, cyberpunk 2019 Los Angeles depicted in Blade Runner, the film’s relation to architecture and environment is worth another look. More»

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Posted in J. Paul Getty Museum, Photographs, Film, and Video

Neon Hitmen

tokyo_featured

Tokyo Drifter, screening this weekend, “smacks you in the face with a bucket of WTF paint.” More»

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Posted in Art, Exhibitions and Installations, Photographs, Film, and Video

Whispers and Shadows: Ray K. Metzker and “Street Noir”

City Whispers, Philadelphia / Ray K. Metzker
© Ray K. Metzker

“I imagine the people in Metzker’s photographs as supporting characters in a film noir—captured on an average day, precisely at the loneliest moment before the cruel twist of fate takes hold.” More»

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Posted in Exhibitions and Installations, J. Paul Getty Museum, Sculpture and Decorative Arts

Victims of Soicumstance: My Automatic Visual Reactions to Messerschmidt

Untitled (Big Man) / Ron Mueck

A room full of Franz Xaver Messerschmidt’s Character Heads—currently at the Getty Center as part of the exhibition Messerschmidt and Modernity—may be the best place in L.A. right now to observe neurobiological reactions to human expression. The heads are not… More»

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Posted in J. Paul Getty Museum, Photographs, Film, and Video

Portraits of Brute and Brood

Marlon Brando and Vivien Leigh in A Streetcar Named Desire (1951)

“Never allow yourself to feel anything, because you always feel too much.” —Marlon Brando “Only the gentle are ever really strong.” —James Dean Beyond fitting, this weekend’s concluding film series What Becomes a Legend offers the increasingly rare opportunity to… More»

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Posted in Getty Research Institute, Photographs, Film, and Video

World War Zinnemann

Montgomery Clift, Ivan Jandl, and Fred Zinnemann on the set of The Search

From Casablanca to Saving Private Ryan, the horrors and heroisms of World War II have provided decades of cinematic material. However, as director Fred Zinnemann masterfully demonstrated, meticulous exploration of the human experience—both immediately before the war (The Seventh Cross,… More»

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Posted in J. Paul Getty Museum, Photographs, Film, and Video

Cocteau Dreams, In Nitrate

Still from Jean Cocteau's Blood of a Poet

“One of the characteristics of the dream is that nothing surprises us in it. With no regret, we agree to live in it with strangers, completely cut off from our habits and friends.”―Jean Cocteau We’re offering an array of films… More»

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Posted in Exhibitions and Installations, Sculpture and Decorative Arts

The Ordinary Becomes Mystical: A Conversation with Betye Saar

Betye Saar at the Getty Center, November 16, 2011

On a Sunday, you might find artist Betye Saar at the Pasadena College flea market, scouting for treasures. The energetic 85-year-old is still an active hunter of offbeat and unusual objects, which she combines into sculptures filled with personal, spiritual,… More»

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      #ProvenancePeek: July 31

      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 small panel by Dutch master Gerrit Dou (photographed only in black and white) is now in the collection of the Sterling and Francine Clark Art Institute. It was sold to American collector Robert Sterling Clark, an heir to the Singer sewing machine fortune, in the summer of 1922.

      How do we know this? Archival sleuthing! A peek into the handwritten stock books of M. Knoedler & Co. (book 7, page 10, row 40, to be exact) records the Dou in “July 1922” (right page, margin). Turning to the sales books, which lists dates and prices, we again find the painting under the heading “New York July 1922,” with its inventory number 14892. A tiny “31” in superscript above Clark’s name indicates the date the sale was recorded.

      M. Knoedler was one of the most influential dealers in the history of art, selling European paintings to collectors whose collections formed the genesis of great U.S. museums. The Knoedler stock books have recently been digitized and transformed into a searchable database, which anyone can query for free.

      Girl at a Window, 1623–75, Gerrit Dou. Oil on panel, 10 9/16 x 7 ½ in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts


      #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.

      07/31/15

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