Getty Publications – (Yale) – serie

This series includes monographs, research results, and state-of-the-art reviews of conservation literature by Institute staff and others.

This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics.Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.

The subject of this book, which is the first to be devoted to a single photograph, is Camille Silvy's remarkable River Scene. Hailed as a masterpiece when it was first exhibited in France in 1859, the photograph is accompanied here by newly commissioned color photographs by noted photographer Stephen Shore. In a provocative essay, Haworth-Booth discusses the history of the photograph in the context of attitudes of the day toward photography and photographic exhibitions, outlines the influences on Silvy, and examines his eventual influence on others. This is the third book in the Getty Museum Studies on Art (GMSA) series.

When Friedrich Gilly died in 1800 at the age of 28, his architectural career had spanned less than a decade and construction of his major designs was incomplete. Nevertheless, his ideas so strongly influenced Berlin architecture of the next century that he is now widely regarded as the founder of Berlin's distinct architectural tradition. By uniting Rationalist and Neoclassicist principles, his designs achieve an artistic expression that is at once visually dramatic and formally pure. Today, his theories are known primarily through the work of Karl Friedrich Schinkel, his student who became one of Berlin's primary modern architects. In addition to presenting five of Gilly's most influential essays, this volume contains previously unpublished archival records that clarify the intellectual context in which Gilly developed his thoughts on architecture. A catalogue of Gilly's personal library is also presented.

This text attempts to define the elements of early modernist architecture according to notions of realism and simplicity. Although the author, Hermann Muthesius, is perhaps most well-known in Anglo-American architectural literature for his studies of the English house, his work constituted a wide-ranging modernist polemic emanating from the German realist movement of the late 1890s. Notions introduced in the book became common in later modernist historiography: disdain for the 19th century's artistic eclecticism and lack of originality; appreciation of the material and industrial aspects of building technology; and a simpler approach to design. Muthesius' critique of stylistic architecture is not only linked to the development of the Deutsche Werkbund movement, but also can be viewed more broadly as a cornerstone of the modern movement. The introduction by Standford Anderson situates Muthesius and his work in turn-of-the-century architectural discourse and analyzes his vision of a new form of architecture.Anderson also discusses the rationale underlying the call for cultural renewal, the role of English architectural models in Muthesius's thought, critical differences between the first and second editions of "Style-Architecture and Building-Art", the influence of the Jugendstil and art nouveau movements on Muthesius and, in turn, the influence of Muthesius on the Deutsche Werkbund movement.

Jan Brueghel's elaborate 1613 painting entitled "The Entry of the Animals into Noah's Ark" is cleverly transformed into this look-and-find book for children. Twenty-five detailed illustrations prompt children to identify different kinds of animals while accompanying text shows the word for each animal in English, French, Spanish, German, Italian, and Japanese. Each word is spelled phonetically, so parents can help children learn how to pronounce the foreign names correctly. A color foldout of the painting in its entirety makes it fun for young readers to locate each animal from Noah's Ark.

French Tapestries and Textiles is a survey of the Getty Museum's seventeenth-and eighteenth-century French textiles-one of the world's finest collections. Featuring twenty-five extraordinary tapestries woven at the Gobelins and Beauvais manufactories, the catalogue also highlights three carpets, two knotted-pile screens, and two sets of embroidered bed hangings, one of which is the only complete lit a la duchesse surviving from the period. Among the magnificent textiles discussed in this lavish volume are the Emperor of China tapestry series, the whimsical Story of Don Quixote, and Boucher's cycle The Story of Psyche. A gatefold in the book opens to reveal a photograph of the stately twenty-nine-foot carpet commissioned for Louis XIV's Galerie du Bord de l'Eau at the Louvre, a piece not publicly displayed for more than 120 years.Each entry includes a listing of artists and weavers, date and place of manufacture, and materials and techniques used, followed by a complete description and a condition statement. The accompanying commentary provides information on the literary, historical, and visual source of design imagery as well as the context of the textile's commission and production. In addition, each textile shown has a complete provenance, exhibition history, and bibliography.For lovers of French decorative arts and connoisseurs of textiles, this book offers a study both of the art of tapestry- and textile-making and of the aesthetic tradition exemplified by these remarkable objects.

This volume is devoted to the smaller and more unusually-shaped works of Carleton E. Watkins, many of which have not been published before. The book also contains an overview of his life, and an edited transcript of a colloquium on his career.

Inspired by the highly successful Picture L.A., Picture Cape Town contains images by a group of youths who photographed what they consider to be their city's distinctive landmarks. The images, in combination with quotes from the photographers, evoke ideas that challenge conventional notions of landmarks and, at the same time, invite readers to consider how they are marked by the communities in which they live.The images from Cape Town provide a visual narrative of this African city––proud, diverse, and full of energy––and prompt a reassessment of the notion that Cape Town is "a piece of Europe that has lost its way."This book contains a selection of black-and-white prints culled from hundreds taken during the course of the projects, along with short biographies and color images of each of the young photographers.

Provides a history of the buildings that have housed the Getty Museum collections, overviews the collections themselves, and offers a biography of J. Paul Getty.

Arising from the proceedings of two symposia, this text is composed of contributions by scholars who examine the social, intellectual and historical contexts of the work of the Italian Renaissance artist Giovanni di Lutero, who used the name Dosso.

Beautiful objects from the French Decorative Arts collection in the J. Paul Getty Museum, such as clocks, beds, chairs, and tea cups, are cleverly arranged for little fingers to find in this children's counting book. Once young readers solidify their counting skills in the first half of the book, the objects are scrambled and used to teach how to count backwards, from ten to one. At the end, all of the objects are shown in context in an image of a gallery filled with the furniture and other objects from the book. Like its companion volume, "A is for Artist: A Getty Museum Alphabet Book", this book provides a unique opportunity to help children learn basic skills while teaching them to look closely at great art objects. It is for ages two and up.

A discussion of the designs by Antonio Asprucci for the redecoration of the Borghese Palace as a semi-public museum. The author shows that the new designs not only created a unified space for the Count's extensive collection of Greek and Roman antique and "modern" sculpture, they also presented a set of scenes for the edification of the Borghese prince. She also asserts that the redecorated villa was a turning point in the transition from a space for privately held collections to the modern public museum. A second essay by Alberta Campitelli discusses the sketches for another antiquities museum at the villa.

Shortly after the dawn of photography, the unlikely partnership between the respected painter David Octavius Hill and the young engineer Robert Adamson produced some of the most important photographs in the history of the medium. Their alliance began when Hill, while working on his large commemorative painting of the people involved in forming the Free Chruch of Scotland in 1843, began using photography as a tool to document the church elders. What followed was a four-and-a-half-year partnership - cut short by Adamson's untimely death in 1848 - that produced a large body of work. During their association Hill and Adamson experimented with some of the earliest calotype processes creating hundreds of portraits, staged dramatic photographs, and architectural and landscape images. The Getty Museum holds more than 400 works by Hill and Adamson, 47 of which are featured in this volume. The plates are accompanied by commentary from Anne M. Lyden, curatorial assistant in the Department of Photographs at the Museum. A colour foldout of Hill's above-referenced painting "The Signing of the Deed of Demission (The Disruption Picture)" appears in the back of the book.The book includes a chronology of the key events of the artists' partnership and an edited transcript of a colloquium on the artists, with participants: Lyden; Weston Naef, curator of photographs at the J. Paul Getty Museum; Sara Stevenson, curator of photographs at the Scottish National Portrait Gallery; Alison Morrison-Low, curator, History of Science Section, National Museums of Scotland; Jonathon Reff, photographer, Los Angeles; Michael Wilson, private collector, Los Angeles and London; and David Featherstone, independent editor and curator, San Francisco.

If..., the children's bestseller from the Getty Museum, is now available in Spanish. Los Angeles artist Sarah Perry has created twenty magical watercolors that are an open invitation to the imaginations of children. Beautifully produced in full color, these fantastic images conjure up a world of limitless possibilities where anything can happen: leaves turn into green fish... cats fly about on wings... and butterflies become a little girl's coat of many colors. When first published in English, If... quickly found a warm reception among parents and teachers who appreciated this book as an excellent springboard to creative expression and writing. Now native Spanish speakers—as well as non-native readers who want to improve their Spanish skills—can use Y Si... to experience the fanciful world in this book and then dream up their own creative scenarios.

Karel Teige (1900-51) was a graphic designer, critic, and Czech partisan who in 1920 founded a group to promote modernism in the international sphere through polemics and manifestos. This is a translation of Karel Teige's 1930 publication that brought attention to the modernist movement of his native Czechoslovakia and aligned it with the avant-garde efforts of the East and West. Three essays by Teige on art and architecture supplement the volume: "Toward a New Architecture"; "Ten Years of the Bauhaus"; and "Constructivism and the Liquidation of Art".

Murano, a recent work by the distinguished American poet Mark Doty, is a contemplative meditation on human mortality and the mystery of artistic creation. Addressed to his late friend, the poet Lynda Hull, the musings in Murano are set against the backdrop of Venice and the glassmaker's art, as practiced for centuries on the island of Murano in the Venetian lagoon. This moving poem is illustrated with details of sixteen pieces of dazzling Murano glass from the collection of the Getty Museum. These fine, delicate objects paired with Doty's stirring words create an exceptional visual and verbal experience.

Manuel Alvarez Bravo, who celebrates his 100th birthday in 2002, is Mexico's most famous photographer. In eight decades as a photographer, he interacted with Diego Rivera, Frida Kahlo, Sergei Eisentein, Tino Modotti and Octavio Paz, and created works of art that display an array of styles and themes. This volume contains 50 images with extended commentaries on each by Robert Tejada, an independent curator and critic. There is also a transcript of a symposium on Manuel Alvarez Bravo.

Bernardo Bellotto's magnificent View of the Grand Canal provides a rich visual record of life in eighteenth-century Venice. This painting one of the most popular in the Getty Museum is so sweeping in its scope and so detailed that it requires repeated viewings to take in its portrait of daily life in Venice in the 1740s This small book presents Bellotto's great painting in a series of beautiful details that allow the reader to examine the painting closely and enjoy the colourful and busy goings-on of Venetian life captured so unforgettably by Bellotto The book jacket unfolds to become a small poster of the painting in its entirety. Accompanying these delightful images is a lyrical essay by noted American poet Mark Doty. Together, Bellotto's painting and Doty's prose make for an unforgettable encounter with the art and life of Venice.

In 1984 the Getty Museum acquired a collection of Italian Renaissance majolica, or tin-glazed earthenware. This volume catalogues this collection of 45 objects spanning 400 years, including a pair of 18th-century candlesticks representing mythological scenes and a tabletop with hunting scenes.

Archaeological sites around the world are threatened by forces including population growth, development, urbanization, pollution, tourism, vandalism, and looting Site management planning is emerging as a critical element not only for the conservation of this heritage, but also to address issues such as tourism and sustainable development. This book reports on the proceedings of a workshop held in Greece near the ancient site of Corinth, where an international group of professionals gathered to discuss challenges faced by archaeological sites in the Mediterranean and to examine management planning methods that might generate effective conservation strategies. Part One contains papers addressing threats to the archaeological heritage, the concept of heritage values, and a methodology for the conservation and management of archaeological sites. Part Two features case studies where site management plans have been implemented, or where their use is under discussion Cases include Hadrian's Wall, England; Chan Chan, Peru; Masada, Israel; Petra, Jordan; and Corinth, Greece.The book will be of interest to architects, archaeologists, site managers, and all those charged with the conservation and management of the archaeological heritage.

Since the 1970s sustainability has evolved as a significant mode of thought in nearly every field of intellectual activity. In 1992 the United Nations Conference on Environment and Development in Rio de Janeiro brought the ideas of sustainability and development to the forefront of global politics. For historic resources - whether a cultural landscape, town, building or work of art - which cannot be physically regenerated but only retained, modified or lost, sustainability means ensuring the continuing contribution of heritage to the present through the thoughtful management of change responsive to the historic environment. This volume brings together contributions from specialists in a wide range of fields - archaeology, architecture, conservation and management, city and regional planning, anthropology, biology, economics - who examine issues of sustainability as they relate to heritage conservation. The topics range in scale from individual buildings and sites to cities, landscapes and other historic environments.The volume offers a global perspective and demonstrates that conservation must be a dynamic process, involving public participation, dialogue, consensus and, ultimately, better stewardship. Through its dual focus on theory and case studies, the book also makes an important contribution to the larger debate on quality of life and the environment.

Museums throughout the world face the challenge of finding non-toxic methods to control insect pests. This book focuses on practical rather than theoretical issues in the use of oxygen-free environments, presenting a detailed, hands-on guide to the use of oxygen-free environments in the eradication of museum insect pests. This volume discusses the use of nitrogen as the inert gas used to replace oxygen, and the use of a few specific types of containers as treatment chambers. An initial chapter explains the general advantages anoxia offers museum conservators. Subsequent chapters discuss methods and materials, small-scale anoxia using an oxygen absorber, large-scale anoxia using external nitrogen sources, and protocols for insect eradication using nitrogen anoxia. Appendices include a list of manufacturers and suppliers of material and equipment used in nitrogen anoxia. This volume includes a CD-ROM of the book, featuring an Index with terms linked to the text

As archetypes of human virtue and vice, the gods and heroes of Ancient Greece and Rome have figured prominently in Western culture. In art, they have been portrayed time and time again, especially during the Renaissance, Baroque and Neoclassical periods. This volume aims to help museum patrons and art lovers recognize the legendary characters of classical antiquity in art. The characters are each described in entries summarizing their distinctive stories, their special attributes, and the ways in which artists have depicted them. Each entry is illustrated with reproductions of works of art in which the god or hero is pictured, giving readers a chance to examine images of the character and come to understand the work of art better. The guide first surveys the pantheon of the Greco-Roman world, then focuses on characters from the Trojan War and the Odyssey. The next sections describe kings, philosophers, warriors and other historical figures. The work concludes with indexes, including a list of iconographic symbols associated with the subjects, and a bibliography of essential resources.

The 19 papers in this volume stem from a symposium that brought together academics, archaeologists, museum curators, conservators and a practising marble sculptor to discuss varying approaches to restoration of ancient stone sculptures. Contributors and their subjects include: Marion True and Jerry Podany on changing approaches to conservation; Seymour Howard on restoration and the antique model; Nancy H. Ramage's case study on the relationship between a restorer, Vincenzo Pacetti, and his patron, Luciano Bonaparte; Mette Moltesen on de-restoring and re-restoring in the Ny Carlsberg Glyptotek; Miranda Marvin on the Ludovisi collection; and Andreas Scholl on the history of restoration of ancient sculptures in the Altes Museum in Berlin. The book also features contributions by Elizabeth Bartman, Brigitte Bourgeois, Jane Fejfer, Angela Gallottini, Sascha Kansteiner, Giovanna Martellotti, Orietta Rossi Pinelli, Peter Rockwell, Edmund Southworth, Samantha Sportun and Markus Trunk. Charles Rhyne summarizes the themes, approaches, issues and questions raised by the symposium.

In 1830 the British actress Fanny Kemble described the sensation of riding in a train as "strange beyond description". This revolutionary new mode of transportation came into being at almost exactly the same time as an equally revolutionary new invention: photography. The two would radically change our perception of time, space and our place in the world, leading to a new way of seeing that Anne M. Lyden, in this thoroughly engaging account, calls "railroad vision". In Lyden's words: "It is difficult for one to fully grasp how revolutionary these two nineteenth-century innovations were, yet their mutually beneficial relationship has shaped our experience of the modern world". With more than 100 photographs, many from the collection of the Getty Museum, "Railroad Vision" illustrates the parallel histories of railroads and photography - from a photograph of George Stephenson's steam engine locomotion, to powerful images from the American Civil War, to a mid-20th-century photograph by O. Winston Link of a train roaring by a drive-in movie theatre.Images by Carleton Watkins, Walker Evans, William Eggleston and others capture the fascination inspired by railroads and the experience of travel by rail. Whether commissioned by railroad companies or made as independent works of art, these photographs testify to the enduring connection between two technologies that forever changed our perception of the world. "Railroad Vision" includes new information on many trains and locomotives that should be of particular interest to railroad enthusiasts.