The secret life of a French buttress.

Perspective des contreforts et commencement des rues perdues de N.D. de Rheims, Champagne, 1857, Adrien Dauzats, Charles Nodier. Getty Research Institute.

These drawings of the holy sites Mecca and Medina are in perspective, providing a view of how the cities’ mosques may have looked in the early 1700s. 
Mecca and Medina, From Muhammad Ibn Sulayman al-Jazuli, Dala’il al-khairat (Istanbul, early 1700s). Getty Research Institute.
#NowOnView in Connecting Seas

These drawings of the holy sites Mecca and Medina are in perspective, providing a view of how the cities’ mosques may have looked in the early 1700s. 

Mecca and Medina, From Muhammad Ibn Sulayman al-Jazuli, Dala’il al-khairat (Istanbul, early 1700s). Getty Research Institute.

#NowOnView in Connecting Seas

travisthaw:

#gettycenter #getty #photography #architecture #art #blackandwhitephotography

Travertine texture against a California sky. 

travisthaw:

#gettycenter #getty #photography #architecture #art #blackandwhitephotography

Travertine texture against a California sky. 

An imaginary city sculpted with the skies of New York, San Francisco and Chicago by artist Peter Wegner. #NowonView In Focus: Architecture at the Getty Center.

Buildings Made of Sky III (details), 2009, Peter Wegner, pigment prints. Gift of Manfred and Hanna Heiting. © Peter Wegner 

hyperallergic:

Excavating Architectural Photography

(all photographs by the author for Hyperallergic)
LOS ANGELES — A small room at the Getty Center in…

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Here’s a look at the Getty Center’s architectural features through the magically alluring “old-school” effects of a pinhole camera.

hyperallergic:

Excavating Architectural Photography

(all photographs by the author for Hyperallergic)

LOS ANGELES — A small room at the Getty Center in…

View Post

Here’s a look at the Getty Center’s architectural features through the magically alluring “old-school” effects of a pinhole camera.

Venus meets alabaster in the Getty Villa basilica.

Venus meets alabaster in the Getty Villa basilica.

What does the Getty have to do with 19th century Paris?
The Eiffel Tower’s innovative glass-cage, curve ascending elevators were designed by the same company that made the Getty Center's tram.
The Eiffel Tower: State of Construction, 1888, Louis-Emile Durandelle. J. Paul Getty Museum.

What does the Getty have to do with 19th century Paris?

The Eiffel Tower’s innovative glass-cage, curve ascending elevators were designed by the same company that made the Getty Center's tram.

The Eiffel Tower: State of Construction, 1888, Louis-Emile Durandelle. J. Paul Getty Museum.

You know that sweet smell of rain on dry earth? It has a name! Petrichor. The first drops of rain fall in Los Angeles.

You know that sweet smell of rain on dry earth? It has a name! Petrichor. The first drops of rain fall in Los Angeles.

Observing the formal arrangement of the world around us offers infinite ways to frame and reframe our environment! 

Rue Vavin, Paris, 1925, Andre Kertesz. J. Paul Getty Museum. © Estate of André Kertész

Observing the formal arrangement of the world around us offers infinite ways to frame and reframe our environment! 

Rue Vavin, Paris, 1925, Andre Kertesz. J. Paul Getty Museum. © Estate of André Kertész

ezekielvg:

Getty Center - Los Angeles, Ca. & VSCOFilm04

Keeping the site squeaky clean for all you photographers out there.

A 17th century Dutch painting depicts the interior of a church that was completed in the 16th century. Atget’s photograph of the Palais Royal in Paris is a 20th century photograph of an 18th century building. And this is a 21st century photograph of the Getty Center that was completed at the end of the 20th century. 

(Yes, the Getty Center image was only taken 10 years after the museum’s completion, but hey, there’s something lovely about three sets of eyes across time looking at architecture and finding similarity.)

L: Interior of the Laurenskerk at Rotterdam, 1662, Anthonie De Lorme, painter; with figures attributed to Ludolf de Jongh. J. Paul Getty Museum.
M: Royal Palace, 1904-1905, Eugene Atget. J. Paul Getty Museum.
R: Getty Center, 2006, Stanley Smith.

Just like the Los Angeles landscape, the special exhibitions pavilion rapidly changes. The last day to see Overdrive: L.A. Constructs the Future 1940-1990 is this Sunday, July 21. 
Electrical Transmission Towers, about 1935, Will Connell. Gelatin silver print. Stephen White, Collection II, © Will Connell.

Just like the Los Angeles landscape, the special exhibitions pavilion rapidly changes. The last day to see Overdrive: L.A. Constructs the Future 1940-1990 is this Sunday, July 21. 

Electrical Transmission Towers, about 1935, Will Connell. Gelatin silver print. Stephen White, Collection II, © Will Connell.

The 220-foot-long reflecting pool greets visitors at the #Getty #Villa. 

The 220-foot-long reflecting pool greets visitors at the #Getty #Villa. 

What is my L.A.? It’s the pot on the stove. Add stuff, keep it warm, new flavors and colors. Every day.”

PA and PE, 1990, Peter Alexander. Pacific Enterprises.

"My L.A. is very bright, hot, colorful, and a little rough around the edges. It’s far away from everything, but right next to everything at the same time."

The messy chaos of Los Angeles can be charming. Or disorienting. Or a bit of both! Office hours with Chris & Lyra of Overdrive’s curatorial team continue tomorrow,12-1pm and Thursday, 2-3pm at the entrance to the exhibition at the Getty Center. 

Inside Out, 1961, Roger E. Kuntz. The Estate of Roger E. Kuntz, courtesy of Mary Kuntz. Photo by Maureen Murphy Fine Arts.

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