Beautiful things: paintings, books, sculptures, photographs, artistic finds.
www.getty.edu
The Getty is art, architecture, and gardens at two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu.
Nearly 100,000 sunsets ago.
Mediterranean Harbor Scene (detail), about 1763, Pierre-Jacques Volaire. The J. Paul Getty Museum
Another inspiring installation shot from the Blanton’s current exhibition, Through the Eyes of Texas: Masterworks from Alumni Collections. Looking closely, what connections do you see between the works in this space?
Photo courtesy Mary Myers.
May we add a few more images to this group and call it a mini-digital exhibition? (No paperwork needed.)
L: Portrait of Madame Brunet, Edouard Manet, French, about 1860-1863. The J. Paul Getty Museum. R: An Oak Tree in Winter, William Henry Fox Talbot, English, probably 1842-1843. The J. Paul Getty Museum.
Sam Durant’s Getty artist project #isamuseum was installed this past Monday and now you can question and be questioned both online and onsite.
A bunch of small composition studies I did for my online class with The Art Department. All from some of the old masters.
Sargent. Manet. _______.
Ancient Greek black figure pottery-inspired nails, featuring Theseus facing the Minotaur on one hand, and Oedipus pondering the riddle of the Sphinx on the other. Matte finish for an extra pottery-ish look!
Nail iconography! A creative twist on what Getty Voices looks at this week: ancient pottery production. How were red- and black-figure vases made in ancient times?
From art historian to rocket scientist, this project has experts from all fields in collaboration. (None with nails this stylish.)
(via rndmrmblngs)
This Renaissance revival of an ancient hard and soft stone inlay technique uses 17 types of gems, jewels and marbles. The central stone is breccia di Tivoli. Discovered around 1559, this stone was highly prized for its rarity and variegated colors which resemble gems set in dark stone.
Tabletop, about 1580-1600, Italian, Florence or Rome
These “Eastern” costumes reveal Rembrandt’s enchantment with distant places. Inspired by trade and diplomacy with the Near East in the 17th century, westerners clad in imaginary costumes interested Rembrandt and his workshop in this period.
Taste the lush velvet with your eyes. Imagine what “foreign” looked like to a 17th-century European.
A Young Scholar and His Tutor, 1629–1630, Workshop of Rembrandt van Rijn. Oil on canvas. The J. Paul Getty Museum
![sfmoma:
Lebbeus Woods, Architect is currently on view at SFMOMA, and throughout the run of the exhibition, we’ll be using Tumblr as a place to sequentially share Woods’s wonderful sketchbooks, since only a fraction of the pages can be on view in the galleries.
Image: Lebbeus Woods, Sketchbook, 2000; Courtesy of Aleksandra Wagner; © Estate of Lebbeus Woods
The amazing architect-nonarchitect Lebbeus Woods.
“[I saw that] works of art could lift experience out of the commonplace to a realm of meaning that, for me, would otherwise be unreachable. Certainly, even in my teens I knew people who simply loved life as they found it and needed no exaltation to enhance or ‘elevate’ it for them, but I also knew I was not among them. The reasons do not matter to this story. I can only see that I was lucky to have stumbled upon visual art as a transformative medium of my experience.” —Lebbeus Woods](http://24.media.tumblr.com/09db1cb6cae8966d865da2aa46fec12e/tumblr_mklodk7k171r064gzo1_250.jpg)
Lebbeus Woods, Architect is currently on view at SFMOMA, and throughout the run of the exhibition, we’ll be using Tumblr as a place to sequentially share Woods’s wonderful sketchbooks, since only a fraction of the pages can be on view in the galleries.
Image: Lebbeus Woods, Sketchbook, 2000; Courtesy of Aleksandra Wagner; © Estate of Lebbeus Woods
The amazing architect-nonarchitect Lebbeus Woods.
“[I saw that] works of art could lift experience out of the commonplace to a realm of meaning that, for me, would otherwise be unreachable. Certainly, even in my teens I knew people who simply loved life as they found it and needed no exaltation to enhance or ‘elevate’ it for them, but I also knew I was not among them. The reasons do not matter to this story. I can only see that I was lucky to have stumbled upon visual art as a transformative medium of my experience.” —Lebbeus Woods
Patterns on hanbok depended on the economic status of a person. Yangban (the ruling class) wore silk. The lower class wore cotton, ramie, hemp, and Korean paper.
Hanbok, traditional clothing in Korea, has been worn throughout 2,000 years of Korean history. Today, hanbok is mostly worn at wedding ceremonies.
Florence cathedral appears in miniature on the bottom of an Italian flask along with the letter “F,” the mark of the Medici Porcelain Manufactory.
Grand Duke Francesco I de’ Medici, an experimental chemist, employed alchemists in the 1500s to unlock the secret of making true porcelain, which only the Chinese had mastered (for seven centuries, by that time). The mad scientists of Italian porcelain failed, though they did create a so-called “soft-paste” porcelain used for many lovely things along the way.
Porcelain, furniture, metal, lights, woodwork. How often have we walked right past these objects in a museum without giving them a second thought?
This week on Getty Voices, designer Robert Checchi explains why he and a team worked for nearly three years on a tiny exhibition that attempts to get us to stop and look, really look, at four artworks in the Museum’s decorative arts collection.
Pair of Lidded bowls, about 1660–80. Chinese or Japanese porcelain with English gilt bronze. The J. Paul Getty Museum
A three-day Digital Art History Lab took place this week at the Getty, with a small group of scholars tackling major issues facing the intersection of art, the humanities, and technology—the future of publishing, the relevance gap, Eurocentricity, outmoded systems of professional advancement, and more.
Captured on Storify: Day 1, Day 2, and Day 3.
Google+ Hangouts: Part 1 and Part 2.
A group of art historians can no more agree on the future than a group of economists, but several major themes emerged, and we’ve collected them into this {extremely preliminary and draftish} statement of values and aspirations that will serve as the basis for future discussion. You’ll notice that the words “art history” aren’t here at all, and that’s intentional.
1. Process and product are inseparabl
2. Experimentation and collaboration are core values.
3. Institutional support is critical.
4. Publishing encompasses a continuum across audience, medium, and levels of access.
5. Resources must be discoverable and sustainable.
6. Digital work enables and demands innovative modes of thought and argumentation.
George C. Blickensderfer, American, 1850-1917, Model 6 portable typewriter, c. 1906, aluminum, steel, copper, Manufactured by Blickensderfer Manufacturing Co., Stamford, Connecticut, The Modernism Collection, gift of Norwest Bank Minnesota 98.276.279.1
When George C. Blickensderfer unveiled his Model 5 at the Chicago World’s Fair of 1893, it caught the imagination of Americans and Europeans alike with its ingeniously simple design.
The world’s first truly portable typewriter, it used a rotating type wheel, which allowed for a speedy change in typeface, and contained about 250 parts – a tenth of the parts that made up its desktop contemporaries.
Blickensderfer would present an even lighter take on the Model 5 in 1906: the Model 6, a lightweight typewriter manufactured exclusively in aluminum. Dubbed the “Five-Pound Private Secretary,” the Model 6 was portable and durable; the company touted it in advertisements as being, “in every way, a high class machine.”
Jennifer Komar Olivarez
Associate Curator, Decorative Arts, Textiles, and Sculpture
Minneapolis Institute of Arts
http://artsmia.org/
New Tumblr curates art and design across 13 museum collections to see if any “American aesthetic” will arise. Interesting! #CuratorsonTumblr
In Renaissance Europe, gardens at European courts became sites for the display of magnificent sculptures and whimsical fountains. The Boboli Gardens at the Palazzo Pitti in Florence even have a vast cave ornamented with sculpture (like this marble) and faux encrustations.
Paris Abducting Helen by Vincenzo de’ Rossi. Photo courtesy of tyle_r on Flickr
