Getty Publications – serie

Desiredfor their aesthetic beauty, sought after for their medicinal properties,harvested for their scents and flavors, or grown as indispensable materialresources, plants are indissolubly entwined with our existence. In art it isno different: plants have played a critical role. Yet despite theirsignificant material and conceptual contributions, plants have been sidelinedin the commentary of art historians and critics. Botanical Revolutionspresents a global history of plants in art, focusing on the crucial momentsthat signaled the formation of new movements and styles, as well as thecreation of media that could not have occurred without the involvement of andinteraction with the vegetal world. In this fascinating and beautifullyillustrated book, author Giovanni Aloi delves deeply into the history andrepresentation of plants in art, advocates for a change in our relationshipwith the botanical world, and presents an alternative history of art thatforegrounds the truly indispensable contributions of plants.

This is the latest volume in the acclaimed series that depicts medicine as depicted in art throughout history. This sumptuously illustrated volume offers a visual history of the depiction of illness and healing in Western culture, ranging from Egyptian wall carvings to medieval manuscripts and from paintings and sculpture by the great masters of the Renaissance to 20thC artists such as Matisse & Magritte. Thematic chapters cover the examination of patients and their maladies; healing and medical treatments; and the sufferings and hopes of patients awaiting cure and recovery. Psychological anguish, represented by Masaccio's "The Expulsion of Adam and Eve", and Munch's "The Scream", are also treated along with more obvious physical manifestations.

Filled with outstanding colour illustrations, here is a landmark study of one of Vincent van Gogh's most famous paintings. Vincent van Gogh painted Irises in the last year of his life, in the garden of the asylum at Saint-Remy, where he was recuperating from a period of mental illness. Its energy and theme - the regenerative powers of the earth - express the artist's deeply held belief in the divinity of art and nature. Featuring full-colour reproductions, not only of van Gogh's nature paintings, but also from the artists who inspired him - including Albrect Durer, Da Vinci, Monet, and Gauguin - this beautiful volume presents a long overdue and in-depth study of Irises, placed in the context of his glorious flower and garden paintings.

Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures, such as the unicorn, siren and griffin; exotic beasts, including the tiger, elephant and ape; as well as animals native to Europe, like the beaver, dog and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork and sculpture.With over 270 colour illustrations and contributions by twenty-five leading medieval scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst.

In the sixteenth century, the humanist values and admiration for classical antiquity that marked the early Renaissance spread from Italy throughout the rest of the continent, resulting in the development of a number of local artistic styles in other countries. Artists were highly valued and richly compensated during this period, with many receiving lucrative commissions from papal, royal, and private patrons. Among the sixty artists whose works are presented in this volume are towering figures of Western art, such as Michelangelo, Raphael, El Greco, and Titian. Venetian painters led the way, as oil on canvas supplanted fresco as the most popular medium. Italian Mannerists, such as Pontormo, deviated from classical forms, creating figures with elongated proportions and exaggerated poses. In countries that experienced the Protestant Reformation, such as England, many artists turned to portraiture and other secular subjects. This second volume in the "Art through the Centuries" series is divided into three sections that discuss the important people, concepts, and artistic centres of this innovative period.Important facts are summarized in the margins of each entry, and key facets of the illustrations are identified and discussed. New in the "Art Through the Centuries" series, it contains 400 full colour illustrations.

Presents analysis of occult iconography in many of the masterpieces of Western art - from the astrological symbols that decorated churches and illuminated manuscripts, through the work of a range of Renaissance artists, including Bosch, Brueghel, Durer and Caravaggio, to the visionary works of nineteenth-century artists, such as Fuseli and Blake.

This series supports scholarship in the field of art education and disseminates ideas about the theory and practice of discipline-based art education.

Attentive observation of art provides an excellent opportunity for better thinking, for the cultivation of the "art of intelligence." The arts are important in an educational setting, therefore, because they can cultivate important thinking strategies in children and adults alike. With carefully chosen illustrations, Perkins demonstrates how the reflective approach to art can develop broader, more adventurous, and clearer avenues of thought.

Doris Ulmann, one of the foremost photographers in the United States in the 1930s, disappeared from public awareness until the 1970s. She is best known for her quintessentially American pictures of the rural South. A prolific creator, she died before many of her last images could be printed. The latest addition to the acclaimed In Focus series present fifty-five pictures by Ulmann from the Museum's collection. Judith Keller, associate curator of photographs, wrote the extensive accompanying captions and participated, along with William Clift, David Featherstone, Charles Hagen, Weston Naef, Ron Pen, and Susan Millar Williams, in a colloquium on Ulmann and her work. The volume includes an edited transcript of their discussion and a chronological overview of Ulman's life.

This volume presents 31 papers grouped into four topic areas: wood science and technology; history of panel manufacturing techniques; history of the structural conservation of panel paintings; and current approaches to the structural conservation of panel paintings.

This work, covering the years 1816-1820, makes the contents of some of the tens of thousands of sales catalogues published during the 19th century accessible to scholars. Information provided includes sales dates and lot numbers, prices and names of buyers and sellers, and locations of auctions.

A practical manual for the microscopic analysis of paint, coatings, fibres and adhesives - materials found in works of art.

A completely revised edition providing a practical, straightforward guide to the theory and practice of discipline-based art education, explaining how DBAE draws content from the disciplines of art-making, art criticism, art history and aesthetics.

Contains 34 essays by professionals from various disciplines, from a conference on the preservation of contemporary art. This volume attempts to identify the objects which will define the art of the 20th century.

Here, two of the Getty's most popular books are brought together in one handsome boxed set. In Seeing the Getty, numerous color photographs show the Getty Center in all its magnificence—from the tram and the noted architecture to the elegant interiors of the Museum galleries. In Seeing the Getty Gardens, vivid color photographs of the plazas, fountains, hillsides, and Robert Irwin's Central Garden offer a dazzling look at the breathtaking outdoor spaces at the Getty Center. Together these books provide an engaging glimpse of one of America's most important cultural institutions.

A description of the design, experimental procedures and results of the Getty Seismic Adobe Project, which set out to identify and evaluate methods for the seismic protection of historical and culturally significant Adobe structures. The book identifies typical failure modes of adobe structures and outlines retrofitting techniques applicable to minimize these failures. Photographic documentation illustrates the effects of retrofitting on the models tested.

A catalogue of the European decorative art in the Getty Museum. It features photographs of each object, and identifies its creator or manufacturer, its materials, and the date it was created. Provenance information is provided for each object along with a bibliography of related reading.

Published in 1765, Giovanni Battista Piranesi's "Osservazioni" is an impassioned defence of the superiority of Roman architectural "invention" over the "beautiful and noble simplicity" of Ancient Greece. In this three-part polemical work, the engraver and designer not only praises the structural audacity of Etruscan architecture and contends that the Etruscans - not the Greeks - were the artistic mentors of the Romans, but also argues for a Roman-inspired exuberance in design that draws freely on all forms and traditions of ancient art. Although Piranesi's essentially Baroque vision set him at odds with the austere aesthetics of Neoclassicism, his ideas were inspirational to such gifted 18th-century architects as Robert Adam, John Soane, Claude-Nicolas Ledoux, and Etienne-Louis Boullee. Piranesi's plea for imaginative eclecticism remains topical, as practitioners and theorists continue to debate the relative merits of a rational and minimal architecture versus an architecture rich in ornament and historical references.

A review of the literature on the impact of light sources, particularly photo and reprographic flash, on art and archival materials. It should be useful to museum conservators, conservation scientists, and museum and technical libraries.

William Henry Fox Talbot - a scientist, mathematician, author and artist - is credited with being the inventor of photography as we know it. In mid-1834 he began to experiment with light-sensitive chemistry, and in January 1839 he announced his invention of the photogenic drawing, two weeks after Louis-Jacques Mande Daguerre's daguerreotype process debuted in France. Talbot's improved process, the calotype, was introduced in 1840. This invention, which shortened exposure times and facilitated making multiple prints from a single negative, became the basis for photography as it is practised today. The Getty Museum's collection of photographs includes approximately 350 by Talbot, and approximately 50 are reproduced here in colour with commentary on each image by Larry J. Schaaf. Schaaf also provides an introduction to the volume and a chronological overview of the artist's life. This volume includes an edited transcript of a colloquium on Talbot's career with participants Schaaf, Michael Ware, Geoffrey Batchen, Nancy Keeler, James Fee, Weston Naef and David Featherstone.

Although cave paintings from the European Ice Age have gained considerable renown, for many people the term "rock art" reamins full of mystery Yet it refers to perhaps the oldest form of artistic endeavour, splendid examples of which exist on all continents and from all eras Rock art stretches in time from more than forty thousand to less than forty years ago and can be found from the Arctic Circle to the tip of South America, from the caves of southern France to the American Southwest It includes animal and human figures, complex geometrical forms, and myriad mysterious markings. Illustrated in colour throughout, this book provides an engaging overview of rock art worldwide. An introductory chapter discusses the discovery of rock art by the West and the importance of landscape and ritual. Subsequent chapters survey rock art sites throughout the world, explaining how the art can be dated and how it was made.The book then explores the meaning of these often-enigmatic images, including the complex role they played in traditional societies A final chapter looks at the threats posed to rock art today by development, tourism, pollution, and other dangers, and discusses current initiatives to preserve this remarkable heritage.

The Spitz book of hours is one of the finest French manuscripts in the collections of the Getty Museum. It is also one of the most original and inventive manuscripts painted in the International style. The Spitz Master, its primary illuminator, allows the narrative of the miniatures to fill the borders, bringing its pages alive in a fresh and engaging manner. In his art-historical research, Gregory Clark places this manuscript's vivid, even witty imagery in the turbulent context of Parisian culture around 1420. Clark also examines the book of hours in the context of mediaeval culture, the book trade in Paris, and the role of Paris as an international centre of illumination. This study is devoted entirely to the manuscript and reproduces all the book's miniatures in colour. It should serve as an introduction to the Spitz Hours for scholars and the general public alike.

Christian saints have been the objects of reverence and fascination throughout the past two millennia. Their likenesses, heroic acts, prayerful lives, and stories of martyrdom have been portrayed frequently in art of diverse media. Without familiarity with the saints and their images and symbols, viewers of art may find it challenging to identify, for example, which saint is represented as a monk with an axe through his head, or a beautiful girl holding a wheel, or a woman carrying her eyes on a plate. From Agatha to Zeno, Francis of Assisi to Mary Magdalene, this is a presentation of the characteristic features of more than 100 saints often encountered in sacred Western art. Each saint is introduced by a practical list of his or her unique attributes. Entries also include notes on the saints' lives and martyrdom and a series of visual references to help the reader recognize these exemplary figures, their histories, and their special devotions. This resource is illustrated with a collection of masterpieces.

Carol Armstrong offers an important study of Edgar Degas's work and reputation. Armstrong grapples with contradictory portrayals of Degas as "odd man out" within the modernist canon: he was a realist whom realists rejected; a storyteller in pictures who did not satisfy novelist-critics; a painter of modern life who was not a modernist; a member of the impressionist group who was no impressionist. Armstrong confronts these and other paradoxes by analysing the critical vocabularies used to describe Degas's work. By reading several groups of the artist's images through the lens of a sequence of critical texts, Armstrong shows how our critical and popular expectations of Degas are overturned and subverted.

"I am interested only in expressing basic human emotions - tragedy, ecstasy, doom," - Mark Rothko (1903 - 1970) said of his paintings. "If you are moved only by their colour relationships, then you miss the point." Throughout his career, Rothko was concerned with what other people experienced when they looked at his canvases. As his work shifted from figurative imagery to luminous fields of colour, his concern expanded to the setting in which his paintings were exhibited. In a series of analytic, personal, and even poetic essays by contemporary scholars, this volume explains how Rothko's most compelling creations elicit such profound and varied responses. This volume also reproduces, for the first time, Rothko's "Scribble Book," in which he jotted down his ideas on teaching art to children, and a sketchbook, both dating to the early years of the artist's career. "Seeing Rothko" includes essays by David Antin, Dore Ashton, Thomas Crow, John Elderfield, Briony Fer, Charles Harrison, Miguel Lopez-Remiro, Sarah Rich, and Jeffrey Weiss, an introduction by Glenn Phillips, and a bibliography of Rothko's own writings.

La última edición del manual de Getty presenta una perspectiva fascinante de los objetos de la colección del J. Paul Getty Museum. Esta nueva edición del The J. Paul Getty Museum Handbook of the Collection (El Museo J. Paul Getty Manual de la colección) incluye más de 380 de los objetos más apreciados en el museo. Se ha actualizado para agregar las numerosas y emocionantes adquisiciones nuevas, como Fire Island (Isla de fuego) de Adger Cowans y Portrait of Mai ("Omai") (Retrato de Mai "Omai") de Joshua Reynolds, y presenta una reseña de la colección de Getty más reconocida a nivel mundial y de la historia del museo y de su famoso fundador. Desde tesoros del mundo antiguo y manuscritos medievales hasta dibujos renacentistas, muebles franceses, pinturas impresionistas, fotografías icónicas estadounidenses y mucho más, el manual ofrece una mirada indispensable del arte tanto en la magníficamente reimaginada Getty Villa en Malibú como en el deslumbrante Getty Center, construido en una cima de la ciudad de Brentwood. Esta edición, con espléndidas ilustraciones y un hermoso nuevo diseño, es un manual imprescindible para los amantes del arte, ya sean visitantes habituales de ambos espacios o aquellos que aún no han vivido la experiencia.

Nature and Its Symbols is the fifth volume in the series A Guide to Imagery, reference guides whose goal is to explain the symbols used in art. This volume includes chapters on plants, flowers, fruits, and animals of the earth, air, and water, as well as fantastical creatures such as centaurs, griffons, and dragons. The vivid illustrations, which include paintings and tapestries from some of the world's premier museums, are accompanied by texts that offer a careful analysis of the artists' depictions of the natural world. Each entry discusses the symbolic significance of the particular plant, fruit, or animal portrayed, its mythic or literary origins, and the episodes or individuals associated with it. These salient points are also called out in summary form within each entry, making the information easily accessible. The reader discovers, for example, that the iris can represent Jesus or the purity of the Virgin Mary as well as the kings of France or the city of Florence. The monkey, which can be symbolic of the devil, heresy, or bad temper, is also associated with the three wise men who travelled to Bethlehem to pay homage to the infant Jesus.

This volume on paintings conservation includes more than seventy texts ranging from the fifteenth century to the present day. Some are classic and highly influential writings; others, although little known when first published, in retrospect reflect important themes and issues in the history of the field. Many appear here in English for the first time. Divided into six sections: An Historical Miscellany, History of the Profession, Study of Artists' Materials and Techniques, Structural Interventions, Philosophical and Practical Approaches to Cleaning and Restoration, and Cleaning Controversies.

Thesaurus Cultus et Rituum Antiquorum (ThesCRA) is a major multi-volume reference on all known aspects of Greek, Etruscan, and Roman cults and rituals. Providing both a sweeping overview and in-depth investigation, ThesCRA covers the period from Homeric times (1000 B.C.) to late Roman times (A.D. 400). A definitive work on the topic, ThesCRA is the culmination of many years of research by scholars from across the United States and Europe and throughout the Mediterranean world. Each of their texts - either in English, French, German, or Italian - is followed by a catalogue entry listing the epigraphical and literary sources cited and referencing ancient iconographical documents related to the topic. Many of these iconographical items are depicted either in line drawings in the texts or in the plate sections of each volume. On completion, ThesCRA will comprise five volumes, a book of abbreviations, and an index volume. The volumes are arranged thematically. The first three deal with dynamic elements of ancient cults, such as cultic ritual and practice, while the last two are devoted to static elements, such as cult places and their personnel.The first two volumes, available in February 2005, discuss processions, sacrifices, libations, fumigations, and dedications (Volume I): and purification, consecration, initiation, heroization, apotheosis, banquets, dance, music, and rites and activities related to cult images (Volume II). Volume III, slated for August of 2005, will deal with divination; prayers and gestures of prayer; gestures and acts of veneration; supplication; asylum; oaths; magic; curses; and descration. Volumes IV and V, along with the Index, are scheduled for publication in February 2006. ThesCRA was developed by the eminent group of scholars who published the eight double-volumes of LIMC (Lexicon Iconographicum Mythologiae Classicae). Among the many contributors to the ThesCRA volumes are Jean Ch. Balty, Sir John Boardman, Walter Burkert, Giovannangelo Camporeale, Tonio Holscher, Anneliese Kossatz, Vassilis Lambrinoudakis, Francois Lissarrague, John H. Oakley, Ricardo Olmos, H. A. Shapiro, Erika Simon, and Marion True.