This technical summary describes the condition of the sixteenth-century bust of Ottavio Farnese at the J. Paul Getty Museum. The text, which describes the conservation treatment of the sculpture at the Getty, accompanies the essay by Luca Annibali in the same issue.
{"title":"Conservator’s Note on the Bust of Ottavio Farnese at the J. Paul Getty Museum","authors":"Julie Wolfe","doi":"10.1086/716579","DOIUrl":"https://doi.org/10.1086/716579","url":null,"abstract":"This technical summary describes the condition of the sixteenth-century bust of Ottavio Farnese at the J. Paul Getty Museum. The text, which describes the conservation treatment of the sculpture at the Getty, accompanies the essay by Luca Annibali in the same issue.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"39 - 44"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48979378","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This previously unpublished transcript of an undated and incomplete handwritten essay on surrealist doyen André Breton by American art critic Clement Greenberg is illuminating in terms of the otherwise somewhat oblique connection between politics and avant-garde art for the younger Greenberg, the precise nature of whose professed Marxism has long been contested. It was composed in response to Breton’s “Political Position of Surrealism” (1935). In his text, Greenberg argues that Breton is correct in his claim that radical artists should not let questions of politics distract them from autonomous work. However, unlike Breton, he does not contend that this is the case because such artists will be vindicated by future audiences and should, accordingly, work in defiance of a mass audience. Rather, Greenberg argues that no other mode of working opens up new fields of aesthetic experience while bemoaning the state of affairs where such art is inaccessible to the working class, ultimately calling for revolution to rectify the situation.
{"title":"Greenberg’s Marxism: Clement Greenberg’s Unfinished Essay Draft on André Breton’s “Political Position of Surrealism” (1935)","authors":"Daniel Neofetou","doi":"10.1086/716587","DOIUrl":"https://doi.org/10.1086/716587","url":null,"abstract":"This previously unpublished transcript of an undated and incomplete handwritten essay on surrealist doyen André Breton by American art critic Clement Greenberg is illuminating in terms of the otherwise somewhat oblique connection between politics and avant-garde art for the younger Greenberg, the precise nature of whose professed Marxism has long been contested. It was composed in response to Breton’s “Political Position of Surrealism” (1935). In his text, Greenberg argues that Breton is correct in his claim that radical artists should not let questions of politics distract them from autonomous work. However, unlike Breton, he does not contend that this is the case because such artists will be vindicated by future audiences and should, accordingly, work in defiance of a mass audience. Rather, Greenberg argues that no other mode of working opens up new fields of aesthetic experience while bemoaning the state of affairs where such art is inaccessible to the working class, ultimately calling for revolution to rectify the situation.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"205 - 219"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46431504","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}
M. Hart, M. Ganio, Susan Lansing Maish, D. MacLennan, K. Trentelman
Fifty-six gold fragments—forty-nine pieces of woven textile and seven of twisted cord—from the collection of the J. Paul Getty Museum were the subject of an art historical and scientific study to ascertain their original form, function, and method of manufacture. The fragments were examined through the use of noninvasive technologies, including digital microscopy, X-radiography, scanning electron microscopy with energy dispersive spectroscopic (SEM-EDS) analysis, and scanning macro-X-ray fluorescence (MA-XRF) spectroscopy. By these means, it was possible to determine the chemical composition of the gold threads and details of the ancient weave, which enabled the authors to digitally reconstruct the original form of the more well-preserved fragments. Historical research supports the interpretation of the reconstructed sections, suggesting that the original artifact closely resembles ribbons of woven gold (vittae) found in Italy and dating to the late Hellenistic through the early Imperial Roman periods (ca. 100 BCE–200 CE).
{"title":"Vittae Auratae: Interpreting the History and Technology of a Group of Roman Gold Textile Fragments","authors":"M. Hart, M. Ganio, Susan Lansing Maish, D. MacLennan, K. Trentelman","doi":"10.1086/716571","DOIUrl":"https://doi.org/10.1086/716571","url":null,"abstract":"Fifty-six gold fragments—forty-nine pieces of woven textile and seven of twisted cord—from the collection of the J. Paul Getty Museum were the subject of an art historical and scientific study to ascertain their original form, function, and method of manufacture. The fragments were examined through the use of noninvasive technologies, including digital microscopy, X-radiography, scanning electron microscopy with energy dispersive spectroscopic (SEM-EDS) analysis, and scanning macro-X-ray fluorescence (MA-XRF) spectroscopy. By these means, it was possible to determine the chemical composition of the gold threads and details of the ancient weave, which enabled the authors to digitally reconstruct the original form of the more well-preserved fragments. Historical research supports the interpretation of the reconstructed sections, suggesting that the original artifact closely resembles ribbons of woven gold (vittae) found in Italy and dating to the late Hellenistic through the early Imperial Roman periods (ca. 100 BCE–200 CE).","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"1 - 20"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41543508","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}
In the 1820s and 1830s, a new generation of French architects who would later be defined as Romantic was dispatched to the Villa Medici in Rome. In parallel with their official work, these pensionnaires instigated a new way of drawing the monuments of antiquity. This new approach was based on a social and collective practice that incorporated the act of copying and ushered in a new standard of objectivity that came with its own graphic norms. Based on research into several hundred little-known drawings and previously unpublished archival material, this article takes Pompeii as a case study. It presents the epistemology of a purportedly revolutionary approach to drawing, highlighting the networks of exchange that structured the world of architecture within the context of academic training.
{"title":"Reinventing the Architectural Drawing in Pompeii: Objectivity and Romanticism around 1830","authors":"Gabriel Batalla-Lagleyre","doi":"10.1086/713431","DOIUrl":"https://doi.org/10.1086/713431","url":null,"abstract":"In the 1820s and 1830s, a new generation of French architects who would later be defined as Romantic was dispatched to the Villa Medici in Rome. In parallel with their official work, these pensionnaires instigated a new way of drawing the monuments of antiquity. This new approach was based on a social and collective practice that incorporated the act of copying and ushered in a new standard of objectivity that came with its own graphic norms. Based on research into several hundred little-known drawings and previously unpublished archival material, this article takes Pompeii as a case study. It presents the epistemology of a purportedly revolutionary approach to drawing, highlighting the networks of exchange that structured the world of architecture within the context of academic training.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"13 1","pages":"87 - 120"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713431","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45898683","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":"Paul Gauguin (Paris, 1848–Atuona, 1903): Inventor of the Readymade?","authors":"Anne Pingeot","doi":"10.1086/713434","DOIUrl":"https://doi.org/10.1086/713434","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":"157 - 176"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/713434","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46447302","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 unearths a seventeenth-century manuscript on numismatics from the collections of the Getty Research Institute. This unique copy of Discorso delle medaglie antiche (Discourse on ancient medals), by an unidentified author and of which other nonidentical versions exist, is transcribed and studied here for the first time. Divided into nineteen chapters, the manuscript discusses the main precepts for collecting ancient coins and, above all, explains in detail how to recognize fakes produced by unscrupulous antiquarians. The final part of the manuscript instructs the collector on conserving, cleaning, and cataloging the coins. Various clues in the text suggest that the manuscript was written in a Roman context in the first half of the seventeenth century and lead to the hypothesis that the author is numismatist Francesco Gottifredi: prime expert in recognizing fakes, collector of rare Roman coins, and consultant to the most important collectors of his time.
这篇文章从盖蒂研究所的藏品中发掘了一份17世纪的钱币学手稿。这本独特的《古代勋章话语》（Discorso delle medaglie antiche）由一位身份不明的作者撰写，并有其他非同源版本，首次在这里转录和研究。手稿分为十九章，讨论了收集古钱币的主要规则，最重要的是，详细解释了如何识别肆无忌惮的古董商制造的赝品。手稿的最后部分指导收藏家保存、清洁和编目硬币。文本中的各种线索表明，手稿是在17世纪上半叶的罗马背景下写成的，并导致了一种假设，即作者是钱币学家弗朗西斯科·戈蒂弗雷迪：识别赝品的主要专家，罕见罗马硬币的收藏家，他是同时代最重要收藏家的顾问。
{"title":"Discorso delle medaglie antiche: Collecting Ancient Coins and Detecting Fakes in Early Seventeenth-Century Rome","authors":"Giulia Zaccariotto","doi":"10.1086/716580","DOIUrl":"https://doi.org/10.1086/716580","url":null,"abstract":"This article unearths a seventeenth-century manuscript on numismatics from the collections of the Getty Research Institute. This unique copy of Discorso delle medaglie antiche (Discourse on ancient medals), by an unidentified author and of which other nonidentical versions exist, is transcribed and studied here for the first time. Divided into nineteen chapters, the manuscript discusses the main precepts for collecting ancient coins and, above all, explains in detail how to recognize fakes produced by unscrupulous antiquarians. The final part of the manuscript instructs the collector on conserving, cleaning, and cataloging the coins. Various clues in the text suggest that the manuscript was written in a Roman context in the first half of the seventeenth century and lead to the hypothesis that the author is numismatist Francesco Gottifredi: prime expert in recognizing fakes, collector of rare Roman coins, and consultant to the most important collectors of his time.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"45 - 80"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44660061","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}
Eighteenth-century cookbooks from the Anne Willan and Mark Cherniavsky Gastronomy Collection at the Getty Research Institute and the gastronomy collection bequeathed to the Warburg Institute by Elizabeth David provide evidence for the influence of Huguenot immigrants on gastronomy in elite European circles. Recipes and ingredients influenced the forms of new vessels: the terrine for serving soup, the surtout in the table center for dessert fruits. During the 1730s, cookery writers Charles Carter and Vincent La Chapelle illustrated table settings enhanced by light from silver candlesticks for evening dining that resemble branch lights on candelabra made by goldsmith Paul de Lamerie in London for Britain’s first prime minister, Sir Robert Walpole, and single candlesticks for Huguenot banker Peter Le Heup. Both sets were personalized with the patrons’ coats of arms. La Chapelle’s illustrations of the terrine and surtout set standards for similar vessels designed and supplied by other contemporary goldsmiths, including Nicholas Sprimont.
盖蒂研究所(Getty Research Institute)的安妮·威兰(Anne Willan)和马克·切尔尼亚夫斯基(Mark Cherniavsky)美食收藏中的18世纪烹饪书，以及伊丽莎白·大卫(Elizabeth David)遗留给华宝研究所(Warburg Institute)的美食收藏，为胡格诺派移民对欧洲精英阶层美食的影响提供了证据。食谱和食材影响了新器皿的形式:盛汤的陶罐，放在桌子中央的盛水果甜点的托盘。在18世纪30年代，烹饪作家查尔斯·卡特和文森特·拉夏贝尔在晚餐时用银色烛台的光线来描绘餐桌布置，这些烛台类似于伦敦金匠保罗·德·拉默里为英国首任首相罗伯特·沃波尔爵士制作的枝形烛台，也类似于为胡格诺派银行家彼得·勒·赫普制作的单个烛台。两套套装都有顾客的盾形纹章。拉夏贝尔(La Chapelle)对水罐和圆口的插图为其他当代金匠(包括Nicholas sprrimont)设计和提供的类似器皿设定了标准。
{"title":"“A Performance for the Service of a Table”: New Light on Eighteenth-Century Dining","authors":"T. Murdoch","doi":"10.1086/716585","DOIUrl":"https://doi.org/10.1086/716585","url":null,"abstract":"Eighteenth-century cookbooks from the Anne Willan and Mark Cherniavsky Gastronomy Collection at the Getty Research Institute and the gastronomy collection bequeathed to the Warburg Institute by Elizabeth David provide evidence for the influence of Huguenot immigrants on gastronomy in elite European circles. Recipes and ingredients influenced the forms of new vessels: the terrine for serving soup, the surtout in the table center for dessert fruits. During the 1730s, cookery writers Charles Carter and Vincent La Chapelle illustrated table settings enhanced by light from silver candlesticks for evening dining that resemble branch lights on candelabra made by goldsmith Paul de Lamerie in London for Britain’s first prime minister, Sir Robert Walpole, and single candlesticks for Huguenot banker Peter Le Heup. Both sets were personalized with the patrons’ coats of arms. La Chapelle’s illustrations of the terrine and surtout set standards for similar vessels designed and supplied by other contemporary goldsmiths, including Nicholas Sprimont.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"181 - 190"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/716585","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47146238","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}
Édouard Manet’s life-size Portrait of Madame Brunet is a key work from the artist’s early career, but it has yet to be the subject of a focused study. This essay, drawing on archival research and technical examination undertaken since the J. Paul Getty Museum acquired the painting in 2011, delves into lingering questions surrounding the identity of Madame Brunet, the portrait’s initial genesis and reception, and its early material history.
Édouard马奈的真人大小的《布鲁奈夫人肖像》是艺术家早期职业生涯的重要作品，但它尚未成为重点研究的主题。这篇文章借鉴了j·保罗·盖蒂博物馆(J. Paul Getty Museum)自2011年收购这幅画以来进行的档案研究和技术检验，深入探讨了围绕布鲁内夫人的身份、这幅画最初的来历和接受程度，以及它的早期材料历史等悬而未决的问题。
{"title":"Manet’s Portrait of Madame Brunet: Recent Investigations","authors":"Scott Allan","doi":"10.1086/716582","DOIUrl":"https://doi.org/10.1086/716582","url":null,"abstract":"Édouard Manet’s life-size Portrait of Madame Brunet is a key work from the artist’s early career, but it has yet to be the subject of a focused study. This essay, drawing on archival research and technical examination undertaken since the J. Paul Getty Museum acquired the painting in 2011, delves into lingering questions surrounding the identity of Madame Brunet, the portrait’s initial genesis and reception, and its early material history.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"103 - 122"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48012191","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}
Commentators on the work of Le Corbusier have alternately admired his functionalist and standardizing approach to monumentality and accused him of overly conforming to academic and classical understandings of the monument. This article takes a different approach to understanding Le Corbusier’s monuments by exploring his transformation of vernacular architectural systems into visual experiences. Specifically, we trace a lineage between Le Corbusier’s fascination with the Ottoman house type known as the konak and the implementation of the elements of his seminal manifesto “The Five Points of a New Architecture” (1929) within the Villa Savoye. We examine the context of Le Corbusier’s encounters with the konak and build a case for it as a systemic influence on Le Corbusier’s work of the 1920s. Through comparing the Villa Savoye and its Ottoman precedent, we then examine Le Corbusier’s monumentalization of the konak: the conversion of a system arising out of local concerns into a modernist monument.
{"title":"Corbusian Monumentality: The Legacy of the Konak from Vernacular System to Modernist Monument","authors":"A. Saden, H. Sever","doi":"10.1086/708315","DOIUrl":"https://doi.org/10.1086/708315","url":null,"abstract":"Commentators on the work of Le Corbusier have alternately admired his functionalist and standardizing approach to monumentality and accused him of overly conforming to academic and classical understandings of the monument. This article takes a different approach to understanding Le Corbusier’s monuments by exploring his transformation of vernacular architectural systems into visual experiences. Specifically, we trace a lineage between Le Corbusier’s fascination with the Ottoman house type known as the konak and the implementation of the elements of his seminal manifesto “The Five Points of a New Architecture” (1929) within the Villa Savoye. We examine the context of Le Corbusier’s encounters with the konak and build a case for it as a systemic influence on Le Corbusier’s work of the 1920s. Through comparing the Villa Savoye and its Ottoman precedent, we then examine Le Corbusier’s monumentalization of the konak: the conversion of a system arising out of local concerns into a modernist monument.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"49 - 72"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708315","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44324958","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}
In the late nineteenth century, westerners traveling and living in the Middle East frequently purchased photographs from commercial studios that they used as memory aids and visual corroboration of their travel tales. The Getty Research Institute recently acquired such a collection of mounted albumen photographs recording late nineteenth-century Iran, which were likely purchased by a European and bound together as an album, now dispersed. This article conducts a close reading and historical contextualization of the photographs to analyze the purchaser’s interests and reconstruct a potential partial narrative for the album. It also analyzes the commercial practice of one of Iran’s most prolific photographers, Antoin Sevruguin (ca. 1851–1933), and suggests a new framework for reading photographs attributed to his studio.
{"title":"Reading an “Album” from Qajar Iran","authors":"Sandra Williams","doi":"10.1086/708314","DOIUrl":"https://doi.org/10.1086/708314","url":null,"abstract":"In the late nineteenth century, westerners traveling and living in the Middle East frequently purchased photographs from commercial studios that they used as memory aids and visual corroboration of their travel tales. The Getty Research Institute recently acquired such a collection of mounted albumen photographs recording late nineteenth-century Iran, which were likely purchased by a European and bound together as an album, now dispersed. This article conducts a close reading and historical contextualization of the photographs to analyze the purchaser’s interests and reconstruct a potential partial narrative for the album. It also analyzes the commercial practice of one of Iran’s most prolific photographers, Antoin Sevruguin (ca. 1851–1933), and suggests a new framework for reading photographs attributed to his studio.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"29 - 48"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708314","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48370138","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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