Prints and Drawings

Works on paper from the Renaissance to 1900, including European drawings and a vast variety of prints, from Piranesi’s etchings to the first copperplate prints produced in China

Also posted in Art, J. Paul Getty Museum

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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Also posted in Art, Getty Research Institute

This Just In: The Genius of Lithography

The Genius of Lithography / Nicolas Henri Jacob
The Genius of Lithography, 1819, Nicolas Henri Jacob (French, 1781–1871), lithographer. Lithograph, 19.2 x 16.4 cm (sheet 22 x 18.4 cm). Originally published in Alois Senefelder, L'art de la lithographie (Munich, 1819). The Getty Research Institute, 2014.PR.8

The improbable story of the invention of lithography. More»

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Also posted in Art, Getty Research Institute

This Just In: 19th-Century “Peep Show” Was the Forerunner of 3D Movies

Diorama of King Ludwig’s Canal, detail of etchings
Diorama of King Ludwig’s Canal (detail), about 1846, printed in Germany. Seven hand-colored etchings with front and back boards, each 16 x 22 cm. The Getty Research Institute, 2013.PR.37

Let us marvel at this low-tech wonder from the past. More»

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Also posted in Getty Research Institute, Research

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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Also posted in Art, Exhibitions and Installations, Getty Research Institute, Photographs, Film, and Video

“I Declare War on All Europe”

Zislin

A closer look at two propaganda posters from World War I More»

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Also posted in Art, Education, Getty Center

Watch the Oakes Brothers’ Drawing of the Getty Take Shape, Line by Line

The Oakes Brothers in the Central Garden at the Getty Center, 2011

See artist-brothers Ryan and Trevor Oakes live-sketch the Central Garden. More»

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Also posted in Getty Research Institute

This Just In: Anatomy in Wax, Wood, and Ink

“These prints preserve a fascinating moment in the history of art and science, through the meeting point of anatomy.” More»

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Also posted in Art, Getty Research Institute

A Wartime Apocalypse, in Miniature

Saint John's Vision of the Seven Candlesticks, 1917, Ernst Ludwig Kirchner. Getty Research Institute.
Saint John's Vision of the Seven Candlesticks, 1917, Ernst Ludwig Kirchner. Getty Research Institute.

Tiny, feverish watercolors by Ernst Ludwig Kirchner express the anxious hopes of an entire generation of European artists. More»

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Also posted in Art, J. Paul Getty Museum

This Just In: Three Drawings from the Dutch Golden Age

A Hollyhock, 1682, Herman Saftleven (Dutch, 1609-1685). Watercolor, gouache and black chalk, 35.2 x 25.2 cm. © Christie's Images Limited (2014)
A Hollyhock, 1682, Herman Saftleven (Dutch, 1609-1685). Watercolor, gouache and black chalk, 35.2 x 25.2 cm. © Christie's Images Limited (2014)

A peasant portrait, botanical watercolor, and winter scene join the Getty Museum’s collection More»

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Also posted in Art, Exhibitions and Installations

Watteau’s Elegant Ladies, Reunited

Lady and her mirror image. Details of original and counterproof of Seated Woman with a Fan (details), early 18th century, Jean-Antoine Watteau. Image left: The J. Paul Getty Museum, 82.GB.164. Image right: Collection Ariane and Lionel Sauvage
Lady and her mirror image. Details of original and counterproof of Seated Woman with a Fan (details), early 18th century, Jean-Antoine Watteau. Image left: The J. Paul Getty Museum, 82.GB.164. Image right: Collection Ariane and Lionel Sauvage

Two sister Watteau drawings reunite in a new exhibition. More»

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      everyartisthasabday:

      Botticelli’s Mystical Nativity was hidden for many centuries. Once found, it earned its name from both the unusual Nativity symbolism and Greek inscription at the top.

      Boticelli believed he was living through the Tribulation, which is clear in the mysterious inscription:

      This picture, at the end of the year 1500, in the troubles of Italy, I Alessandro, in the half-time after the time, painted, according to the eleventh chapter of Saint John, in the second woe of the Apocalypse, during the release of the devil for three-and-a-half years; then he shall be bound in the twelfth chapter and we shall see [him buried] as in this picture.

      It is the only surviving work with his signature.

      03/02/15

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