The present article focuses on the first draft of Clement Greenberg’s essay “Towards a Newer Laocoon,” published in Partisan Review in July–August 1940, and on various documents relating to it, such as Greenberg’s personal correspondence and his notebook, preserved at the Getty Research Institute, Los Angeles. This original draft, with its lucid arguments and pragmatic prose, deals with a variety of issues, including abstract painting’s role in society and the relationship between perception, psychology, and art. Because of the editors’ dissatisfaction with this essay, Greenberg was forced to rewrite it, and, as he complained to a friend, his “Laocoon” was not only cut but also distorted. An analysis of the draft’s main thesis, as well as of the other related documents, reveals important insight into Greenberg’s intellectual formation.
{"title":"An Unreleased Laocoon: The First Draft of Clement Greenberg’s “Towards a Newer Laocoon”","authors":"Camilla Froio","doi":"10.1086/713436","DOIUrl":"https://doi.org/10.1086/713436","url":null,"abstract":"The present article focuses on the first draft of Clement Greenberg’s essay “Towards a Newer Laocoon,” published in Partisan Review in July–August 1940, and on various documents relating to it, such as Greenberg’s personal correspondence and his notebook, preserved at the Getty Research Institute, Los Angeles. This original draft, with its lucid arguments and pragmatic prose, deals with a variety of issues, including abstract painting’s role in society and the relationship between perception, psychology, and art. Because of the editors’ dissatisfaction with this essay, Greenberg was forced to rewrite it, and, as he complained to a friend, his “Laocoon” was not only cut but also distorted. An analysis of the draft’s main thesis, as well as of the other related documents, reveals important insight into Greenberg’s intellectual formation.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"203 - 217"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713436","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41844904","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}
International knowledge of the work of Antoni Gaudí increased during the postwar years and with it was an ongoing interest in positioning the work of the Catalan architect within modern historiography. The process of discovery and evaluation of Gaudí’s work by historian Nikolaus Pevsner began in 1947 during the first discussions concerning the production of the Museum of Modern Art edition of Pioneers of the Modern Movement: From William Morris to Walter Gropius; Pevsner’s preoccupation grew incrementally during the 1950s, becoming one of the most significant, albeit puzzling, additions to his work on modern architecture in the 1960s, when Pevsner argued that Gaudí was an “anti-pioneer” to the functional, progressive idea of modern architecture that he advocated for. Pevsner’s published selection of images on Gaudí’s architecture, which included photographs taken at a distance to portray complete buildings and those appropriated from popular postcards, often made his arguments look obsolete in comparison with the more progressive forms of photography that James Johnson Sweeney and Josep Lluís Sert, for instance, would use in their publications. This essay chronicles Pevsner’s changing attitudes toward Gaudí, borne out through multiple revised publications, to illuminate not only the attention given to Gaudí’s work in the two decades following the Second World War but also the evolving historical conditions for architecture and its criticism in this period.
{"title":"Nikolaus Pevsner, Photography, and the Architecture of Antoni Gaudí","authors":"P. Avilés","doi":"10.1086/716583","DOIUrl":"https://doi.org/10.1086/716583","url":null,"abstract":"International knowledge of the work of Antoni Gaudí increased during the postwar years and with it was an ongoing interest in positioning the work of the Catalan architect within modern historiography. The process of discovery and evaluation of Gaudí’s work by historian Nikolaus Pevsner began in 1947 during the first discussions concerning the production of the Museum of Modern Art edition of Pioneers of the Modern Movement: From William Morris to Walter Gropius; Pevsner’s preoccupation grew incrementally during the 1950s, becoming one of the most significant, albeit puzzling, additions to his work on modern architecture in the 1960s, when Pevsner argued that Gaudí was an “anti-pioneer” to the functional, progressive idea of modern architecture that he advocated for. Pevsner’s published selection of images on Gaudí’s architecture, which included photographs taken at a distance to portray complete buildings and those appropriated from popular postcards, often made his arguments look obsolete in comparison with the more progressive forms of photography that James Johnson Sweeney and Josep Lluís Sert, for instance, would use in their publications. This essay chronicles Pevsner’s changing attitudes toward Gaudí, borne out through multiple revised publications, to illuminate not only the attention given to Gaudí’s work in the two decades following the Second World War but also the evolving historical conditions for architecture and its criticism in this period.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"123 - 150"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/716583","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44829217","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}
How many times have we heard the phrase “what a small world”? We exclaim this expression during specific moments in our lives when we suddenly discover a personal connection in an unexpected context. In this moment, not only does the unexpected and unpredictable present itself in a space where we did not anticipate it but what previously seemed distant and remote appears, all of a sudden, extremely near and incredibly close, so relevant and related. Our wide and bewildering world abruptly turns small and comprehensible, as if it can easily be discerned, and all that was once claimed to be mysterious or isolated instantly becomes accessible. In this article, I call on the small-world notion and experience, focusing on this moment of surprise and collapse in how it relates to our visual experience of finding hidden connections in art. Using Raimundo de Madrazo y Garreta’s painting Reverie—The Letter (1870) as a case study and drawing on social theories of degrees of separation, I argue that the core of global art history as a valuable methodology might be anchored precisely in this specific short-lived sensation and impression.
我们听过多少次“世界真小”?当我们在生活中的特定时刻，在一个意想不到的环境中突然发现一种个人联系时，我们会惊呼这个表达。在这一刻，出乎意料和不可预测的事情不仅出现在我们没有预料到的空间里，而且以前看起来遥远和遥远的事情突然之间变得非常接近，非常接近，如此相关和相关。我们广阔而令人困惑的世界突然变得小而容易理解，仿佛它可以很容易地辨别出来，所有曾经被认为是神秘或孤立的东西瞬间变得触手可及。在这篇文章中，我呼吁小世界的概念和经验，专注于这个惊喜和崩溃的时刻，它是如何与我们在艺术中寻找隐藏联系的视觉体验联系起来的。以雷蒙多·德·马德拉佐·伊·加雷塔(Raimundo de Madrazo y Garreta)的画作《幻想——信》(1870)为例，并借鉴社会分离度理论，我认为全球艺术史的核心作为一种有价值的方法论，可能正是锚定在这种特定的短暂的感觉和印象中。
{"title":"“What a Small World”: Interpreting Works of Art in the Age of Global Art History","authors":"A. Shalem","doi":"10.1086/713432","DOIUrl":"https://doi.org/10.1086/713432","url":null,"abstract":"How many times have we heard the phrase “what a small world”? We exclaim this expression during specific moments in our lives when we suddenly discover a personal connection in an unexpected context. In this moment, not only does the unexpected and unpredictable present itself in a space where we did not anticipate it but what previously seemed distant and remote appears, all of a sudden, extremely near and incredibly close, so relevant and related. Our wide and bewildering world abruptly turns small and comprehensible, as if it can easily be discerned, and all that was once claimed to be mysterious or isolated instantly becomes accessible. In this article, I call on the small-world notion and experience, focusing on this moment of surprise and collapse in how it relates to our visual experience of finding hidden connections in art. Using Raimundo de Madrazo y Garreta’s painting Reverie—The Letter (1870) as a case study and drawing on social theories of degrees of separation, I argue that the core of global art history as a valuable methodology might be anchored precisely in this specific short-lived sensation and impression.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"121 - 142"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713432","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41451516","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}
The heraldic devices found in an important missal from Renaissance Bologna, now in the collection of the J. Paul Getty Museum, are known to have been repainted during the early life of the manuscript. To clarify these stages and enable a reassessment of the missal’s history and historiography, a technical analysis of the painted escutcheons was undertaken using Scanning Macro-X-Ray Fluorescence (MA-XRF) spectroscopy. This analytical method provides distribution maps of individual chemical elements, aiding the visualization of paint surfaces that suffered loss, abrasion, or intentional defacement, or underwent interventions such as repainting or retouching. In this article, changes to the shields are more precisely documented than ever before, allowing the authors to reconsider the early provenance of a manuscript witness to the papal crisis within the Catholic Church during the final decades of the Great Western Schism.
{"title":"Behind the Shield: Documenting Interventions in a Bolognese Missal with Scanning Macro-X-Ray Fluorescence (MA-XRF) Spectroscopy","authors":"Nancy K. Turner, C. S. Patterson, Bryan C. Keene","doi":"10.1086/713430","DOIUrl":"https://doi.org/10.1086/713430","url":null,"abstract":"The heraldic devices found in an important missal from Renaissance Bologna, now in the collection of the J. Paul Getty Museum, are known to have been repainted during the early life of the manuscript. To clarify these stages and enable a reassessment of the missal’s history and historiography, a technical analysis of the painted escutcheons was undertaken using Scanning Macro-X-Ray Fluorescence (MA-XRF) spectroscopy. This analytical method provides distribution maps of individual chemical elements, aiding the visualization of paint surfaces that suffered loss, abrasion, or intentional defacement, or underwent interventions such as repainting or retouching. In this article, changes to the shields are more precisely documented than ever before, allowing the authors to reconsider the early provenance of a manuscript witness to the papal crisis within the Catholic Church during the final decades of the Great Western Schism.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"63 - 86"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713430","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44503314","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 analyzes the travels of American artist Malvina Hoffman (1885–1966) in Southeastern Europe as a representative of the American Yugo-Slav Relief. Hoffman—famous as a student of sculptors Auguste Rodin and Ivan Meštrović—is best known for roughly a hundred sculptures that she produced for a 1933 exhibition at the Field Museum in Chicago titled The Races of Mankind, which played a crucial role in the development of scientific discourses on race in the United States during the interwar period. In later accounts, Hoffman asserted that her interest in racial types developed during her travels in Yugoslavia while overseeing the distribution of American aid to decimated populations of the region in 1919. Based on research in Hoffman’s archive at the Getty Research Institute, this article considers the kinds of representations Hoffman produced of the Balkans and how her encounter with the region informed her work as a sculptor.
{"title":"Malvina Hoffman in the Balkans","authors":"Raino Isto","doi":"10.1086/713435","DOIUrl":"https://doi.org/10.1086/713435","url":null,"abstract":"This article analyzes the travels of American artist Malvina Hoffman (1885–1966) in Southeastern Europe as a representative of the American Yugo-Slav Relief. Hoffman—famous as a student of sculptors Auguste Rodin and Ivan Meštrović—is best known for roughly a hundred sculptures that she produced for a 1933 exhibition at the Field Museum in Chicago titled The Races of Mankind, which played a crucial role in the development of scientific discourses on race in the United States during the interwar period. In later accounts, Hoffman asserted that her interest in racial types developed during her travels in Yugoslavia while overseeing the distribution of American aid to decimated populations of the region in 1919. Based on research in Hoffman’s archive at the Getty Research Institute, this article considers the kinds of representations Hoffman produced of the Balkans and how her encounter with the region informed her work as a sculptor.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"177 - 202"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713435","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48302921","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}
The visibility of women in owner portraits from the early era of books of hours (ca. 1230–1350) reflected and shaped perceptions of literate prayer as a feminine activity. While owner portraits of men are comparatively rare, they are not unknown. Images of laymen and laywomen devotees in four illuminated manuscripts from northern France around 1300, and in particular the owner portraits of men in the Ruskin Hours held by the J. Paul Getty Museum, evince the ways gendered use is conceived and constructed in these intimate luxury objects. Images of men at prayer distinguish masculine devotion from feminized practices of literate prayer. Chivalric imagery emphasizes class as well as gender, and the conspicuous absence of the attribute of the book frames lay masculine devotion as an active, externalized practice.
{"title":"Picturing Men at Prayer: Gender in Manuscript Owner Portraits around 1300","authors":"M. Doyle","doi":"10.1086/713429","DOIUrl":"https://doi.org/10.1086/713429","url":null,"abstract":"The visibility of women in owner portraits from the early era of books of hours (ca. 1230–1350) reflected and shaped perceptions of literate prayer as a feminine activity. While owner portraits of men are comparatively rare, they are not unknown. Images of laymen and laywomen devotees in four illuminated manuscripts from northern France around 1300, and in particular the owner portraits of men in the Ruskin Hours held by the J. Paul Getty Museum, evince the ways gendered use is conceived and constructed in these intimate luxury objects. Images of men at prayer distinguish masculine devotion from feminized practices of literate prayer. Chivalric imagery emphasizes class as well as gender, and the conspicuous absence of the attribute of the book frames lay masculine devotion as an active, externalized practice.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"31 - 62"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713429","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49542631","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}
As with much twentieth-century modernist architecture, the buildings of Richard Neutra (1892–1970) have achieved worldwide renown chiefly through the writings of critics and historians and the published images of his work by architectural photographers. The most noted of Neutra’s photographers was Julius Shulman (1910–2009), who acknowledged that Neutra had been his mentor, teaching him how best to frame a building, inside and out, and situate it within its landscape and context. Less well known, however, is Willard Morgan (1900–1967), for whom Neutra was a mentor in much the same way and who preceded Shulman’s work by a decade. Morgan was the first person to photograph one of Neutra’s—and modern architecture’s—seminal buildings: the famous Lovell Health House in Los Angeles for Philip and Leah Lovell, built in 1927–29. This article uncovers the relationship between Morgan and Neutra and foregrounds the significance of Morgan’s achievement.
{"title":"Picturing Modern Architecture: Photographer Willard Morgan and Richard Neutra’s Lovell House","authors":"T. Hines","doi":"10.1086/716586","DOIUrl":"https://doi.org/10.1086/716586","url":null,"abstract":"As with much twentieth-century modernist architecture, the buildings of Richard Neutra (1892–1970) have achieved worldwide renown chiefly through the writings of critics and historians and the published images of his work by architectural photographers. The most noted of Neutra’s photographers was Julius Shulman (1910–2009), who acknowledged that Neutra had been his mentor, teaching him how best to frame a building, inside and out, and situate it within its landscape and context. Less well known, however, is Willard Morgan (1900–1967), for whom Neutra was a mentor in much the same way and who preceded Shulman’s work by a decade. Morgan was the first person to photograph one of Neutra’s—and modern architecture’s—seminal buildings: the famous Lovell Health House in Los Angeles for Philip and Leah Lovell, built in 1927–29. This article uncovers the relationship between Morgan and Neutra and foregrounds the significance of Morgan’s achievement.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"191 - 204"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49081089","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 examines the photographic output of Allan Sekula (1951–2013), focusing on the unrealized projects and abandoned works held in the collection of the Getty Research Institute. The artist’s archive spans the full spectrum of photographic work, including snapshots, test images, trials, uncompleted works, and unprinted images. Items also include Sekula’s notebooks, journals, correspondence, teaching notes, newspaper clippings, and photocopied texts. The archive is part of the fragmentary lifeworld of the artist in his studio, as it contains photographs that had been made and kept throughout Sekula’s life but were never incorporated into a complete sequence or finished work. The structure of his archive and the objects within it encourage us to consider not only Sekula’s vision of Los Angeles but also the greater social, political, and unconscious impulses that drive the making of images.
{"title":"Allan Sekula: Photographic Work","authors":"A. Witt","doi":"10.1086/716584","DOIUrl":"https://doi.org/10.1086/716584","url":null,"abstract":"This essay examines the photographic output of Allan Sekula (1951–2013), focusing on the unrealized projects and abandoned works held in the collection of the Getty Research Institute. The artist’s archive spans the full spectrum of photographic work, including snapshots, test images, trials, uncompleted works, and unprinted images. Items also include Sekula’s notebooks, journals, correspondence, teaching notes, newspaper clippings, and photocopied texts. The archive is part of the fragmentary lifeworld of the artist in his studio, as it contains photographs that had been made and kept throughout Sekula’s life but were never incorporated into a complete sequence or finished work. The structure of his archive and the objects within it encourage us to consider not only Sekula’s vision of Los Angeles but also the greater social, political, and unconscious impulses that drive the making of images.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"151 - 179"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/716584","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44559816","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 imparts several new insights into the J. Paul Getty Museum’s rhyton with a protome in the shape of a stag (86.AM.753). This silver vessel, which dates to the Parthian period, ranks among the museum’s most important objects from its collection of ancient Iranian metalwork. Discoveries include a new inscription on the vessel, technical observations from the first endoscopic examination of its interior, and a new correct weight. In addition, the article presents a new transliteration, transcription, and translation for the vessel’s inscription on its protome, whose content has heretofore never been integrated into art historical discussions of the object. This article also offers a new methodology for dating this and similar objects, and establishes an earlier date range for the stag rhyton. In addition, correct new weights for the Getty’s two lynx rhyta are reported and discussed.
{"title":"The Getty Stag Rhyton and Parthian Aristocratic Culture: New Epigraphic and Technical Discoveries","authors":"M. Canepa","doi":"10.1086/713428","DOIUrl":"https://doi.org/10.1086/713428","url":null,"abstract":"This article imparts several new insights into the J. Paul Getty Museum’s rhyton with a protome in the shape of a stag (86.AM.753). This silver vessel, which dates to the Parthian period, ranks among the museum’s most important objects from its collection of ancient Iranian metalwork. Discoveries include a new inscription on the vessel, technical observations from the first endoscopic examination of its interior, and a new correct weight. In addition, the article presents a new transliteration, transcription, and translation for the vessel’s inscription on its protome, whose content has heretofore never been integrated into art historical discussions of the object. This article also offers a new methodology for dating this and similar objects, and establishes an earlier date range for the stag rhyton. In addition, correct new weights for the Getty’s two lynx rhyta are reported and discussed.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"1 - 30"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713428","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46515291","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}
Anne-Lise Desmas and Anne Pingeot address arguments that disprove the attribution of the J. Paul Getty Museum’s Head with Horns to Paul Gauguin. As an introductory essay, Desmas traces the sculpture through the historiography of Gauguin before its reappearance in 1997; she demonstrates that its attribution to the artist, already proposed—with no hard evidence—two decades after Gauguin’s death, quickly took hold among scholars, despite doubts expressed by certain specialists and arguments that could have disproved it as early as 1969. Pingeot recounts the contradictory opinions expressed by Gauguin scholars since 1997 and especially after 2002, when it was exhibited for the first time in the United States. Examining the sculpture from a perspective that reaches beyond conventional connoisseurship, she sheds light on Gauguin’s creative appropriation of objects and artworks that he absorbed and made his own. She proposes that while Gauguin was not the first author of Head with Horns, the sculpture became his own, and the artist could in turn be considered the inventor of the readymade.
{"title":"The Getty Head with Horns in Gauguin’s Historiography","authors":"Anne-Lise. Desmas","doi":"10.1086/713433","DOIUrl":"https://doi.org/10.1086/713433","url":null,"abstract":"Anne-Lise Desmas and Anne Pingeot address arguments that disprove the attribution of the J. Paul Getty Museum’s Head with Horns to Paul Gauguin. As an introductory essay, Desmas traces the sculpture through the historiography of Gauguin before its reappearance in 1997; she demonstrates that its attribution to the artist, already proposed—with no hard evidence—two decades after Gauguin’s death, quickly took hold among scholars, despite doubts expressed by certain specialists and arguments that could have disproved it as early as 1969. Pingeot recounts the contradictory opinions expressed by Gauguin scholars since 1997 and especially after 2002, when it was exhibited for the first time in the United States. Examining the sculpture from a perspective that reaches beyond conventional connoisseurship, she sheds light on Gauguin’s creative appropriation of objects and artworks that he absorbed and made his own. She proposes that while Gauguin was not the first author of Head with Horns, the sculpture became his own, and the artist could in turn be considered the inventor of the readymade.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"143 - 156"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713433","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44147632","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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