A mid-thirteenth-century psalter once owned by the Norman abbey of Montebourg (Los Angeles, J. Paul Getty Museum, MS. 14 [85.MK.239]) possesses many features that might identify it as the product of a Flemish atelier, but at the same time many that point as strongly to an origin in French Flanders or even Paris. Comparable uncertainty characterizes the origins of the Old Testament Picture Bible (New York, Pierpont Morgan Library, MS. 638), which is either Parisian or north French. What seems certain is that the Montebourg Psalter was created by an artist working in the Picture Bible’s immediate circle. The Psalter artist absorbed a fascination with the activities of everyday life and the expression of emotion; and he provides insight into contemporary social concerns: enthusiasm for King Louis IX’s crusading enterprise, growing animosity toward Jews, and anxiety over profit making in the new mercantile economy.
蒙特堡诺曼修道院曾经拥有的一幅13世纪中期的赞美诗(洛杉矶，J.保罗·盖蒂博物馆，文献14 [85. mark .239])具有许多特征，可以确定它是佛兰德工作室的作品，但同时也有许多特征强烈表明它起源于法国的佛兰德斯，甚至是巴黎。《旧约图画圣经》(纽约，皮尔庞特·摩根图书馆，MS. 638)的起源也具有类似的不确定性，它要么是巴黎的，要么是法国北部的。似乎可以肯定的是，蒙特堡诗篇是由一位在《图画圣经》的直接圈子里工作的艺术家创作的。这位《诗篇》艺术家对日常生活的活动和情感的表达着迷;他还提供了对当代社会问题的洞察:对国王路易九世十字军事业的热情，对犹太人日益增长的敌意，以及对新商业经济中获利的焦虑。
{"title":"Between Flanders and Paris: Originality and Quotation in the Montebourg Psalter","authors":"Judith H. Oliver","doi":"10.1086/697382","DOIUrl":"https://doi.org/10.1086/697382","url":null,"abstract":"A mid-thirteenth-century psalter once owned by the Norman abbey of Montebourg (Los Angeles, J. Paul Getty Museum, MS. 14 [85.MK.239]) possesses many features that might identify it as the product of a Flemish atelier, but at the same time many that point as strongly to an origin in French Flanders or even Paris. Comparable uncertainty characterizes the origins of the Old Testament Picture Bible (New York, Pierpont Morgan Library, MS. 638), which is either Parisian or north French. What seems certain is that the Montebourg Psalter was created by an artist working in the Picture Bible’s immediate circle. The Psalter artist absorbed a fascination with the activities of everyday life and the expression of emotion; and he provides insight into contemporary social concerns: enthusiasm for King Louis IX’s crusading enterprise, growing animosity toward Jews, and anxiety over profit making in the new mercantile economy.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"26 1","pages":"17 - 36"},"PeriodicalIF":0.1,"publicationDate":"2018-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/697382","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60677285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A recent discovery in the archives of the GRI exposes another facet of dealers’ strategies. A group of seven letters, including a very detailed contract between the Parisian gallery Arnold & Tripp and the painter and etcher Félix Bracquemond (1833–1914) in order to realize a plate after a painting by Théodore Rousseau (1812–67), sheds light on the economic aspects of the market for prints, and illustrates all the aspects of the deal, from the formal agreement, to the various phases of the proofs, and ultimately to the final plate to be presented at the Paris Salon of 1882.
{"title":"An Inside View of the Print Market in Paris (1881): A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau","authors":"P. Serafini","doi":"10.1086/697391","DOIUrl":"https://doi.org/10.1086/697391","url":null,"abstract":"A recent discovery in the archives of the GRI exposes another facet of dealers’ strategies. A group of seven letters, including a very detailed contract between the Parisian gallery Arnold & Tripp and the painter and etcher Félix Bracquemond (1833–1914) in order to realize a plate after a painting by Théodore Rousseau (1812–67), sheds light on the economic aspects of the market for prints, and illustrates all the aspects of the deal, from the formal agreement, to the various phases of the proofs, and ultimately to the final plate to be presented at the Paris Salon of 1882.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"10 1","pages":"207 - 224"},"PeriodicalIF":0.1,"publicationDate":"2018-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/697391","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45544757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to highlight the cultural biography of a small alabaster vessel in the collection of the J. Paul Getty Museum. This anthropomorphic alabaster scent bottle, which is dated to ca. 575–550 BCE and thought to have been made in Naucratis in Egypt, is presented as a Greek artifact in the Getty Villa’s permanent exhibition. This paper challenges this description and argues instead that the vessel is better understood as a cultural hybrid. We suggest that, by merging Egyptian, Phoenician, Greek, and/or Cypriot influences into a single object, the artists that created such interesting vessels were catering to a surprisingly international market. Thus, objects such as the Getty alabastron can be understood as emblems for an increasingly connected world and as symbols of the eclectic nature of Classical Greek culture.
{"title":"A Stone Alabastron in the J. Paul Getty Museum and Its Mediterranean Context","authors":"J. Kelder, L. Bricault, R. Schneider","doi":"10.1086/697381","DOIUrl":"https://doi.org/10.1086/697381","url":null,"abstract":"This paper aims to highlight the cultural biography of a small alabaster vessel in the collection of the J. Paul Getty Museum. This anthropomorphic alabaster scent bottle, which is dated to ca. 575–550 BCE and thought to have been made in Naucratis in Egypt, is presented as a Greek artifact in the Getty Villa’s permanent exhibition. This paper challenges this description and argues instead that the vessel is better understood as a cultural hybrid. We suggest that, by merging Egyptian, Phoenician, Greek, and/or Cypriot influences into a single object, the artists that created such interesting vessels were catering to a surprisingly international market. Thus, objects such as the Getty alabastron can be understood as emblems for an increasingly connected world and as symbols of the eclectic nature of Classical Greek culture.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"10 1","pages":"1 - 16"},"PeriodicalIF":0.1,"publicationDate":"2018-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/697381","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46780580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay focuses on the arrival and afterlife of Jackson Pollock’s Mural (1943) at the University of Iowa. Assumptions that Iowa was devoid of modern art prior to Mural’s arrival in 1951 are countered with a discussion of the university’s innovative approach to art education during the 1930s, which was widely copied throughout the nation, and its impressive collection of contemporary art, which it began building in the mid-1940s. Mural’s precarious afterlife is discussed as both a proudly displayed trophy of American modernism and a pawn in various academic and economic takeover bids. Mural, Doss suggests, arrived at Iowa as the spoil of victory in a war between two styles of modern American art: regionalism and abstract expressionism. Over the past six decades, Mural’s afterlife at the University of Iowa has wavered between anxieties about appropriate directions in cultural pedagogy, worries about aesthetic legacy, and wild-eyed schemes of monetization.
这篇文章的重点是杰克逊·波洛克的壁画(1943)在爱荷华大学的到来和来世。在1951年壁画到来之前，爱荷华州缺乏现代艺术的假设与20世纪30年代大学创新艺术教育方法的讨论相对抗，这在全国范围内被广泛复制，以及其令人印象深刻的当代艺术收藏，它开始于20世纪40年代中期建立。壁画不稳定的来世被认为是美国现代主义骄傲地展示的战利品，也是各种学术和经济收购竞标中的棋子。多斯认为，壁画是在美国现代艺术的两种风格:地域主义和抽象表现主义之间的战争中，作为胜利的战利品来到爱荷华州的。在过去的60年里，壁画在爱荷华大学(University of Iowa)的死后生活一直在为文化教育学的正确方向而焦虑，为美学遗产而担忧，以及疯狂的货币化计划而摇摆不定。
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This article examines the description of Persepolis, one of the capital cities of the Achaemenid Persian Empire (ca. 550–330 BCE), by Giovanni Francesco Gemelli Careri (1651–1725) in his illustrated travelogue Giro del mondo (1699–1700). Gemelli Careri’s extensive description of the site—some twenty pages of text accompanied by two plates engraved by Andrea Magliar (fl. 1690s)—is compared with the accounts of contemporary travelers and with present-day archaeological knowledge. Gemelli Careri’s visit to and description of Persepolis are now largely forgotten in the modern study of Achaemenid Persia, but they shed light on a transitional moment in the development of a more scientific approach to travel writing about archaeological sites: his work straddles the more imaginative approaches of earlier travel writers and the more scientific approaches of subsequent ones.
本文考察了Giovanni Francesco Gemelli Careri（1651–1725）在其插图游记Giro del mondo（1699–1700）中对波斯波利斯的描述，波斯波利斯是阿契美尼德波斯帝国（约公元前550–330年）的首都之一。Gemelli Careri对该遗址的广泛描述——大约20页的文字，配以Andrea Magliar（1690年代）雕刻的两块铭牌——与当代旅行者的描述和当今的考古知识进行了比较。Gemelli Careri对波斯波利斯的访问和描述现在在阿契美尼德波斯的现代研究中基本上被遗忘了，但它们揭示了一个更科学的考古遗址旅行写作方法发展的过渡时刻：他的作品跨越了早期旅行作家更具想象力的方法和后来旅行作家更科学的方法。
{"title":"Gemelli Careri’s Description of Persepolis","authors":"Henry P. Colburn","doi":"10.1086/691294","DOIUrl":"https://doi.org/10.1086/691294","url":null,"abstract":"This article examines the description of Persepolis, one of the capital cities of the Achaemenid Persian Empire (ca. 550–330 BCE), by Giovanni Francesco Gemelli Careri (1651–1725) in his illustrated travelogue Giro del mondo (1699–1700). Gemelli Careri’s extensive description of the site—some twenty pages of text accompanied by two plates engraved by Andrea Magliar (fl. 1690s)—is compared with the accounts of contemporary travelers and with present-day archaeological knowledge. Gemelli Careri’s visit to and description of Persepolis are now largely forgotten in the modern study of Achaemenid Persia, but they shed light on a transitional moment in the development of a more scientific approach to travel writing about archaeological sites: his work straddles the more imaginative approaches of earlier travel writers and the more scientific approaches of subsequent ones.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"9 1","pages":"181 - 190"},"PeriodicalIF":0.1,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691294","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42933576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay proposes an approach to the genre of the seventeenth-century French fashion print that follows the rubric of the printmakers, which takes the basic physical and graphic format of the genre rather than the thematic content of the images as its essential characteristic. This allows for an examination of the many interrelated modes of address that an image or theme might traverse in the course of minor graphic adjustments, and of how these formed a language for more complex interventions into the genre of the fashion print, which brings to light the ways in which the pictorial and rhetorical ingenuity of the printmakers participated in a broader cultural discourse on fashion, fashionability, and social identity in the late seventeenth century.
{"title":"Modes of Address: The Fashion Print as Passe-Partout","authors":"Edward L. Sterrett","doi":"10.1086/691285","DOIUrl":"https://doi.org/10.1086/691285","url":null,"abstract":"This essay proposes an approach to the genre of the seventeenth-century French fashion print that follows the rubric of the printmakers, which takes the basic physical and graphic format of the genre rather than the thematic content of the images as its essential characteristic. This allows for an examination of the many interrelated modes of address that an image or theme might traverse in the course of minor graphic adjustments, and of how these formed a language for more complex interventions into the genre of the fashion print, which brings to light the ways in which the pictorial and rhetorical ingenuity of the printmakers participated in a broader cultural discourse on fashion, fashionability, and social identity in the late seventeenth century.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"9 1","pages":"23 - 38"},"PeriodicalIF":0.1,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691285","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41551554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Going beyond previous chronologies of Jackson Pollock’s life and work, this chronology focuses on the history of Mural, starting with Peggy Guggenheim’s commission for the entrance hall of her New York residence at 155 East Sixty-First Street and including relevant history of her Art of This Century gallery. While serving as a program officer at the Andrew W. Mellon Foundation (which purchased the property and adjoining brownstones in 2002 for conversion to office space), Rudenstine initiated an extensive study of the history of the work and the site (in collaboration with Charles A. Platt, architect, and Erin Rulli, consultant in preservation of historic properties), establishing an authoritative ground plan of the entrance hall with location and precise dimensions of the wall on which Mural was installed. In tracing the handling of Mural (including material from archival records), and critical access to it from 1943 until its arrival at the University of Iowa in 1951, Rudenstine establishes significant new information.
{"title":"Chronology: Jackson Pollock’s Mural, Peggy Guggenheim’s Commission for the East Sixty-First Street Site and Subsequent History to October 1951","authors":"A. Rudenstine","doi":"10.1086/695865","DOIUrl":"https://doi.org/10.1086/695865","url":null,"abstract":"Going beyond previous chronologies of Jackson Pollock’s life and work, this chronology focuses on the history of Mural, starting with Peggy Guggenheim’s commission for the entrance hall of her New York residence at 155 East Sixty-First Street and including relevant history of her Art of This Century gallery. While serving as a program officer at the Andrew W. Mellon Foundation (which purchased the property and adjoining brownstones in 2002 for conversion to office space), Rudenstine initiated an extensive study of the history of the work and the site (in collaboration with Charles A. Platt, architect, and Erin Rulli, consultant in preservation of historic properties), establishing an authoritative ground plan of the entrance hall with location and precise dimensions of the wall on which Mural was installed. In tracing the handling of Mural (including material from archival records), and critical access to it from 1943 until its arrival at the University of Iowa in 1951, Rudenstine establishes significant new information.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"9 1","pages":"1 - 25"},"PeriodicalIF":0.1,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/695865","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44999616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers printmaking and photography as media of inscription in late nineteenth-century Mexican archaeology. Specifically, it analyzes a debate about the relative virtues of drawn and photographic archaeological images between the Mexican polymath Antonio Peñafiel (1830–1922) and the British and French-American explorers Alice Dixon Le Plongeon (1851–1910) and Augustus Le Plongeon (1826–1908). Peñafiel, tasked with assembling comprehensive documentation of Mexico’s patrimony, found the constructed image of the print an ideal venue for demonstrating national scientific accomplishment, while the Le Plongeons celebrated the apparent presence and documentary holism afforded by photography. However, despite contentious epistemic debates about how scientists should navigate an unsettled ecology of nineteenth-century reproductive media, archival materials in the GRI collections reveal these scholars’ practices to be thoroughly intermedial. This article argues for further attention to local cultures of archaeological knowledge- and image-making as well as a complication of the frequently coupled historiographies of nineteenth-century archaeology and photography.
{"title":"Monuments in Print and Photography: Inscribing the Ancient in Nineteenth-Century Mexico","authors":"Robert J. Kett","doi":"10.1086/691296","DOIUrl":"https://doi.org/10.1086/691296","url":null,"abstract":"This article considers printmaking and photography as media of inscription in late nineteenth-century Mexican archaeology. Specifically, it analyzes a debate about the relative virtues of drawn and photographic archaeological images between the Mexican polymath Antonio Peñafiel (1830–1922) and the British and French-American explorers Alice Dixon Le Plongeon (1851–1910) and Augustus Le Plongeon (1826–1908). Peñafiel, tasked with assembling comprehensive documentation of Mexico’s patrimony, found the constructed image of the print an ideal venue for demonstrating national scientific accomplishment, while the Le Plongeons celebrated the apparent presence and documentary holism afforded by photography. However, despite contentious epistemic debates about how scientists should navigate an unsettled ecology of nineteenth-century reproductive media, archival materials in the GRI collections reveal these scholars’ practices to be thoroughly intermedial. This article argues for further attention to local cultures of archaeological knowledge- and image-making as well as a complication of the frequently coupled historiographies of nineteenth-century archaeology and photography.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"9 1","pages":"201 - 210"},"PeriodicalIF":0.1,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691296","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48136390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article studies a set of 199 educational playing cards published in 1644, commissioned by Cardinal Jules Mazarin as an educational device for the five-year-old Louis XIV upon his coming into power. Etched by the famed Florentine printmaker Stefano della Bella, and written by the French poet-playwright Jean Desmarets de Saint-Sorlin, the Jeux de Cartes were divided into four sets, presenting morals from Ovid, teaching geography, depicting famous queens and the characteristics for which they were remembered, and portraying every king from French history, thus proffering positive and negative examples of rule. Upon completion, they were immediately, repeatedly printed and widely sold. This article newly discusses the Jeux in the context of the speculum principum, alongside trajectories of early modern playing cards and pictorial education, to analyze how they imbued morals in the mind of the young king while broadcasting his educational agenda to the French public during an unpopular Regency.
本文研究了1644年出版的一套199张教育扑克牌，由红衣主教朱尔斯·马扎林委托，作为五岁的路易十四上台后的教育工具。由著名的佛罗伦萨版画家Stefano della Bella蚀刻，法国诗人兼剧作家Jean Desmarets de Saint Sorlin创作的《卡特尔》分为四套，展示了奥维德的道德观，教授地理，描绘了著名的女王及其被铭记的特征，描绘了法国历史上的每一位国王，从而提供了规则的正反两个例子。完成后，它们立即被反复印刷并广泛销售。这篇文章新讨论了投机原则背景下的Jeux，以及早期现代扑克牌和图像教育的轨迹，以分析他们如何在不受欢迎的摄政时期向法国公众传播他的教育议程时，将道德灌输给年轻国王的思想。
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This essay focuses on relevant documentary evidence related to painting technique in Umberto Boccioni’s writings, showing his update to coeval treatises on technique in the context of the market of products for fine arts in Milan. The author shares the results of her research on Futurist written sources related to technique and materials, offering her perspective on Boccioni and his cultural background, gleaned from her work on the Umberto Boccioni papers (GRI, Special Collections). Furthermore, these documents are placed within the context of the painter’s early works in Padova and Milan, showing evidence of his struggles with compositional planning, his trials in the arrangement of colors, and his experimental attitude toward industrially produced painting materials, closely connected to his self-directed apprenticeship on Gaetano Previati’s treatises and other contemporary works. Boccioni’s reading practice is examined, attempting to suggest a possible relationship between theoretical equipment and skill development, between the copybook practice and the assembling/repetitive nature of the practical apprenticeship.
{"title":"Matter Matters: An Unsolved Problem in Boccioni’s Art and Poetics","authors":"Margherita d’Ayala Valva","doi":"10.1086/691289","DOIUrl":"https://doi.org/10.1086/691289","url":null,"abstract":"This essay focuses on relevant documentary evidence related to painting technique in Umberto Boccioni’s writings, showing his update to coeval treatises on technique in the context of the market of products for fine arts in Milan. The author shares the results of her research on Futurist written sources related to technique and materials, offering her perspective on Boccioni and his cultural background, gleaned from her work on the Umberto Boccioni papers (GRI, Special Collections). Furthermore, these documents are placed within the context of the painter’s early works in Padova and Milan, showing evidence of his struggles with compositional planning, his trials in the arrangement of colors, and his experimental attitude toward industrially produced painting materials, closely connected to his self-directed apprenticeship on Gaetano Previati’s treatises and other contemporary works. Boccioni’s reading practice is examined, attempting to suggest a possible relationship between theoretical equipment and skill development, between the copybook practice and the assembling/repetitive nature of the practical apprenticeship.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"9 1","pages":"93 - 110"},"PeriodicalIF":0.1,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691289","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60656322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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