This article examines a selection of paintings by Guido Reni (1575–1642) and his studio that display comparable stylistic, compositional, and technical characteristics, all of which have been ascribed dates loosely between 1620 and 1630. The works that form the primary focus of discussion include the recently restored Toilet of Venus at the National Gallery, London, Joseph and Potiphar’s Wife from the collection of the J. Paul Getty Museum, Los Angeles, two versions of the Penitent Magdalene—one in a private collection, the other a later work in the Galleria Nazionale d’Arte Antica in Rome—and Venus and Cupid from the Toledo Museum of Art, Ohio. By means of visual analysis and, where available, the study of technical imaging, links between these works become apparent, which, in turn, provide insight into Reni’s production process and studio practices during this period of his career.
{"title":"The Studio of Guido Reni from 1620 to 1630: Formulating Compositions","authors":"Aoife Brady","doi":"10.1086/708313","DOIUrl":"https://doi.org/10.1086/708313","url":null,"abstract":"This article examines a selection of paintings by Guido Reni (1575–1642) and his studio that display comparable stylistic, compositional, and technical characteristics, all of which have been ascribed dates loosely between 1620 and 1630. The works that form the primary focus of discussion include the recently restored Toilet of Venus at the National Gallery, London, Joseph and Potiphar’s Wife from the collection of the J. Paul Getty Museum, Los Angeles, two versions of the Penitent Magdalene—one in a private collection, the other a later work in the Galleria Nazionale d’Arte Antica in Rome—and Venus and Cupid from the Toledo Museum of Art, Ohio. By means of visual analysis and, where available, the study of technical imaging, links between these works become apparent, which, in turn, provide insight into Reni’s production process and studio practices during this period of his career.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"1 - 28"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708313","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46184040","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 article analyzes the correspondence held in the Getty Research Institute between Swiss curator Harald Szeemann (1933–2005) and Russian artist Lev Nusberg (b. 1937), the founder and main promoter of the kinetic Movement group (Dvizhenie). Because Nusberg resided in Moscow until his emigration to the West in 1976, the two at the time had no opportunity to meet personally. Despite the distance and the geopolitical and language barriers, Nusberg and Szeemann were able to establish a remote dialogue sharing common interests, such as the legacy of the Russian and early Soviet avant-garde, as well as common ambitions for a comprehensive approach to the artistic practice, including the documentation and collection of their past and ongoing projects, which now constitute the core of their archives.
{"title":"Lev Nusberg to Harald Szeemann, 1970–76: Notes on Convergent Ambitions and Shared Practices","authors":"M. Bertelé","doi":"10.1086/708323","DOIUrl":"https://doi.org/10.1086/708323","url":null,"abstract":"The article analyzes the correspondence held in the Getty Research Institute between Swiss curator Harald Szeemann (1933–2005) and Russian artist Lev Nusberg (b. 1937), the founder and main promoter of the kinetic Movement group (Dvizhenie). Because Nusberg resided in Moscow until his emigration to the West in 1976, the two at the time had no opportunity to meet personally. Despite the distance and the geopolitical and language barriers, Nusberg and Szeemann were able to establish a remote dialogue sharing common interests, such as the legacy of the Russian and early Soviet avant-garde, as well as common ambitions for a comprehensive approach to the artistic practice, including the documentation and collection of their past and ongoing projects, which now constitute the core of their archives.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"241 - 255"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708323","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44084997","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 Getty Research Institute preserves the extraordinary archive of the Belgian surrealist Édouard Léon Théodore Mesens (1903–71). Papers in the collection document the long career of Mesens not only as a painter and poet but also as a collector and art dealer who was continuously involved in the sales and purchasing of modern art. Mesens’s job as a dealer started in the 1920s in Belgium and continued into the 1930s and ‘40s in England. These business activities allowed Mesens to assemble hundreds of artworks in a remarkable collection that was totally dispersed after his death. It is likely for this reason that scholars have thus far neglected Mesens’s role as a collector and dealer, despite the fact that by the 1950s he owned approximately three hundred of artworks kept in England and an unspecified number in Brussels—an extremely high quantity that evidences the indissoluble union between private collecting and commercial stock that characterizes Mesens’s practice.
{"title":"E. L. T. Mesens: Art Collector and Dealer","authors":"C. Caputo","doi":"10.1086/708317","DOIUrl":"https://doi.org/10.1086/708317","url":null,"abstract":"The Getty Research Institute preserves the extraordinary archive of the Belgian surrealist Édouard Léon Théodore Mesens (1903–71). Papers in the collection document the long career of Mesens not only as a painter and poet but also as a collector and art dealer who was continuously involved in the sales and purchasing of modern art. Mesens’s job as a dealer started in the 1920s in Belgium and continued into the 1930s and ‘40s in England. These business activities allowed Mesens to assemble hundreds of artworks in a remarkable collection that was totally dispersed after his death. It is likely for this reason that scholars have thus far neglected Mesens’s role as a collector and dealer, despite the fact that by the 1950s he owned approximately three hundred of artworks kept in England and an unspecified number in Brussels—an extremely high quantity that evidences the indissoluble union between private collecting and commercial stock that characterizes Mesens’s practice.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"127 - 150"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708317","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49155917","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 discusses three joining fragments of an Urartian bronze belt in the collection of the J. Paul Getty Museum, an outlier in the museum’s predominantly Greco-Roman holdings. Based on its composition and style, the belt probably dates to the second half of the eighth century bce. The iconography includes images of the “Parthian shot,” in which a mounted archer turns in the saddle to fire behind him. Although associated with the Parthians (ca. 247 bce–224 CE), it is clear that this tactic originated in Urartu in the ninth century BCE and was depicted in Assyrian, Urartian, Phoenician, Greek, and Persian art prior to the foundation of the Parthian Empire.
本文讨论了保罗·盖蒂博物馆(J. Paul Getty Museum)收藏的乌拉提人青铜带的三个连接碎片，这是该博物馆主要收藏的希腊罗马藏品中的一个例外。根据腰带的组成和样式，它的年代可能是公元前8世纪下半叶。图像包括“帕提亚射击”的图像，其中一名骑在马鞍上的弓箭手转身在他身后射击。虽然与帕提亚人(公元前247年-公元224年)有关，但很明显，这种战术起源于公元前9世纪的乌拉尔图，在帕提亚帝国建立之前，亚述、乌拉尔提亚、腓尼基、希腊和波斯的艺术中都有描述。
{"title":"An Urartian Belt in the J. Paul Getty Museum and the Origins of the Parthian Shot","authors":"A. Belis, Henry P. Colburn","doi":"10.1086/708319","DOIUrl":"https://doi.org/10.1086/708319","url":null,"abstract":"This article discusses three joining fragments of an Urartian bronze belt in the collection of the J. Paul Getty Museum, an outlier in the museum’s predominantly Greco-Roman holdings. Based on its composition and style, the belt probably dates to the second half of the eighth century bce. The iconography includes images of the “Parthian shot,” in which a mounted archer turns in the saddle to fire behind him. Although associated with the Parthians (ca. 247 bce–224 CE), it is clear that this tactic originated in Urartu in the ninth century BCE and was depicted in Assyrian, Urartian, Phoenician, Greek, and Persian art prior to the foundation of the Parthian Empire.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"195 - 204"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708319","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47345410","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 Getty Research Institute holds thirty-one loose sheets belonging to an original sketchbook attributed to Giulio Parigi, architect, engineer, and set designer active in the Medici court of Ferdinando I and Cosimo II. The sketchbook’s twenty-nine views of cities, landscapes, and towns are analyzed on the basis of inscriptions present on some of the dated sheets, which attest to the journey made by Parigi from Florence to Rome in April 1616. The period spent by the artist in Rome is reflected in recently discovered archival documents that also allow for a reconstruction of the official ceremony for the election of Cardinal Carlo de’ Medici. Stylistic analysis of the sketchbook now makes it possible to date a number of sheets attributed to Giulio Parigi kept at the Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, and to gain a clear understanding of the complex personality and interests of the Florentine architect in the depiction of landscape.
盖蒂研究所保存着三十一张活页，属于Giulio Parigi的原始素描本，他是活跃在费迪南多一世和科西莫二世美第奇宫廷的建筑师、工程师和布景设计师。素描本中的29幅城市、风景和城镇景观是根据一些日期表上的铭文进行分析的，这些铭文证明了帕里吉于1616年4月从佛罗伦萨到罗马的旅程。这位艺术家在罗马度过的这段时间反映在最近发现的档案文件中，这些文件还允许重建红衣主教卡洛·德·美第奇的官方选举仪式。通过对素描本的风格分析，现在可以对保存在Gabinetto dei Disegni e delle Stampe乌菲齐美术馆的Giulio Parigi的多张作品进行年代测定，并清楚地了解这位佛罗伦萨建筑师在描绘风景时的复杂个性和兴趣。
{"title":"A Voyage from Florence to Rome in April 1616: Giulio Parigi’s Sketchbook and Archival Documents","authors":"Elisa Spataro","doi":"10.1086/708320","DOIUrl":"https://doi.org/10.1086/708320","url":null,"abstract":"The Getty Research Institute holds thirty-one loose sheets belonging to an original sketchbook attributed to Giulio Parigi, architect, engineer, and set designer active in the Medici court of Ferdinando I and Cosimo II. The sketchbook’s twenty-nine views of cities, landscapes, and towns are analyzed on the basis of inscriptions present on some of the dated sheets, which attest to the journey made by Parigi from Florence to Rome in April 1616. The period spent by the artist in Rome is reflected in recently discovered archival documents that also allow for a reconstruction of the official ceremony for the election of Cardinal Carlo de’ Medici. Stylistic analysis of the sketchbook now makes it possible to date a number of sheets attributed to Giulio Parigi kept at the Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, and to gain a clear understanding of the complex personality and interests of the Florentine architect in the depiction of landscape.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"205 - 218"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708320","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46297476","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 explores four scrapbooks produced by the German photographer Albert Renger-Patzsch between 1927 and 1936 that are now part of the Getty Research Institute special collections. The scrapbooks provide an archival record of Renger’s prolific career as a commercial photographer and main proponent of the Neue Sachlichkeit (New objectivity) style. This essay argues that these scrapbooks are more than a professional archive and should be considered part of Renger-Patzsch’s photographic work. Demonstrating an interest in montage and the discursive nature of photographic meaning, these objects challenge conceptions of Neue Sachlichkeit as devoted exclusively to the transparency and clarity of visual form.
{"title":"Albert Renger-Patzsch’s Scrapbooks","authors":"Pepper Stetler","doi":"10.1086/708322","DOIUrl":"https://doi.org/10.1086/708322","url":null,"abstract":"This essay explores four scrapbooks produced by the German photographer Albert Renger-Patzsch between 1927 and 1936 that are now part of the Getty Research Institute special collections. The scrapbooks provide an archival record of Renger’s prolific career as a commercial photographer and main proponent of the Neue Sachlichkeit (New objectivity) style. This essay argues that these scrapbooks are more than a professional archive and should be considered part of Renger-Patzsch’s photographic work. Demonstrating an interest in montage and the discursive nature of photographic meaning, these objects challenge conceptions of Neue Sachlichkeit as devoted exclusively to the transparency and clarity of visual form.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"231 - 240"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708322","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41398768","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 ways in which the third plague pandemic was documented and visualized in relation to rapidly evolving ideas about disease, medicine, and the environment by engaging with a set of photo albums produced in late nineteenth-century Bombay. As one of the first examples of epidemiological photography, a new genre of photography that had developed at the turn of the century in the wake of the bubonic plague epidemic, the photo albums serve as a significant archive of late nineteenth-century colonial epidemiological, visual, and urban practices. Through my analysis of the Bombay photographs, I aim to foreground the environmental and biological contexts of cultural practices, focusing on the multiple ways in which nonhuman materials such as water, air, light, and microorganisms can drive and effect image-making. I thus propose an epistemological shift in our reading of colonial photography that foregrounds the dynamic materiality of the natural world.
{"title":"Water, Air, Light: The Materialities of Plague Photography in Colonial Bombay, 1896–97","authors":"S. Sud","doi":"10.1086/708321","DOIUrl":"https://doi.org/10.1086/708321","url":null,"abstract":"This essay examines the ways in which the third plague pandemic was documented and visualized in relation to rapidly evolving ideas about disease, medicine, and the environment by engaging with a set of photo albums produced in late nineteenth-century Bombay. As one of the first examples of epidemiological photography, a new genre of photography that had developed at the turn of the century in the wake of the bubonic plague epidemic, the photo albums serve as a significant archive of late nineteenth-century colonial epidemiological, visual, and urban practices. Through my analysis of the Bombay photographs, I aim to foreground the environmental and biological contexts of cultural practices, focusing on the multiple ways in which nonhuman materials such as water, air, light, and microorganisms can drive and effect image-making. I thus propose an epistemological shift in our reading of colonial photography that foregrounds the dynamic materiality of the natural world.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"219 - 230"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708321","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42057572","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 takes as its subject the letters and postcards written by Belgian painter René Magritte (1898–1967) to his wife, Georgette, between 12 February and 19 March 1937, while the artist stayed at the London home of his patron Edward James. This sojourn represented a turning point in Magritte’s biography and artistic career, and the artist was introduced to a new circle of buyers. The friendship that developed between painter and host resulted in many more commissions and acquisitions that would make James’s collection of Magritte’s work the largest prior to the Second World War. The correspondence between Magritte and Georgette, conserved in the special collections of the Getty Research Institute, offers a highly personal glimpse into the relationship between the artist and his wife and provides insights into Magritte’s relationships with the Surrealist Group in England, agent and gallerist E. L. T. Mesens, and patron and collector Edward James.
{"title":"Elective Affinities—René Magritte as the Guest of His Patron Edward James in London: The Artist’s Letters and Postcards to His Wife, 12 February–19 March 1937","authors":"H. Gassner","doi":"10.1086/708316","DOIUrl":"https://doi.org/10.1086/708316","url":null,"abstract":"This essay takes as its subject the letters and postcards written by Belgian painter René Magritte (1898–1967) to his wife, Georgette, between 12 February and 19 March 1937, while the artist stayed at the London home of his patron Edward James. This sojourn represented a turning point in Magritte’s biography and artistic career, and the artist was introduced to a new circle of buyers. The friendship that developed between painter and host resulted in many more commissions and acquisitions that would make James’s collection of Magritte’s work the largest prior to the Second World War. The correspondence between Magritte and Georgette, conserved in the special collections of the Getty Research Institute, offers a highly personal glimpse into the relationship between the artist and his wife and provides insights into Magritte’s relationships with the Surrealist Group in England, agent and gallerist E. L. T. Mesens, and patron and collector Edward James.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"73 - 126"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708316","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46374866","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 mid to late 1960s, art critic Leo Steinberg (1920–2011) carried out research on Titian that was never published and has remained so far unknown to scholars. By examining research material now held in the special collections of the Getty Research Institute, this study reconstructs Steinberg’s inquiry on the topic and discusses more broadly its methodological significance in relation to both his critical thinking and key issues concerning the study of Renaissance art. In particular, it deals with Steinberg’s interest in the relationships between the picture plane and the real space, site-specificity, and the spectator’s engagement. Steinberg’s critical attitude is analyzed by comparison with that of art historians Erwin Panofsky (1892–1968) and David Rosand (1938–2014), with whom he was principally concerned throughout the investigation of Titian’s Presentation of the Virgin (1519–26). The article evaluates how Steinberg’s approach can today effectively serve the analysis of premodern artworks from an alternative perspective to mainstream art history.
{"title":"The “Eternal Mystery of the Picture Plane”: Leo Steinberg’s Unfinished Study on Titian","authors":"G. Tagliaferro","doi":"10.1086/708318","DOIUrl":"https://doi.org/10.1086/708318","url":null,"abstract":"In the mid to late 1960s, art critic Leo Steinberg (1920–2011) carried out research on Titian that was never published and has remained so far unknown to scholars. By examining research material now held in the special collections of the Getty Research Institute, this study reconstructs Steinberg’s inquiry on the topic and discusses more broadly its methodological significance in relation to both his critical thinking and key issues concerning the study of Renaissance art. In particular, it deals with Steinberg’s interest in the relationships between the picture plane and the real space, site-specificity, and the spectator’s engagement. Steinberg’s critical attitude is analyzed by comparison with that of art historians Erwin Panofsky (1892–1968) and David Rosand (1938–2014), with whom he was principally concerned throughout the investigation of Titian’s Presentation of the Virgin (1519–26). The article evaluates how Steinberg’s approach can today effectively serve the analysis of premodern artworks from an alternative perspective to mainstream art history.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"12 1","pages":"151 - 193"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708318","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41916862","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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