panel paintings

Posted in 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 Behind the Scenes, Getty Foundation, Paintings

How I Look at Art as a Conservator

Sara Mateu examines the reverse of a panel painting
Sara Mateu examines the reverse of a panel painting.

What is it like to be a panel paintings conservator? More»

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Posted in Getty Foundation, Paintings, Research

New E-Book Explores Early Netherlandish Art

Screen capture showing The Legend of St. Joseph / follower of Robert Campin
Detail of The Legend of St. Joseph, possibly ca. 1490–1500, follower of Robert Campin. Hoogstraten, Church of St. Catherine. From Frames and Supports in 15th- and 16th-Century Southern Netherlandish Painting

New online resource explores panel paintings of the 1400s and 1500s More»

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Posted in Behind the Scenes, Getty Foundation, Paintings

Best Supporting Role

Peter Paul Rubens's Triumph of the Church during treatment
© José de la Fuente

Conserving Peter Paul Rubens, panel by panel. More»

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

The Marvels of Peter Paul Rubens’s “The Triumph of the Eucharist” Online

Rubens's Triumph of the Eucharist at the Prado
Photo © Museo Del Prado

Paintings and tapestries by the great baroque artist come to the Getty in October. More»

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Posted in Exhibitions and Installations, J. Paul Getty Museum, Manuscripts and Books, Paintings

A Call to Arms! Heraldry in Renaissance Florence (And a Mystery You Can Help Solve)

The Virgin and Child Surrounded by Saints, between 1350 and 1365, Follower of Bernardo Daddi (possibly Pietro Nelli). Tempera and gold leaf on panel, 37 ½ x 26 in. (95.3 x 66 cm). Portland Art Museum, 61.51

Heraldry is a fascinating and complex system by which coats of arms are devised and decoded.  My familial arms—yes, my family has a coat of arms, and yours may have too—are composed of an intricate grouping of objects, including a… More»

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Posted in Behind the Scenes, Conservation, Getty Foundation, Paintings, Philanthropy

Conserving Pacino di Bonaguida: My Getty Foundation Fellowship

Madonna and Child with Saints / Pacino

The Panel Paintings Initiative is training the next generation of conservators of paintings on wood panels, and including professionals from Eastern Europe is a high priority. In this post, Polish conservator Aleksandra Hola describes her experience with the program. For… More»

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

Everyone’s Talking about Giotto

Panel paintings by Giotto: Virgin and Child and Crucifixion

There’s been almost seven hundred years of chatter about Giotto di Bondone (about 1267–1337), a painter from Florence considered one of the greatest artists of all time. After six years of careful planning and negotiation, we at the Getty Museum are… More»

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

Meet the Artist Who Helped Launch the Renaissance in Florence

The Ascension of Christ from the Laudario of Sant’Agnese / Pacino di Bonaguida

In the early 1300s, 150 years before Leonardo and Michelangelo walked its streets, Florence was a hotbed of artistic production and creativity. Three works in the Getty Museum’s collection produced in the city at this dynamic moment—all by the same… More»

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Posted in Conservation, J. Paul Getty Museum, Paintings

Madonna and Child Visit from Hearst Castle

Madonna and Child / school of Duccio di Buoninsegna

Starting tomorrow, a golden Virgin and Child from Duccio di Buoninsegna’s workshop will be adorning the Getty Center paintings galleries (North Pavilion, Gallery 201). Paintings by Duccio are astoundingly rare—there are fewer than 15 in existence, the Maestà in Siena… More»

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      #ProvenancePeek: Winslow Homer at the Met

      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.

      The provenance of this Winslow Homer marine, or seascape, is relatively straightforward as these things go. It was entered into the stock books of M. Knoedler and Co, prominent New York art dealers, in October of 1901. Knoedler & Co purchased the painting, titled Cannon Rock, from Chicago pastor and educator Dr. Frank Gunsaulus on October 24, 1901. Just over two weeks later, on November 9, the firm sold it to art collector and dry goods merchant George Arnold Hearn. Hearn made a gift of his collection to the Metropolitan Museum of Art in 1906, and that is where Cannon Rock has lived ever since.

      This seascape is one of Homer’s later works, notable for its flatness. Homer spent the last 25 years of his life living in coastal Maine, painting land- and seascapes that both respect and challenge nature’s authority. Cannon Rock’s mellow provenance tale belies the powerful scene it presents.

      The stock books of the Knoedler Gallery have recently been transformed into a searchable database which anyone can query for free.

      Cannon Rock, 1895, Winslow Homer. Oil on canvas, 40 x 40 in. The Metropolitan Museum of Art, New York, Gift of George A. Hearn, 1906 (above); pages from the Knoedler stock and sales books listing the painting (below).


      #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.


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