German art

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

This Just In: The Romantic Zeitgeist

A Swan among Reeds by Moonlight, September 18, 1852, Carl Gustav Carus, charcoal with white chalk heightening on brown paper. The J. Paul Getty Museum.
A Swan among Reeds by Moonlight, September 18, 1852, Carl Gustav Carus, charcoal with white chalk heightening on brown paper. The J. Paul Getty Museum.

Three Romantic drawings are on view for the first time. More»

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Posted in Getty Research Institute, Prints and Drawings, Scholarship

Treasures from the Vault: Heinrich Geissler’s Groundbreaking Archive

Black and white photograph of an unsigned drawing of a man holding a bow
Study photograph of an unsigned drawing of a man holding a bow

A newly catalogued archive sheds light on how art history was written in Germany after the war. More»

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Posted in Art, Getty Research Institute, Prints and Drawings

Philipp Otto Runge’s “Times of Day,” A Monument of German Romantic Art

Detail of the female figure in Evening from the Times of Day suite / Philipp Otto Runge

This remarkable four-print series depicts the coming and departing of light, which points to the cycles of life from conception to death. More»

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Posted in Getty Research Institute, Publications, Scholarship

New Online Resource to Reveal Stories about Nazi-Looted Art, Wartime Art Market

Paintings in storage at the Munich Central Collecting Point / Johannes Felbermeyer
Paintings in storage at the Munich Central Collecting Point, ca. 1945–49, Johannes Felbermeyer. This was one of several sites used by the Allies to identify, photograph, and restitute Nazi-seized artworks after the war. Photo Study Collection. The Getty Research Institute, 89.P.4

Featuring over 2,000 newly digitized catalogs, a new database will revolutionize Nazi-era art research. More»

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

All in the Family: Lyonel Feininger, His Sons, and Photography

Bauhaus / Lyonel Feininger, March 22, 1929

Many know Lyonel Feininger as an accomplished painter, printmaker, and caricaturist whose work is forever linked to the Bauhaus movement. He was Walter Gropius’s first faculty appointment to the Weimar art school in 1919, and he helped shape an artistic… More»

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

Lyonel Feininger’s Photographic Vision

Moholy's Studio Window around 10 p.m. / Lyonel Feininger

In the 1920s, Lyonel Feininger was one of Germany’s best-known artists. He painted, drew, and made prints; he sketched caricatures and composed music; he even created a miniature city that would presage stop-motion animation. But in 1928, at age 58,… More»

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Posted in Art, Exhibitions and Installations, J. Paul Getty Museum, Prints and Drawings

The Nazarenes: German Artists Illuminating the Spirit of the Age

The Coronation of Charlemagne, Julius Schnorr von Carolsfeld, 1840. Brown ink over graphite on paper. The J. Paul Getty Museum, 2009.5

In the emerald-green galleries of the exhibition Spirit of an Age: Drawings from the Germanic World, I was drawn to a cluster of quiet drawings that convey beautiful stories: miraculous healings, heroic quests of medieval knights, momentous coronations. These are… More»

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

In Search of Messerschmidt’s “Vexed Man”

The Vexed Man, Franz Xaver Messerschmidt, 1771–83. Alabaster, 16 9/16 in. high

New for summer 2012—The Vexed Man is back at the Getty, but he’s moved from his usual haunts for the exhibition Messerschmidt and Modernity, July 24–October 13, 2012. The show brings together several of Messerschmidt’s Character Heads, including the excellently… More»

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

Cabinet of Wonders

cabinet

The Augsburg Display Cabinet—the Getty Museum’s 17th-century “cabinet of curiosities” on display starting tomorrow in our New Galleries for Medieval and Renaissance Sculpture and Decorative Arts—is both a work of art and an early prototype of museums. With dozens of… More»

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      A Chat with Photographer Tomoko Sawada

      A conversation about Japanese matchmaking traditions, self-portraiture, clothes, and identity.

      When did you start photographing yourself?
      I began making self-portraits when I was 19. It was an assignment for a photography class. I can’t even explain in Japanese why I liked them so much. It was instinctual. It’s as if I knew that this was going to be my style, that this is what I wanted to do. And I’m still doing it because I love the self-portrait, but I don’t know why. 

      What themes are you exploring in your work?
      I’m interested in the relationship between inside and outside. If you wear a sexy dress or if you wear kids clothes or casual clothes, people treat you differently. Even though you are you no matter what you wear. It’s that relationship that makes me think. 

      My new work is from when I was living in New York. When I was in New York, people didn’t think I was Japanese. Sometimes they thought I was Korean or Chines or Mongolian. Even Singaporean. It was funny, when I would go to the Japanese market, they would speak to me in English. When I went to the Korean market, they would speak to me in English again. I don’t seem to look Japanese outside of Japan. I was surprised because I think I look totally Japanese. It’s funny that people’s points of view are totally different.

      Could you talk a little about OMIAI, the series that represents a traditional Japanese matchmaking technique.
      OMIAI is a tradition that is somehow still working today. Usually, there is a matchmaker and photographs are exchanged before meeting. If both sides are interested, they can meet for lunch or dinner accompanied by their parents and steps for marriage proceed from there. In the old days, some people chose their marriage partner just through photographs, without even meeting each other. 

      When OMIAI was exhibited in Japan I saw people making various comments in from of the work. People would say things like, “she looks like a good cook; surely she would prepare delicious meals every day,” or “ this girl could be a perfect bride for my son,” or “I can tell she would not be a good housewife,” or “she’s such a graceful girl; she must be the daughter of a decent family.” Comments like that. 

      What was the process of making that work?
      I gained 10 pounds before I started taking the pictures, and in six months I lost forty pounds, because I wanted to look different in each photo. I wanted to change the way my legs looked. 

      Every weekend I went to the hair salon and put on a kimono. Then I went to the photo studio on the street in Japan. I would take a picture and then change my clothes to western dress. Then I would go to the studio again the next weekend. 

      Did you tell the photographer how you wanted it done?
      I told him I was an artist and wanted to make photographs with him. I told him to think that each weekend new girls would show up to make the OMIAI. I didn’t want him to think of me as the same girl who came every weekend. He understood the concept. 

      We had fun. While he was taking pictures, his wife would tell me how to lose weight. She gave me many tips.


      Tomoko Sawada’s work is on view at the Getty until February 21, 2016 in “The Younger Generation: Contemporary Japanese Photography”

      02/11/16

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