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Beautiful things: paintings, books, sculptures, photographs, artistic finds. 
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Beautiful things: paintings, books, sculptures, photographs, artistic finds.
Web: getty.edu
Blog: blogs.getty.edu
We’ve had a blast sharing art, behind-the-scenes work, stories about people of the past, and more with you on Tumblr.
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Getty | February 11th
Getty Center
If this 1908 photograph reminds you of a certain Dutch painter…you’re right! Photographer Guido Rey was inspired by Vermeer’s 1600s compositions.
One of my favorite things to see whenever I visit the Getty Museum ⭐
The Portal of Rouen Cathedral in Morning Light, 1894 by Claude Monet
Colombia and Brazil in the 1860s.
German Photographer Albert Frisch spent years exploring and documenting the native inhabitants, flora, and fauna of Brazil and Colombia before ultimately publishing a collection of prints in an album titled “Photographs from Amazonia” in 1867. All 27 photographs are included in the Getty Museum’s Open Content Collection, available to download and use for any purpose.
One painting, front, back, and in different light.
Notice the glossy parts? This was painted with two types of house paint that have different levels of gloss. Artists in Brazil in the 1950’s took advantage of fast-drying industrial paints new on the market.
Concrete artists in Buenos Aires like Hermelindo Fiaminghi (work above) were interested in experimenting with paint types and application techniques. The combination of these factors made some works look more like industrially produced objects, however, paint was applied and manipulated by the artist’s hand.
Hermelindo Fiaminghi is one of the Concrete artists on view currently in Making Art Concrete, on view until February 11. A show that asks, “What is the role of art in society?” Artists after WW2 in Argentina and Brazil were grappling with this question and rejected traditional painting to create artwork so precise in conception and execution that it formed its own material, or “concrete,” reality.
These “Concrete artists” were interested in experimenting with format, shape, construction, paint and material—art was to be a part of everyday life.
Making Art Concrete is one of four #PSTLALA exhibitions currently on view at the Getty Center that spotlight Latin American art and Latino/a artists in relationship to Los Angeles.
Seccionado no. 1/ Sectioned No.1, 1958, Hermelindo Fiaminghi, alkyd on hardboard. Colección Patricia Phelps de Cisneros. © Estate of Hermelindo Fiaminghi
One of the many questions about ancient obelisks is a logistical one: how did the Egyptians, and then the Romans, manage to transport and erect such massive monuments without the aid of modern technology?
While the specifics of obelisk transportation in ancient Egypt—as well as the movement of other large stone sculptures and blocks—remain somewhat of a mystery, the archaeological record presents us with some clues.
In Ancient Egypt, raising the obelisk upright and situating it in place probably involved the use of ramps and ropes, but we do not know the exact techniques employed.
In 1585, the “Vatican obelisk” was to be moved 275 feet to the square in front of Saint Peter’s Basilica. Architect Domenico Fontana designed a wooden tower that would be constructed around the obelisk, connected to a system of ropes and pulleys.
In 2017, the Museo del Sannio obelisk traveled from Italy to the Getty Villa in Los Angeles, California. Custom crates were built to safely pack the obelisk and base, which together weigh 5,400 pounds. The obelisk arrived in a horizontal position and needed to be erected on site.
Getty Villa experts used a gantry to lift the horizontal obelisk out of the crate. Then they used straps and chains to gently hoist the 3,800-pound stone upright. Once it was raised, it was lifted vertically so the base could be positioned correctly beneath it using a pallet jack.
Full post on the Getty Iris blog that takes look at the manpower and engineering needed to move obelisks in ancient Egypt, Rome, and today.
Image credits:
Pliny the Elder’s description of the ships that transported obelisks to Rome, From Athanasius Kircher, Obeliscus Pamphilius… (Rome: Grigniani, 1650). The Getty Research Institute, PJ1093 .K57
Plate related to the erection of St. Peter’s obelisk in the Piazza san Pietro in Rome, 1586, Natale Bonifacio. Etching and engraving, 49 x 121.2 cm. The Getty Research Institute, 2012.PR.35
Obelisk, Roman, AD 88/89. Granite, 351.5 cm high. Collection: Benevento, Museo del Sannio, inv. 1916
