The J. Paul Getty Trust the J

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THE J. PAUL GETTY TRUST THE J. PAUL GETTY TRUST 2006 REPORT

The J. Paul Getty Trust

1200 Getty Center Drive, Suite 400 Los Angeles, CA 90049-1681 www.getty.edu 2006 report

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2006 report

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Getty Villa site photographs by Julius Shulman & Juergen Nogai.

7 Message from the Chair

10 Message from the Interim President

13 The J. Paul Getty Trust

15 The Getty Villa Reimagined

31 The J. Paul Getty Museum Acquisitions Exhibitions Scholars Councils Corporate Patrons Docents & Volunteers

49 The Getty Research Institute Acquisitions Exhibitions Scholars Council

63 The Getty Conservation Institute Projects Scholars

73 The Getty Foundation Grants Awarded

90 Publications 92 Staff 99 Board of Trustees, Ofﬁ cers & Directors 100 Financial Information

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The J. Paul Getty Trust is an international cultural, educational, and philanthropic organization focused on the visual arts, serving both general audiences and specialized professionals. Through the work of its four programs—the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation—it aims to advance the enjoyment, understanding, and preservation of the world’s artistic and cultural heritage. The Getty encourages community involvement in the arts, in order to promote knowledge and understanding, leading to a more civil society.

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Message from the Chair

In his letter last year, my predecessor as board chair, John Biggs, and oversight continues, including full support of an agreement addressed the challenges the Getty faced with governance and lead- reached with the Attorney General for an independent monitor ership. It was a diffi cult period. The California Attorney General’s to review compliance with the Getty’s newly adopted and revised offi ce was conducting an investigation of the J. Paul Getty Trust policies and procedures through April 2008. and the Los Angeles Times continued its criticism of the Getty, The board’s second commitment was to select an experienced focused particularly on executive compensation and business leader, with high integrity and a strong background in the arts, as expenditures. At the same time, the governments of Italy and the Getty’s next president and chief executive offi cer. A commit- message from the chair from message Greece were challenging the Getty, making claims on objects in tee of the board conducted a wide-ranging international search, the J. Paul Getty Museum’s antiquities collection and demanding and in December we were proud to announce the appointment that they be returned. of James N. Wood, whose many talents are well suited to this The Getty is valued worldwide for its distinctive work across critically important position. Jim’s extensive arts experience in- all fi elds of the visual arts. The challenges to the Getty’s reputation cludes serving with distinction as the director of the Art Institute and the proper exercise of its fi duciary responsibilities required of Chicago for 25 years. He will assume the Getty leadership role a fundamental reassessment of board and management policies in mid-February. and practices. When the leadership of the board transitioned last Third, the board committed to support and work with Getty August, the board and I outlined three principal objectives we management to achieve a sound resolution of the antiquities believed were essential to build on the solid work that already had claims made by Greece and Italy. Throughout the process, the been accomplished to move the Getty forward. decisions made have been based on the results of a scholarly, inde- Our fi rst objective was to strengthen the Getty’s governance. pendent inquiry into the objects’ origins. In February, under the The special committee on investigations, formed in the fall of leadership of Getty Museum Director Michael Brand and con- 2005, and the board’s governance committee had done extensive sistent with our policy objectives, we reached a resolution with work toward this end. Now I can report that new and revised poli- Greece which includes the return of four objects. Agreement has cies and procedures are fully in place. In October, a report issued not yet been reached with Italy, but we will continue to support by the California Attorney General acknowledged the thorough the effort to fi nd a fair and just resolution. work done to remedy problems that previously existed at the It is during times of severe challenge that a strong board of Getty. Our commitment to achieving excellence in governance trustees is essential. I want to express my deep appreciation to

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my fellow trustees, who have committed hundreds of hours in exhibition, Holy Image, Hallowed Ground: Icons from Sinai, that the past year to their work in support of the Getty. Each of them took nearly 10 years to develop and represented the fi rst exhibi- has deep experience in institutional leadership, and has provided tion to focus on Saint Catherine’s, the world’s oldest continuously sound judgment, wise counsel, and a fi rm resolve to achieve posi- operating Christian monastery, and its collection of icons and tive results. The work is not yet done, but I believe the actions manuscripts. taken will help the Getty better serve its important mission for It is this level of remarkable work of global signifi cance that the visual arts. defi nes the Getty. This is why it is so vitally important that the message from the chair from message The board commends Deborah Marrow, who served as Getty establish a strengthened foundation in governance and interim president and chief executive offi cer this past year and leadership for going forward. My fellow board members and I who is now returning to the Getty Foundation as its director. We hope and believe that the work of the past year has contributed are indebted to Deborah for her commitment to implementing to building this foundation. the signifi cant reform measures adopted by the board, her talent for improving communication across the Getty, and her steady hand in reassuring the staff during this often diffi cult transition. Louise Bryson We want to thank all those who worked to make the Getty Chair Villa, which reopened last January, the incredible success it The J. Paul Getty Trust Board of Trustees already has become. We also salute the professional staff at the Getty’s four programs and the Trust for their commitment, work- February 10, 2007 ing independently and in collaboration, to achieve the excellent exhibitions, exciting public programming, signifi cant academic scholarship, focused grantmaking, and critical conservation projects of the past year. Their accomplishments are too numerous to identify in this brief letter, but I want to close with recognition of one effort that exemplifi es the talent, perseverance, and scope of the Getty’s professional team. Last fall, the Getty opened a major, historic

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Message from the Interim President

It has been a privilege to serve the J. Paul Getty Trust as its in- Foundation has gone forward without interruption. The Getty’s terim president and chief executive ofﬁ cer during this past year. two venues offer visitors in Los Angeles the opportunity to learn I thank the board of trustees for giving me this extraordinary from original works of art, while simultaneously increasing the opportunity, and for the conﬁ dence they have placed in me. My understanding and preservation of the visual arts internationally. responsibilities have given me a unique vantage point from which Among the many accomplishments of the year, the reopening to view this great institution, and that has strengthened my ad- of the Getty Villa in January 2006 stands out. The renovated Villa miration for its accomplishments and my belief in its potential. is enlivened by the activities of all the Getty programs, working message from the interim president from message My deep respect for the talented and dedicated staff of the Getty in concert with one another. The Villa is home to the Museum’s has only increased. antiquities collection, the only art museum in the United States This past year has not been easy for the Getty, and the board dedicated to the study of ancient Greece, Rome and Etruria. The and management have had to grapple with serious issues includ- Villa also houses a master’s degree program in archaeological ing those related to governance. I am proud that we have all conservation operated jointly by the Conservation Institute and worked together to resolve the challenges facing us and to put the the University of California, Los Angeles. The Research Institute institution back on track with renewed energy and commitment operates a scholar’s program at the Villa and a library, and the to our mission. These actions resulted in the reinstatement of the Foundation has funded a variety of projects related to ancient Getty as a member in good standing by the Council on Founda- Mediterranean culture. All these were animated by a lively season tions and contributed to the resolution of an investigation by the of public programs, lectures, and performances. California Attorney General. Meanwhile, negotiations continued Numerous Getty staff members worked to make the Villa the throughout the year to resolve claims over objects in the J. Paul splendid place it is today, and I would like to thank them all Getty Museum’s antiquities collection, and the Museum revised collectively. I also want to thank Marion True, former curator of its acquisitions policy. antiquities at the Museum, for her vision and leadership in con- Despite the challenges, throughout this period the work of ceptualizing what the Getty Villa could be and in working with the Museum, the Conservation and Research Institutes, and the our creative architects Machado and Silvetti Associates to make the

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dream a reality. Over 300,000 people have visited the Villa in the work. Michael Brand, Tim Whalen, and Thomas Crow provided 12 months since it reopened to the public. strong leadership of the Museum, Research Institute, and Con- One of the pleasures of the past year has been to observe servation Institute, and I am especially grateful to Joan Weinstein the ways in which the four Getty programs increasingly work for stepping in and serving as an exceptional interim director of together both at the Getty and off-site. Several exhibitions in the Foundation. preparation during the year resulted from such collaborations Finally, as I resume my position as director of the Getty Foun- on topics ranging from Tunisian mosaics to paintings from Dres- dation, I would like to extend a warm welcome to Jim Wood as message from the interim president from message den. Staff also collaborated on the installation on the grounds he assumes the Getty’s presidency. I feel conﬁ dent speaking on of the Getty Center of the 20th-century sculpture collection behalf of my Getty colleagues in saying that we look forward to generously donated by the estate of Fran and Ray Stark. Outside his leadership as we move ahead. of Los Angeles, program staff across the Getty joined together to design the Fund for New Orleans following the devastation of Hurricane Katrina. Deborah Marrow The Getty also collaborated with organzations in our Interim President and Chief Executive Ofﬁ cer hometown. The Museum and the Museum of Contemporary Art arranged a series of art exchanges juxtaposing older and February 10, 2007 contemporary paintings. The Research Institute and the Los Angeles Philharmonic presented a program on Minimalism, the Conservation Institute and the City of Los Angeles are creating an inventory of historic buildings, and the Foundation partnered with the Los Angeles County Arts Commission on the summer internship program. I thank all of the Getty staff members for their outstanding

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The J. Paul Getty Trust

The J. Paul Getty Trust is comprised of four unique programs working collaboratively to further the presentation, enjoyment, study, and conservation of the visual arts in Los Angeles and around the world.

The J. Paul Getty Museum presents art of exceptional quality in its permanent and changing exhibitions. The Museum’s collection of ancient art from Greece, Rome, and Etruria is primarily displayed at the newly renovated Getty Villa, while its collection of photographs and later European art is on view at the Getty Center. The Museum’s lectures, classes, ﬁ lms, and the j. paul getty trust the j. paul performances attract a broad and enthusiastic following.

The Getty Research Institute pursues new knowledge about the visual arts and their place in cultural history. Through its extraordinary library and research databases, special collections and exhibitions, innovative publications and public programs, and renowned residential scholars program, the Research Institute advances the ﬁ eld of art history and related disciplines.

The Getty Conservation Institute advances the conservation profession. Its programs include scientiﬁ c research and documentation, model ﬁ eld projects, educational activities and research opportunities for professionals, and the dissemination of information via publications, conferences, and workshops.

The Getty Foundation supports the work of individuals and institutions contributing to the understanding and the conservation of the visual arts throughout the world. Through its grantmaking, the Foundation extends the work of all the Getty programs. The Foundation also includes the Getty Leadership Institute, the leading source for the continuing professional development of current and future museum leaders.

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On Saturday, January 28, 2006, the Getty Villa re-opened, following major renovations, as an educational center and museum dedicated to the study of the arts and cultures of ancient Greece, Rome, and Etruria. The site’s setting, collections, and programs are woven together to create an integrated educational and cultural experience for visitors, which have totaled 300,000 in the Villa’s ﬁ rst year of operation.

The visitor site experience was conceived by Machado and Silvetti Associates, Inc., assisted by executive architect SPF:architects, as an exploration of an archaeological excavation, a ﬁ tting metaphor not only for a museum focused on antiquity but also for the Villa building itself. The Roman country house that inspired the J. Paul Getty Museum’s design—the Villa dei Papiri in Herculaneum—was completely buried by the eruption of Mt. Vesuvius in A.D. 79, and has never been fully excavated.

The renovated Getty Villa includes several new features and buildings including, the Barbara and Lawrence Fleischman Theater, a dramatic 450-seat outdoor classical theater inspired by ancient prototypes; the 250-seat Auditorium; the two-story Ofﬁ ce Building with meeting rooms and a business center; the Cafe; conservation laboratories for the permanent collection; and ofﬁ ces and labs for the UCLA/Getty Master’s Program on the Conservation of Ethnographic and Archaeological Materials—a partnership between the Getty Conservation Institute (GCI) and UCLA. Renovations and infrastructure improvements were also made to the site’s existing buildings, the Ranch House and the Museum.

The Ranch House now accommodates a 20,000-volume capacity Research Library, as well as ofﬁ ces for the antiquities curatorial department, visiting scholars, and seminar rooms. It also

includes conservation laboratories for the Museum’s own conservation activities, an analytical the getty villa reimagined lab for the GCI, and study room facilities for the master’s program students.

The Museum building was renovated to make it more appropriate for the display of the antiquities collection. New fi nishes and colors inspired by ancient buildings were selected, including terrazzo fl oors in a variety of patterns. Numerous windows were opened and three skylights were added, to allow visitors to view the works of art in natural light. New display cases and improved gallery lighting enhance the display of the collection. The infrastructure of the building was also signifi cantly improved. Custom-built art support and anchor systems concealed behind the gallery walls and fl oors allow heavy objects to be secured safely but without obtrusive mounts that would detract from visitors’ experience of the art.

Shortly after the Villa re-opened, renowned architectural photographer Julius Shulman, who photographed the original Villa in 1980, returned, with Juergen Nogai, to document the newly renovated site. Those photographs can be seen throughout this issue of The J. Paul Getty Trust 2006 Report, along with updates from each of the Getty’s four programs documenting their many accomplishments of 2006.

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The mission of the J. Paul Getty Museum is to foster in a broad audience a greater appreciation and understanding of the visual arts by collecting and preserving, exhibiting and explaining works of the highest quality. To fulﬁ ll our ambition, the Museum must continue its prime objective of building and displaying a great collection, magnifying its impact by mounting special exhibitions and borrowing the ﬁ nest works from other institutions. The particular objects and how they are shown make possible the combination of stirring visual experience and memorable insight that gives our museum its distinctive power.

The 2005-2006 fi scal year was a momentous one for the J. have brought treasures from near and far to Los Angeles audiences. Paul Getty Museum on several fronts. For the fi rst time, with A new 10-minute fi lm, which shows continuously, describes the the opening of the Getty Villa, the Museum operated on two history of the Villa building and site from J. Paul Getty’s original sites—increasing access to the collection for the general public concept to the glorious modern museum and research center that and scholars. Important acquisitions strengthened nearly every it is today. collecting area; exhibitions and publications extended the reach The Museum at the Villa opened with three inaugural exhi- the j. paul getty museum the j. paul of the collection, and educational and other public programs bitions. Antiquity & Photography: Early Photographs of Ancient further increased the impact of the great objects we steward. Mediterranean Sites drew heavily from both the Museum and Throughout the year, despite the highly publicized challenges Research Institute collections, and examined how early photogra- facing the Getty, the Museum staff continued to carry out superb phy shaped the perception and study of antiquity. Incorporating work. As new leadership prepares to guide the institution into a variety of different materials, from photographs and optical the next stage of its life, it is appropriate to refl ect upon the many devices to printed books and letters, the exhibition brought the accomplishments of the past year. combined strengths of two Getty programs to bear on a topic of mutual interest. The exhibition was sponsored by Merrill Lynch The J. Paul Getty Museum at the Getty Villa with additional support from the Museum’s Villa Council. The On January 28, 2006, almost nine years after it closed for reno- Getty Villa Reimagined traced the reconceptualization and renova- vation, the J. Paul Getty Museum at the Getty Villa in Malibu tion of the Villa site from the selection of Machado and Silvetti re-opened as the only art museum in the United States dedicated Associates, Inc., through master planning and realization. De- to the arts of ancient Greece, Rome, and Etruria. The new galler- signed to evoke the look and feel of an architectural studio, the ies, designed by architects Rodolfo Machado and Jorge Silvetti, exhibition included sketches, architectural models, photographs, contain more than 1200 objects from the Museum’s antiquities interviews, and videos about the renovation process, and exposed collection that are installed thematically, bringing ancient art to and explained structural innovations such as the state-of-the-art life on a human, individual scale. The Special Collections of the wall and fl oor anchor systems. Molten Color: Glassmaking in Getty Research Institute, rich in materials on the classical world, Antiquity highlighted the recent acquisition of the Oppenländer are regularly featured, as are international loan exhibitions that collection of ancient glass, assembled by German collector Erwin

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The J. Paul Getty Museum at the Getty Villa reopened its doors on January 28, 2006. Photo: Julius Shulman & Juergen Nogai

The Family Forum at the Getty Villa is an interactive discovery space where families can learn about ancient art.

Oppenländer in the early to mid-20th century. The exhibition demonstrated the astonishing range, creativity, and quality of the ancient glassmaker’s craft, and was accompanied by didactic videos on glassmaking techniques, courtesy of the Corning Museum of Glass. A fourth exhibition, The Colors of Clay: Special Techniques in Athenian Vases, rounded out the slate of exhibitions mounted at the Villa during this ﬁ scal year. This major international loan getty museum the j. paul exhibition was the ﬁ rst ever devoted to special decorative techniques used by Athenian potters and vase painters in the Archaic and Classical periods, and brought together approximately 100 vases from collections around the world. The Museum Education department served family, school, and community audiences at the Getty Villa with a wide range of facilities and programs. Family programs—all free and offered in both English and Spanish—included Art Odyssey tours and The exhibition Antiquity & Photography: Early Photographs of Ancient Mediterranean Sites was one of three inaugural exhibitions at the Museum. the Family Forum, a hands-on interactive space for families. Art Odyssey tours, designed to encourage families with children to look and learn together, combine gallery tours with hands-on workshops. The Family Forum, built with the support of the Villa Council and designed to complement the Museum’s thematic installation, uses activities based on ancient Greek pottery to introduce concepts of style, function, and technique. Beyond the walls of the Museum, the Villa serves as a second home for the Getty Trust’s operating programs, where our work focuses exclusively and collaboratively on interpreting the ancient

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Peter Paul Rubens. The Calydonian Boar Hunt, about 1611–12. Oil on panel. (JPGM)

François-Thomas Germain. Machine d’Argent, 1754. Silver. (JPGM)

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The J. Paul Getty Museum at the Getty Center Meanwhile, at the Getty Center in Brentwood, the Museum continued to build a formidable collection and share it in meaningful ways with the public. An indisputable highlight of the year was the acquisition of The Calydonian Boar Hunt, a newly discovered panel by the Flemish master Peter Paul Rubens. Depicting the slaying of the fearsome Calydonian boar by the hero Meleager as told in Ovid’s Metamorphoses, and long known to scholars only from copies and engraved reproductions, the panel is considered the primary and most dynamic of Rubens’ many treatments of the subject. The Calydonian Boar Hunt joins other exceptional works by Rubens in the Getty Museum’s collection, and adds further depth to our holdings of Baroque and Flemish art. A silver surtout de table by Francois-Thomas Germain, silversmith to King Louis XV, and a remarkable carved stone depiction of Saint Michael and the fall of the rebel angels by an anonymous South German or Austrian master bolstered the 18th-century sculpture collection. This year was also notable for the donation of 28 pieces of modern and contemporary outdoor sculpture from the late Fran and Ray Stark, and the planning for its installation, which will include a sculpture garden and numerous individual installations After the Master of the Housebook. Design for a Quatrefoil with a Castle, Two throughout the Getty Center. Lovers, a Maiden Tempted by a Fool, a Couple Seated by a Trough, and a Knight Another highlight of this year was the purchase at auction of and His Lover Mounted on a Horse, ca. 1475–90. Pen and black ink. (JPGM) an extremely rare late 15th-century drawing for a stained glass quatrefoil after the Master of the Housebook, which fi nds a natural home at the Getty among other drawings for stained glass and getty museum the j. paul a small but choice holding of early German drawings. The Mu- seum acquired two Italian manuscript illuminations, continuing the great strides we have recently made in this area. Meanwhile, of one-gallery exhibitions examining specifi c recent acquisitions. the photographs collection continued to grow with a number of These included Titian and the Commander: A Renaissance Art- superb purchases and gifts, ranging from early photographs of ist and his Patron, which highlighted Titian’s Portrait of Alfonso Egypt by Joseph-Philibert Girault de Prangey and Adolphe Braun d’Avalos, and A Masterpiece Reconstructed: The Hours of Louis XII, to depictions of modern-day California by Anthony Hernandez which featured three manuscript illuminations by Jean Bour- and Bill Owens—these last two groups of work acquired with the dichon from this famous book of hours, which also traveled to assistance of the Photographs Council. the Victorian and Albert Museum in London. Regular thematic The Museum opened 16 exhibitions at the Getty Center and monographic rotations of works on paper from the draw- during the 2005–2006 fi scal year. Among them were major ings, photographs, and manuscript collections rounded out our exhibitions such as Courbet and the Modern Landscape, an inter- exhibition program. national loan exhibition co-organized with the Museum of Fine Education programs designed for all audiences helped visitors Arts, Houston and catalyzed by the Museum’s 2004 acquisition make connections with works of art in our collection. More than of Courbet’s radical and little-studied canvas Grotto of Sarrazine 80,000 school children and their teachers visited the Museum at near Nans-sous-Sainte-Anne. Following its showing at the Getty the Getty Center this year. Many were from Title 1 schools for Museum, this exhibition traveled to Houston and then to the which the Getty provided bus transportation subsidies. Teacher Walters Art Museum in Baltimore. There were also a number development programs and resources served nearly 1,500 teachers,

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Education programs at the Museum help visitors connect with works of art in the collection.

Below left: The Museum’s public programming includes free family festivals that offer artmaking activities and entertainment for families.

Below. From left: Andras Fay, conservator of paintings, Museum of Fine Arts, Budapest; George Bisacca, conservator of paintings, Metropolitan Museum of Art, New York; and Sue Ann Chui, assistant conservator of paintings, J. Paul Getty Museum, examining a panel from Budapest in the Museum’s Paintings Conservation Studio.

while more than 3,200 teachers and students participated in the and displayed according to the highest standards of care. Objects Museum’s Language Through Art program, designed to help ranging from Northern Renaissance panel paintings to ancient adult ESL students build language skills through looking at and Greek vases, from collections as near as Pasadena, San Marino, describing works of art. Family audiences availed themselves of a and Glendale to as far afi eld as Budapest and Berlin, were treated range of free programs and activities offered in English and Span- in exchange for the opportunity to display them at the Getty ish, including storytelling, Getty Getaway Days, Art Detective Center and Getty Villa. As in years past, many of these projects the j. paul getty museum the j. paul Cards, and the Family Room. More than 149,961 visitors took were undertaken with the support of the Museum’s Paintings part in daily gallery, architecture, and garden tours for general Conservation Council. Conservation staff provided advice and adult audiences, while individual lectures, seminars, courses, and consultation to other museums, and many occupied leadership artist programs served another 16,200. and committee positions in professional organizations such as the An exceptionally diverse and high-quality slate of performing International Institute for Conservation, the American Institute arts and fi lm programs, the majority of them free, provided other for Conservation, and the International Council on Museums. ways for the Museum to connect with visitors and helps create a In short, the J. Paul Getty Museum continues its remarkable richer context for our collections and exhibitions. Five daylong progress, thanks to the dedication of our talented staff, the good Family Festivals (four at the Getty Center and one at the Getty will of professional colleagues around the world, and the support Villa) featured community-based music, dance, and theater per- of external partners. As we move forward we will strive to main- formances, as well as artmaking and gallery activities. Established tain this high level of achievement according to the same exacting concert series such as Friday Nights at the Getty, Summer Ses- standards, while also exploring innovative new ways to make the sions, Sounds of LA, and Garden Concerts for Kids, as well as Museum relevant, engaging, and accessible for the widest possible exhibition-related fi lm programs, continued to be enthusiastically audience. received at the Getty Center, while new concert and playreading series at the Villa promise to engage new audiences. Michael Brand The Museum’s four conservation departments maintained Director their record of service to sister institutions and the fi eld at large, The J. Paul Getty Museum while ensuring that the Museum’s own collections are preserved

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The J. Paul Getty Museum’s collection includes Greek, Etruscan, and Roman antiquities; European paintings, drawings, sculpture, and decorative arts from the Middle Ages to the end of the 19th century; medieval and Renaissance illuminated manuscripts; and photographs from the 19th century to the present. Acquisitions Made between July 1, 2005, and June 30, 2006

Drawings Lewis Baltz (American, b. 1945) Thirty photographs, 1980 Anthonie van Borssom (Dutch, ca.1629–1677) Gelatin silver Windmills on a Canal, ca. 1660 Gift of Michael R. Kaplan, M.D. Watercolor and pen and brown ink; 21 x 28.7 cm 2005.91 (8 1/4 x 11 5/16 in.) 2006.14 Félix Bonﬁ ls (French, 1831–1885) Jerusalem. Murs et Porte Dorée à Jérusalem., Ubaldo Gandolﬁ (Italian, 1728–1781) n.d. Vision of Saint Gaetano Thiene, ca. 1775 Albumen silver; 22.5 x 28.4 cm Pen and brown ink, brush with brown wash, over (8 7/8 x 11 3/16 in.) black chalk; 27 x 21 cm (10 5/8 x 8 1/4 in.) Gift of Sharon and Michael Blasgen 2005.64 Francesco Guardi. The Grand Canal, Venice, with the Palazzo Bembo, about 1768. Oil on canvas. (JPGM) 2005.81 After the Master of the Housebook Margaret Bourke-White (American, 1904–1971) (German, act. 1470–1500) Eleven photographs, 1927 Design for a Quatrefoil with a Castle, Two Paintings Gelatin silver Lovers, a Maiden Tempted by a Fool, a Couple Gift of Robert Boochever Seated by a Trough, and a Knight and His Francesco Guardi (Italian, 1712–1793) 2005.37 Lover Mounted on a Horse, ca. 1475–90 The Grand Canal, Venice, with the Palazzo Adolphe Braun (French, 1811–1877) Pen and black ink; 24.1 x 21.7 cm Bembo, ca. 1768 Temple of Karnak, Egypt, ca. 1875 (9 1/2 x 8 9/16 in.) Oil on canvas; 46.4 x 76.2 cm (18 1/4 x 30 in.) 2005.39 Albumen silver; 19.8 x 24.9 cm 2005.41 (7 13/16 x 9 13/16 in.) Giovanni Battista Tiepolo (Italian, 1696–1770) Peter Paul Rubens (Flemish, 1577–1640) Gift of Sharon and Michael Blasgen The Holy Family with Angels before an Arch, The Calydonian Boar Hunt, ca. 1611–12 2005.80 second half of the 1750s Oil on panel; 59 x 90.2 cm (23 1/4 x 35 1/2 in.) Attributed to Adolphe Braun (French, 1811–1877) Pen and brown ink and brown and gray wash; 2006.4 31.4 x 22.6 cm (12 3/8 x 8 7/8 in.) Untitled [Man with oxen], n.d. 2005.65 Jean-Baptiste Perronneau (French, 1715–1783) Possibly carbon; 20.2 x 26.1 cm Portrait of Théophile Van Robais, 1770 (7 15/16 x 10 1/4 in.) Pastel on three sheets of blue paper, mounted on a Gift of Sharon and Michael Blasgen Manuscripts prepared canvas; 74.3 x 57.5 cm 2005.79 (29 1/4 x 22 5/8 in.) Burton Brothers Pacino di Bonaguida 2005.52 (New Zealander, act. 1860s–1890s) getty museum the j. paul (Italian [Florentine], act. ca. 1302–1340) White Terrace, New Zealand, ca. 1860s–80s Cutting from the Laudario of Sant’Agnese, Albumen silver; 22.3 x 27.9 cm (8 3/4 x 11 in.) ca. 1340 Photographs Gift of Sharon and Michael Blasgen Tempera and gold leaf on parchment; 19 x 20.8 cm 2005.74 (7 1/2 x 8 3/16 in.) Eddie Adams (American, 1933–2004) 2006.13 Three photographs, February 1, 1968 Robert Capa (American, b. Hungary 1913–1954) Gelatin silver Six photographs, 1944–45, printed ca. 1964 Attributed to Franco dei Russi 2006.3 Gelatin silver (Italian, act. ca. 1453–1482) 2005.46 Leaf from an antiphonal, ca. 1455–60/63 Robert Adams (American, b. 1937) Tempera and gold leaf on parchment; Orange Trees, Burned Palm, and Overturned Robert Capa (American, b. Hungary 1913–1954) 58.1 x 41.5 cm (22 7/8 x 16 5/16 in.) Smudge Pot, Highlands, California, 1979 Five photographs, 1936–44, printed later 2005.38 Gelatin silver; 20.3 x 27.9 cm (8 x 11 in.) Gelatin silver 2005.63 2006.7 Robert Adams (American, b. 1937) Keith Carter (American, b. 1948) Five photographs, 1971–83 Forty-three photographs, 1980s–90s Gelatin silver Toned silver 2006.1 Gift of Daniel Greenberg and Susan Steinhauser Attributed to James Anderson (British, 1813–1877) 2005.95 Possibly Arch of Septimius Severus in Giuseppe Cimetta (Italian, act. 1850s) Velabrum, 1860s Leone in piedi alle Porte dell’ Arsenale, 1850s Albumen silver; 37.1 x 26.4 cm Albumen silver; 52 x 42.8 cm (20 1/2 x 16 7/8 in.) Pacino di Bonaguida. The Martyrdom of Saint Lawrence, (14 5/8 x 10 3/8 in.) Gift of Sharon and Michael Blasgen cutting from the Laudario of Sant’Agnese, about 1340. Gift of Sharon and Michael Blasgen 2005.86 Tempera and gold leaf on parchment. (JPGM) 2005.73

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Joseph-Philibert Girault de Prangey (French, Barbara Kasten (American, b. 1936) 1804–1892) Construct III A, VI A, and XIV, 1980–82 The Nile River and Temples, Philae, 1843–44 Polaroid polacolor; 20.3 x 25.4 cm (8 x 10 in.) Daguerreotype in glass and wood case; image Gift of Laura and John Knaus (glass): 12 x 18.8 cm (4 3⁄4 x 7 3/8 in.) 2005.69 2005.61 André Kertész (American, b. Hungary 1894–1985) Nan Goldin (American, b. 1953) Two photographs, 1939 and 1961 Greer and Robert on the Bed, NYC, 1982, Gelatin silver printed 1996 by Stuart Ward 2005.54 Dye destruction; 76.2 x 101.6 cm (30 x 40 in.) André Kertész (American, b. Hungary 1894–1985) 2006.2 Joseph-Philibert Girault de Prangey. The Nile and Two photographs, 1962–75 Temples, Philae, 1843-1844. Daguerreotype in glass and wood case. (JPGM) Frank Mason Good (British, act. ca. 1860–1890) Gelatin silver Two photographs, 1860s 2006.12 Albumen silver Dmitri Kessel (American, b. Russia 1902–1995) Chuck Close (American, b. 1940) Gift of Sharon and Michael Blasgen Ninety-four photographs, 1920s–80s and Jerry Spagnoli (American, b. 1956) 2005.71 Gelatin silver Two daguerreotypes, 2000–01 Anthony Hernandez (American, b. 1947) Gift of the collection of Dr. Michael I. Jacobs Daguerreotype; 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.) Twenty photographs, 1969–81 2005.53 Gift of Susan and Peter MacGill Gelatin silver 2005.88 Juan Laurent (French, 1816–1892) 2005.35 Two photographs, ca. 1870s Tommaso Cuccioni (Italian, 1790–1864) Anthony Hernandez (American, b. 1947) Albumen silver Saint Peter’s Basilica, Rome, n.d. Twelve photographs, 1984–85 Gift of Sharon and Michael Blasgen Albumen silver; 32.4 x 45.7 cm (12 3/4 x 18 in.) Cibachrome 2005.78 Gift of Sharon and Michael Blasgen Gift of Bryan and Aileen Cooke 2005.85 Charles Marville (French, 1816–ca. 1879) Purchased in part with funds provided by the Paris [Semicircular row of columns], n.d. Imogen Cunningham (American, 1883–1976) Photographs Council of the J. Paul Getty Museum Albumen silver; 26.3 x 36.2 cm Portrait of Nata Piaskowski, 1952 2005.92 (10 3/8 x 14 1/4 in.) Gelatin silver; 18.2 x 14.6 cm (7 3/16 x 5 3/4 in.) John Humble (American, b. 1944) Gift of Sharon and Michael Blasgen 2005.56 Twenty photographs, 1985–2002 2005.83 Lucile Dandelet (American, b. 1920) Chromogenic dye coupler Charles Moore (American, b. 1931) the j. paul getty museum the j. paul Thirteen photographs, 1942 Purchased with funds provided by the Three photographs, 1962–63 Gelatin silver Photographs Council of the J. Paul Getty Museum Gelatin silver Gift of Lucile F. Dandelet 2006.10 2005.40 2005.124 Kenro Izu (American, b. Japan 1949) Carl Mydans (American, 1907–2004) William Edward Dassonville Five photographs, 1985–97 One hundred eleven photographs, 1940s–60s (American, 1879–1957) Platinum palladium Gelatin silver Yosemite Valley, 1906 2005.62 Gift of the estate of Carl Mydans Platinum; 42.5 x 34.3 cm (16 3/4 x 13 1/2 in.) Kenro Izu (American, b. Japan 1949) 2005.49 2005.58 Five photographs, 1996–2000 Nadar (Gaspard Félix Tournachon; French, William Eggleston (American, b. 1939) Platinum palladium 1820–1910) Thirty-three photographs, 1960s–early 1970s Gift of Robert Weingarten Portrait of George Sand, ca. 1864 Chromogenic dye coupler and other color processes 2006.11 Albumen silver carte-de-visite; 8.4 x 5.1 cm Gift of the Wilson Centre for Photography William Henry Jackson (American, 1843–1942) (3 5/16 x 2 in.) 2005.45 The Portals Canyon of the Grand River, n.d. Gift of Stuart and Beverly Denenberg in honor of William Eggleston (American, b. 1939) Albumen silver; 43.8 x 53.3 cm (17 1/4 x 21 in.) Gordon Baldwin Thirty photographs, 1980 Gift of Sharon and Michael Blasgen 2005.96 Chromogenic dye coupler 2005.77 Alfredo Noack (Italian, b. Germany 1833–1896) Gift of Daniel Greenberg and Susan Steinhauser Attributed to William Henry Jackson Two photographs, n.d. 2005.94 (American, 1843–1942) Albumen silver; 26.7 x 21 cm (10 1/2 x 8 1/4 in.) Leonard Freed (American, b. 1929) Railroad trestle, n.d. Gift of Sharon and Michael Blasgen Thirty-one photographs, 1972–79 Albumen silver; 27.8 x 21.8 cm 2005.87 Gelatin silver (10 15/16 x 8 9/16 in.) 2006.8 Gift of Sharon and Michael Blasgen 2005.76

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Bill Owens (American, b. 1938) Edward Weston (American, 1886–1958) Eighteen photographs, 1971–76 Hombres Sedientos (Detail of a Jose Clemente Gelatin silver Orozco mural in the Preparatoría, Mexico City), Purchased in part with funds provided by the ca. 1930 Photographs Council of the J. Paul Getty Museum Gelatin silver; 23.2 x 18.9 cm (9 1/8 x 7 7/16 in.) 2005.36 Gift of Spencer S. Throckmorton III 2005.97 Bill Owens (American, b. 1938) Fifteen photographs, 1971–74 Edward Weston (American, 1886–1958) Gelatin silver Franciscano [Detail of a Jose Clemente Orozco Gift of Robert Harshorn Shimshak and mural in the Preparatoría, Mexico City], 1926, Marion Brenner printed probably early 1930s Purchased in part with funds provided by the Gelatin silver; 23.7 x 18.2 cm (9 5/16 x 7 3/16 in.) Photographs Council of the J. Paul Getty Museum Gift of Mary and Dan Solomon 2005.67 2005.68 Nata Piaskowski (American, b. Poland 1912–2004) Minor White (American, 1908–1976) Eighteen photographs, 1948–52 Untitled [Male nude], 1940 Gelatin silver Gelatin silver; 20 x 9.7 cm (7 7/8 x 3 13/16 in.) 2005.57 2006.9 Eliot Porter (American, 1901–1990) Various photographers Sixty-eight photographs, 1953–81 Bill Owens. Sunday Afternoon We Get It Together. I Printed by Guy Stricherz (American, b. 1948) and Cook the Steaks and My Wife Makes the Salad, 1971. Dye transfer; 40.6 x 31.1 cm (16 x 12 1/4 in.) Gelatin silver print. (JPGM) Purchased in part with Irene Malli (American, b. 1964) Gift of Daniel Greenberg and Susan Steinhauser funds provided by the Photographs Council. Twenty photographs, 1945–65, printed 1995 2005.93 Dye transfer Gift of Nancy and Bruce Berman Milton Rogovin (American, b. 1909) Giorgio Sommer (Italian, b. Germany 1834–1914) 2005.101 Twenty photographs, 1958–67 Columns, n.d. Gelatin silver Unknown (French School) Albumen silver; 37.5 x 27.6 cm Gift of Laura and John Knaus Romanesque fount, ca. 1865 (14 3/4 x 10 7/8 in.) 2005.70 Albumen silver; 35.3 x 25.2 cm Gift of Sharon and Michael Blasgen (13 7/8 x 9 15/16 in.) Alfred Rosling (British, 1802–1880s) 2005.84 Gift of Sharon and Michael Blasgen Print by Francis Frith (British, 1822–1898) Jack D. Teemer Jr. (American, 1948–1992) 2005.82 Conway Castle, n.d. getty museum the j. paul Thirteen photographs, 1980–84 Albumen silver; 15.7 x 20.3 cm (6 3/16 x 8 in.) Unknown Chromogenic dye coupler Gift of Sharon and Michael Blasgen Washington Square, New York, ca. 1839 Gift of Nancy and Bruce Berman 2005.72 Daguerreotype 2005.99 Gift of George R. Rinhart Donald Ross (American, 1912–1999) Jerry Uelsmann (American, b. 1934) 2006.5 Eight photographs, 1950–54 Henry Beside Himself, 1972 Gelatin silver Gelatin silver; 25.4 x 32.8 cm (10 x 12 15/16 in.) 2005.55 2006.6 Sculpture & Decorative Arts Jaroslav Rössler (Czech, 1902–1990) Camilo José Vergara (American, b. Chile 1944) Untitled [Abstract composition], 1967 Robert Adams (British, 1917–1984) Fourteen photographs, 1980–2001 Gelatin silver; 47.6 x 27.9 cm (18 3/4 x 11 in.) Two, 1977 Chromogenic dye coupler 2005.59 Stainless steel; 266.7 x 121.9 x 88.9 cm Gift of Nancy and Bruce Berman (105 x 48 x 35 in.) Sheron Rupp (American, b. 1943) 2005.100 Gift of Fran and Ray Stark Five photographs, 1983–2003 Eva L. Watson-Schutze (American, 1867–1935) 2005.102 Chromogenic dye coupler Mother and Child, 1905 Gift of Nancy and Bruce Berman Saul Baizerman (American, b. Russia 1889–1957) Platinum; 20.5 x 15.5 cm (8 1/16 x 6 1/8 in.) 2005.98 Night, 1940–49 Gift of Sharon and Michael Blasgen Hammered copper; 134.6 x 243.8 x 91.4 cm Aaron Siskind (American, 1903–1991) 2005.75 (53 x 96 x 36 in.) Ten photographs, 1973–89 Carrie Mae Weems (American, b. 1953) Gift of Fran and Ray Stark Gelatin silver May Flowers, from the series May Days Long 2005.103 Gift of Dan and Jeanne Fauci family collection Forgotten, 2003 2005.90 Dye coupler [in gray tones], wood and convex glass; 85.1 cm (33 1/2 in.) 2005.51

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Alexander Calder (American, 1898–1976) Roy Lichtenstein (American, 1923–1997) Joan Miró (Spanish, 1893–1983) Two sculptures, 1963 Three Brushstrokes, 1984 Personnage, 1976–85 Welded metal, steel plate stabiles Painted aluminum; 308.6 x 109.2 x 67.3 cm Bronze; 205.7 x 71.1 x 61 cm (81 x 28 x 24 in.) Gift of Fran and Ray Stark (121 1/2 x 43 x 26 1/2 in.) Gift of Fran and Ray Stark 2005.104 Gift of Fran and Ray Stark 2005.116 2005.111 Mark di Suvero (American, b. 1933) Henry Moore (British, 1898–1986) Gandydancer’s Dream, 1987–88 René Magritte (Belgian, 1898–1967) Three sculptures, 1983–85 Painted steel; 190.5 x 185.4 x 162.6 cm Delusions of Grandeur, 1967 Bronze (75 x 73 x 64 in.) Bronze; 129.5 x 88.9 x 74.3 cm Gift of Fran and Ray Stark Gift of Fran and Ray Stark (51 x 35 x 29 1/4 in.) 2005.117 2005.105 Gift of Fran and Ray Stark Isamu Noguchi (American, 1904–1988) 2005.112 François-Thomas Germain (French, 1726–1791) The Tent of Holofernes, cast in 1978 from a “La Machine d’Argent” or Centerpiece for a Aristide Maillol (French, 1861–1944) Balsawood original executed in 1950 Table, 1754 Three sculptures, 1911–43 Bronze; 274.3 x 276.9 x 137.2 cm Silver; 21 x 36.8 x 23.2 cm Lead and bronze (108 x 109 x 54 in.) (8 1/4 x 14 1/2 x 9 1/8 in.) Gift of Fran and Ray Stark Gift of Fran and Ray Stark 2005.43 2005.113 2005.118 Dame Elisabeth Frink (British, 1930–1993) Giacomo Manzu (Italian, 1908–1991) George Warren Rickey (American, 1907–2002) Two sculptures, 1978–80 Cardinale Seduto, 1975–77 Three Squares Gyratory, 1971 Bronze Bronze; 215 x 115.6 x 141 cm Stainless steel; 442 x 426.7 cm (174 x 168 in.) Gift of Fran and Ray Stark (84 5/8 x 45 1/2 x 55 1/2 in.) Gift of Fran and Ray Stark 2005.106 Gift of Fran and Ray Stark 2005.119 2005.114 Alberto Giacometti (Swiss, 1901–1966) Joel Shapiro (American, b. 1941) Standing Woman I, 1960 Marino Marini (Italian, 1901–1980) Untitled, 1982–85 Bronze with dark gray patina; Angel of the Citadel–Horse and Rider–Town’s Bronze; 142.2 x 154.9 x 86.4 cm (56 x 61 x 34 in.) 274.3 x 34.3 x 53.3 cm (108 x 13 1/2 x 21 in.) Guardian Angel, 1949–50 Gift of Fran and Ray Stark Gift of Fran and Ray Stark Bronze; 172.7 x 167.6 x 94 cm (68 x 66 x 37 in.) 2005.120 2005.107 Gift of Fran and Ray Stark Peter Shelton (American, b. 1951) 2005.115 Barbara Hepworth (British, 1903–1975) Bronzenightshirt, 1987–89 Figure for Landscape, 1960 Bronze; 193 x 152.4 x 12.7 cm (76 x 60 x 5 in.)

the j. paul getty museum the j. paul Bronze; 271.8 x 132.1 x 68.6 cm Gift of Fran and Ray Stark (107 x 52 x 27 in.) 2005.121 Gift of Fran and Ray Stark William Turnbull (British, b. 1922) 2005.108 Large Metamorphic Venus, 1983 Ellsworth Kelly (American, b. 1923) Bronze; 172.7 x 94 x 20.3 cm (68 x 37 x 8 in.) Untitled, 1988 Gift of Fran and Ray Stark Bronze; 400.1 x 41.3 x 3.8 cm 2005.122 (157 1/2 x 16 1/4 x 1 1/2 in.) Jack Zajac (American, b. 1929) Gift of Fran and Ray Stark Big Skull and Horn in Two Parts II, 1963 2005.109 Bronze; 228.6 cm long total; 76.2 x 53.3 x 121.9 Fernand Léger (French, 1881–1955) cm and 116.8 x 116.8 x 61 cm (90 in. long total; Walking Flower, 1952/53; cast 1982/83 30 x 21 x 48 in. and 46 x 46 x 24 in.) Glazed ceramic; 312.4 x 137.2 x 167.6 cm Gift of Fran and Ray Stark (123 x 54 x 66 in.) 2005.123 Gift of Fran and Ray Stark Unknown maker, Southern German or Austrian 2005.110 The Fall of the Rebel Angels, 1715–25 Fine-grained, calcareous limestone; 55 x 16.5 x 14.9 cm (21 5/8 x 6 1/2 x 5 7/8 in.) 2005.48 Barbara Hepworth. Figure for Landscape, 1960. Bronze. (JPGM) Gift of Fran and Ray Stark. © Bowness, Hepworth Estate.

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Opening at the Getty Center between July 1, 2005, and June 30, 2006

Paper Art: Collecting Drawings in Holland, the Morgan Library, New York, while it was closed Courbet and the Modern Landscape 1600–1800 for a major expansion and renovation project, thus February 21–May 14, 2006 September 6–November 20, 2005 allowing these works to be seen for the fi rst time in This exhibition, the fi rst to focus on the As the Dutch art market expanded in the early Los Angeles. extraordinary innovation of Gustave Courbet 1600s, artists began to make drawings as works (French, 1819–1877) in the genre of landscape A Masterpiece Reconstructed: The Hours of of art in their own right, often signed and dated. painting, brought together 47 paintings by the Louis XII Amateurs collected them in large numbers, calling artist from national and international collections. October 18, 2005–January 8, 2006 them papierkunst or “paper art.” This exhibition Co-organized by the J. Paul Getty Museum; the The Hours of Louis XII was one of the greatest examined the technique, subject matter, and style Museum of Fine Arts, Houston; and the Walters French manuscripts of its time, painted by Jean of these fi nished drawings and explored their wider Art Museum, this exhibition was supported by an Bourdichon (French, 1457–1521) for the king of cultural context including the art market, collectors, indemnity from the Federal Council on the Arts France in 1498/99. This exhibition, co-organized and display. and Humanities. by the Victoria and Albert Museum in London, Scene of the Crime: Photo by Weegee reunited the text and 15 miniatures for the fi rst Degas at the Getty September 20, 2005–January 22, 2006 time in more than 300 years. March 7–June 11, 2006 Featuring about 70 photographs from the Celebrating the Museum’s recent acquisitions of A Renaissance Cabinet Rediscovered Museum’s permanent collection, this exhibition the pastel drawing Miss Lala at the Fernando Circus November 22, 2005–August 4, 2007 surveyed the work of Arthur Fellig (American, and the painting The Milliners by Edgar Degas This exhibition traces the study of a cabinet, born Austria, 1899–1968), known as Weegee the (French, 1834–1917), this exhibition brought acquired in 1971 by J. Paul Getty, that since the Famous. Spanning two decades of Weegee’s career, together works from across the Museum’s paintings, 1980s had been thought to be a pastiche if not an the exhibition was introduced with pictures by drawings, and photographs collections that span outright fake. However, new documentary research pioneering Los Angeles news photographer George the career of this seminal artist. From the youthful and technical analysis have revealed that the cabinet Watson and his nephew Coy Watson, Jr. Self-portrait to the late painting After the Bath, the is in fact one of the most important pieces of exhibition highlighted three of Degas’ key subjects: Pictures for the Press French Renaissance furniture in the United States. portraits, popular entertainments/social life, and September 20, 2005–January 22, 2006 Drawings from Leonardo to Titian: A North bathers. Focusing on pictures made by press photographers Italian Itinerary between the 1940s and the 1970s, this exhibition Carmontelle’s Transparency: An 18th-Century December 6, 2005–February 26, 2006 included iconic images of the atomic explosion over Motion Picture This exhibition introduced the extraordinary Nagasaki, the D-Day invasion of Omaha Beach, March 14–June 18, 2006 stylistic range and draftsmanship of artists across the assassination of President John F. Kennedy, civil Invented by Louis Carrogis, known as Carmontelle northern Italy in the 16th century, from Leonardo rights demonstrations in Birmingham, Alabama, (French, 1717–1806), the transparency, a da Vinci in Milan to Titian in Venice. It examined and the evacuation of Saigon. transparent drawing that was rolled through different approaches to drawing and how artists a backlit viewing box, was a forerunner of the Titian and the Commander: A Renaissance infl uenced each other. getty museum the j. paul modern motion picture. The Getty Museum’s Artist and His Patron The Medieval Bookshelf: From Romance to 12-foot-long transparency, Figures Walking in a October 4, 2005–February 5, 2006 Astronomy Parkland, was the focus of this exhibition and was This exhibition presented a close look at the Getty’s January 24–April 9, 2006 displayed with a facsimile of the transparency in recently acquired painting by Titian (Italian, about A wide variety of secular books were illuminated a viewing box. Eighteenth-century drawings from 1487–1576), Portrait of Alfonso d’Avalos, Marquis of throughout the Middle Ages, including law texts, the Museum’s collection were also on view to Vasto, in Armor with a Page, and included Titian’s philosophical works, historical chronicles, scientifi c complement Carmontelle’s invention. Penitent Magdalene, also in the Getty’s collection, as treatises, and even romances. This exhibition well as another portrait by Titian of the same sitter, The Cult of Saints offered a look at 21 of the most beautiful medieval lent by the Museo del Prado. April 25–July 16, 2006 secular manuscripts and leaves from the Museum’s Devotion to saints was a central component of Painted Prayers: Books of Hours from the collection. the spiritual and cultural life of the Middle Ages Morgan Library Robert Adams: Landscapes of Harmony and and Renaissance—a pious practice that still has October 18, 2005–January 8, 2006 Dissonance an impact today. This exhibition presented an Featured 58 of The Pierpont Morgan Library’s February 7–May 28, 2006 overview of the Cult of the Saints in medieval and fi nest devotional manuscript and printed books Robert Adams (American, born 1937) has Renaissance society through images created in its produced throughout Europe between the 13th and photographed the American West for more than service. 16th centuries. This exhibition was organized by 40 years, inspired by both his joy in its inherent natural beauty and his dismay at its exploitation and degradation. This exhibition featured 68 photographs drawn from the Museum’s holding of prints by Adams, augmented by loans from other sources.

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Ensor’s Graphic Modernism Eliot Porter: In the Realm of Nature May 2–July 30, 2006 June 13–September 17, 2006 This exhibition united for the fi rst time James Eliot Porter (American, 1901–1990) was the Ensor’s (Belgian, 1860–1949) greatest painting, fi rst photographer to promote the use of color in Christ’s Entry into Brussels in 1889 (1888) in the landscape photographs. He explored new ways Museum’s permanent collection, with a signifi cant of presenting the natural world and sometimes body of his related prints. Since the monumental paired his work with the inspirational writings painting cannot travel, the opportunity to situate of authors such as Henry David Thoreau. This it in the context of Ensor’s achievements and exhibition included a selection of Porter’s early ambitions as a print maker gave the public a deeper black-and-white landscape photographs, later color understanding of Ensor’s multifaceted modernity landscapes, and bird photographs made over the and his mastery of painting and printmaking with course of his career. very distinct technical demands.

Opening at the Getty Villa between January 28 and June 30, 2006

Molten Color: Glassmaking in Antiquity Antiquity & Photography: Early Views of The Colors of Clay: Special Techniques in January 28–July 24, 2006 Ancient Mediterranean Sites Athenian Vases The Museum’s recent acquisition from the January 28–May 1, 2006 June 8–September 4, 2006 Oppenländer collection of over 350 pieces of The Getty multidisciplinary approach to studying This major loan exhibition brought together ancient glass was the focus of this inaugural the ancient world was reﬂ ected in this inaugural approximately 100 vases produced in Athens during exhibition for the opening of the Getty Villa. exhibition at the Getty Villa, which examined how the Archaic and Classical periods, exemplifying Remarkable for their high quality and chronological early photographs inﬂ uenced and transformed the use of special decorative techniques, a subject breadth, the roughly 180 works on view were thinking about antiquity. Featuring over 80 never before examined as a whole. Displaying a accompanied by videos illustrating ancient photographs created between the 1840s and 1870 combination of techniques and representing objects glassmaking techniques. of celebrated ancient sites in Italy, Greece, Asia of the highest level of skill, inventiveness, and Minor, and Egypt, the exhibition was jointly artistry, the exhibition provided visitors with an curated by the J. Paul Getty Museum and the Getty understanding of the range and variety of Greek Research Institute. vases and of the processes used by ancient potters and vase-painters. the j. paul getty museum the j. paul Museum Guest Scholars

The J. Paul Getty Museum Guest Scholar Bacchi, Andrea. Università di Trento, Italy. Fischer, Monique C. Northeast Document Program is a residential, three-month fel- Research on 19th-century Italian sculpture, which Conservation Center, Andover, Massachusetts. lowship for scholars whose research is best will culminate in an exhibition at the Museo Civico Investigate the permanence and longevity of digital pursued in the context of the Museum’s col- di Rovereto in Italy in 2007. image printing technologies to create a publication lections and in contact with its staff and the to aid curators, collections care managers, Baldwin, Dana. Portland Museum of Art, resources of the Getty Research Institute. conservators, and photographers in creating long- Maine. Investigate the history and application The program is by invitation. lasting color prints from digital fi les. of “interpretation” in art museum settings and examine how it differs from teaching and education Hedley, Jo. Wallace Collection, London. Continue in the fi eld of museum education. research on François Boucher and write an Projects listed represent scholars’ primary introduction to, and edit a volume of, Studies on research while in residence. Bomford, David. National Gallery, London. Study Voltaire and the Eighteenth Century focusing on unfi nished paintings—their technique, historical Boucher and the Enlightenment. context, and the notion of what constitutes a 2005–2006 Museum Guest Scholars ‘fi nished’ painting. The philosophical debate will Travis, David. Art Institute of Chicago, Illinois. be examined, as will the taste of collectors for Study the late work of master photographers whose Alexander, Jonathan. New York University, New unfi nished works. work is held in depth in the Museum’s photographs York. Research on Italian illumination with an collection. emphasis on 14th- and 15th-century illuminators, Curtis, Penelope. Henry Moore Institute, Leeds, while also preparing the text for the Panizzi lectures England. Investigate the role of sculpture in scheduled for spring 2007. modernist architecture, identifying its symbolic, ceremonial, and narrative roles in defi ning a sense of place.

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For July 1, 2005, through June 30, 2006

Villa Council Paintings Conservation Council Photographs Council

Barbara G. Fleischman David G. Booth Bruce Berman David Alexander Suzanne Deal Booth Denise Bethel Patricia R. Anawalt T. Robert Burke Michael and Sharon Blasgen Michael Bianco Robert F. Erburu William Carter John H. Biggs Mark Fisch Ramon C. Cortines John F. Cooke Deborah P. Gage Jan de Bont Lloyd E. Cotsen Mary Tavener Holmes Trish de Bont Hanita E. Dechter Cynthia Harrell Horn Nancy Dubois Sandra A. Ell Thomas S. Kaplan David Fahey Robert F. Erburu Richard Kelton Peter Fetterman Walter Gilbert Jon Landau Dan Greenberg and Susan Steinhauser Harriett F. Gold Herbert L. Lucas Gloria Grossman Audrey Greenberg Michael E.S. McCarthy Manfred Heiting Sheri L. Jamieson Tania N. Norris Joshua Holdeman Barbara Poe Levee Peter Norton Michael I. Jacobs Herbert L. Lucas Lynda Resnick David Knaus Lawrence R. McNamee Stewart A. Resnick Noel and Harriette Levine Sol Rabin Melvin R. Seiden Herbert L. Lucas William L. Robbins Mark S. Siegel Jean McCusker Jonathan Rosen John A. Sturgeon Alex Novak Mark Siegel Peter J. Taylor Stephen Purvis and Devon Susholtz Marta Stang George Wachter Richard and Strawn Rosenthal Luanne Wells Malcolm H. Wiener Michael Rubel Malcolm H. Wiener Paul Sack Harold M. Williams Rose Shoshana Dan and Mary Solomon the j. paul getty museum the j. paul Alessandro Uzielli Leonard Vernon Robert Weingarten Margaret W. Weston Stephen White Michael and Jane Wilson

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For July 1, 2005, through June 30, 2006

Docents Day, Judith Hyatt, Betty Miller, Marian Truong, Nicky Baiardi, Elizabeth DeBono, Deborah Hynek, Anna Mondor, Peggy Tward, Leny Baldwin, Isabel Abbamontian, Ramela DeGraff, Candace Iosty, Myra Morales, Norma Vaillancourt, Arlene Barbanell, Laurilyn Adams, Jacque Demirian, Luiza Jackson, Jamie Morse, Ray Van Vorst, Clare Ann Barbdat, Rene Agee, Jim Dickinson, Lois Jackson, Mary Ann Nakamura, Ellen VanScoy, Christine Barbera, Jayne Alcalay, Elena Dragomirescu, Wanda Jacobson Wedret, Jody Naselow, Arthur Visram, Leila Barnbaum, Starr Ames, Jan Dubrow, Mary Jacquard, Sanford Negri, Steven Vogler, Meredeth Barr, Judith Amstutz, Patti Edgerton, Monica Janos, Cleon Niwayama, Terri Von Der Ohe, Ursula Barry, Dee Dee Anderson, Thurlene Edward, Lucy Johnson, Georgianna Norman, Susan Vourgourakis, Mary Beatty, Donna Anshen, Estelle Enns, Jean Kahm, Yoon Oakland, Kate Wagner, Ruth Behrens, Jess Barcia, Eva Escaron, Marianne Kahn, William Opp, Dianne Warren, Patricia Beirne, Donna Bas, Carlos Escaron, Pierre Kates, Sandra Orr, Betty Weiss, Linda Beitzel, Tamara Baskin, Cynthia Espada, Audree Keaney, Patricia O’Shea, Cynthia Weitz, Marilyn Benard, Paula Bassi, Andrew Evtuhov, Tanya Kirkman, Alden Palm, Judith Wernig, Fritzie Bencomo, Honey Bates, Bonnie Fado, Sue Knechtli, Diane Pardridge, Rhonda Westerschulte, Linda Bennett, Louise Bayha, Patricia Farra, Debra Kreher, Mark Perea, Sylvia Wexler, Anita Bensussen, Sam Becker, Betsy Feller, Beryl Kubiak, Josee Petersen, Lucille Wharton, Wendy Berg, Leonard Behm, Jim Feucht, Laura Kujawa, Rose Pinter, Sylvia Wilkinson, Berenice Berger, Phyllis Bernstein, Barbara Fick, Sally Kush, Suzanne Rachal, Christina Willis, Judith Berkovitz, Anne Bernstein, Valerie Finnin, Mary La Bassiere, Susan Reiner, Sandra Wilms, Joan Berkson, Kathy Bewak, Andrea Fintzy, Karin Lage, Angela Renger, Kathie Wilson, Martha Bernard, Rose Bhatia, Ranjit Fisher, Elaine Landau, Norma Richardson, Betty Wing, Barbara Bernhardt, Lawrence Bierer, Beverly Foier, Roslyn Lasson, David Richardson, Carolyn Winthrop, Cheryl Bertsch, Delora Brackey, Catherine Fox, Howard Leach, David Richardson, Vicki Wolfe, Monica Bessenbacher, Kit Bright, Connie Fox, Sean LeCover, Deborah Rivera-Mann, Carmen Wunder, Gerrard Biers, Marvin Brown, Joan French, Carmen Lee, Gloria Robinson, Robert Wyle, Ruth Biers, Reva Brown, Ronna Galvan, Antonio Leiter, Mary Roper, Ilene Young, Elizabeth Bigelow, Dona Bryant, Charlotte Geppert, Gail Levin, Lorrie Rosario, Victor Zatzick, Phyllis Billauer Gifford, Cecile Bunker, Kathleen Getty, Ronald LeVine, Dolores Rosen, Ellie Black, Lena Burckle, Ann Gin, Catherine Lewicki, George Rosenbaum, Linda Volunteers Blakelock, Charles Byk, Hilary Goldberg, Patricia Lewicki, Kathryn Rosenberg, Carol Blakelock, Margaret Campbell, Bill Goodman, Geralyn Lewis, Barbara Ruby, George Abraham, Mary Rose Bleakley, Charlene the j. paul getty museum the j. paul Campbell, Marguerite Granados, Sandy Libby, Cindy Ruth, Armida Abramowitz, Sandra Blumenstock, Michael Carbone, Phyllis Grant, Darlene Litter, Nancy Sanger, Rosalind Abrams, Irene Boisson-Schmit, Danielle Caron, Catherine Greenberg, Marilyn Loveless, Maria Schubiner, Diane Ackard, Larry Bonwitt, Marne Carroll, Paula Griffi th, Jeriann MacDonald, Elizabeth Seder, Joan Adams, Denice Boone, Dan Casilli, Carla Haljun, Terry Macy, Shirley Sego, Peter Agravante, Hiroshi Borenstein, Bonnie Chambers, Arline Hall, Beverly Makasjian, Edward Serizawa, Frank Alcisto, Jaina Botto, Marianella Chaussee, Linda Hanson, Les Mannis, Barbara Shehab, Carol Alford, Mary Boudry, Nancy Christman, Helen Harkins, Daniel Marcus, Barbara Singer, Reta Allen, Barbara Boyd, Gary Cibener, Richard Hart, Ellen Marino, Barbara Singer, Sandra Allen, Jamie Boyd, Suzette Cochran, Janie Hart, Stephanie Markiles, Beryl Skinner, Sharon Allen, Roberta Brewer, David Cody, Victoria Hartman, Clara Marlow, Mary Sliteris, Joanne Allison, Jan Brick, Ilene Coleman, Bonnie Hartman, Phyllis Martin, Marian Smith, Margaret Alper, Thelma Brix, Karl Collins, Judy Hayek, Peggy Martinez, Joanne Solari, Mieke Andrew, Gary Brower, Karen Confredo, Stelladona Hearn, Jo McConnell, Jane Sosnow, Sylvia Anshen, Estelle Brown, Beverly Cortinas, Elena Hecht, Bonnie McDonald, Celia Spira, Johanna Antfl ick, Jack Brown, Christine Costas, Mary Hellman, Kristin McElroy, Lila Tash, Debra Arbuckle, Rose Brown, Elsie Cotter, Diana Hill, Helayne McNeill, Christa Tavetian, Hrach Ashton, Edward Brown, Lucy Croizat, Meda Holmes, Janet Meadows, Naomi Tellalian, Charles Asseraf, Karen Brown, Robert CruzAedo, Myrna Horan, Susan Medl-Rilling, Claudia Terrell, George Ate, Affi ong Brunsdon, Marilyn Cserepes, Joseph Howard, Carol Megji, Rubina Thanos, Mary Babbitt, Lynne Burke, Toby Curran, Diane Howlett, Marilyn Mendelson, Naomi Thiel, Anke Bader, Ruth Burner, Victoria DaCosta, Arice Hunt, Janet Metre, Zarine Tirce, Lee Baer, Vivian Burton, Darlene Dahm, Jeanne Hurwitz, Karen Miller, Donna Trento, Robin Baghoomians, Roobina Burton, Gail

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Cairns, John Davis, Owen Franz, C.J. Hamm, Lynn Jewell, Stephanie Lee, Lillian Cairns, Patricia Day, Judith Friedman, Inge Hammerstrom, Beverly Jones, Carrie Lee, Wesley Calamaro, Peggy Dayer, Julianne Fritz, Adrienne Hanf, Ted Jones, Maureen Leib, Billy Calfas, Gabriel de Jarnette, Kelly Fuernkaes, Raymond Hartung, Arlene Joseph, Nicky Lemke, Ena-Maria Calhoun, Bill de la Vega, Olga Fugueroa, Mercedes Haynes, Fleurette Jubert, Virginia Lenehen, Thomas Callaway, James Degendorfer, Albert Fujita, Michael Hearn, Jo Kakadelas, Kirsten Lenoff, Joan Camcigil, Aleve Degendorfer, Rosel Fuller Aylott, Cherry Hearne, Gordon Kalmar, Edith Levitt, Carol Campbell, Gina Del Rio, Fernando Fullmer, Candace Hecox, Elsie Kamin, Joyce Levy, Carolyn Campos, Julie Delgadillo, Larissa Furia, Mary Heianna, Cecilia Kara, Lucy Levy, Steven Carbone, Phyllis Denning, Paul Gach, Dorothy Heininger, Betty Karl, Gretchen Lewandowski, Sherrie Cardet, Chris Denoff, Elsie Gallaty, Maureen Heisey, Norval Karsh, Katie Lewin, Linda Cedar, Elsie Devlin, Susan Galvez, Gayle Helm, John Katz, Annette Lickley, William Celoria, Andrea Diaz, Rebecca Gambill, Trudy Claire Hencz, Thomas Kau, Cheryl Lieberman, Beverley Cernik, Caroline Dickinson, Lois (T.C.) Heneghan, Jeanne Kelly-Marquez, Nancy Lieberman, Mira Chambers, Shelley Dietch, Joanne Gandin, Jennifer Heric, Paris Kennedy, John Linden, Berna Chang, Mei Dietrich, Lauren Garcia, Olivia Hettinger, Tori Kerman, Lori Lingo, Carrie Chapman, Karen Dimacali, Mel Gardner, Arlene Heubach, Jim Kevorkian, Rima Lipschutz, Donald Cheng, Rose Doctor, Lisa Geller, Joan Heydon, Haettie Khalili, Samantha Lobl, Catheryne Chia, Han-Yuan Doctor, Ron Gellerman, Frances Hiatt, Maria Khan, Ashraf Locke, Leigh-Anne Chou, Yu-Feng Dool, Carole Gherardi, Charles Hickey, Marianne Khatibi, Nicole London, Carolyn Chow, Gloria Dool, Teri Gill, John High, Jeanie Kienzle, Rosmarie Lopez, Nicole Clark, Gordon Downing, Marc Gilson, Jung-Mi Hild, Renate Kim, Hyebum Lorber, Len Clark, Joan Drake, Cynthia Gin, Catherine Hillman, Carol Kim, Young Lorber, Rhea Clark, Linda Dreifus, Joan Glancy, Katina Hirschhorn, Karen Kincannon, Marie Lordan, Laurence Cleland, Charles Dueness, Philip Gleason, Jan Hirschhorn, Richard King, Linda Lozano, Angela Clinesmith, Sue Duistermars, Victoria Glover, Anilka Hishmeh, Eva Kinney, Ron Lunday, Eva Clute, John Dyer, Jackie Godina, Luz Hodes, Donald Kirrene, Kathe Lunetta, Agnes Cohen, Dorothy Edelman, Joyce Goldberg, Jackie Holland, John Kjerulf, Mia Lutz, Irene Cohrs, Sumako Edgington, George Goldberg, Jay Holz, Michael Klein, Renee Mac Lean, Gary Colas, Veronique Eichorn, Barbara Goldberg, Nancy Hood, Carroll Klein, Walter Mac Lean, Sue Coleman, David Eisaman, Joe Goldman, Arlene Hopkins, Rebecca Klimas, Elizabeth Machado, Jerry Colich, Lorraine Eisenberg, Michael Goldstein, Sylvia Horn, Ann Harper Klugman, Malcolm Maddox, Renny Conrrad, Toni Ann Ericson, Chris Gollin, Barbara Horst, Margaret Knechtli, Ronald MaGee, M. Ann Sheen getty museum the j. paul Cooke Mathews, Stanley Espindola, Patricia Gomez, Jeannine Hostalek, Licie Koenig, Gloria Mahler, Phyllis Coombs, Gerie Espinoza, Lupe Gomez, Lelia Hovanessian, Elma Kohn, Eva Mainieri, L. Anne Cornner, Susan Estrada, Edgar Gonzalez, Silvia Howard, Diane Korobkin, Sydney Maiorana, Joe Corpuz, Salette Etterman, Marc Gonzalez-Turner, Hsu, Li-Fang Kostan, Natasha Maizels, Michael Coughlin, Virginia Eveslage, Olivia Genevieve Huff, Linda Kostman, Wayne Maline, Steve Crane, Jen Ezmirlian, John Gorman, Megan Hunt, Jo Kragen, Bruce Mallek, Richard Crigger, Patricia Fado, Sue Gottlieb, Sonia Hunt, Sylvia Kragen, Olivia Mandel, Jane Crose, Sue Falcioni, Patricia Gottschalk, Jerome Hussainy, Rhonda Kriens, Jodi Maniskas, Agnes Crovisier, Carol Fantl, Diane Graham, Debra Hwang, Jinsook Kubrin, Jane Maniskas, Jim Crum, Jane Farkas, Mike Graham, Tom Hyman, Claire Kuijpers, Trudy Marcher, Alan Cudney, Paul Faulk, Cheri Kelson Green, Shirley Hyman, Elizabeth Kumagai, Tatsuo Marcher, Maxine Czyzewski, Halina Feinstein, Ilene Greenfi eld, Jackie Imazu, Mayo Kunz, Valerie Mardesich, Joanne Dabbay, Clarence Feir, Jules Greenfi eld, Stanley Ituarte, Philip Kyle, Dorrie Margolis, Temmie Daly, Sharon Feld, Arlene Griffi th, Sam Iyer, Paul Lage, Angela Martin, Barbara Dang, Chi Fields, Ellis Griffi ths, Sylvia Jackson, Amy Lake, Barbara Martin, Margaret Danne, Denise Fields, Mel Gross, Leonie Jakubowicz, Isaac Lan, Stacey Martin, Michael Dashe, Susan Fill, Dennis Gunawan, Lestary Janos, Mary Landau, John Martinez, Cristina Daugherty, Barbara Fisher, Jenny Gunderman, Gina Janovitz, Fran Lannan, Sharon Martir, Miguel Davidoff, Bonnie Fitzgerald, Maggie Gunter, Sharyn Jassak, Raymond Laskin, Susan Marzan, Mia Davis, Kaye Ford, Shirley Gyulai, Judy Jefferson, Karen Lasky, Gloria Matthews, Katherine Davis, Kharye Francesconi, Michael Hamburger, Risa Jenkins, Louvenia Learner, Becky Mattox, Art Davis, Maria Frankel-Fields, Shirley Hamilton, Pamela Jennings, Gail Lee, Donna Maturko, Joan

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Mazoue, Pamela Novarese, Bianca Richman, Peggy Schulz, Katherine Taylor, Ada Winter, Red McCarthy, Judith Nowak, Jonathan Richmond, Lorraine Schwarz, Herbert Taylor, Aprylle Winterer, Mika McClelland, Mary Ann O’Connor, Carol Rimbach, Marsha Schwartz, Lucy Taylor, Eileen Winthrop, Barbara McClintock, Mary Jane O’Connor, Talitha Rivera-Mann, Carmen Sears, Ann Taylor, Fae Wolfberg, Toby McConnell, Jane Odegard, Patricia Rizzo, DaNetta Sears, David Teresi, Richard Wong, Lillian McCook, Laurette O’Donnell, Patricia Roberts, Marilyn Segall, Marina Ternstrom, Clinton Wong, Tammi McCord, Bonnie Olson, Cynthia Roberts, William Segura, Elidia Thomas, Dorothy Wood, Vivian McElravey, Anne Olson, Lisa Robins, Sam Seufert, Lois Thompson, Carol Woodward, Jennifer McGaughey, Mary Ann Oltmann, Barbara Robinson, Cindy Sevilla, Paul Thompson, Robert Xavier, Mia McGuire, Mary Margaret Ortega, Brenda Robinson, Emma Seydoux, Aline Thorne, Stephen Yang, Shin McHenry, Judith Osorio, Jennifer Robinson, Olga Sguario Da Silva, Joana Tilton, Terilyn Yee, Sharon McIntosh, Ashley O’Sullivan, Elizabeth Robinson, Robert Shanahan, Masumi Timmons, Michael Yeh, Grace McLain, Bernice Pack, Judith Robinson, Stephanie Shanon, Erich Tohmatsu, Makiko Yeh, Mei Ling McLauchlin, Shirley Padilla, Lucy Robles, Claire Shapiro, Janet Tokubo, Karen Yilmazer, Gulcin Medvetsky, Lina Panama, Chuck Roche, Ed Sharpe, Sharon Tomashevsky, Valerie Yoshida, Etsuko Meler, Karen Papkoff, Barbara Roche, Hugo Shen, Shelley Totemwongse, Letty Yoshida, Gary Mendelsohn, Roberta Park, Jae Hee Rojas, Humberto Shields, Ginny Trainor, Elizabeth Zamboni, Giovanna Mercaldi, Anna Park Newland, Linda Rojas, Sandra Sholson, Shirley Tremblay, Don Zamora, Rebecca Messih, Jana Parker, Dana Rollo, Renae Shriber, Jacquie Trostle, Ruth Zarate, Cecilia Mihalyovich, Alexander Passarelli, Maryrose Rose, Robert Shu, Sally Trujillo, Dwayne Zecca, Lorraine Milan, Rolanda Pau, Nancy Rosen, Louis Shubitowski, Jacqueline Trunk, Harriet Zellmer, Yvonne Miller, Gilda Pauley, Ed Rosenberg, Donald Shulman, Renee Tsukahira, Lilly Zermeno, George Minassian, Sylva Pego, Alice Rosenberger, Marcela Shwartz, Sandra Tusher, Marilyn Zetlian, Salpy Minkow, Nancy Pelegrino, Don Rowsell, Mary Louise Sierra, Damaritz Twarynski, Angeline Zielinska, Ewa Mirano, Virgil Pereira, Silvia Rubens, Nancy Sierra, Rosemary Tyler Jr., James Ziesmer, Jerry Mirtaheri, Pouran Perri, Jill Rubly, Betty Silver, Barbara Updegraff, Laura Ziesmer, Suzanne Monroe, Susann Pinto, Diana Rudolf, Esi Silver, Connie Vamos, Hanna Ziff, Louise Monterroso, Giovanni Piorkowski, Marsha Ruggeiro, Phil Silver, Joan Van Wormer, Helene Zuyovich, Lucy Montes, Emily Piper, Terry Runkel, Manfred Simkin, Barbara Vaystub, Mike Zweig, Noah Montgomery, Barbara Poer, Holly Ruther, Jeniffer Simonton, Lorraine Vignieri, Michele Moore, Camille Poletti, Helene Rutter Lumsden, Winifred Singer, Raymond Volk-Olejniczak, Christine Morgan, Jim Pond, Margarita Sachs, Emma Singer, Rhona Volpati, Carlo the j. paul getty museum the j. paul Morita, Kazuko Ponhold, Jennifer Sacks, Anne Singer, Sandee Walker, Rae Morris, Anita Potts, Lorraine Sadoyan, Lilit Sleeth, Paula Wang, Kun Morris, Jim Potts, Rachel Salas, Adrian Sloan, Marie Warren, Pia Morrow, Jim Pritzkat, Barbara Salgado, Ramona Smith, James Warson, Manny Moser, Phil Prospero, Sheila Salmore, Stanley Sokolow, Eva Washington, Taneka Moskowitz, Robin Putnam, Betty Sanchez, Anabella Staight, Carla Waxman, Leon Mueller, Betty Rabinovitz, Gayle Sarkin, Lisa Stambolis, Nicolette Weiland, Gail Munjee, Mariam Rachel, Rose Saunders, Judith Stanislawski, Laura Weiland, Lilian Murphy, Liz Raffaele, Yvonne Sawin, Mary Stark, Daniel Weiner, Marlene Murphy, Mary Ramiez, Julie Sawyer, Ricki Stoffel, Patricia Weinstein, Diane Murray, Alena Ramos, Cloris Scarano, Elsie Stoller, Sandy Weisman, Madelyn Nagano, June Ratner, Barbara Scarff, Stephen Stramaglia, Debra Wells, Cathleen Nagayama, Robert Reagan, Eve Schaar, Elsbeth Strauss, Rosalie White, Adrienne Nakamura, Diane Redel, Virginia Schackman, Mary Lou Sufﬁ n, Lynn White, Leone Nakornsri, Nuchi Reid, Eva Schaefer, Karen Sullivan-Pearre, Ann White, Lorna Naschak, Gudrun Reilley, Larry Schindel, Berwin Suzuki, Rika Whoriskey, John Naylor, Doreen Reimer, Rebecca Schlesinger, Norma Swallow, Sara Wick, Jessica Nealis, Betty Reitman, Jan Sender Schmidt, Christine Swift, Susanne Wieseneck, Despina Nelson, Sharron Renaud, Randi Schneider, Stephanie Tait, Claude Monique Wilding, June Nethercutt, Roberta Renault, Tammy Scholten, Wim Takushi, Alan Wile, Linn Newman, Sharon Reyes, Fort Schramm, Allmut Tarkanian, Anne Willard, Donna Nichols, Barbara Rezai, Sue Schratter, Karin Tarre, Judy Williams, Patricia Norris, Karen Rhodes, Jr., Thomas Schreiber, Toby Tarshis, Rima Wineberg, Sidney

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 4848 44/9/07/9/07 4:49:344:49:34 PMPM THE GETTY RESEARCH INSTITUTE

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The Getty Research Institute (GRI) is dedicated to expanding our understanding of the visual arts through advanced research and widening access to knowledge. It serves a worldwide research community through scholar residencies, online resources that include the principal databases for art history, and the Research Library at the Getty Research Institute—the best and most comprehensive art library in the country, with over 850,000 volumes and extensive special collection of rare and archival materials. Publications, workshops, public symposia, and creative performances, alongside regular exhibitions of its rare materials, carry the work of the GRI to a wide range of audiences, from highly specialized scholars to the broad general public that visits the Getty Center.

Ancients and Moderns The realization of the Getty Villa galvanized the Getty Research Institute (GRI) program this year, altering its physical, intellectual, and administrative contours in new and exciting ways. As a microcosm for the integrative mission of the Getty, the Villa’s smaller scale provides ideal conditions for testing new ways of connecting exhibitions, research, conservation, project support,

the getty institute research and teaching. The collecting of antiquities, the history of western art and architecture, and the very structures of our philosophy and government are incomprehensible without an understanding of the presence of the ancient past. Responding to the Villa as a signal instance of the “persistence of antiquity,” the GRI chose this as its research theme for 2005–2006. And, while it was the focus of that year’s group of scholars, an emphasis on antiquity’s persistence will continue to set the agenda for GRI activities at the Villa for years to come. Offi cially, the fi rst year of the Villa Scholars Program began in September 2006, but a group from the regular Getty Scholars Program moved into new offi ces in the Ranch House as soon as it opened. This contingent of scholars had the enviable task of testing the experience of con- Villa Scholars Brigitte Bourgeois, curator of the Archaeological templative life at the Villa as they undertook research on topics and Ethnographical Section at the Centre de Recherche et de Restauration des Musées in Paris, and Jerzy Miziołek, associate ranging from the restoration of the Laocoön under Napoleon, professor of art history and the classical tradition in European to Hellenistic archaeology in Russia, to a modern translation of art at the Institute of Archaeology at the University of Warsaw in Poland, take their discussion outdoors on the terrace of the Euripides’ Hippolytos. Ranch House.

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F I lectual activitiesbearingonthe theme. The GRIenlistedateam to guidetheyearlong conversation amongscholars, andtheintel- and the Villa Professor isaseniordistinguished scholarwhohelps Getty ScholarsProgram, isorganized around anannual theme, tion of Villa Professor. The Villa ScholarsProgram, liketheGRI’s Anotablefeature ofthe Villa ScholarsProgram istheposi- at the Villa. installed intheRanchHouse specialized scholarship tosupport and permanentstaff. AsatelliteoftheResearch hasbeen Library toencourageinterchange betweencuratorial department scholars area foradministration,andlocatednext doortotheantiquities ately small,ensconcedinfourscholarofﬁ life likenootherplace. The Villa ScholarsProgram isdeliber- terranean, theGetty Villa settingbringsoursubjectmatterto With architecture andenvirons evocative oftheancientMedi- Title walloftheexhibition N A L . i n d d

5 3 Antiquity &Photography: EarlyViews ofAncientMediterranean Sites, ces withanadjacent collections curatorClaire Lyons to lenthercuratorialexpertise & Photography: Early Views ofAncient Mediterranean Sites. These were featured inthe Villa’s openingexhibition, ing largeholdingsofphotographs ofancientarchaeological sites. rich inmaterialrelated tothelegaciesofancientpast,includ- Thespecial collectionsoftheResearch attheGRIare Library ancient Zoroastrians toNew Age cultistsofthepresent day. has plannedaseriesofseminarsonreligious festivals from the for thecomingyear isReligion andRitual,Professor Bremmer modern religious movements andpractices.Astheresearch theme uity, Bremmer isequallyattuned totheafterlives ofantiquityin Known internationally forhisvast bibliographyonclassicalantiq- of religion attheRijksuniversiteit Groningen intheNetherlands. Villa Professor, Jan Bremmer, professor oftheologyand science from across theGetty toassistintheselectionofinaugural attheGettyVilla January28–May1, 2006. Antiquity Special 44/9/07 4:49:41 PM / 9 / 0 7 53

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gallery walls.Photo:EllenRosenbery internal supportsystemforworksofartondisplay Right: Detailin Photo: EllenRosenbery on viewattheGettyVilla January28–May8,2006. Installation viewof 0 1 6

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The GettyVilla Reimagined, 5 4 The GettyVilla Reimagined, showingthe

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F I and in October 2006 it opened at the Art Instituteand inOctober 2006it openedattheArt ofChicago. traveled totheNational Building Museum in Washington, D.C., other buildingsthathave sincedisappeared. The exhibition then images ofL.A.architecture likemovie palaces, gas stations,and crest oftheHollywood Hills—but alsoShulman’s lesserknown Koenig Case Study House No. 22,perched precipitously over the to know LosAngeles—the Schindlerhouses,thefamousPierre iconic photographsthrough whichmuchoftheworldhascome de Wit withotherGRIstaff, theexhibitionfeatured notonlythe Julius Shulman: Modernity andtheMetropolis. ofthephotographerhimself,95th birthday withtheexhibition Julius Shulman’s archive ofarchitectural photography, andthe cent formsofart. The GRIcelebratedthe2005acquisitionof that keptalive theGRI’s attentiontomuchcloserandmore re- the ancientMediterranean, there were othermajordevelopments If the Villa openinghadusrefl nance tothescholarlyconversation. displayed inthe Villa galleriesandaddingimmeasurablereso- contemplate atfi as ifbetween thepastandpresent, affording to theopportunity program moved between theGRIand backandforth Villa, dere Torso, tothepostmodernnightmare of Frankenstein. The breakage ofwholeobjects,totheincomparablyfreighted Belve- the centralmetaphorofancientpast—from thedeliberate Fragment:workshop “The AnIncomplete History” explored politics inlightofthedeclineRoman Empire. The GRI’s as heanswered questionsfrom thefl tiquity, responded tomyquestionsabouthishistoricalnovels setinan- liontothedelightofaudience,relaxedliterary andwittyashe markably intimateeven withafullhouse, Vidal of played thepart Gore Vidal. On stageinthenew Villa auditorium,which feelsre- the publicmindwithbringingclassicalpasttolife,novelist ed aconversation withonelivingpersonalityfi internationally. To celebratethe Villa’s opening,theGRIpresent- has drawnanenthusiasticcommunityofcolleagues,locallyand Already, arichofferingoflectures, seminars,andconferences the architects employed asaguidingprincipleoftheirwork. exhibition emphasized thenew Villa as“excavated site,”anidea of competitionsketchbooks,drawings,plans,andmodels. The evolution oftheproject by meansofaninnovative installation tutional Archives, provided anarrative thread forthecomplex Wim de Wit, working withDavid Farneth oftheGetty’s Insti- architectural fi ideas behindtherenovation andexpansionoftheGetty Villa by Research Library’s specialcollections,presented tothepublic ing, both exhibitionandcatalogue.Asecondattheopen- N A L . i n d The Getty Villa Reimagined, d

5 Julian 5 (1964)and rm Machado andSilvetti Associates.GRIcurator rst hand the fragmentary souvenirs ofantiquity rst handthefragmentary Creation drawnalmostentirely from the (1981).He tooknoprisoners ecting onthedistantpastin oor, analyzingcontemporary rmly associatedin Curated by Wim Fragments ofMusic.” historian Margaret Bent,whodelivered apapertitled“MusicalFragments and An IncompleteHistory.” Seeninthebackground, UniversityofOxford music gallery ontheoccasionofGRI’s multi-dayworkshoptitled“TheFragment: antiquities Karol Wight intotheGettyVilla’s ancientcoins,gems, andjewelry Milano inItaly(right),accompanyJ.Paul GettyMuseumactingcurator of Travaini, associateprofessor ofnumismatics attheUniversitàdegliStudidi Getty Research Institute research specialistRobertaPanzanelli (left)andLucia Villa, March 2006. Thomas Crow inconversationwithAmericanliterary giantGore Vidal attheGetty 44/9/07 4:49:52 PM / 9 / 0 7 55

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erings are laboratoriesforexperimentalthoughtandresearch. At the rare anduniqueobjectsinthe specialcollections.Such gath- focused gatheringsofscholars,especiallythoseconvened around at theGRI.Amongtheseisaturntoward smaller, more intensely do notbreak day butrather goonmore thesurface quietlyevery want tostress ofchanges anddevelopments that theimportance ﬁ Whileonecaneasilyconvey the excitement ofsuchhigh-pro- formofourtime. dominant art GRI’s collections,offeringvisitorsaccessto what hasbecomethe J. Paul Getty Museum from to beprogrammed the withvideoart and study. inthe Plans are underwayforapermanentgallery mats sothattheycanonceagainbemadeavailable forviewing formats anddeterioratedstates,transferringthemtostablefor- thevideos,manyoftheminobsolete challenge ofconserving Jonas, William Wegman, andBill Viola. Now we embark onthe pioneers oftheformlikeNam June Paik, John Baldessari, Joan videos produced inSouthern California.It includeswork from most signiﬁ Long Beach. The collectionofnearly5,000tapesisonethe archiveart from theLongBeach Museum andtheCityof ofArt Thisyear sawthemajoracquisitionofunparalleledvideo 0 le acquisitions,exhibitions,andevents withapublicface,Ialso 1 6

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cant inthecountry, withthelargestconcentrationof

5 6 Art Foundation andtheCityofLongBeach,2005 video archive, transferred bytheLongBeachMuseumof Intermix (EAI),NewYork. LongBeachMuseumofArt (13 min.,24sec.).(GRI)CourtesyofElectronic Arts Peter Campus. Thomas Crow factor inourfuture. ment ofknowledge inresponse tosuchchangeswillbeacrucial context inwhichscholarshipandlibrariesoperate. The manage- is thejuggernautitseems,willcontinuerapidlytochange commercial worldandintheacademy. If technologicalchange an interchange withleadersinthetechnologicalﬁ Association,offeredcollaboration withtheCollegeArt theﬁ The workshop “Art HistoryandtheDigital World,” organized in pursued onthe Web andinfuture meetingsandpublications. books andbeganaconversation thatbroke ground new tobe ofscienceturnedthepagesrare illustratedtechnical the history Modern and Practice ofart scholarsofthehistory oftheArts,” the workshop “Persistence of Techne: Nature, Design, andEarly- The Getty Research Institute Director

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P M 57 Getty Research Institute Research Library Acquisitions

The Research Library at the Getty Research Institute builds its special collections according to four broad thematic categories: Historiography of Art, Architecture, and Archaeology; the Modern Period; History of Collecting and Display; and Visual Sources. Selected Special Collections Acquisitions Made between July 1, 2005, and June 30, 2006

Historiography of Art, Architecture, Giovanni Francesco Gemelli-Careri RARE PHOTOGRAPHS (Italian, 1651–1725) and Archaeology Horacio Ochoa (Peruvian, 1905–1978) Giro del Mondo, Naples, 1699–1700 Peruvian sites and monuments, ca. 1920–59 RARE BOOKS This fi rst edition in six volumes with 50 etched and The 29 black-and-white photographs of Andean engraved plates describes the fi rst tour of the world Jeremias Drexel (German, 1581–1638) archaeological sites and colonial architecture, ever undertaken by a private individual. Departing Collection of Jesuit emblematic, mystical, and including several multipaneled panoramas, were from Havana, Gemelli-Careri documents his route metaphysical writings, Antwerp and Cologne, inspired by the Cusco indigenista movement from Naples to Malta, Egypt, Turkey, the Holy 1630–1655 and represent some of the earliest documents of Land, Persia, India, and, via Singapore and Borneo, This collection of 26 separate titles in 29 volumes— Peruvian culture and landscape made by native China and the Philippines, then across the Pacifi c some published posthumously—represents the Peruvians. to Mexico. He returned to Naples via Spain in 1698 majority of Drexel’s emblematic, mystical, and 2006.R.4 after fi ve and a half years. Numerous illustrations metaphysical publications. depict local architecture, social life and customs, Various accession numbers botany, industry, and some of the earliest surviving Luigi C. Fillia (Italian, 1904–1936) evidence of the history of Near Eastern archaeology The Modern Period La Nuova Architettura, Turin, 1931 and Latin American art. RARE BOOKS Edited by futurist artist Fillia, this book contains Gift of the Research Library Council, Getty essays by Sant’Elia, Marinetti, Gropius, Le Research Institute Chris Burden (American, b. 1946) Corbusier, Sartoris, and Fillia on such topics as 2698-167 Coyote Stories, Santa Monica, 2005 futurist architecture, functionalist architecture, Los Angeles-based artist Burden and master printer Louis Le Comte (French, 1655–1728) urbanism, and public buildings. Nouveaux memoires sur l’etat present de la Jacob Samuel collaborated on this artists’ book 2702-599 featuring signal encounters with the coyotes in Chine..., Paris, 1696 Topanga Canyon, California, where Burden and his This rare illustrated two-volume handbook was one family live. of the fi rst surveys of China published by the Jesuits 2691-214 for French readers. It describes the missionaries’ work in China as observed by Le Comte from 1687 Michael S. Cherney (American, b. 1969) to 1692, and includes illustrations of Ferdinand The Northern Song Spirit Road (S2) in the series Verbiest’s designs for the astronomical observatory Bounded by Mountains, Los Angeles, 2006 in Beijing, of which the Research Library at the This contemporary artists’ book by photographer GRI owns the original woodcut versions published and sinologist Cherney portrays the changing in China. landscape in today’s China. The book unfolds 2703-526 to show a continuous double-sided view of the ancient Song dynasty (960–1127) animal and fi gure Claude-François Ménestrier (French, 1631–1705) Les réjouissances de la paix, faites dans la ville sculptures along a “spirit” road in Anhui Province. the getty institute research 2693-487 de Lyon le 20 mars 1660, Lyon, 1660 A festival book for the wedding of Louis XIV of France to Maria Teresa Infanta of Spain in 1660, illustrated with an impressive double-page cavalcade, 17 engraved plates depicting fi reworks, and festival machines built throughout Lyon in 1660 to celebrate the peace brought by the marital union. 2681-600 Johann Joachim Winckelmann (German, 1717–1768) Description des pierres gravées du feu Baron de Stosch, Florence, 1760 An early important work by Winckelmann, this complete description of Baron Philipp Stosch’s Michael S. Cherney. The Northern Song Spirit Road (S2). In the series Bounded By Mountains, Los Angeles, 2006. Louis Le Comte. Gregoire Lopez, Chinois de Nation de celebrated collection of 3,400 engraved gems is one (GRI) © Michael S. Cherney L’Ordre de St. Dominique.... In Nouveaux memoires sur of the very few special copies that includes plates by l’etat present de la Chine..., Paris, 1696, vol. 2, p. 256. the artist Johann Adam Schweickart. Etching. (GRI) 86-B20125

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Mikhail Mikhailovitch Tarkhanov Ladislav Sutnar (Czech, d. 1976) (Russian, 1888–1962) Two sets of building blocks, 1940–43 Collection of constructivist designs and Sutnar brought these two sets of blocks, one children’s books, 1923–36 machine-made and the other hand-painted, to The collection of hand-painted bindings documents this country when he emigrated during World Tarkhanov’s contribution to Russian modernist War II. He was director of the State School of book design and typographic experimentation. Graphic Arts in Prague from 1932 to 1939 and Various accession numbers an exhibition designer for the Czech government. After he came to the United States he worked as a ARCHIVES AND MANUSCRIPTS freelance designer and as art director for the Sweet’s Eisenman Robertson Architects Catalogues. Presentation model of the University Art Gift of Radoslav L. Sutnar and Ctislav Sutnar Museum of the California State University at 910005 Long Beach, 1986 Robert Watts (American, 1923–1988) papers, Although this design was never realized, the model ca. 1940–88 provides an example of Peter Eisenman’s (American, Known for his contribution to the development of b. 1932) “artiﬁ cial excavation” period, during which multimedia art in the postwar period and for the he endeavored to give a building new meaning by prominent role he played in the Fluxus movement, relating its design to the history of its intended site. Watts is represented by numerous project ﬁ les, Gift of the University Art Museum, California State drawings, and correspondence with dealers, University, Long Beach curators, and critics, all documenting his working 2005.M.48 El Lissitzky. Cover of Elfandl by Rudyard Kipling, Berlin, methods and professional activities. 1922. Colored relief printing. (GRI) © 2007 Artists High Performance archive, 1977–98 2006.M.27 Rights Society (ARS), New York/VG Bild-Kunst, Bonn Based in Los Angeles, High Performance PRINTS AND DRAWINGS documented a budding local performance art Rudyard Kipling (British, 1865–1936) movement. This archive of correspondence, Laurie Anderson (American, b. 1947) Elfandl, Berlin, 1922 ephemera, and audio and video tapes chronicles the Is Anybody Home? 1977 This Yiddish edition of Kipling’s beloved fable important role played by the only magazine devoted This unique graphic work combines handwritten The Elephant’s Child features a whimsical cover and exclusively to performance art and its international text and a photograph of a ship cruising on the 12 full-page illustrations by Russian constructivist development from the late 1970s to the late 1990s. Hudson River. In the text, Anderson, a performance artist El Lissitzky (Russian, 1890–1941). Gift of Art in the Public Interest and 18th Street artist and musician, describes writing about her 2675-842 Arts Center apartment overlooking the river, the surrounding Ephraim Moses Lilien (Austrian, 1874–1925) 2006.M.8 sounds of New York City, and life in her mother’s

the getty institute research house. Die Bücher der Bibel, edited by Ferdinand Henry Hopkins (American, b. 1928) papers, 2006.M.6 Rahlwes, after the translation by Eduard 1950–2005 Reuss, Berlin and Vienna, 1923 The professional archive of the eminent museum AUDIO AND AUDIOVISUAL RECORDINGS A three-volume set illustrated by the Jewish director, curator, teacher, and author contains Jugendstil artist Lilien, who is often described as drafts of Hopkins’ writings and lectures, art world Anna Bella Geiger (Brazilian, b. 1933) the fi rst artist of the Zionist movement. His fi nely correspondence, and fi les on notable artists. Video works, 1974–76 decorated inlaid gold cover, illustrations, decorated Gift of Henry Tyler Hopkins Passagens n.1 (Passages No. 1, 1974), Mapas borders, and illuminated letters transform this 2006.M.1 Elementares n. 1 (Elementary Maps, No. 1, 1976), edition into an illuminated Bible. and Mapas Elementares n. 3 (Elementary Maps, Gift of Edith Wachtel and Walter Arlen Yvonne Rainer (American, b. 1934) papers, No. 3, 1976) constitute three signifi cant works 2690-537 1945–2005, bulk 1960–99 among Geiger’s early experiments using video as a The archive documents Rainer’s career as a politically subversive medium. Walter Rheiner (German, 1895–1925) dancer, choreographer, and fi lmmaker from the 2006.M.18 Das tönende Herz, with tipped-in woodcut late 1950s to the present. Associated with the portrait by Conrad Felixmüller, Dresden, 1918 New York postwar avant-garde, her aesthetic This collection of poetry was the fi rst publication stance has been variously characterized as late by German poet Rheiner, a close friend of the modernist, minimalist, feminist, or postmodernist. German expressionist artist Felixmüller, and a The collection includes extensive professional signifi cant document of the artists’ friendship. correspondence, unpublished manuscripts and 2681-624 drafts of publications, choreographic scores, fi lm scripts, vintage photographs, slides, and audiotapes. 2006.M.24

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Long Beach Museum of Art video archive RARE PHOTOGRAPHS The collection of more than 5,000 videotapes Varias fotograﬁ as, ca. 1890 and supporting material includes the most At the time this album was assembled, most if not extensive representation of video art produced in all of the Mexican antiquities depicted in it were Southern California, as well as works by a range of housed in the National Museum in Mexico City. international artists. It includes taped interviews The album provides a record of the primary public with artists, collectors, and curators, as well as collection in Mexico in the late 19th century, and video documentation of exhibitions, performances, also offers a glimpse into the market for pre- and events in the region, from the 1970s through Columbian art. the 1990s. 2006.R.7 Transferred by the Long Beach Museum of Art Foundation and the City of Long Beach, 2005 2006.M.7 Visual Sources

RARE BOOKS Abbildliche Geschichte der auslaendischen Landthiere History of Collecting and Display zweytes Blat, worinnen das Nashorn vorgestellet Louis-François Cassas (French, 1756–1827) and ist (Rhinoceros). Hand-colored etching with some PRINTS AND DRAWINGS Jacques Martin Silvestre Bence (French, 1770–?) engraving, 1747. (GRI) Gift of Tania Norris James Ensor (Belgian, 1860–1949) Grandes vues pittoresques des principaux sites et monuments de la Grèce et de la Sicile et des sept Salle XXII du Musée d’Anvers, 1927? Martinus van Marum (Dutch, 1750–1837) collines de Rome, This large pencil sketch by Ensor depicts an Paris, 1813 Beschreibung einer ungemein großen Elektrisier- Cassas’ ﬁ nal publication of illustrations relating to installation plan for 18 of the artist’s works in Maschine..., Leipzig, 1786–98 his Mediterranean journey of the 1780s consists of the collection of the Royal Museum of Fine Arts With 27 illustrations, 18 of which are folding a series of 16 large fold-out engravings depicting in Antwerp after a major acquisition from the and nine hand-colored, van Marum describes the ancient monuments and panoramic landscapes in collectors Aldin and Emma Lambotte. astonishing effects of static electricity generated by Greece, Sicily, and Rome. 2005.M.40 a remarkable device of his own design. Plates show 2693-193 the machine with bolts of electricity ricocheting Capt. Melville Clarke (British?, n.d.) among its giant globes, as well as close-ups of From Simla through Ladac and Cashmere, multicolored sparks. Calcutta, 1862 2675-394 Clarke compiled this book containing 36 original albumen prints of views during a trip in the most PRINTS AND DRAWINGS northern part of India. The photographs focus Abbildliche Geschichte der auslaendischen

on architecture and include images of the early Landthiere zweytes Blat, worinnen das Nashorn the getty institute research bungalow, a one-story structure that originated in vorgestellet ist (Rhinoceros), 1747 the Bengali area. Combining interests in nature and the collecting of 2695-140 exotic animals in Europe, this etching with some Urbain Dubois (French, 1818–1901) engraving and hand coloring by an unknown artist Cuisine Artistique: Études de l’école moderne, depicts the celebrated rhinoceros Clara, brought Paris, 1872 from Bengal to Rotterdam in 1741, and another This two-volume fi rst edition of one of the most Indian rhinoceros that arrived at the court of spectacular of all 19th-century illustrated books on Lisbon in 1515. gastronomy contains numerous fi nely drawn plates Gift of Tania Norris that have become icons in the decorative arts of 2006.PR.2 French cuisine and ceremonies of the table. Architectural drawings for the Marseille to 2702-635 Avignon railroad, 1848 Martino Martini (Italian, 1614–1661) With a cover title “P. Villard,” this album contains Novus Atlas Sinensis, Amsterdam, 1655 34 watercolors and prints for an unexecuted railway Based on Chinese cartographic sources and station at Gare Saint-Charles in Marseilles and published by the leading European cartographer related aqueducts, bridges, and stations. Unknown. Gran vaso de barro, con la diosa Centeotl Joan Blaeu, this was the fi rst European atlas on Gift of the Research Library Council, Getty de las mazorcas de maiz, modelada, ca. 1890. In Varias Research Institute fotografi as, p. 164. Collotype. (GRI) China. 2679-146 2006.M.10

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Norbert Bittner (Austrian, 1786–1851) after Leo van Heil (Flemish, 1605–1661) after Pietro Testa (Italian, 1611–1650) Antonio de Pian (Italian, 1784–1851) Peter Paul Rubens (Flemish, 1577–1640) Achilles Dragging the Body of Hector, ca. 1648 Theater Decorationen nach den Original Skitzen Dance of Italian Peasants, ca. 1640 In this etching and drypoint print, the subject of des K.-K. Hof Theater Mahlers Anton de Pian, This rare reproductive print by the painter and Achilles dragging the corpse of the Trojan hero 1818 architect van Heil presents a fl uid translation of through the dirt provided Testa with the means In this rare suite of 100 prints, engraver and Rubens’ well-known masterpiece in the Prado to illustrate and disseminate his highly developed publisher Bittner reproduces stage scenery designed Museum in Madrid. classical theory of expression and tragedy. by de Pian, one of Europe’s most important 2005.PR.76 2006.PR.7 scenographers in the fi rst half of the 19th century. Jean Pierre Marie Jazet (French, 1788–1871) after Giovanni Domenico Tiepolo (Italian, 1727–1804) 2005.PR.86 Jacques-Louis David (French, 1748–1825) after Giovanni Battista Tiepolo (Italian, 1696–1770) Félix Bracquemond (French, 1833–1914) Serment du jeu de paume, n.d. The Four Evangelists, ca. 1743 Portrait of Edmond de Goncourt, 1881 One of the most famous images of the French This suite of etchings by Giovanni Domenico The fi rst state of this iconic portrait in etching Revolution, this important aquatint reproduction reproduces frescoes painted by his father, Giovanni and engraving demonstrates the artist’s process as was probably executed after David’s fi nished Battista, in the Sagredo Chapel in the church of San he works his way toward completing the image of preparatory drawing for The Tennis Court Oath. Francesco della Vigna in Venice. the famous critic Goncourt, who is seen with his 2006.PR.12 2006.PR.13 collection. Pieter de Jode I (Flemish, 1570–1634) after Jean 2006.PR.17 RARE PHOTOGRAPHS Cousin, the younger (French, ca. 1522–ca. 1594) Contemporary Editions Los Angeles, LACE The Last Judgment, engraved 1615; this state Paul-Emile Miot (France, 1827–1900) Editions, Los Angeles, 1998–2005 printed between 1726 and 1738 Voyage of the Magellan, 1867 Thirteen editions commissioned by Los Angeles This monumental engraving of 12 plates in the An album of 33 photographs of Veracruz by the Contemporary Exhibitions (LACE) include works same size of the original painting was made for French marine photographer Miot represents in various media by notable Los Angeles-based Louis XIII shortly after he ascended to the throne the earliest and most extensive photographic artists such as Sharon Lockhart, Chris Burden, in 1610. documentation of the most important port of entry and John Baldessari. Founded in 1978, LACE is Gift of the Research Library Council, Getty into Mexico. one of the longest-running alternative art spaces in Research Institute Gift of Charles and Julie Irsch Los Angeles. LACE Editions are a series of prints 2006.PR.24 2004.R.8 and multiples designed to showcase the work of Dennis Oppenheim (American, b. 1938) Panoramic Views of China, 1865–1929 established artists who exhibited at LACE early in Project proposals for western United States, Seven panoramic photographs represent three their careers. 1978 views of Shanghai, one of Amoy from the Island of Various accession numbers Loosely connected to the environmental art Koolanson, one of Foochow, and one of Canton Pancho Fierro (Peruvian, 1807–1879) and movement of the 1960s and 1970s, this impressive with a sweeping view of the Pearl River. 2006.R.3

the getty institute research unidentiﬁ ed artists series of 10 documentary color lithographs depicts Lima Costumes, Lima, ca. 1853 unrealized monuments and earth art constructions Pierre Trémaux (French, 1818–1895) Sixty-four watercolors by Fierro and works in juxtaposition to large-scale drawings, sketches, Exploration archéologique en Asie Mineure, by other artists depict costumes and customs, plans, and maps of the locations. Paris, 1858–63 Peruvian landscapes, and studies of horses. The 2006.PR.19 The architect and ethnographer Trémaux traveled album was compiled by Archibald Smith, who Giovanni Battista Piranesi (Italian, 1720–1778) throughout North Africa and Nubia, the Levant, wrote descriptions of the individual images and The Arch with a Shell Ornament, ca. 1758–60 and Asia Minor between 1847 and 1854. This included mementos of Lima such as calling cards, From Piranesi’s magniﬁ cent Invenzioni capric. volume preserves some of the earliest photographic correspondence, and photographic portraits. di carceri, this etching is one of 16 complex views of ancient ruins in Turkey and offers key 2005.M.43 compositions in which Piranesi experiments not evidence for reconstructing a “cultural biography” Hendrik Goltzius (Dutch, 1558–1617) only with printmaking, but also with space, form, of major landmarks of Greek and Roman heritage. Emperor Commodus as Hercules, 1617 and light. Gift of the Research Library Council, Getty Depicting an ancient statue of Hercules prior to 2006.PR.11 Research Institute its restoration in 1591, this engraving represents 2006.R.8 Johann Anton Ramboux (German, 1790–1866) the emperor Commodus, who demonstrated his Two views of the Roman Porta Martis, also Lloyd Ullberg (American, 1904–1996) political potency with images of himself as the new known as the Porta Nigra, 1824? and 1827? Photographs of American urban views and Hercules. Depicting the ancient Roman city gate in Trier, landscapes, ca. 1930–59 2006.PR.14 Germany, these impressively large early lithographs One hundred twenty-six small-format photographs J. B. Großschedel (German, 1577?–?) are notable for both their documentary accuracy of landscapes and street scenes capture the feeling Calendarium naturale magicum perpetuum, 1619 and convincing three-dimensionality. of America in the 1930s and 1940s, particularly in Printed from three engraved copper plates, the 2006.PR.3 and 2006.PR.4 the Midwest. Calendarium is a synthesis of 17th-century magical Gift of Christopher Wyatt philosophy and medieval occultism. 2006.R.2 2005.PR.90

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Opening at the Getty Center between July 1, 2005, and June 30, 2006

Julius Shulman, Modernity and the Metropolis Agitated Images: John Heartfi eld and German In addition, the Research Institute exhibition October 11, 2005–January 22, 2006 Photomontage, 1920–1938 Comic Art: The Paris Salon in Caricature Julius Shulman (American, b. 1910) is one of February 21–June 25, 2006 (originally presented at the Getty Center from the 20th century’s most infl uential chroniclers of Drawn from the special collections of the November 18, 2003, through February 15, 2004) modern architecture in Los Angeles. This exhibition Research Library at the Getty Research Institute, traveled to the Mary and Leigh Block Museum of celebrated Shulman’s 95th birthday and marked this exhibition focused on the work of German Art, Evanston, Illinois, where it was on view from the Getty Research Institute’s acquisition of his photomontage artist John Heartfi eld and his success January 20 through March 12, 2006. complete photography archive, consisting of more at creating a politically engaged visual rhetoric. than 260,000 prints, negatives, and transparencies. Featured were examples of Heartfi eld’s published The exhibition subsequently traveled to the National montages and the original press photographs he Building Museum in Washington, D.C., where it used as source images. was on view from April 1 through July 30, 2006.

Opening at the Getty Villa between January 28 and June 30, 2006

The Getty Villa Reimagined Antiquity & Photography: Early Views of January 28–May 8, 2006 Ancient Mediterranean Sites Celebrating the opening of the renovated Getty January 28–May 1, 2006 Villa after eight years of construction, this The Getty Villa’s multidisciplinary approach to exhibition traced the progress of the project from studying the ancient world was reﬂ ected in this the selection of architects Machado and Silvetti inaugural exhibition, which examined how early Associates through the development of their master photography inﬂ uenced and transformed thinking plan. Installed to look like an architect’s studio, about antiquity. Featuring over 100 photographs the display included models and sketchbooks, created between the 1840s and 1890s of celebrated video, photographs, and other material from the ancient sites in Italy, Greece, Asia Minor, and Egypt, Getty’s archive. the exhibition was jointly curated by the J. Paul Getty Museum and the Getty Research Institute.

Research Institute Guest Scholars

Getty Research Institute 2005–2006 Scholar Year: Hamilakis, Yannis. University of Southampton, the getty institute research Scholars Program Duration: The Persistence of Antiquity Highfi eld, Southampton, England. The Social Life of Ruins: The Persistence of Classical Antiquities in The Getty Research Institute provides sup- Modernity. port for scholars at the senior, predoctoral, Getty Scholars and postdoctoral levels. Each year since Jaeger, Stephen. University of Illinois, Urbana- Adams, Ann Jensen. University of California, 1985, the Research Institute has enabled Champaign. Charisma and Art. Santa Barbara. The Presence of History, Portraits in an international group of scholars, artists, Time. Perceptions of History and Time in the 17th- Long, Pamela. Independent scholar, Washington, architects, composers, fi lmmakers, and writ- Century Dutch History Portrait. D.C. Engineering the Eternal City: Power, Knowledge, ers to spend up to nine months in residence and Urbanization in Late-Sixteenth-Century Rome. at the Getty. Each scholar year is organized Balfour, Ian. York University, Toronto. The around a specifi c theme. While in residence, Language of the Sublime. Olson, Todd. University of Southern California, Getty Scholars, Visiting Scholars, and Fel- Los Angeles. Caravaggio’s Pitiful Relics: Painting Bourgeois, Brigitte. Centre de Recherche et de lows pursue their own projects, make use of History after Iconoclasm. Restauration des Musées, Paris. France, a “New the Institute’s Research Library, participate Greece”? Political Revolution and Restoration of Siegfried, Susan. University of Michigan, Ann in weekly seminars, and take part in various the Antique: A Shift of Power from Rome to Paris Arbor. Ingres and Reconfi gurations of the Classical aspects of the intellectual life at the Getty (1760–1830). Tradition in the Nineteenth Century. Center. Cormack, Robin. Courtauld Institute of Art, Stewart, Charles. University College, London. London. The Icon. From Leda and the Swan to Alien Abduction: The Projects listed represent scholars’ primary Erotic Nightmare in Western Culture. research while in residence.

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_ the getty research institute G e t t y

Antiquity andModels ofArt History. Neoclassical Stage. London. Between Pinturicchio andJohn Flaxman. The Notion ofAlterity andtheCase ofUlysses’ History Universidad Nacional deSan Martin, Buenos Aires. Kenneth Karmiole Stephen A.Kanter Gloria KatzHuyck Elliott Hinkes Manfred Heiting Tom Firman Robert F. Erburu Lloyd E.Cotsen John F. Cooke Research Library Council Council Garelick, Rhonda. Davis, Whitney. Scholarship attheMargins ofModern Hellenism. California. Ceserani, Giovanna. Carson, Anne. Burucúa, Jose. Bohrer, Frederick. Aghion, Irene. Visiting Scholars Unpleasantness ofEuripides (Translation andEssays). of Image andObject. Maryland. England: His Inﬂ uence onPainters andPotters. Caylus andtheClassicalLegacyin18th-Century Bibliothèque Nationale deFrance, Paris. 0 1 6

F I N A L Antigone in Vogue: CocoChanelonthe . i n Photography Durations andArchaeology: d Archaeologies ofMagna Graecia: d

6 University ofMichigan, Ann Arbor. CabinetdesMédailles, Instituto deAltosEstudiosSociales, 2 University ofCalifornia,Berkeley. Hood College,Frederick, ConnecticutCollege,New Stanford University, Count 18th Century. a New DiscourseofArt: France vs. Germany inthe Sorbonne. Philosophers in 17th-Century EuropeanPhilosophers in17th-Century Art. London. Université Paris VIII-Saint Denis. Empire. Antiquity, Europe, American Destiny. of Art. Jersey. Schnapp, Alain. Porter, James. Pfi Papapetros, Spyros. Miziołek, Jerzy. Mairet, Gérard. Lichtenstein, Jacqueline. Langdon, Helen. Heslop, ThomasA. Attempt atRestituting Pliny’s Villa. Count Stanislas K.Potocki’s Vision ofAntiquity: An Europe. Metaphors ofArtistic Production inEarly Modern Germany. Mus White Richard A.Simms Marcella Ruble Tania Norris Herbert L.Lucas Craig Krull Richard Kelton Richard Keating and Antiquity inEngland, 1050–1135. Norwich, England. Homer: TheVeryIdea. Sorbonne. sterer, Ulrich. Aby Warburg’s Project foraMonistic Psychology The Philosopher’s Grove: Representations of Love, Procreation andBirth. Theories and The Reference toAntiquity intheBirth of A Comparative ofRuins. History University ofMichigan, Ann Arbor. University of Warsaw, Poland. Université Paris VIII and Université Paris-Panthéon- University ofHamburg, Independent scholarandwriter, Invasion andImagination: Art University ofEastAnglia, Princeton University, New Université Paris IV- The Courseof Futures andRuins: The Painting ofHubert Robert. Sciences Sociales, Paris. Windholz, Angela. McLean, Daniel. Antiquity inRenaissance Anatomy. Cuir, Raphael. Della Dora, Veronica. Postdoctoral Fellows Meyer, Hans-Caspar. Dubin, Nina. Predoctoral Fellows Alexander toAugustus. and ScholarshipofGreek Antiquities ofthe Time of Hellenistic Age, 1833–1914: The Discovery, Display University, England. and National Representation. Academies inRome between Artistic Self-Defi Florenz, Max-Planck-Institut, Italy. Eastern Mediterranean. Los Angeles. Corporeality intheSocratic Tradition. Los Angeles. Mapping LandscapesofMyth inthe Refi University ofCalifornia,Berkeley. ÉcoledesHautes Étudesen guringSocrates: Comedyand University ofCalifornia, Kunsthistoriches Institut in The Archaeology ofthe The Archaeology Wolfson College,Oxford University ofCalifornia, Duration, The Persistence of The Foreign nition 62 44/9/07 4:50:13 PM / 9 / 0 7

4 : 5 0 : 1 3

P M THE GETTY CONSERVATION INSTITUTE

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The Getty Conservation Institute (GCI) works internationally to advance the fi eld of conservation through scientifi c research, fi eld projects, education and training, and the dissemination of information in various media. In all its work, the GCI focuses on the creation and delivery of knowledge that will benefi t the professionals and organizations responsible for the conservation of the visual arts. Advancing conservation practice is the organizing principle for the Institute’s work—which includes identifying activities that improve the way conservation treatments are carried out, pursuing research that expands conservation knowledge, and increasing access to information about conservation.

Since its founding in 1985, the Getty Conservation Institute (GCI) has been committed to the conservation of Mediterranean antiquity. From our very early projects involving the conservation of the Orpheus mosaic in Paphos on the island of Cyprus and the wall paintings of the Tomb of Nefertari in the Valley of the Queens in Egypt to our current work in Tunisia, Iraq, and once again in the Valley of the Queens, the GCI has worked with governments, universities, and other organizations to conserve

the getty conservation institute the getty conservation Mediterranean cultural heritage, and to educate and train professionals and technicians in the fi eld. The GCI’s commitment to the conservation of antiquity is refl ected in its work at the Getty Villa, where we collaborate closely with our museum colleagues, as well as with the faculty of the UCLA/Getty Master’s Program. Equipment in the Museum Research Laboratory at the Getty Villa enables Getty scientists to study ceramic, glass, stone, and other materials from which ancient art was made. Photo: Ellen Rosenbery GCI Scientifi c Work: The Museum Research Laboratory at the Villa In the GCI Museum Research Laboratory, scientists undertake Center, the laboratory at the Villa houses instrumentation par- research related to the collections at the Villa, working in close ticularly valuable for studying the materials of which much of collaboration with the J. Paul Getty Museum antiquities con- ancient art is made—ceramic, glass, and stone—as well as in- servators. The archaeometric (scientifi c techniques and meth- strumentation standard for museum conservation laboratories. odologies applied to archaeology) research conducted at the Some of these instruments are portable, which allows for in situ Villa helps us to understand how ancient objects were made, and examination of large pieces in the galleries. therefore how they should be treated. The research can also assist In conjunction with the loan exhibition Colors of Clay: Special in determining whether or not objects are authentic. Equipped Techniques in Athenian Vases, GCI scientists investigated the ma- to complement the Museum Research Laboratory at the Getty terial properties of the coral red decoration found on some Attic

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pottery. After studying the composition and structure of the red As part of ongoing research on the Roman mummy portraits and black glosses on vases from the Museum’s collection and the from Fayum in Egypt, GCI scientists are also collaborating with collections of other institutions, they discovered that two differ- the Museum’s antiquities conservation department on a study of ent formulations of clays were used to create this red coloration, the nature and origin of the red lead on Herakleides, the “red and that both formulations were found in vases dated to the same shroud mummy” in the collection of the Museum, dating to the period. Previously, it had been thought that there was only one mid-second century. By studying the composition and isotope formulation; the presence of two suggests that more than one ratio of the red lead pigment, scientists, conservators, and cura- workshop was involved with its production. This research was tors are learning about its manufacture and place in the history presented at the symposium held in conjunction with the exhibi- of this group of mummies. The research and conclusions will be tion, and is currently being prepared for publication. presented at a professional workshop next year. the getty conservation institute the getty conservation

Above: A collaboration with the J. Paul Getty Museum’s antiquities conservation department on “red shroud mummies” has yielded research and conclusions that will be presented at a professional workshop next year. © 2005 Richard Ross

Right: In conjunction with the loan exhibition Colors of Clay: Special Techniques in Athenian Vases, GCI scientists investigated the material properties of the coral red decoration found on some Attic pottery. Here, Kurt Bosshard from the Antikenmuseum Basel (center) is taking a sample from a coral red Attic vessel. To left is Jeffrey Maish of the J. Paul Getty Museum. To right is Priska Schilling from the Antikensammlung, Berlin.

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The UCLA/Getty Master’s Program on the Conservation of Ethnographic and Archaeological Materials is a partnership between the Getty and UCLA. Students spend much of the ﬁ rst two years of the program doing course work at the Conservation Training Laboratories at the Villa. Photos: Ellen Rosenbery

GCI Commitment to Professional Education: also emphasizes an understanding of the multiple values and Conservators of the Future meanings that these kinds of materials may have. This year saw the arrival of the ﬁ rst class in the UCLA/Getty Much of the classroom work for the ﬁ rst two years of the pro- Master’s Program on the Conservation of Ethnographic and gram takes place at the Conservation Training Laboratories at the

the getty conservation institute the getty conservation Archaeological Materials, the only graduate-level academic con- Villa, which are equipped for both teaching and practical conservation program on the West Coast. A partnership between servation work. During summer 2006, each of the students held the Getty and the Cotsen Institute of Archaeology at UCLA, a ten-week internship, or in most cases shorter, multiple intern- this three-year degree program provides students with both ships. They interned at archaeological sites in Chile, Turkey, and theoretical and practical training on the issues presented by Albania, and at museums in California, Arizona, Connecticut, ethnographic and archaeological materials, equipping them with and Turkey. These summer internships contribute to the practical a range of knowledge, skills, and abilities needed to practice in experience of the students and are critical for their development the fi eld. Students are admitted to the program every other year; as conservation professionals. the next class will enter in fall 2007. The class that entered this During the third year of their degree program, students will year consists of six students, fi ve from the United States and one undertake a yearlong internship at a museum, site, or conserva- from Turkey. tion facility to broaden their practical experience. The class that The program stresses the importance of the interdisciplinary matriculated in autumn 2005 will graduate in spring 2008. collaboration and decision making that is critical to the fi eld of conservation, and instills an appreciation for the complex range GCI in the Field: Our Work in the Mediterranean of issues related to the signifi cance and use of archaeological and Whether it is joining in collaboration with the Institut National ethnographic objects and materials—issues which are often dif- du Patrimoine (INP) of Tunisia and other partners in Israel and ferent from those found in fi ne arts materials. The curriculum Cyprus on the conservation and management of mosaics in the

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Mediterranean, collaborating with the Supreme Council of An- tiquities of Egypt in the Valley of the Queens, or working with the Iraq Ministry of Culture, the Iraq State Board of Antiquities, and the New York-based World Monuments Fund on the Iraq Cultural Heritage Initiative, the GCI has signiﬁ cant ﬁ eld experience in the areas around the Mediterranean.

Mosaic Conservation in the Mediterranean The conservation of the Orpheus mosaic in Paphos on Cyprus in the late 1980s was the ﬁ rst project in the GCI’s long-term commitment to the conservation of the mosaic heritage of the Mediterranean; the results of this project were evaluated in 2003. Our current project on the Conservation of Mosaics In Situ encompasses research contributing to a better understanding of the causes of deterioration of in situ mosaics, the development of methods for their maintenance and conservation, and training to improve the skills of professionals and technicians in the areas of maintenance, conservation, and management planning for mosaics.

While removing mosaics from their archaeological sites was Trainee recording the condition of a common practice in the past, and has resulted in the survival mosaic at the House of the Two Peristyles in Hergla, Tunisia, in June 2005. of what we now see in museums around the world, the current approach to the conservation of mosaics is to leave them in situ so that they can remain a part of the architectural decorative program for which they were intended. Since 1998, the GCI and the INP have worked together on the training of technicians in mosaic conservation in situ, building capacity in maintenance and basic stabilization techniques. The trainees learn documentation, stabilization and basic repair, removal of vegetation, and monitoring techniques. Between training campaigns, the technicians gain practical experience, which is later reviewed with the

instructors. A workshop planned for next year will broaden this institute the getty conservation training program to cover issues of site conservation and management with the site directors, architects, and those responsible for Tunisia’s many archaeological sites. From November 29–December 3, 2005, the GCI co-organized the ninth triennial meeting of the International Committee for the Conservation of Mosaics (ICCM) in Hammamet, Tunisia, with the INP. Focusing on the theme of “Lessons Learned: Re- ﬂ ecting on the Theory and Practice of Mosaic Conservation,” the four-day program included some 60 papers and posters, reﬂ ecting on theory, practice, and decision-making processes and how

they have evolved in the ﬁ eld of mosaic conservation in the past As part of the program, ICCM conference participants 30 years. Case studies were also presented, examining rationale, visited the site of Thuburbo. Maius, Tunisia. 2005. methodology, and current and future evaluation of projects. The Getty will publish the proceedings from this conference to disseminate the information to both conservators and decision makers in the ﬁ eld.

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_ the getty conservation institute G e t t y

of thisuniversal heritage. training willconstituteeffective ﬁ GCI stafftowork there, we are hopefulthattheGISand the Geosystems. While thesituationinIraq remains toounstablefor course conductedby specialistsfrom English Heritage and Leica course onGlobal Positioning Systems (GPS), andametricsurvey Antiquities andtheAmericanCenterofOriental Research), a UNESCO withassistancefrom theJordanian of Department by fundingfrom inpart ing inrapidsiteassessment(supported intheuseofaGIS system,train- have sofarincludedinstruction a seriesoftrainingcoursesheldinAmman,Jordan. These courses monitoring andmanagementofarchaeological sitesinIraq, and graphic Information System (GIS)tocapture data relevant tothe hasincludedthecreationthe partners ofaprototype ofaGeo- Initiative.Conservation Collaborative work todatebetween Fund toestablishtheGCI-WMFIraq (WMF) Cultural Heritage Antiquities andHeritage (SBAH)andthe World Monuments with theIraq ofCulture Ministry andtheIraq State Board of has beencatastrophic. In 2004,theGCIsignedanagreement citiesasBabylon,ing suchlegendary Nineveh, andCtesiphon media attention,thedamagetoIraq’s archaeological sites,includ- archives inBaghdad andothercitieswasthefocusofmost as theCradle ofCivilization. While thelootingofmuseumsand of muchthearchaeological record ofIraq, known thecountry The conﬂ The Iraq Cultural HeritageConservationInitiative 0 1 6

F I N A L . i n icts ofthepast15years have resulted inthedestruction d d

7 0 rst steps towards theprotection TheGetty Institute Conservation Timothy P. Whalen that experienceintothefuture. us by theopeningof Villa, we tobuildingon lookforward forcollaboration,research,opportunities andeducationafforded region’s architecture, art, andarchaeological sites. With expanded colleagues across theMediterranean the basintohelppreserve draws itscollections.For over 20years, we have collaborated with long-standing commitmenttotheregions from whichthe Villa Institute’s TheConservation work attheGetty Villa reﬂ results communicatedtotheﬁ Thebes. On completion,theproject willbeevaluated andits promote ofancient anintegratedapproach totheconservation andsitemanagement,to Egyptian personnelinconservation management ofthe Valley oftheQueens, toprovide trainingfor and detailedplanningfortheconservation project toundertake smaller projects. We are now working togetheronasix-year of theQueens from 1986–1992,we have collaboratedonthree thewallpaintingsof conserve Tomb ofNefertari inthe Valley nization (now theSupreme CouncilofAntiquitiesorSCA)to Since theGCI’s project withtheEgyptian AntiquitiesOrga- Return totheValley oftheQueens dates totheBronze andIron ageperiods. the archaeological siteofTall Al-Umayri, Jordan, whichprimarily training course,Iraq SBAHparticipants assessedconditionsat At theSeptember–October2005GCI-World MonumentsFund Director eld. ects its 70 44/9/07 4:50:41 PM / 9 / 0 7

4 : 5 0 : 4 1

P M 71 Getty Conservation Institute Project List

The Getty Conservation Institute works on a range of projects to advance conservation practice and to enhance and encourage the preservation of the visual arts. Most of the Institute’s projects involve close collaboration with a variety of local, national, and international partners. Projects between July 1, 2005, and June 30, 2006

Alternative Climate Controls for Historic Conservation Teaching Resource Los Angeles Historic Resources Survey Project Buildings This project has created a Web site with a variety The goals of this project are to research the The goal of this project is to demonstrate the of resources for conservation educators that were objectives, methods, funding, and incentives application of controlled ventilation and heating or originally produced by the GCI as part of its employed in a comprehensive citywide survey in dehumidifi cation as viable climate control strategies courses, workshops, and other education projects. Los Angeles and to work with city decision-makers for improving collection environments in historic and stakeholders to implement a survey program. Contemporary Art Research: Modern Paints buildings in hot and humid regions. Partners: Casa Partner: City of Los Angeles, California. The project addresses questions regarding the de Rui Barbosa Foundation, Brazil; Emilio Goeldi character of modern paint materials through the Maya Initiative Museum, Brazil; Institute for Spanish Historic development of analytical techniques for identifying The initiative aims to reinforce and develop Patrimony; Jekyll Island Authority, Georgia; modern paint media and the evaluation of cleaning conservation practices through collaborative efforts Organismo Autónomo de Museos y Centros del methods and techniques for modern paintings. A in order to resolve common problems in the Excmo. Cabildo Insular de Tenerife, Spain; Vitae major milestone of this project was “Modern Paints region. Partners: Consejo Nacional para la Cultura Foundation, Brazil. Uncovered,” the fi rst symposium ever to focus y las Artes, El Salvador; Instituto Hondureño de Built Heritage in Southeast Asia: Conservation exclusively on conservation issues of modern paints. Antropología y Historía, Honduras. Education and Training Initiative Partners: National Gallery of Art, Washington, Museums Emergency Program Education This project is an assessment of education D.C.; Tate, London. Initiative and training needs pertaining to built heritage Directors’ Retreats for the Advancement of This collaborative training initiative is part of an conservation in Southeast Asia, defi ned Conservation Education international program designed to assist museums provisionally as the region bounded by the The primary goal of this project is the enhancement in developing emergency preparedness and response countries of the Mekong River: Thailand, Vietnam, of conservation education by providing senior-level measures. Partners: ICCROM (International Centre Cambodia, Laos, and Myanmar. educators opportunities for refl ection, discussion, for the Study of the Preservation and Restoration of China Principles and renewal. Partners: American Institute for Cultural Property), Rome; International Council of The goal of the project is to develop, apply, and Conservation of Historic and Artistic Works; Museums, Paris. promote national guidelines for the conservation Association of North American Graduate Programs Museum Lighting Research and management of cultural heritage sites in in Conservation. This project seeks to reduce the damage to works China. Partners: State Administration for Cultural Earthen Architecture Initiative on paper caused by museum lighting through the Heritage, China; Australian Department of the This initiative seeks to further the conservation of reevaluation of current illumination guidelines and Environment and Heritage. earthen architectural heritage through international the testing and design of new lighting. Partners: Conservation of América Tropical training activities, fi eld projects, research, and Canadian Conservation Institute; Carnegie Mellon The objective of the project is to complete the dissemination. Partner: Instituto National de University, Pittsburgh, Pennsylvania; J. Paul Getty conservation and sheltering of the David Alfaro Antropología y Historía, Mexico. Museum; Los Angeles County Museum of Art; The Siqueiros mural in Los Angeles. Partner: El Pueblo National Gallery of Art, London; Tate, London; Iraq Cultural Heritage Conservation Initiative de Los Angeles Historical Monument, Los Angeles, University of Auckland, New Zealand; University of This initiative aims to mitigate threats and repair California. Texas at El Paso; Yan Liu Research Laboratories, Los

damage sustained by Iraq’s cultural heritage and to institute the getty conservation Angeles, California. Conservation of Mosaics in Situ rebuild the country’s professional conservation and The project addresses a number of important heritage-management capacity. Partners: Iraq State Organic Materials in Wall Paintings issues, including technician training, related to the Board of Antiquities and Heritage; Iraq Ministry of The objective of the project is to improve the conservation and management of ancient mosaic Culture; World Monuments Fund, New York. practice of wall paintings conservation by pavements in situ in the Mediterranean region. developing a methodology for identiﬁ cation Additionally, professional and organizational of organic materials used as binders, which are support were provided to the International particularly vulnerable during intervention. Committee for the Conservation of Mosaics for its Partners: Opiﬁ cio delle Pietre Dure, Italy; ninth international conference, held in Hammamet, Courtauld Institute of Art, London; Vatican Tunisia. Partners: Institut National du Patrimoine, Museum Laboratory; Istituto Centrale del Restauro, Tunisia; English Heritage; Israel Antiquities Italy; several institutes of the Italian National Authority. Council of Research; and a number of Italian universities.

Trainees from the 2006 tour guide course at Mapungubwe National Park with instructor Janette Deacon.

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Organization of World Heritage Cities World Research on the Conservation of Photographs South Africa; the Rock Art Research Institute at the Symposia The goal of this project is to advance techniques for University of the Witwatersrand, Johannesburg; the This project, aimed at improving the conservation identifying important variations in photographic Tanzanian Department of Antiquities; the South and management of historic cities, involves a processes, thereby providing insight into the African Heritage Resources Agency. collaboration with the Organization of World postprocessing chemistry and chemical treatment Tomb of Nefertari Evaluation Project Heritage Cities in the organizing of their World of photographs. Partners: Centre de recherches This project is assessing the 1986–92 wall paintings Symposia. Partners: Organization of World sur la conservation des documents graphiques, conservation project undertaken by the GCI Heritage Cities; City of Cusco, Peru. Paris; Department of Chemistry, California and the Egyptian antiquities authorities and the State University, Northridge; Image Permanence Preservation of Lime Mortars and Plasters subsequent management and maintenance plan Institute, Rochester, New York; J. Paul Getty The aim of this research project is to increase developed for the tomb in light of the tomb’s Museum. knowledge among conservators and conservation availability to visitors from 1996 to 2003. Partner: scientists regarding the analysis and treatment of Salt Research Supreme Council of Antiquities, Egypt. lime-based mortars and plasters. Partners: Raymond This project addresses questions of conservation UCLA/Getty Master’s Program on Conservation Lemaire International Centre for Conservation, applications concerning mitigation and desalination of Ethnographic and Archaeological Materials Katholieke Universiteit, Leuven, Belgium; Study and seeks to improve the fundamental knowledge This new program, which awards a master’s degree and Conservation of Construction Materials of decay factors and mechanisms. Partners: in archaeological and ethnographic conservation, is of the Architectural Heritage Research Group, Department of Physics, Eindhoven University a partnership of the Cotsen Institute of Archaeology Department of Mineralogy and Petrography, of Technology, The Netherlands; European at the University of California, Los Angeles and the University of Granada, Spain. Union COMPASS Project; European Union J. Paul Getty Trust. DESALINATION Project; The Netherlands RecorDIM Initiative Organization for Applied Scientiﬁ c Research: Valley of the Queens Project This initiative explores ways to strengthen the Building and Construction Research; Department This project seeks to develop and implement a documentation component of built heritage of Physics, University of Bologna, Italy; Study and conservation and management plan for the Valley of conservation through the development of tools and Conservation of Construction Materials of the the Queens on the west bank of the Nile. Partner: training and through improved communication Architectural Heritage Research Group, University Supreme Council of Antiquities, Egypt. between users and providers. Partners: ICOMOS of Granada, Spain. (International Council on Monuments and Sites), Wall Paintings at Mogao Grottoes Paris; CIPA Heritage Documentation; English Southern African Rock Art Project This project is researching the deterioration of Heritage; Public Works and Government Services The objective of this GCI-led initiative is to wall paintings at the Mogao grottoes in China Canada; World Monuments Fund, New York; develop an interpretation and management plan and developing conservation methods that can Raymond Lemaire International Centre for for education and tourism at an appropriate be applied at similar Silk Road sites. Partners: Conservation, Katholieke Universiteit, Leuven, site in South Africa that will serve as a model The Dunhuang Academy under the State Belgium; ICOMOS Macedonia; The Indian for sustainable conservation and community Administration for Cultural Heritage in China, National Trust for Art and Cultural Heritage; participation. Partners: South African National with support from the Chinese National Institute Malta Restoration Center; ICOMOS International Parks; the Western Cape Department of Nature for Cultural Property.

the getty conservation institute the getty conservation Committee for Underwater Cultural Heritage; Conservation, South Africa; the Clanwilliam Living Université du Québec à Montréal, Canada. Landscape Project at the University of Cape Town,

Conservation Institute Guest Scholars

The Getty Conservation Institute’s Con- Projects listed represent scholars’ primary Phenix, Alan. Northumbria University, Newcastle servation Guest Scholar Program awards research while in residence. upon Tyne, England. Work on a two-part project: residential grants to researchers, scientists, “An Environmental Dynamic Mechanical Analysis and professionals in conservation and al- of Artists’ and Conservation Materials” and a lied ﬁ elds to pursue independent research. 2005–2006 textbook for conservation with the working title Designed to encourage innovative ideas and Conservation Guest Scholars Use of Organic Solvents in Art Conservation: Theory perspectives on heritage conservation, the and Practice. program encourages proposals that address Florian, Mary-Lou. Royal British Columbia Van Damme, Henri. City of Paris Industrial the theoretical underpinnings of conserva- Museum, Victoria. Analysis of “The Discoloration Physics and Chemistry Higher Educational tion and explore critical issues and applica- in the Irregular Shaped Fungal Fox Spots.” Institution. Research on “Traditional Mineral tions related to conservation of the visual Lazzarini, Lorenzo. University IUAV of Venice. Materials: A Gentle Introduction to Their Chemo- arts (including sites, buildings, and objects). Research on “The Colored Stones of Ancient Mechanics.” Grants are awarded on a competitive basis Greece: Quarries, History of Use, Characterization, and range from three to nine months in and Deterioration.” duration.

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The Getty Foundation provides support to institutions and individuals in Los Angeles and throughout the world, funding a diverse range of projects that promote the understanding and conservation of the visual arts. Through its grantmaking, the Foundation complements and extends the work of all the Getty programs. The Foundation also encompasses the Getty Leadership Institute, the leading source of continuing professional development for current and future museum leaders.

In a year in which the Getty celebrated the opening of the renovated Villa, a number of Foundation projects focused on the ancient Mediterranean world and its enduring legacy. The Foundation has a tradition of supporting research and conservation projects in the Mediterranean region and elsewhere in

the getty foundation order to increase the understanding of the art and architecture of the classical past. Among the many grants that complement the Getty’s activities at the Villa are those that support teams of scholars engaged in collaborative research, research institutes, and conservation projects at historic sites. At the same time, the Foundation continued its ongoing support for art history and conservation around the world and maintained its strong commitment to the development of current and future leaders in the Getty’s ﬁ elds.

Celebrating the Villa: Supporting Research While scholars gather at the Villa to utilize its research resources and collections focused on ancient Greece, Rome, and Etruria, the Foundation provides support for those conducting similar work elsewhere. The common goal is to increase the body of knowledge about ancient civilizations and their continuing impact today. Encouraging collaboration and exchange among scholars is a priority for the Foundation. In the period under review a number Military Saint, relief icon from an epistyle in Bawit, Egypt, 6th or 7th of research projects funded in previous years came to fruition and century A.D. Wood, carved. The Metropolitan Museum of Art, New York.

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Giuseppe Vasi. Piazza Navona allagata solito farsi nelle Feste di Agosto. In Delle magniﬁ cenze di Roma antica e moderna..., Rome, 1747–1761, vol. 2, pl. 26. Engraving. (GRI)

new grants related to the Villa’s mission were awarded. “Helle- Diffusion of Knowledge nization at Dor” brought together ﬁ ve scholars from the United Without dissemination, innovative research projects have limited States and Israel to study the ancient Persian and Greco-Roman impact. The Foundation funds publications such as the recent harbor city of Dor on Israel’s Mediterranean coastline, where grant to Cambridge University Press to support a series of books Greek art came into contact—and sometimes conﬂ ict—with the on the art and architecture of the ancient Mediterranean world

area’s long-established artistic traditions. Studying the remains that offer new interpretations of subjects ranging from Greek the getty foundation of this important site, the scholars were able to establish that portrait sculpture to Roman gardens. Publication grants make Hellenization was well under way before Alexander the Great books affordable to scholars and students, thus broadening their conquered the area in 332 BCE. Another research project “From audience. Pagan to Byzantine Icons in Late Antique Egypt” assembled Electronic dissemination through databases and websites is also French and American scholars to examine panel paintings of an important way to facilitate access to the primary resources that pagan deities from Roman Egypt that bear a striking resemblance form the fundamental building blocks of all scholarly research. to later Byzantine icons, suggesting more of a continuity than One grant is enabling the University of Oregon to produce a previously known in the religious transition from Roman pagan- database that combines important 18th-century historical and ism to Byzantine monotheism. topographical records of the city of Rome, including the 1748 Complementing the Getty Research Institute’s theme “The map by Giambattista Nolli and the extensive perspective views by Persistence of Antiquity,” more than a dozen Central and Giuseppe Vasi. Eastern European scholars joined together at the Collegium Too frequently, scholarly research remains inaccessible due to Budapest, an institute for advanced study in Hungary, to con- language barriers. A grant to the University of Edinburgh will sider how ideas from the ancient Mediterranean past helped launch an ambitious new scholarly journal, Art in Translation, to shape modern national identities, particularly in the 19th cen- address this obstacle. Recognizing that art historians throughout tury. Twelve other American research centers will also have a the world increasingly use the English language as a common chance to host scholars as a result of a new grant to the Council vehicle for communication, the journal will translate into English of American Overseas Research Centers (CAORC) for the outstanding art historical articles and essays that originally ap- Mediterranean Research Exchange program. peared in other languages. The aim is to be a catalyst in connecting

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 7777 44/9/07/9/07 4:50:544:50:54 PMPM 78 scholars worldwide, bringing previously inaccessible scholarship Catherine at Mount Sinai, Egypt with which the Getty has had to a much larger audience, and enlivening the discussion of art a long relationship. Founded by the Byzantine Emperor Justin- with alternative perspectives. ian in the sixth century A.D., Saint Catherine’s is home to the oldest continuously operating Christian monastery. In 1999, the Sharing Conservation Expertise Foundation funded a project to analyze structural problems in The Foundation’s conservation grants aim to strengthen conserva- the church building, and in 2006 a grant was awarded to com- tion practice by supporting model projects that preserve important plete conservation of the mosaics in the magniﬁ cent central apse objects and buildings, while emphasizing research and planning. and the Burning Bush Chapel—a project initiated with the as- Among the most signiﬁ cant conservation projects funded in sistance of the Getty Conservation Institute in 2000. Grant funds this report period was a grant for the Holy Monastery of Saint are now allowing Italian conservators, Egyptian technicians, and the getty foundation

Apse Mosaic, 6th century A.D. The Holy Monastery of Saint Catherine, Sinai, Egypt. Photo: Father Justin Sinaites

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 7878 44/9/07/9/07 4:50:564:50:56 PMPM 79 Greek apprentices to stabilize and consolidate detached areas of the mosaics. Saint Catherine’s has provided an opportunity for all of the Getty programs to work together, culminating in an ambitious and magniﬁ cent exhibition of icons from the monastery organized by the Museum at the Getty Center. Conservation grants also support objects in museums. The Antioch Marine Mosaic, today in the Museum of Fine Arts, Boston, was once the centerpiece of an ancient Roman household in what is today southeastern Turkey. Excavated in the 1930s and brought to Washington D.C., it was divided into three sections and reinforced with 4,200 pounds of concrete, subsequently deteriorating. With the assistance of a grant, conservators are working with industrial engineers to restore the mosaic, serving as a model for best practice in mosaic conservation. Away from the Mediterranean region, at the National Museums Liverpool, grant funds are supporting a new educa- Conservators clean central panel of Antioch Marine Mosaic, 200–230 A.D. Museum of Fine Arts, Boston. Photo: Courtesy of tional program at the Conservation Centre, the only facility in Museum of Fine Arts, Boston. Europe for the public viewing and interpretation of museum conservation work. At the Centre’s Reveal gallery, visitors will be encouraged to explore the scientiﬁ c principles, methods, and techniques behind museum conservation through displays, interactive activities, and videos. The gallery will also include spaces where conservators and conservation scientists can engage directly with visitors.

Fund for New Orleans Getty grants also support projects throughout the United States. Responding to the unprecedented disaster caused by Hurricane Katrina, the Foundation awarded a series of grants in New

Orleans. An initial grant to the National Trust for Historic the getty foundation Preservation funded the ﬁ rst three months of the Trust’s recovery and outreach efforts sending volunteer teams of architects, conservators, and engineers to Alabama, Louisiana, and Mississippi

to assess the damage to historic buildings and avert precipitous Longue Vue House, New Orleans, 2005. Post-Hurricane demolition in historic neighborhoods. Subsequently, the Foun- Katrina moisture mitigation. dation sent a team of experts from all four Getty programs to New Orleans to assess how the Getty might best be of assistance to museums and other organizations now forced to operate in a totally changed environment. As a result, the Getty established a special $2 million Fund for New Orleans to support conservation projects and transition planning for visual arts organizations over the next several years. In addition, Getty staff provided expertise to New Orleans arts organizations.

Leadership Development The Foundation supports a variety of educational opportunities for leaders of museums and other cultural organizations. A grant to New York University supported a summer institute for museum professionals from Asia, Central and Eastern Europe, and 2006 New York University Summer Institute participants.

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Below left: Getty Leadership Institute, Museum Leaders: The Next Generation, 2006, class discussion.

Below: Asco. Instant Mural, 1972 performance. Photo: Courtesy of Harry Gamboa, Jr.

the former Soviet Union. Working with an international faculty, Now entering its 15th year, in 2006 the program supported more participants explored topics ranging from strategic planning to than 150 summer interns at 88 arts organizations throughout Los exhibition design and built a network of colleagues to help sup- Angeles County, including the Getty. port their work at home. The Foundation also continued its special initiative to docu- Located in Los Angeles, but attracting professionals from ment the history of Los Angeles art, “On the Record: Art in

the getty foundation around the world, the Getty Leadership Institute (GLI) offers L.A., 1945–1980,” developed in collaboration with the Research learning opportunities for current and future museum leaders. Institute. A grant to the Chicano Studies Research Center at Each summer the GLI convenes the Museum Leadership Insti- the University of California, Los Angeles, is supporting a survey tute, designed to enhance the skills of museum directors and of archival materials about Latino art collectives, community- senior executives. During the current report period, the GLI based organizations, arts publications, and individual artists in also offered a ﬁ ve-day program, Museum Leaders: The Next Southern California. Ongoing projects at Los Angeles County Generation, for talented young museum professionals, as well Museum of Art, California Institute of the Arts, the Museum of as To be a Director?, a forum for museum curators and other Contemporary Art, Art Center College of Design, and other local senior staff interested in becoming museum directors. The GLI institutions are preserving a vital record of Los Angeles art. also began preparations for a new program in 2007, Taking the Looking to the future, the Foundation actively seeks grant Helm: First Months as a Museum CEO, aimed at ﬁ rst-time opportunities to complement and extend the reach of the Getty museum directors as they take on new responsibilities, opportu- programs through core activities and special initiatives both in nities, and challenges. Los Angeles and elsewhere.

Supporting the Arts in Los Angeles Joan Weinstein The Getty is deeply connected to Los Angeles, and the Founda- Interim Director tion has developed programs and initiatives that recognize this The Getty Foundation special relationship. An example is the Multicultural Undergradu- ate Internship program, designed to nurture the next generation of arts professionals and to increase staff diversity in museums.

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Grants awarded between July 1, 2005, and June 30, 2006

RESEARCH Research grants provide support for individuals and institutions throughout the world to promote scholarship in the history of art.

Postdoctoral Fellowships Riccioni, Stefano. Pontifi cal Institute of Mediaeval Studies, Toronto, Canada. “Scritture e immagini a Postdoctoral Fellowships provide support Roma da Gregorio VII a Innocenzo III.” $40,000 for scholars at the beginning of their careers, freeing them from academic responsibilities Taws, Richard John. University College London, to pursue interpretive research projects that England. “Paper Traces and Other Spaces: Print will make signifi cant contributions to the Culture, Citizens, and the State in the French understanding of art and its history. Revolution and Empire.” $40,000 Aksamija, Nadja. Colgate University, Hamilton, Tseng, Alice. Boston University, Massachusetts. New York. “Villa Culture in Renaissance “Art in Place: The Display of Japan at the Imperial Dubrovnik: Architecture and Identity between Museums, 1872–1909.” $40,000 Humanism and the Counter-Reformation.” Volk, Alicia. Sainsbury Institute for the Study of $40,000 Japanese Arts and Cultures, London, England. “In Amad, Paula Tatla. University of Iowa, Iowa City. Pursuit of Universalism—Japanese Modernism circa “Archiving the Everyday: A Topos in French Film 1910–1930.” $40,000 History, 1895–1931.” $40,000 Yonan, Michael Elia. University of Missouri– Bardati, Flaminia. Ecole pratique des hautes Columbia. “Sovereign Mother: Empress Maria Theresa and the Politics of Imperial Art.” $40,000 Martin van Meytens. Portrait of Emperor Franz Stephan études, Sorbonne, Paris, France. “Tra Chiesa and Empress Maria Theresa with their Children, 1750s. romana e Stato nazionale: Tradizione e innovazione Kunsthistorisches Museum, Vienna, Austria. A Getty nella committenza architettonica dei cardinali Postdoctoral Fellowship is allowing Michael Yonan, francesi della prima metà del Cinquecento.” Curatorial Research Fellowships assistant professor of art history at the University of Missouri–Columbia, the opportunity to research and $40,000 Curatorial Research Fellowships support write his fi rst book, Sovereign Mother: Empress Maria Theresa and the Politics of Imperial Art. Berrebi, Sophie Yveline. Universiteit van the professional scholarly development of Amsterdam, The Netherlands. “Dubuffet and curators by providing them with time off Modernism.” $40,000 from regular museum duties to undertake short-term research or study projects. Bryan-Wilson, Julia Quinn. Rhode Island School Komaroff, Linda. Los Angeles County Museum

of Design, Providence. “Art Works: Artistic Labor Bergh, Susan E. Cleveland Museum of Art, Ohio. of Art, California. For the exhibition and catalogue the getty foundation in the Vietnam War Era.” $40,000 For the exhibition Wari: The Art of a Pre-Inka Gifts of the Sultan: The Arts of Giving at the Islamic Empire. $15,500 Courts. $8,500 Fassl, Johanna M. H. Columbia University Center for Study in Venice at Casa Muraro, Italy. “The Boubli, Lizzie. Musée du Louvre, Paris, France. Mishin, Vitaly. The Pushkin State Museum of Fine Eye of Ingenium: Vision as Poesis in Eighteenth- For the exhibition Drawing in Renaissance Spain: In Arts, Moscow, Russia. For research for the Catalogue Century Italian Art.” $40,000 Search of Identity. $15,500 of French Drawings in the Pushkin State Museum of Fine Arts, Late Nineteenth–Twentieth Centuries. Hill, Shannen Lee. University of Denver, Bray, Xavier Immanuel. The National Gallery, $12,000 Colorado. “Biko and Black Consciousness in South London, England. For the exhibition and catalogue African Art.” $40,000 The Golden Age of Spanish Polychrome Sculpture and Pelenc, Arielle Odile. Musée Départemental Painting. $15,500 d’Art Contemporain de Rochechouart, France. Lai, Yu-chih. National Palace Museum, Taipei, For the exhibition and catalogue Raoul Hausmann: Taiwan. “The Conﬂ uence of Art and Japanese Cassel Oliver, Valerie. Contemporary Arts La photographie moderne comme processus mental. Culture in Late Nineteenth-Century Shanghai.” Museum Houston, Texas. For the exhibition and $14,600 $40,000 catalogue Benjamin Patterson: In the State of Flux/us. $12,900 Sitt, Martina. Hamburger Kunsthalle, Germany. Low, Peter David. Williams College, For research on The Hypothetical Work of a Master of Williamstown, Massachusetts. “Building a Dwelling Eric, Zoran. Museum of Contemporary Art Northern Germany: Who Is Master Francke? $15,500 Place for God: The Main Portal at Vézelay and Belgrade, Serbia. For research to complete the Ephesians 2:11–22 in Medieval Art.” $40,000 publication Art as the Critical Reﬂ ection of the Public Wine, Humphrey Mayer. The National Gallery, Sphere: The Production of Social Space in Serbia in London, England. For the publication National Perry, Rachel Eve. Independent scholar, Raanana, Milosevic’s Era. $9,600 Gallery Catalogues: The Eighteenth-Century French Israel. “Things that Matter: French Art in the Paintings. $15,500 1940s.” $40,000 Hamilton, Roy W. Fowler Museum of Cultural History, University of California, Los Angeles. For research on the exhibition and publication Textiles of Timor: Community Histories and Stylistic Variation. $15,500

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Collaborative Research Grants Kyiv, Ukraine; Yuriy Rassamakin, National Academy of Sciences, Kyiv, Ukraine; and Warren Collaborative Research Grants provide Theriot Woodfi n, University of Pennsylvania, opportunities for scholars to pursue Philadelphia. “A Thirteenth-Century Princely Burial interpretive research on projects that offer near Zamozhne, Ukraine: The Shared Culture of new interpretations of art and its history. Court Objects between the Mediterranean and Funded projects present innovative models Eurasian Worlds.” $239,000 for interdisciplinary research, encouraging scholars to think more broadly and critically about their disciplines. Grants Research Resources and Publications in this category also fund the research in preparation for scholarly exhibitions. Grants in this category support the development of resources that are of exceptional Most Collaborative Research Grants are listed by the value to scholars working in the fi eld of names of each member of the research team, although art history, with a particular emphasis on the offi cial grantee may be either a university or the providing broad access—often through elec- individual scholars. tronic means—to collections and reference

Alagoa, Ebiegberi Joe, University of Port materials. These grants also fund scholarly Vase, Sèvres, Royal Porcelain Manufactory, ca. 1762. Harcourt, Nigeria; Martha G. Anderson, Alfred publishers in support of groups of books Henry E. Huntington Library and Art Gallery, San University, New York; Lisa Louise Aronson, that signiﬁ cantly advance scholarship in art Marino, California. A Getty grant will support the Skidmore College, Saratoga Springs, New York; and architectural history. publication of a scholarly catalogue devoted to the Huntington’s 18th-century French art collections. Christraud M. Geary, and Museum of Fine Academia Nacional de Bellas Artes, Buenos Based upon research by an international team of Arts, Boston, Massachusetts. “J. A. Green: Artist Aires, Argentina. For the publication of three experts, the catalogue will feature nearly 300 works of painting, furniture, sculpture, tapestries, and porcelain. Photographer of the Niger Delta.” $160,000 volumes in the series Patrimonio Artístico Nacional: Desai, Madhavi, Centre for Environmental Inventario de bienes muebles. $90,000 Planning and Technology (CEPT), Ahmedabad, Cambridge University Press–North American Kunsthistorisches Museum mit Museum Miki Desai, India; Centre for Environmental Branch, New York. For the publication series für Völkerkunde und Österreichischem Planning and Technology (CEPT), Ahmedabad, Studies in the Civilizations and Visual Cultures of Theatermuseum, Vienna, Austria. For the India; and Jon Tyrrell Lang, University of New the Ancient Mediterranean World. $100,000 preparation of the catalogue of the Italian Baroque South Wales, Sydney, Australia. “The Cross- paintings collection. $175,000 Cultural Expression of the Bungalow Typology in Dirección de Bibliotecas, Archivos y Museos,

the getty foundation India: The Colonial Legacy and Its Post-Colonial Santiago, Chile. For revisions to the Spanish Massachusetts Museum of Contemporary Manifestation, 1900 to 1970.” $45,000 translation of the Art and Architecture Thesaurus Art Foundation, Inc., North Adams. For the and the development of a manual for cataloguing publications program. $100,000 Halenko, Oleksander, National Academy of collections. $100,000 Sciences, Kyiv, Ukraine; Renata Holod, University Metropolitan Museum of Art, New York. For of Pennsylvania, Philadelphia; Vitaliy Vasylevych Fondazione Federico Zeri, Bologna, Italy. For the arrangement and description of the Oceanic Otroshchenko, National Academy of Sciences, the arrangement and description of images of works in the museum’s photograph study collection. 16th- and 17th-century Italian paintings in the Zeri $84,000 photographic archive. €195,000 National Trust for Places of Historic Interest Fondo Nacional para la Cultura y las Artes, or Natural Beauty, Wiltshire, England. For the Mexico City, D.F. For the planning phase of the publication of the catalogue The Embroideries at arrangement and description of the Sala de Arte Hardwick Hall. $50,000 Público Siqueiros Archives. $44,000 The Pennsylvania State University, University Henry E. Huntington Library and Art Gallery, Park. For the publication series Reﬁ guring San Marino, California. For the publication of Modernism: Arts, Literatures, Sciences. $162,000 the catalogue Eighteenth-Century French Art at the Regents of the University of Minnesota, Huntington. $75,000 Minneapolis. For the publication series A Ver: The Israel Museum, Jerusalem. For the research Revisioning Art History. $100,000 Libertad para Siqueiros (Freedom for Siqueiros). Poster and cataloguing of Jewish dress and jewelry in by Taler de Arte Realista, Venezuela, 1963. The Fondo Rijksmuseum, Amsterdam, The Netherlands. Nacional para la Cultura y las Artes received support to the museum’s Judaica and Jewish ethnography For the preparation of the second volume of survey and catalogue the vast archival holdings related collections. $140,000 the catalogue of 17th-century Dutch paintings. to the art and activities of David Alfaro Siqueiros, one of the leading artists of the Mexican muralist Kröller-Müller Museum, Otterlo, The $200,000 movement. Netherlands. For the preparation of a catalogue of the Sculpture Garden collection. €135,000

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Sociedade de Amigos da Biblioteca Nacional, The University of Edinburgh, Scotland. For the On the Record: Art in L.A. 1945–1980 Rio de Janeiro, Brazil. For the arrangement and launch, pilot issue, and fi rst fi ve years of publication description of the National Library’s Thereza of the journal Art in Translation. $440,000 This special initiative provides support to Christiana Maria photographic archive. $155,000 museums, libraries, and universities for the University of Oregon Foundation, Eugene. For identifi cation and preservation of the records Trustees of the Corcoran Gallery of Art, the reference database Cartography as Imago Urbis: of artists, collectors, museums, curators, and Washington, D.C. For the preparation of a Vasi’s Grand Tour of Rome. $200,000 dealers essential to telling the story of post- catalogue of the pre-1945 American paintings and University of Pennsylvania Press, Inc., World War II art in Southern California. sculpture collection. $125,000 Philadelphia. For the publication of a group The Museum of Contemporary Art, Los Angeles, University of Cambridge, England. For the of books in the fi eld of landscape architecture. California. For the arrangement and description of cataloguing of the African, Asian, and North $93,000 the institutional archives. $280,000 American photograph collections in the Museum of The University of Sydney, Australia. For a series Archaeology and Anthropology. £107,000 Regents of the University of California, of books on Australian art and art theory published Oakland. For the second phase of a survey of University of Chicago, Illinois. For research in by the Power Institute. $100,000 archival materials related to Latino arts in Southern preparation for a biography of J. Carter Brown. University of Texas at Austin. For publication of California, to be conducted by the Chicano Studies $86,580 the catalogue of the Latin American collection at Research Center, UCLA. $146,800 The University of Edinburgh, Scotland. For a the Blanton Museum of Art. $35,000 San Francisco Museum of Modern Art, feasibility study for the planned journal Art in Verlag C. H. Beck, Munich, Germany. For the California. For the arrangement and description of Translation. £12,000 publication of Jacob Burckhardt’s lectures on the the museum’s institutional archives. $222,000 Renaissance and modern times. €45,000

CONSERVATION Conservation grants provide support to museums and other cultural organizations for a wide range of projects focused on the conservation and management of collections of works of art as well as historic buildings, landscapes, and archaeological sites. The importance of research, planning, and related training is emphasized as part of a broader approach to effective stewardship and long-term preservation.

Museum Conservation Fundación Museo de La Plata ‘Francisco University of Southern California, Los Angeles. the getty foundation Pascasio Moreno,’ Buenos Aires, Argentina. For For a conservation survey of the interior furnishings Grants in this category provide funds to a conservation survey of the Egyptian collection in in the Gamble House. $59,000 assess the conservation needs of collections, the Museo de La Plata. $37,800 undertake conservation treatment projects, George Eastman House, and support the training of conservators. Rochester, New Architectural Conservation York. For the acquisition of equipment for the Balboa Art Conservation Center, San Diego, conservation laboratory. $65,000 Architectural Conservation grants support California. For the acquisition of conservation the development of conservation plans equipment. $41,000 The Palace Museum, Beijing, People’s Republic of China. For professional development of the for buildings of outstanding architectural Cincinnati Museum Association, Ohio. For conservation staff. $55,000 signiﬁ cance. Funding is also provided for conservation surveys of Mural for the Terrace Plaza select projects to implement conservation Hotel by Joan Miró and Mural of Cincinnati by Saul Royal Borough of Kingston upon Thames, plans and to provide on-site training Steinberg in the Cincinnati Art Museum. $31,000 England. For a conservation survey of the Eadweard opportunities. Muybridge collection in the Kingston Museum. Fachhochschule Hildesheim/Holzminden/ £2,200 Art Center College of Design, Pasadena, Göttingen, Germany. For a conservation survey California. For the preparation of a conservation of the manuscripts collection in the Matenadaran, Spelman College, Atlanta, Georgia. For treatment plan for the Craig Ellwood Building. $75,000 Yerevan, Armenia. €11,000 and research related to the conservation of works by Hale Woodruff in the Museum of Fine Art. Arzobispado de Lima, Peru. For the preparation Fairmount Park Art Association, Philadelphia, $76,800 of a conservation plan for La Iglesia de Santa Pennsylvania. For treatment and research related to Liberata. $23,600 Staatliches Museum Schwerin, Germany. For the conservation of Atmosphere and Environment XII The Brotherhood of the Monastery of Saint by Louise Nevelson. $78,200 research and treatment related to the conservation of two 17th-century Dutch paintings. €130,000 Catherine, Cairo, Egypt. For the conservation of the mosaics in the Church of the Monastery of University of Delaware, Newark. For mid-career Saint Catherine, Mount Sinai. $250,000 photographic conservation training in Beirut, Lebanon. $115,000

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Cathedral of San Carlos Borromeo, Monterey, Saint Mildred’s Abbey, Kent, England. For the Mills College, Oakland, California. For the California. For the preparation of a conservation preparation of a conservation plan for Minster preparation of a landscape heritage plan for Mills plan for the Royal Presidio Chapel. $40,000 Abbey. £15,200 College. $170,000 Church of the Epiphany, Los Angeles, California. Society for the Preservation of New England New York University. For the preparation of For the preparation of a conservation plan for the Antiquities, Boston, Massachusetts. For the a conservation plan for New York University. Church of the Epiphany. $50,200 preparation of a conservation plan for Beauport- $180,000 Sleeper McCann House, Gloucester. $67,100 Foundation of Georgian Arts and Culture, Oregon State University Foundation, Corvallis. Tbilisi, Republic of Georgia. For the Transylvanian Reformed Church District, Cluj, For the preparation of a conservation plan for implementation of a conservation plan for the Romania. For the preparation of a conservation Oregon State University. $190,000 Church of the Virgin, Martvili. $147,000 plan for the Reformed Church. $74,900 Regents of the University of California, Davis. Leiden University, The Netherlands. For the United States Lighthouse Society, San For the preparation of a landscape heritage plan for preparation of a conservation plan for the Mosque Francisco, California. For the implementation of the University of California, Davis. $175,000 of al-Fakahani in Cairo, Egypt. $74,000 a conservation plan for the Thomas Point Shoal Saint Mary’s College of Maryland, Inc., Saint Lighthouse in Annapolis, Maryland. $60,000 Maharana of Mewar Charitable Foundation, Mary’s City. For the preparation of a conservation Udaipur, Rajasthan, India. For the preparation of plan for Saint Mary’s College of Maryland. a conservation plan for the City Palace Complex. Campus Heritage $145,000 $75,000 Tuskegee University, Alabama. For the The Montpelier Foundation, Montpelier Station, Campus Heritage grants assist American preparation of a conservation plan for Tuskegee Virginia. For the preparation of a conservation plan colleges and universities in planning for University. $115,000 for Montpelier. $75,000 the preservation of their signiﬁ cant historic buildings, sites, and landscapes. United States Naval Academy Foundation, National Conservation Centre, Skopje, Inc., Annapolis, Maryland. For the preparation Macedonia. For the preparation of a conservation Emerson College, Boston, Massachusetts. For of a conservation plan for the United States Naval plan for Saint Elijah Church, Resen. $12,500 the preparation of a conservation plan for Emerson Academy. $190,000 College. $200,000 National Trust for Historic Preservation, University of Cincinnati, Ohio. For the Washington, D.C. For an assessment of damage to Florida Southern College, Lakeland. For the preparation of a conservation plan for the historic structures in the Gulf Coast region affected preparation of a conservation plan for Florida University of Cincinnati. $150,000 by Hurricane Katrina. $100,000 Southern College. $195,000 University of Tennessee, Knoxville. For a Kansas University Endowment Association,

the getty foundation Patrimoine Sans Frontières, Paris, France. For conservation plan for the University of Tennessee, the preparation of a conservation plan for Saint Lawrence. For the preparation of a conservation Knoxville. $150,000 Elias Church, Voskopojë, Albania. $75,000 plan for the University of Kansas. $130,000 Riverside Metropolitan Museum, California. Louisiana State University and Agricultural For the preparation of a conservation plan for the and Mechanical College, Baton Rouge. For the Harada House. $75,000 preparation of a conservation plan for Louisiana State University. $180,000

EDUCATION AND PROFESSIONAL DEVELOPMENT Grants are offered to organizations throughout the world to support the education and development of professionals working within the Getty’s areas of interest, as well as for undergraduate and graduate internships. Grants in this category also support innovative interpretive projects that increase public appreciation and understanding of artworks in a museum’s permanent collection.

Art Institute of Chicago, Illinois. For the 2006 Council of American Overseas Research The Fund for Arts and Culture in Central and seminar “Teaching Institute in Museum Education Centers, Washington, D.C. For the Middle East Eastern Europe, McLean, Virginia. For the Second (TIME).” $15,000 and Mediterranean Basin Research Exchange Balkan Museum Colloquium. $42,700 Fellowship Program. $345,000 Association Internationale des Critiques d’Art, International Council of African Museums, Paris, France. For delegates from Africa, Latin The Foundation of the American Institute for Nairobi, Kenya. For delegates from Africa to attend America, Asia, and Central and Eastern Europe to Conservation of Historic and Artistic Works, the 2006 AFRICOM Conference and General attend the 2006 Congress. $22,500 Washington, D.C. For participants from Latin Assembly in Cape Town, South Africa. $75,000 America and the Caribbean to attend the 2006 California Association of Museums, Santa Cruz. annual meeting in Providence, Rhode Island. For a survey of California museums. $15,800 $59,000

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International Council of Museums, Paris, University of Southern California, Los Angeles. Lebleu, Anne. Columbia University, New York. France. For participants from developing countries For the USC Annenberg/Getty Program for Arts For a graduate internship at the Getty Foundation. and Central and Eastern Europe to attend the Journalism. $90,000 $17,400 annual conference of the International Committee University of Southern California, Los Angeles. Leson, Richard Andrew. The Johns Hopkins for Museums and Collections of Modern Art For the USC Center for Philanthropy and Public University, Baltimore, Maryland. For a graduate (CIMAM) in São Paulo, Brazil. €25,000 Policy. $10,000 internship in the manuscripts department of the J. International Council of Museums, Paris, Paul Getty Museum. $17,400 University of Washington, Seattle. For the 2006 France. For participants from developing countries Summer Institute in Istanbul “Constructing the Lien, Chih-Li. Tainan National University of the and Central and Eastern Europe to attend the 2007 Past.” $354,000 Arts, Taiwan. For a graduate internship in the General Conference in Vienna, Austria. €75,000 exhibition design department of the J. Paul Getty International Institute for Conservation of Museum. $17,400 Historic and Artistic Works, London, England. Graduate Internships at the Getty Marcus, Benjamin Luke. Columbia University, For participants from developing countries and New York. For a graduate internship in the fi eld Central and Eastern Europe to attend the Twenty- Graduate Internships at the Getty support projects department of the Getty Conservation First International Congress in Munich, Germany. full-time positions for students who intend Institute. $26,000 $22,600 to pursue careers in fi elds related to the visual arts. Pierguidi, Stefano. University of Rome “La Los Angeles County Arts Commission, Sapienza,” Italy. For a graduate internship in the California. For the educational components of the Chantepie, Frédérique. Ecole supérieure des paintings department of the J. Paul Getty Museum. summer 2006 Los Angeles County Arts Internship beaux-arts de Tours, France. For a graduate $17,400 Program. $77,000 internship in the decorative arts conservation department of the J. Paul Getty Museum. $26,000 Price, Abigail Louise. Courtauld Institute of Art, The Marie Walsh Sharpe Art Foundation, London, England. For a graduate internship in the Colorado Springs. To support educational activities. Christie, Sarah Cairns. University of Saint Bibliography of the History of Art department of $20,000 Andrews, Fife, Scotland. For a graduate internship in the registrar’s offi ce of the J. Paul Getty Museum. the Getty Research Institute. $17,400 Museum of Modern Art, New York. For $17,400 Remond, Jaya Marie-Paule. Courtauld Institute participants from Central and Eastern Europe of Art, London, England. For a graduate internship and Latin America to attend the Seventh Biennial El-Sayed El-Iraqi, Dania. Cairo University, Egypt. in the drawings department of the J. Paul Getty Conference of the Infrared and Raman Users For a graduate internship in the fi eld projects Museum. $17,400 Group. $32,000 department of the Getty Conservation Institute. $26,000 Rivenc, Rachel. Northumbria University,

National Museums and Galleries on the getty foundation Newcastle upon Tyne, England. For a graduate Merseyside, Liverpool, England. For new Emmer, Janalee. Pennsylvania State University, internship in the science department of the Getty interpretive components at the Conservation University Park. For a graduate internship in the Conservation Institute. $26,000 Centre’s Reveal Gallery. £76,000 exhibitions and public programs department at the J. Paul Getty Museum. $17,400 Saunders, David Andrew. Lincoln College, National Trust for Historic Preservation, Oxford University, England. For a graduate Washington, D.C. For participants from developing Friedman, Leslie Ann. University of Pennsylvania, internship in the antiquities department of the countries and Central and Eastern Europe to attend Philadelphia. For a graduate internship in the J. Paul Getty Museum. $17,400 the Eleventh International Conference of National education department of the Getty Conservation Trusts. $50,000 Institute. $26,000 Sloper, Amy Jo. University of California, Los Angeles. For a graduate internship in the special New York University. For the 2006 Summer Grissom, Leigh Ann. George Washington collections and visual resources department of the Institute for Museum Professionals from University, Washington, D.C. For a graduate Getty Research Institute. $17,400 Developing Nations. $278,600 internship in the collections information department of the J. Paul Getty Museum. $17,400 Smiraglia, Christina Marie. George Washington Organization of World Heritage Cities, Québec, University, Washington, D.C. For a graduate Canada. For participants from developing countries Grosse, Peggy. Friedrich-Alexander-Universität internship in the education department of the J. and Central and Eastern Europe to attend the Erlangen-Nürnberg, Germany. For a graduate Paul Getty Museum. $17,400 Ninth World Congress of the Organization of internship in the sculpture and decorative arts World Heritage Cities in Kazan, Russia. $75,000 department of the J. Paul Getty Museum. $17,400 Tsatsouli, Konstantina. Cardiff University, Wales. For a graduate internship in the antiquities Regents of the University of Michigan, Ann Hellman, Karen Reed. The Graduate Center, City conservation department of the J. Paul Getty Arbor. For new interpretive programs at the University of New York. For a graduate internship Museum. $26,000 University of Michigan Museum of Art. $250,000 in the photographs department of the J. Paul Getty Museum. $17,400 Southern California Grantmakers, Los Angeles. For the Los Angeles Arts Funders Survey Phase Hess, Mona Valerie Micaela. Otto-Friedrich- Four. $20,000 Universität Bamberg, Germany. For a graduate internship in the ﬁ eld projects department of the Getty Conservation Institute. $26,000

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Wang, Hui. University of Bath, England. For a City of Norwalk, California. For two internships. graduate internship in the fi eld projects department $8,000 of the Getty Conservation Institute. $26,000 City of Pasadena, California. For one internship Zhang, Xian. Boston University, Massachusetts. in the cultural affairs department. $4,000 For a graduate internship in the science department City of Pico Rivera, California. For one internship. of the Getty Conservation Institute. $26,000 $4,000 City of Torrance, California. For one internship at Multicultural Undergraduate the Torrance Art Museum. $4,000 Internship Grants Curatorial Assistance Traveling Exhibitions, These grants enable museums and visual Inc., Pasadena, California. For one internship. arts organizations in Los Angeles County $4,000 to hire undergraduates of culturally diverse dA Gallery, Pomona, California. For one internship backgrounds as summer interns. The goal at the dA Center for the Arts. $4,000 is to introduce these students to career possibilities within the museum and visual Drum Barracks Garrison and Society, arts fi elds. Wilmington, California. For one internship at the Drum Barracks Civil War Museum. $4,000 A+D Architecture and Design Museum Los Fabian Alberto, a Multicultural Undergraduate Intern Angeles, California. For one internship. $4,000 at the UCLA Fowler Museum of Cultural History, Eagle Rock Community Cultural Association, measuring fragments of a ceramic vessel. Through the Los Angeles, California. For one internship. $4,000 American Museum of Ceramic Art, Pomona, Getty-sponsored internship program, students have the California. For one internship. $4,000 opportunity to gain hands-on experience working in 18th Street Arts Complex, Santa Monica, museums and visual arts organizations throughout Los California. For two internships. $8,000 Angels Gate Cultural Center, Inc., San Pedro, Angeles County. California. For one internship. $4,000 El Pueblo Park Association, Los Angeles, California. For one internship. $4,000 Aquarium of the Pacifi c, Long Beach, California. For two internships. $8,000 California Department of Parks and Friends of Banning Park Corporation, Recreation, Sacramento. For one internship at Wilmington, California. For one internship at the Armand Hammer Museum of Art and Cultural Will Rogers State Historic Park and one internship Banning Residence Museum. $4,000 Center, Los Angeles, California. For one internship. at Pio Pico State Historic Park. $8,000 $4,000 Friends of Cabrillo Marine Aquarium, San the getty foundation California Institute of the Arts, Valencia. For Pedro, California. For two internships at the Armory Center for the Arts, Pasadena, California. two internships. $8,000 Cabrillo Marine Aquarium. $8,000 For three internships. $12,000 California Science Center Foundation, Los Friends of the Chinese American Museum, Art Center College of Design, Pasadena, Angeles. For two internships. $8,000 Los Angeles, California. For two internships at the California. For three internships. $12,000 Chinese American Museum. $8,000 California State University Long Beach Arts and Services for Disabled, Inc., Long Foundation. For two internships. $8,000 Friends of the Schindler House, West Beach, California. For two internships. $8,000 Hollywood, California. For one internship at the Catalina Island Museum Society, Inc., Avalon, MAK Center for Art and Architecture. $4,000 ARTScorpsLA, Los Angeles, California. For one California. For one internship. $4,000 internship. $4,000 Friends the Foundation of the California Center for the Study of Political Graphics, Los African American Museum, Los Angeles, Association for the Advancement of Filipino Angeles, California. For two internships. $8,000 American Arts and Culture, Los Angeles, California. For two internships at the California California. For one internship. $4,000 City of Arcadia, California. For one internship African American Museum. $8,000 at the Ruth and Charles Gilb Arcadia Historical The HeART Project, Los Angeles, California. For Autry National Center of the American West, Museum. $4,000 Los Angeles, California. For three internships at one internship. $4,000 City of Beverly Hills, California. For one the Autry National Center and two internships at Hebrew Union College—Skirball Cultural internship. $4,000 the Southwest Museum of the American Indian. Center, Los Angeles, California. For two $20,000 City of Culver City, California. For one internship. internships at the Skirball Cultural Center. $8,000 $4,000 Cal Poly Pomona Foundation Inc., California. Henry E. Huntington Library and Art Gallery, For one internship at the Cal Poly Pomona City of Glendale, California. For one internship. San Marino, California. For two internships. Downtown Center. $4,000 $4,000 $8,000 City of Los Angeles, California. For one internship. $4,000

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Highways, Inc., Santa Monica, California. For one The Museum of Contemporary Art, Los Angeles, Tierra del Sol Center for the Handicapped internship. $4,000 California. For three internships. $12,000 Foundation, Claremont, California. For one internship at First Street Gallery Art Center. $4,000 Historic Italian Hall Foundation, Los Angeles, The Museum of Jurassic Technology, Culver California. For one internship. $4,000 City, California. For two internships. $8,000 The Velaslavasay Panorama, Los Angeles, California. For one internship. $4,000 Historical Society of Long Beach, California. For Museum of Latin American Art, Long Beach, one internship. $4,000 California. For two internships. $8,000 Venice Arts: In Neighborhoods, California. For one internship. $4,000 Immaculate Heart Community, Los Angeles, Otis Art Institute, Los Angeles, California. For California. For one internship. $4,000 two internships. $8,000 Watts Labor Community Action Committee, Los Angeles, California. For one internship. $4,000 Inner-City Arts, Los Angeles, California. For two Paciﬁ c Asia Museum, Pasadena, California. For internships. $8,000 two internships. $8,000 The Wende Museum and Archive of the Cold War, Culver City, California. For one internship. Japanese American National Museum, Los Palos Verdes Community Arts Association, $4,000 Angeles, California. For three internships. $12,000 Rancho Palos Verdes, California. For one internship. $4,000 In addition, 21 grants of $3,500 each were awarded Kidspace A Participatory Museum, Pasadena, for multicultural undergraduate internships at the California. For one internship. $4,000 Pasadena Heritage, California. For one Getty Center. internship. $4,000 LA Freewaves, Los Angeles, California. For two internships. $8,000 Pasadena Museum, California. For two internships. $8,000 Library Foundation of Los Angeles, Los Angeles, Special Projects California. For one internship. $4,000 Pharmaka, Los Angeles, California. For one In addition to grants awarded through the internship. $4,000 Long Beach Museum of Art Foundation, Foundation’s core categories and special California. For two internships at the Long Beach Plaza de la Raza, Inc., Los Angeles, California. initiatives, from time to time grants are Museum of Art. $8,000 For two internships. $8,000 awarded on behalf of the Getty’s operating programs and departments in conjunction Los Angeles Arboretum Foundation, Inc., Public Corporation for the Arts of the City with their activities. Arcadia, California. For one internship. $4,000 of Long Beach, California. For one internship. $4,000 City of Los Angeles, California. For the Los Los Angeles Art Association, California. For one Angeles Historic Resource Survey Project, with internship at Gallery 825. $4,000 Rancho Los Cerritos Foundation, Inc., Long technical support from the Getty Conservation Beach, California. For two internships. $8,000 Institute. $2,500,000 Los Angeles Conservancy, California. For two the getty foundation Rancho Santa Ana Botanic Garden, internships. $8,000 Claremont, City of Los Angeles. For the protection of the California. For two internships. $8,000 Los Angeles Contemporary Exhibitions, Inc., mural América Tropical by David Alfaro Siqueiros, California. For one internship. $4,000 Regents of the University of California, and construction of a protective shelter, viewing Oakland. For one internship in the Chicano Studies platform, and interpretive center in the El Pueblo Los Angeles County Metropolitan Research Center, UCLA. $4,000 district of the City of Los Angeles; with technical Transportation Authority, California. For one support from the Getty Conservation Institute. internship. $4,000 Regents of the University of California, $3,950,000 Oakland. For two internships at UCLA Fowler Los Angeles County Museum of Natural Museum of Cultural History. $8,000 Courtauld Institute of Art, London, England. For History Foundation, California. For one scholarships at the Courtauld Institute. $100,000 internship at the George C. Page Museum. $4,000 Ryman Carroll Foundation, Los Angeles, California. For two internships. $8,000 Regents of the University of California, Los Angeles County Museum of Natural Oakland. For the UCLA/Getty Master’s History Foundation, California. For one St. Elmo Village, Inc., Los Angeles, California. Program on Conservation of Ethnographic and internship at the William S. Hart Museum. $4,000 For two internships. $8,000 Archaeological Materials. $515,336 Los Angeles County Museum of Natural Santa Monica Museum of Art, California. For The UCLA Foundation, Los Angeles, California. History Foundation, California. For two two internships. $8,000 For the UCLA/Getty Master’s Program on internships at Exposition Park. $8,000 Scripps College, Claremont, California. For three Conservation of Ethnographic and Archaeological Los Angeles Municipal Art Gallery Associates, internships at the Ruth Chandler Williamson Materials. $2,000,000 California. For one internship at the Los Angeles Gallery. $12,000 Municipal Art Gallery. $4,000 Southern California Asian American Studies Millard Sheets Gallery, Pomona, California. For Central, Los Angeles. For three internships at two internships. $8,000 Visual Communications. $12,000

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Books and Journals Published or Distributed by Getty Publications between July 1, 2005, and June 30, 2006

J. Paul Getty Museum Etruscan Civilization: A Cultural History The “Keros Hoard”: Myth or Reality? Searching Sybille Haynes for the Lost Pieces of a Puzzle Ancient Lebanon: Monuments Past and Present Now in paperback, this comprehensive survey of Peggy Sotirakopoulou M. J. Strazzulla Etruscan civilization combines well-known aspects A summary of the archaeological and scientifi c Landmarks found in modern-day Lebanon of the Etruscan world with new discoveries and analyses of a large number of Early Cycladic objects of ancient Phoenicia, the cradle of Western fresh insights into the role of Etruscan women. that surfaced in the international antiquities market civilization, are illustrated as they appear today, Originally published in hardcover in 2000. after having been looted from the Greek island of with overlays displaying how they likely appeared Keros in the 1950s and 1960s. in antiquity. European Art of the Fifteenth Century Stefano Zuffi Key to Rome Ancient Sicily: Monuments Past and Present Identifi es the imagery used to represent the people, Frederick and Vanessa Vreeland G. Messineo and E. Borgia places, and concepts of the early Renaissance. Gorgeously illustrated guidebook to Rome This book illustrates important monuments and Includes important cities of artistic production, and organized into four sections—Ancient, Christian, districts of Sicily as they currently appear, with highlights key terms, styles, and techniques. Renaissance and Baroque, and Shopping and the overlays indicating how the sites are thought to have Grand Tour—taking visitors through layers of time. looked in ancient times. The Getty Villa Marion True and Jorge Silvetti The Library of the Villa dei Papiri at Angels and Demons in Art A lively, fully illustrated history of the J. Paul Herculaneum Rosa Giorgi Getty Museum, its antiquities collection, and David Sider This sumptuously illustrated guide analyzes artists’ the architectural process—and challenges—of This book analyzes the content of the scrolls representations of creation and the afterworld, the renovating and expanding the Villa site. recovered from the Villa dei Papiri, as well as paths to salvation and damnation, the Judgment documents the ongoing and diffi cult process of A Guide to the Getty Villa Day, and angelic and demonic beings. unrolling them. This handy volume introduces visitors to the Antiquity and Photography: Early Views of renovated site and the antiquities collection on Looking at Glass Ancient Mediterranean Sites display. Catherine Hess and Karol Wight Claire L. Lyons, John K. Papadopoulos, Lindsey S. A glossary of terminology, including terms related A History of Old Age Stewart, and Andrew Szegedy-Maszak to the production, shape, and decoration of glass. Explores the relationship between antiquity and Edited by Pat Thane photography in the period 1840–80, including Six authors examine how the best thinkers and Luxury Arts of the Renaissance artists of each historical epoch in the West have Marina Belozerskaya publications portfolios of works by several major photographers. treated old age. Illustrated with reproductions Explores the Renaissance aesthetic preference for The Colors of Clay: Special Techniques in drawn from a wide range of eras and media. fi nely wrought luxury artifacts, based on the value Athenian Vases of their exquisite craftsmanship. Beth Cohen Icons and Saints of the Eastern Orthodox This catalogue documents the fi rst major exhibition Church A Masterpiece Reconstructed: The Hours of to focus on ancient Athenian terracotta vases made Alfredo Tradigo Louis XII by techniques other than the well-known black- and This easy-to-use guide examines the stylized and Thomas Kren, Mark Evans, Janet Backhouse, and red-fi gure. primarily symbolic pictorial language of icons— Nancy Turner wooden panel paintings of holy persons or scenes By the 17th century the Hours of Louis XII, Courbet and the Modern Landscape from Orthodox Christianity. illuminated by court painter Jean Bourdichon, had Mary Morton and Charlotte Eyerman been dismembered. This catalogue publishes the In Focus: Weegee This sumptuously illustrated catalogue accompanies rediscovered leaves together for the fi rst time. the fi rst exhibition dedicated to Gustave Courbet’s Photographs from the J. Paul Getty Museum distinctly modern practice of landscape painting. Reproduces 50 of the 95 photographs in the Getty Medieval Love Poetry collection by Weegee, who was best known for his Edited by John Cherry Early Netherlandish Painting: Rediscovery, crime photos in the 1930s through 1950s. Excerpts from some of the most beloved medieval Reception, and Research romances, including Tristan and Isolde, Lancelot, Joséphine and the Arts of the Empire Edited by Bernhard Ridderbos, Anne Van Buren, and Romance of the Rose are illustrated with Edited by Eleanor P. DeLorme and Henk van Veen decorative-art objects, manuscript illuminations, Renowned for her exquisite taste and her talent for Analyzes the style and provenance of signifi cant and “jewels of love.” works, and explores the history of collecting and attracting the most gifted artists and artisans of her art-historical research and interpretation. time, Empress Joséphine had a profound and lasting Milton Rogovin: The Mining Photographs effect on the arts of all Europe. Judith Keller Features more than 100 powerful portraits of coal Joy Lasts: On the Spiritual in Art miners, both at work and at home. Sister Wendy Beckett Art expert Sister Wendy explores the differences between religious and spiritual art, using examples from the Getty collection ranging from medieval manuscripts to a Cézanne still life.

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Nicolas Lancret: Dance Before a Fountain Thesaurus Cultus et Rituum Antiquorum, Getty Conservation Institute Mary Tavener Holmes Volumes III, IV, and V With a conservation note by Mark Leonard Combines a sweeping overview with thorough The Conservation of Decorated Surfaces on The enticing scene depicted in the Getty Museum’s details on all known aspects of Greek, Etruscan, Earthen Architecture painting is an excellent example of fête galante, a and Roman cults and rituals from about 1000 b.c. Edited by Leslie Rainer and Angelyn Bass Rivera genre that reached its peak of popularity in France to a.d. 500. These three volumes are part of a fi ve- This volume covers the complex issues associated during the fi rst half of the 18th century. volume set containing essays in English, French, with preserving surface decoration such as wall German, or Italian. paintings, bas-reliefs, and ornamental plasterwork Pietre Dure: The Art of Semiprecious on earthen architecture. Stonework Venus: A Biography Annamaria Giusti Andrew Dalby Monitoring for Gaseous Pollutants in Museum In this comprehensive survey Giusti looks at the The life story of the irresistibly beautiful love- Environments techniques used to make pietre dure—intricate goddess Venus—sensual, sexy, and seductive—as Cecily M. Grzywacz mosaic designs using semiprecious stones—and its never told before. Based on the Getty Museum Monitoring Project decorative uses from pre-history to the present day. and other case studies, this volume focuses on environmental monitoring for common gaseous Pop-Up Aesop Getty Research Institute pollutants, with an emphasis on passive sampling. John Harris Of the Past, For the Future: Integrating Illustrated by Calef Brown History of the Art of Antiquity This zany pop-up retells fi ve of Aesop’s fables—the Johann Joachim Winckelmann Archaeology and Conservation classic “The Tortoise and the Hare” plus four lesser- Introduction by Alex Potts Edited by Neville Agnew and Janet Bridgland known tales—and includes a spinner that helps kids Translation by Harry Francis Mallgrave Presents the proceedings of the conservation theme create their own fables. First published in German in 1764, Winckelmann’s from the World Archaeological Congress held in work transformed the study of art and its history, Washington, D.C., in 2003 that focused on the Roads to Rome relationship between conservation and archaeology. John Heseltine arguing for the unique importance of Greek ideals Introduction by Colin Ford for the modern world. The Restoration of Engravings, Drawings, Books, and Other Works on Paper An evocative photographic record of a series of Late Thoughts: Refl ections on Artists and journeys along the fi ve ancient Roman roads of Composers at Work Max Schweidler Italy. Edited by Karen Painter and Thomas Crow Translated and edited by Roy Perkinson Nine essays on the juncture of mortality and Max Schweidler’s seminal text on the conservation publications Sculpture Journal, Volume XIII and restoration of works on paper, originally Published semiannually, the Sculpture Journal aesthetics in the work of musicians, painters, sculptors, and architects. published in Germany in 1938, now available for features articles by leading international scholars the fi rst time in English. relating to European sculpture from the 16th Making Up the Rococo: François Boucher and century to the present. His Critics Seeing the Getty Villa Melissa Hyde This beautiful souvenir book captures the visual This book analyzes Boucher’s decline in critical delights, both man-made and natural, of the newly opinion in the 18th century and persuades critics renovated Getty Villa. and admirers alike to take another, more considered look at his work. Strong Stuff: Herakles and His Labors John Harris Rethinking Boucher Illustrated by Gary Baseman Edited by Melissa Hyde and Mark Ledbury Join Herakles, one of the greatest of all Greek Rethinking Boucher seeks to reclaim the heroes, on 12 heroic adventures in this offbeat individuality of François Boucher (1703–1770), retelling with illustrations by contemporary artist who has been so identifi ed with the French Rococo Gary Baseman. as to have lost his visibility as an artist in his own right. Seeing Rothko Edited by Glenn Phillips and Thomas Crow A collection of essays that explore the profound and varied responses elicited by Rothko’s most compelling creations, plus facsimiles of Rothko’s “Scribble Book” and an early sketchbook.

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Full-Time and Part-Time Employees during the Period from July 1, 2005, through June 30, 2006

Aaronson, Kate D. Anderson, Alison Hillary Batterham, Alellie Borsay, Leslie R. Calef-DePrizio, Jennifer M. Cerda, David A. Abbott, Brett S. Anderson, Barbara Bautista, Jesus Bostrom, Antonia N. Calfi n, Aimee Chabbi, Amel Ablaza, Claudia K. Anderson, Carolyn Gray Bautista, Preston W. Boughida, Karim B. Calfi n, Elissa S. Chacon, Cesar Abrahamyan, Rita Anderson, Gerald D. Bayee, Elizabeth A. Bouinatcheva, Zarina Caliri, Ashley Nicole Chaiveera, Panyapon Acosta, Esmeralda Anderson, Kevin M. Beauchamp, Amy M. Bourges, Ann Callahan, Patrick Chalabi, Malek Adam, Jennifer L. Andrade, Victor G. Beck, Michael M. Bourget, Aaron Callender, Molly C. Chan, Calvin W. Adams, Andre T. Andres, Edison Beckage, Donna A. Bourguignon, Elsa S.O. Calvillo, Cesar O. Chan, Lisa S. Adams, Arturo Andres, Elizabeth E. Beckman, Barrie Jeffrey Bourn, Rick B. Calvillo Ennis, Elissa A. Chapman, Kathleen Adams, Marcus E. Andrews, Kirsten N. Bedford, Christopher B. Boychuck, Steven Calvillo, Esteban Charles, Denise Adams, Michael L. Andrews, Sara Beecroft, Antonio Brafman, David A. Campbell, Carole P. Chase, Michele Adlam, Simon J. Aparicio, Ana Bell, Jonathan S. Brambila Jr, Luis R. Campbell, Eddie Chavez, Cornelio Afanador Pujol, Angelica J. Arakaki, Shannon Bell, Stephen William Brand, Michael A. Campbell, Karen F. Chavez, Eugenio Agnew, Neville Aranda, Pedro Beltran, Vincent L. Branham, Wayne Campbell, Larry E. Chayra, Leandro G. Agorrilla, Jennifer Arbaugh, Wayne Benavides, Hector A. Braunstein, Pamela J. Campbell, Suzanne Cheatham, Kirk Aguilar, Aaron Arellano, Reymundo Bender, Janice E. Bremer-David, Charissa Campos, Lesly Checchi, Robert S. Aguilar, Alfonso Argyle, Josh Benjamin, Douglas A. Brett, Beth M. Campos, Nery Estuardo Chen, Cherie C. Aguilar, Alfredo Arlotto, Viviane Meerbergen Benjamin, James M. Bridge, Kelvin Campusano, Alfredo Chen, Jennifer Aguilera, Wilson A. Armendariz, David Benjamin, Mara Brilling, Markus H. Cancino, Claudia N. Chen, Ming Aiguokhian, Henry I. Armstrong, Gizelle C. Bennett, Brett Brim, Richenda L. Canfi eld, Anita F. Cheney, James S. Alamo, Salvador Armstrong, Jolly Bennett, Stephen D. Brito, Renato Cangemi, Robert J. Cheng, Daniel Alas, Miguel Armstrong-Totten, Julia I. Bennett, Veronica L. Brodsky, Marcella C. Cantalupo, Naldo S. Chernikov, James Albertson, Aja Aronowitz, Michael C. Bentcheva, Hristinka M. Brookman, David S. Canter, Debra I. Chiari, Giacomo Albovias, Armando Arriaga, Henry G. Bergeron, Kristin Brooks, Michael J. Canton, Orlando Childress, Ahmad Alcoset, Jennifer Arriaza, Stephanie Berland, Dinah Brown, Andrea S. Carbajal, Juan Antonio Chipman, Alison Alexander, Christopher Arriola, Natalie J. Berman, Elise Anabel Brown, Brian F. Cardino, Christina P. Chipman, Jeffrey A. Alexander, Joan M. Arroyo, Katherine Berman, Jessica L. Brown Jr., Kenneth Carey, Robert Chittim, Claudia Alexander, Linda A. Arslanoglu, Julie-Anne M. Bernstein, Marge Bruehl, Eric M. Carlile, Michael E. Chon, Doris H. Alexon, Ani Asbell, Madena L. Berrios, Patricia Brunnick, Michelle R. Carlos, Christina Chou, Eunice Alexon, Peter Asistente, Rodolfo Bestow, Andrea Bryan, Marcia Carlson, Paula M. Chow, Susan Alfaro, Martha L. Avveduto, John R. Bhoi, Daniel Bryant, Cheryl Carnahan, Julia E. Christensen, Janet K. Ali, Salima A. Aycaguer, Carolyne F. Bhombuth, Somsak Bueno, Olivia Carosello, Mary E. Chua, Nehemiah O. Alkadhi, Rheim B. Ayers, Charles D. Bicer-Simsir, Beril Buenting, Renee J. Carpenter, Cathryn J. Chui, Sue Ann j. paul getty staff trust j. paul Allan, Scott Christopher Ayitiah, Victor K. Bigley, David Bullock, James L. Carrico, Charles S. Chung, Andrea Allegan, Howard M. Baca, Murtha Bird, Joshua Burden, Joel W. Carro, George Chung, Caroline Allen, Joyce K. Bach, Tuyet Bird, Susan J. Burgess, Bruce Carroll, Diana Chung, Leon A. Allen, Susan M. Bagley, Kenneth W. Bishop, Mitchell H. Burgos, Ana L. Carroll, Miranda Ciaccio, Michele L. Allison, Sophia J. Bailey, Gillian Blackmon, Pamala I. Burnett, Donald L. Carson, David M. Cipolla, Nicholas B. Almacen, Chen Balam, Tanya Blain, Rebecca Burns, Jacklyn Carter, Amanda Clardy, David M. Almeida, Erik M. Baldocchi, Susan M. Blanco, William Burrell, Teruko L. Carter, Josephine Clark, Matthew W. Alumit, Jessie Baldwin, Gordon Blaney, John M. Burton Jr., Victorio Case, Monica J. Clark, Michelle M. Alvarado, Bobby Ball, Everett H. Blecksmith-Granata, Burton-West, Tom O. Casetta, Prima Climons III, Eddie Alvarado, Emmanuel Baltazar, Thomas V. Anne L. Bustamante, Kevin Casey, Carol L. Clough, Jeanette M. Alvarez, Adrian Bannan, Gregory J. Blomquist, Melissa M. Bustamante, Ruben Cassidy, Christopher C. Cobb, Joan B. Alvarez, Lazaro Barba, Iman Bloomfi eld, Julia Busuioceanu, Onica I. Castillo, Adolfo Coburn, Erin S. Alvarez, Mari-Tere Barbarino, Mark T. Bobbitt-Galella, Renee V. Butschek, Monica M. Castillo, Elvia Marina Cody, Jeffrey Alvarez, Salvador R. Barbosa, Jose Boersma, Foekje Byam, Nicolanie Y. Castillo, Estela Cody, Kathryn L. Alvarez, Veronica Bari, Raziul Boersma, Jeremy N. Byers, Stacey J. Castillo, Heldrych E. Coelho, Antonio Cardoso Alvarez-Zavala, Alvaro Barnett, Jan E. Bogdan, Serge Byrne, Steven Paul Castro, Beatrice Cogburn, Laura Ambriz, Argelia Baroody, Reem Bogner, ReBecca M. Caballero, Alirio A. Castro, Toni Marie Cohen, Crystal A. Ambriz, Miguel A. Barreto, Kathleen Boland, Daniel Cabot, Paula A. Castruccio-Prince, Cohen, David A. Ambrus, Andras Barrett, Jeffrey J. Bonfi tto, Peter L. Cabrera, Jacqueline M. Catarina A. Cohen, Jeffrey Amirifard, Fakhteh Barstow, Kurt Bonnice, Michelle A. Cabrera, Jose J. Catalan, Roxana Cohn, Jacob I. Amorde, Susan P. Bass, Lee Boomgaarden, Jan Cabrera, Mario Cecenas, Martin G. Colangelo, Susan Amundsen, Victoria Bassett, Jane L. Bordelon, Richard J. Cain, Steven Ceja, Jose Juan Cole, Ted Ancajas, Joe C. Basu, Priyanka Borruel, Gilbert B. Calderon, Jorge Alberto Centeno, Marlon Coleman, Pamela

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F I Darlington, AndraM. Darini, Bruna Mori Dardes, Kathleen Danlag, Douglas M. Danielson, Jeannette V. Daniels, Elizabeth Dancescu, Theodore Damavandi, Nina E. dal’Ombra, Adrienne Dalgity, AlisonJ. D’Alessandro, Maria T. Dahlin, April A. Daehner, Jens Cushman, LauranceE. Curtis, Philip C. Curtis, AnnM. Cummins, Sheila Cuevas, I. Arturo Cuellar, Robert E. DavidCruz, C. Crowley, Melissa J. Crow,E. Thomas Crosby, Sally Ann Cressler, Carol Cregg, David Credle III,George V. Crakow, L. Sherry Cracchiola, Tahnee Crabb, Steven M. Covington, Jonathan C. Coulter, M. Cheryl LourdesCorzo, MarioCortez, D. JohnCortes, D. Corrigan, Shelly M. Correa, Kenneth D. Correa, Jose L. Corona, Carmen Cordova, Genevieve Cooper, RickJay Cooper, Jack R. Cook, ChristineA. Conway, Mikka G. Contreras, Trinidad Contreras, Nolberto Conte, John N. Considine, Brian Comeau, CatherineA. Combs, Robert Combs, Margaret A. Colon, Joel A. Collins, TashaL. Collins, Matthew S. Collins, KristenM. Collier, TerryJ. N A L . i n d d

9 3 Drew, Steven Dragon, Judy Downing, Wendell Downing, Eugene DowdLoisann White, Doss, AnnetteJ. Doscher, Nickolas A. Dordi, Zarir H. Donovan, Kris Donovan, Carol A. Donougher, AngelaC. Donohoe, John P. Donnelly, ChristinaM. Donnell, Dean Dondoe, Sofi Donaldson, Robert Dominguez, Andres Domineck, Archie L. Doherty,M. Tiarna Doettger, Monica S. Doehne, Eric Dirden, Stepheny Dillon, Theresa Dillin, Judith Dilbert, Ryan A. Dietrich, Kristina Dickerson, Daniel Diaz, Juan Diaz, Abelino DeYoung, James Dew, James E. Devlin, James Devine, Kiyoko L. Descamps, Francoise M.M. Derrien, LoraChin Dennis, LauraA. Dennig, Ellen A. Denness, Susan Demas, Martha DeLand, Susan C. DeHart, Michael D. DeFinis, Arlene de Wit, Wim de Souza, Daniela P. De LosSantos, Dexter A. de laRosa, Gabriella de laPaz, CarlaL. De Jesus, Adonis A. Davis, LaurieD. Davis, Larry Davis, CatherineL. Davis, Brian Davis, Adrienne A. David, Jed Christopher Daus, Michael Sudaria a Fang, Wai LapEdmond Fajardo, Francisco Faison, Beverly Fairley, Jessica R. Fair, Bryan T. Faber, Harriet L. Eyerman, CharlotteN. Evans, Stephanie C. Evans, Pnina Evans, Peter Evans, Georgina M. Evanoff, Kathleen Evangelista, Gilbert Etheridge, Joyce M. Estrada, Omar Estrada, Diana Gonzalez Estaya-Dumpit, Marissa Eskin, CarlyE. Escobar, AngelaM. Escandon, James R. Escamilla, Elizabeth Escalante, Jason C. Ann Erwin, Y. Erichsen, Peter C. Eppich, RandyR. Enneking, Nancy E. Engel, Joseph W. Engel, Emily Elm, Matthew J. Ellis, ToddE. Ellis, Kevin Elliott, Nathan G. Elliott, Diane Elfl Eidimtas, Helene M. Katherine Eggert, Edwards, Susan E. Edwards, Rock Edwards, Rebecca M. Edwards, Judith P. Edson, Lauren E. Easterbrook, Robert Easley, Michael E. Dzhandzhapanyan, Hayk DuVernet, TracyE. Duran, Ruben Dunn, Ronnie Dunlop, KathyJ. Dunlop Fletcher, Jennifer Dumas, Robert E. Duff, TeresaS. Dudley, Dionna Denise Druzik, James R. Drolet, Jennifer Drobka, Jim G. ine, Ross K. Freeman, Hassan Freeman, S. Cheryl Freeman, Brian G. Freed, Rosanne Rudin Fredrickson, Patrick O. Frausto, Sergio Franzman, Brandi R. Franklin, Brandon Kyle Frank, David E. Frabizio, Rebecca A. Fox, William Fox, LoriE. Fowlkes, Ryan C. Fowler,G. William Foster, ChristopherA. Foster, A. Cheryl Forrest, LorraineK. Forrest, James B. Ford, Terence Ford, Stephanie L. Fong, Kecia L. Fogelman, Peggy Flynn, Robert Flores Sr., Robert Flores Jr., Jesse Flores, Ralph Flores, Narriman R. Flores, Mary Flinker, Julia R. Fleming, Michael D. Flauta, James L. Flaten, LeotaJ. Flanagan, Susan J. Fish, Guy C. M. Fink, Therese Figueroa, Yanina Figueroa, ChristineM. Figueroa, Celine Fife, Scott Fields-Cosey, Micah L. Field, Henry T. Ferrer, Eddie D. Ferrari-Edwards, Daniela Fernandez, LiliaE. Ferguson, Melanie S. Ferguson, Kenneth Lee Feldman, ToddE. Feigenbaum, Gail Fedel, LeonieF. Fayton, Rodney R. Favis, Francisco Manalon Faulkner, G. Larry Farrar, John Farneth, David P. Faramazova, Ruzanna Gershman, Zhenya Gergen, Melena George, James Felix Gendreau, Joseph Gemmel, Steven C. Gellner, Michelle L. Geller, Shira M. Gelberg, Graham G. Gertrude Geeraerts, Gee, Brian Geana-Bastare, M. Albert Garfi Gardner, Stephanie H. Gardner, David P Gardner, Cecily Garcia, Sandy Garcia, Ross A. Garcia, Rico Garcia, Piedad Garcia, Pedro Garcia, Oscar A. Garcia, Julio Garcia, Jesus Garcia, Gregg J. Garcia, Estuardo Garcia, Daniel Garcia, Benjamin Garcia, Ben G. Garbade, Steve B. Gameros, Jose A. Gam, Jay M. Galvez, Jose M. Gallardo Jr., Julian Gallardo, Ruben Gallardo, Julian Galindo, Michael E. Gale, John L. Gaines, KathleenM. Gad, Rogene Furnier, RandyM. Furmanski, Jonathan C. Furman, Andrew Michael Furbush, Barbara L. Funes, YaniraF. Fulton, Diane L. Fujita Seki, ChristyA. Fujimoto, Jane Fuhrer, CarrieA. Fuentes, Matias Friend, Eric Duvone Friedl, RaymondE. Friedenberg, Barbara M. Fridman, Anatoliy Frias, Ronald S. Freilich, Laurie nkle, Gwynne Griffi Griffi Griffi Greenwood,L. Tisha Greenwood, Gretchen M. Greene, Shane H. Greenberg, Mark D. Green, M. Marvin Green, Jean Grecco-Carrera, Michael Greathouse, Valerie Graziadei, Philip F. Grayson, KimraA. Gray, Oren L. Gray, Anthony Grasty, KarissaL. Grandinetti, Gerard Graham, ValerieA. Graham, Colleen Gordon, P. Hillary Gordon, Carl Gordillo, Oscar Leonel Gooszen, Jennifer K. Gonzalez, Steve Castro Gonzalez, Roberto J. Gonzales, LennyJose V. Gonzalez, AgustinZ. Gomez-Rejon, Maite Gomez, Rita Gomez, Pedro Gomez, Joshua Nathan Gomer, Timothy Golding, Kelli A. Goldfarb, Steven F. Godlewski, Cynthia A. Glover, Jennifer Glickman, David L. Glazier, Alison Glatstein, Jeremy V. Glab, Jeff G. Giviskos, ChristineS. Giurini, Giancarlo A. Gilson, Patricia Gilman, Benedicte Gilliom, ShaVaughn R. Gillette, Marilyn L. Gilkey, David L. Gilchrist, Victor Gilbert, TracyR. Gilbert, Maria L. Gilbert, Barry Gil, Douglas F. Gibbs, Quinn T. Gibbs, Jocelyn Ghaznavi, Mahnaz th, ScottL. n, Michael R. n, Cynthia 44/9/07 4:51:20 PM / 9 / 0 7 93

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Grijalva, Sergio A. Harty, Lois Hoofard, Ray T. Johnson, Kari E. Khanjian, Herant Langston, Gerald Grimaldo, Cristian O. Hatam, Mahsa Hook, Thomas D. Johnson, Kathleen M. Kibler, Kathleen Lanzoni, Karin Griswold, William M. Hatﬁ eld, Paul Herbert Horey, Frank Johnson, Pamela Kibler-Vermaas, Elsje R. Lapatin, Kenneth D. S. Gross, Valerie V. Hauser, Kurt Hormell, Eric J. Johnson, Renee Kiffe, John Bertram Lapid, Edmon F. Grossman, Janet B. Haydn-Jones, David Horton, Emily Elizabeth Johnson, Robin E. Kikuchi, Patricia S. Latimore, Tyrone Grout, Michael F. Haynes, Lynette T. Horton, Virginia M. Johnson, Sandra H. Kilaﬁ an, Hakop Jack Lavasani, Nouchinne Grunca, Cristian A. Heath, Pamela L. Hortz, Amy Jill Johnson, Waymond Kim, Angie Lavie, Nora M. Grzywacz, Cecily M. Heckert, Virginia A. Hosford, Jason B. Johnson-Hall, Alexus Annie Kim, Jee Yeon Lawrence, Michelle D. Guerra, Giancarlo Daniel Hede, Deborah E. Houghton, Katherine Johnston, Ian T. Kim, Sarah J. Lazar, Diane Guerrero, Jesse Heger, Jeffrey L. Quincy Johnston, Kyle Kincheloe, Linda M. Lazo, Ronald G. Guerrero, Josue Heginbotham, Arlen S. Howard, Christopher Patrick Jones, Cynthia Kindred, Lakishi Lashon Lea, Aaron Guerrero, Roberto Heinrich, Helen Howard, Roger Jones-Adams, Natasha King, Sharon Leaper, Laura E. Guillen, Frances Heinzerling, Leigh D. Howard, Oriant Juarez, Steve King, William W. LeBeau, Mary Elizabeth Gumlich, Albrecht W. Henderson, Davina M. Hu, Scarlett July, Jesse N. King-Schlegel, Kelly LeBlanc, Francois Gunson, Alison Henderson, Mark A. Hua, Allison C. Junius, Mark Anthony Kinnard, Aisha S. Ledbetter, Dale A. Gupta, Shailendra Hendrix, Marjorie L. Hubbard, Sally A. Jurado, David Kinseth, Bettijo Leddy, Annette Gurman, Michelle L. Henry, Randall Hudson, Christopher Jussen, Tobias Kirby, Suzette Ledebur, Chenani Gutierrez, Lorenzo Hensley, Tracy L. Huerta, James Justh, Ilan Kirk, Kara D. Lee, Hae Min Gutierrez, Maria I. Hernandez, Carol Hughes, Christopher G. Kacey, Michael Kirrene, Molly Anne Lee, Joyce J. Gutierrez, Raul A. Hernandez, Cristina Hughes, Gary J. Kaestner, Scott C. Kish, Jack L. Lee, Yu P. Gutierrez, Veronica J. Hernandez, Florentino Hukill, Kim E. Kahn, Elizabeth C. Kishi, Joli Leiva, Jose Manuel Gutierrez Ramos, Benjamin Hernandez, Juan Carlos Hunt, Lawrence P. Kai-Kee, Elliott Kishi, Laurel Lenert, Deborah L. Guy, Michelle A. Hernandez, Mauricio Huseby, Diane Kajitani, Loren Kissinger, Megan A. Leon, Robert Guynn, Beth Alfredo Ibragimov, Tagi Kalutarage, Ajith Klikoff, Lisa A. Leonard, Mark Guzman, Aureliano Hernandez, Salvador Ingraham, Tricia N. Kane, Paul M. Knight, Sarah Michelle Leonard, Paul B. Guzzardi, Susan V. Hernandez Jr., Rito Iniguez, Anabel Kaneshiro, Lynne R. Knox, John Eldon Lepp, Deborah A. Guzzetta, Elizabeth K. Herod, Samuel Irik Jr., Harry Kaneshiro, Michael T. Koch, John D. Levey, Robert Ha, Ngok L. Herrera, Baltazar Isolde, Ann Kang, Sue S. Koenig, Danielle L. Levin, Jeffrey L. Hackney, Billie G. Herrera, Johana Ito, Flora F. Kao, Sherie Koff, David Levy, Shlomy Hahn, Carol Herrera, Omar Jace, Glenn Kaplan, Arthur Konick, Steven B. Lewis, Katherine Hall, James Matthew Herron, Esther Jackson, Jason B. Kari, Marilyn R. Kono, Stephanie Lewis, Laura Gavilan Hall, Oliver Herschensohn, Brigitte Jackson, LaDoris G. Karni, Rebecca Konstantine, Steven Lewis, Rael A. j. paul getty staff trust j. paul Hallahan, Sarah Kate Hess, Catherine Jackson, Percival Karos, Stephanie Korst, Pamela Lewis II, Nathan Levi Hamill, Mary M. Hibbard, Sally Jacobo, Ricardo Karraker, David Gene Kowalewski, Gus G. Liao, Linda Hamma, Kenneth Hibler-Kerr, Rio H. Jacobs, Christopher S. Karratti, Paul H. Krawczyk, Jesse Libra, Timothy P. Hammers, Michael C. Hickey, James Jacobs, Thomas D. Kaushal, Rajinder P. Kren, Thomas Liebscher, Richard H. Han, Kathie V. Hickman, Brent Jacoby, John M. Kedward, Jessica J. Krier, Mark J. Liermann, Donna L. Hanna, Gwen J. Hicks, Philip G. Jacutin, Hector Earl Keene, Lionel Krikorian, Hripsime Lile, Stephanie Hansen, Eric Higgins, Carolyn E. Jamerson, Tito Keithley, Susan A. Krueger, Ronald J. Lilien, Robin R. Hardy, Mary K. Hillen, Charles F. James, Culvert Kellen, Jennifer Kudyk, Christopher Lin, Lucy Hargraves, Michael Hillier, Judith R. Jammu, Raghwir S. Keller, Judith Kuliesis, Zita V. Lind,Aimee C. Harlow, Rudolph Hiro, Rika I. Jaquias, Joseph Keller, Michelle C. Kumar, Raj Lindsay, Michelle A. Harnly, Marc Hirst, Leslie Jaspal, Praneet Keller Blum, Amber Kunny, Adella C. Linker, Amy Harpring, Patricia Hithe, Eric J. Jeffries, Mary Kelly, Kevin P. Kunz, Yasimin Linn, Dorothy J. Harrell, Thomas M. Ho, Emily Jenkins, Denise Kelly, Kristin A. Kurland, Norman A. Liou, Benjamin H. Harrington, Charles Hodgson, Tahnee M. Jeong, Won Seok Kelly, Melissa L. Kussro, Roger A. Lipscomb, Raymond S. Harris, Carolyn Hoffman, Whitney R. Jesuele, Barbara A. Kendrix, Stefan La Bon, Tyrone Daniel Lira, Michael D. Harris, John C. Hojda, Steve Jewett, Richard L. Kent, Christopher D. Lacey, David A. Llamas, Julian Harris, Keala M. Holloway, Sally Jimenez, Jessica Kent, Surinder Kumar Lacoste, Anne C. Lockaby,Kristina M. Harrison, Ann B. Hollowell, James L. Jimenez, Myriam L. Kerr, Maurice Lai, Nhon Tri Locke, Alison S. Harrison, Autumn Holtman, Mary Jimenez, Patricia Kesterson, Casie N. Lam, Baco Y. Loder, Dominique Hart, Mary L. Homer, Jennifer J. Johnson, Anthony R. Keszek, Rosalie G. LaMori, Barbara Logan, Judith P. Hart, Timothy M. Honda, Margaret M. Johnson, Donovan U. Ketner, Paige-Marie B. Landry, Lucette Lohmann, Kathleen Hartman, LJ Honeysett, Nicholas K. Johnson, Erik D. Keys, Anita D. Lane, William Y. Lopez, Amando Hartwig, Myron A. Hong, MiJin Johnson, George Khadem, Kashmira Langdon, Merilee A. Lopez, Christina

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F I Marrow, Deborah Marr, WarrenL. Marmor, Jonathan Mark-Walker, Diane A. Marino, Theresa Margolis, Bree E. Margherita, Robert Marchesano, Louis Maravilla, Rigoberto Maravilla Ramos,Jose L. Maravilla, Rafael Mapes, Maria C. Mansilla, CarlosA. Mandel, Jane H. Malsbury, KateE. Maldonado, Alejandro Maish, Susan Lansing Maish, Jeffrey P. Mahal, AjitS. Maekawa, Shin Madden, Barbara Ann Macro, Jennifer S. Mack, Rainer T. Mack, Ernie Macias, Cesar Macias Carreon, Pedro Machado, CheA. E. Macek, Kathryn Lyons, Claire L. Lyons, Augustine Gail Lynch, Cecil Lyden, AnneM. Luna-Lopez, Leonardo Luna-Alvarez, Juan Carlos Luna, Jose Luna, Gabriel Luna, Arturo Luftschein, Susan Elise Ludmer, Joyce P. Ludden, John A. Lucke, AnnM. Lu, Joey Yong Lowry, McKenzie D. Lowman, Justin C. Lovett,Gregory Victor Lovell, James A. Louw, Kathleen Lotspeich-Phillips, Irene A. Lorenz, Catherine Lopez, Sonia Iris Lopez, Sharon Lynn Lopez, Rogelio Lopez, Robert V. Lopez, Joseph H. Lopez, Francisco N A L . i n d d

9 5 McNeil, Tim McNamara, AnnE. McNally, Nicholas McMahon, Janel L. McLin, Gregory Stewart McLellan, Elizabeth Molly McLaughlin, Chester W. McKinlay, Stewart M. McKean, Gary McKay, Sally McHugh-Dennis, John R. McGrew,A. Timothy McGrath, Marty Jo McGonigle, Colleen McGlynn, Maureen B. McGinty, Susan M. McFadden, John McDowell, Rikki McDonald,A. Tim McDermott, Alexander McDaniel Jr., David Lamar McCormick, Iain C. McCormick, David H. McCollum, Tanya McCarty, Nelicia Y. McCarthy, Sarah McCall, Letotia McBride, Toney T. Mazurek, Joy B. Mays, Jainine D. Mayo, Claire Mayeda, Jenny May, Joseph E. May, Elizabeth V. May, Akemi Matundan, LeifHenson Mattison, M. Gary Matosian, AniL. Matos, Antonio Matla, TarasW. Mather, Eileen C. Masters, James Massey, David A. Martirossian, Martik Martinez, Oscar R. Martinez, Lucinda D. Martinez, Hilary Martinez, AnthonyJamie Martinez, AnthonyE. Martineau, Paul Martin, Rebecca R. Martin, Juan Martens, AnneP. Marshall, Kevin L. Marshall, AnnE. Morales, Oscar Mora, Federico Moore, Rory Moore, Kieron Moody, Ellen Anne Montoya, Natalie Montez, Idalia E. Montes, Oscar Montecino, Frank E. Molloy, AmitaS. Molina, Joe Mokslaveskas,P. Virginia Mokhtari, Arya Levon A. Mkrtchyan, Mizumoto, Patrick Miyagawa, Stacy L. Mark Mitton, Mitrache, Andrei I. Mitchell, Michael L. Mitchell, Dacia N. Miskirchyan, Marianna Mireles-Raya, Eduardo Mireles Jr, Carmen Minor, Brian J. Miner, Carolyn H. Miller, Meagan E. Miller, G. Gary Miles, John R. Mihalopoulos, Catie Micklewright, Nancy E. Miao, Jane J Miao, Jean T. Meza, Ron Meyners, Michael Meyers, AmyE. Meyer-Roux, Karen J. Metro, Bruce A. Mesquit, Teresa Meredith, Phillip A. Mercer, CharlesA. Mercado, Albert Meneses, Mario R. Mendez, Marco A. Mendez, Karen Mena, Debra A. Memon, Umer Melnick, Robert Melendez, Paul E. Medock, Jeff Marie Medina, Jacqueline Ann Medellin, Lazaro C. Medellin, Jesse Cecenas Mechanic, David J. McRory, Dan Nowlen, Philip M. Norton, Michelle Norman, ChristopherJ. Norman, CassandraM. Nolan, LindaA. Nolan, Ana Myat Noe, Nipper, Kelly Niles, Jane L. Niepomniszcze, Silvina R. Nichols, ChrisP. Nguyen, Minhlinh Nguyen, Christine T. Nevarez, Martha Nevarez, CesarA. Nenasheva, Natalya A. Nemeth, Erik J. Nelson II, William F. Negrucci, TeresaD. Neal, Karla Navarro, Richard Nava, Danny Naranjo, Richard Nanni, Matthew Nannarone, Mariana Nanakorn, LisaN. Namowicz, Carole Namdari, Nasrollah Nakano, Judy Nakama, Steve Weston Naef, Myrth, Judith Gray Myers, David K. Murphy, Kevin F. Murphy, Jill K. Munoz, Gregorio Munoz, Aldo Muniz, ChristopherE. Munitz, A. Barry Mundo, Frank Moye, R. Bryan Moultrie, Dante Mossbacher, John M. Moss, J. Gary Moses, Stanley K. Moseley, TomL. Morton, G. Mary Morrison, Elizabeth D. Morris, Claire Suzanne Moritz, Thomas Morishita, Emily A. Moribe, Stanley K. Moreno, Tony Moreno, Soraya F. Moreno, Jessica A. Pecoraro, Joseph C. Pearce, Erica Paz, Jose L. Paz, Humberto Pauna, Melissa Ann Paul, Tanya Patti, Brett J. Patt, Jason M. Patel, Bhupendra S. Pate, Darrell K. Pastides, KatharineC. Pascua, Rey P. Pascascio, LawnyaAnn Parrott, Brett Parks, Jeremy L. Park, Roy J. Pardo, Patrick E. Paradise, Joanne C. Panzanelli, Roberta G. Pangilinan, RaulM. Pandy, Jasmin Marie Pamp, Adrienne M. Palma, Monica Palacio, Aaron Jevon Pajo, Rufo N. Pace, George Oxford, Diana L. Ott, Jennifer A. Ostoich, Fernando Ostergren, Gail A. Osako, Yasuhiro Osaki, Dorothy T. JulioOrtiz, R. DouglasOrtiz, A. MichaelOrth, J. RogelioOrtega, Orozco, Gladys A. Orozco, Aura O’Rourke, Jillian E. Oropeza, Rogelio Orlov, Natalie Omote, David Olsen, Christina Olliffe, Lawrence Olinger, TerryE. Olayemi, Franklin S. Okubo, Wayne Okamura, Ivy Oelheim, Phoebe Odionu, ChristineR. Ocon, Saul RichardOchoa, Gary O’Byrne, Michael Obphrachanh, Akbadeth Nunez, Evangelina Pulido, Juan Carlos Puleo, Joseph Prospero, Sheila Prince, Claude Price, Merritt Prescott, Leah Prescod, Jacqueline Prado, Ray Prado, Michael Prabulos, Stephanie L. Poulson, Rynna Poss, Janice L. Posner, KatrinaE. Porter,G. Vicki Popok, Isak Popadic, AnneC. Polshina, Yana Poll, Michael Poggi, Isotta Podhajsky, Mark E. Podemski, Brenda Podany, Jerry Pitpit, Wendell Pirtle, Alma Pircher, Christopher L. Piper, Michelle M. Piper, Melissa Pinto, Orlando Pinelo, Darcy L.E. Pilla, Mary W. Pierson, Jennifer B. Phillips, Glenn R. Phillips, Eric C. Philion, TamiR. Petrakis, ChrisH. Peterson, Sena M. Peterson, Andrea V. Peters-Conway, LouellaJ. Perzi, Micheal A. Person, Michele Perryman, Ernie Perri, BoneshiaR. Perloff, Nancy L. Perkins-Smith, Stacy L. Pericone, CathyL. Perez Alvarez, Jose Efrain Perez, Joshua Perez, ArmandoA. Perez, Amilcar Perez, Adrian Michael Perchuk, Andrew J. Perassolo, AngiolettaA. Pepdjonovic, Steve Penman, Adeline M. Pedrosian, Annette 44/9/07 4:51:21 PM / 9 / 0 7 95

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Pulido, Oscar Rodriguez, Avis C. Salomon, Kathleen E. Serrano, James T. Solorzano, Jesus Rafael Taylor, Randy L. Quezada, Jesus L. Rodriguez, Carlos Samson, Noel L. Serrano, Nelson Somerville, Linda W. Taylor, Vanessa S. Quiles, Carissa Rodriguez, Cruz Sanchez, Amalia Romero Serur, Tracy Sones, Anna C. Tchaitchian, Sahar Quillian III, Benjamin Rodriguez, German Sanchez, Eduardo Servatius, Pamela Sorasithi, Anthony Tenney, Jill E. Quine, Kristen S. Rodriguez, J. Pablo Sanchez, John Sesar, Joshua B. Soria, Joseph R. Teresi, Donald R. Quintana, Milton A. Rodriguez Jr., Joe A. Sanchez, Jose H. Severance, Betsy Sosa, Francisco Terpak, Frances Rainer, Leslie Rodriguez, Leon Sanchez, Juan Sevillano, Carlos F. South, Ellen Tesoro, Alfredo Rajkumar, Nirmal Rodriguez, Melissa Sanchez, Milo J. Sexton-Josephs, Karen Spektor, Svetlana Teter, Patricia Ramirez, Oscar Rodriguez, Reynaldo Sanchez, Rodrigo Seydl, Jon L. Spencer, Wilbur Teutonico, Jeanne Marie Ramos, Crisaldi Rodriguez, Rodolfo A. Sanders, Anthony M. Shabanzadeh, Nazanin Spencer, Travis Edward Therrattil, Lianne R. Ramos, Daniel G. Rodriguez, Ruben Sanders, Dirk H. Shaffer, Stephen C. Squire-Bailey, Andomeria L. Thomas, David A. Rangel, Elizabeth M. Rodriguez, Sandra J. Sanders, Marvin M. Shah, Purvi H. St. Laurent, Stephen Thomas, Willie Rangel, Roberto Luna Rogers, Everett S. Sandoval, Elizabeth M. Shahinian, Ohannes G. Stabile, Jason A. Thompson, Arthur Rangel Jr., Ramon Rogers, Michael G. Sandoval, Ilda Shamji, Janak Jay Stanaway, Carl Isaac Thompson, Jennifer P. Rasura Jr., Ricardo E. Rogers, Robin A. Sanford, David Shapiro, Peter Stang, Shawn E. Tilghman, Rebecca Raya, Jose Rojas, Irma Sanger, Kelly Grace Shayer, Jillian Steele, Martha L. Tillekeratne, Raya, Victor M. Roll, Ann Jacquelyn Santos, Antonio C. Shea, Micaela Stefura, Vladimira W. Liyanaarachchige Malinda Razi, Parham Rollins, Leslie Sapenuk, Anna Sheridan, Matthew P. Stehle, Cary L. Tillman, Michelle Real, Nancy D. Romero, Francisco J. Sarabia, Ivan Sheriff, LaMarkus Stein, Jannon Sonia Timme, Katherine A. Reams, Andrew Joseph Romero, Gabriel Sarish, Vincent Sherman-Jones, Helena L. Steinsapir, Ann I. Tirnanic, Galina Reed, Marcia Romero, Harriett L. Sarkisyan, Arega R. Shields, Karen Stejskal, Gunter F. Tjomsland, Lynne A. Reel, Edward Romero, Juan Schaefer, Scott J. Shipman, Janet Stephan, Annelisa C. Toffe, Lee I. Regan, Sandra K. Romo, Gerardo Schafer, Sabrina K. Shirvanian, Razmik Stephenson, James E. Tokofsky, Peter I. Reilly, Mary Romo, Michelle Eve Schilling, David J. Shiverdecker, Robert Stewart, Lance T. Tolar, Melissa A. Reinis, John Romo, Tony F. Schilling, Michael Shoemaker, Michael J. Stokes, Karen Tomaskesis, Anet A. Requena, Vincent Rose, Antoine M. Schlosser, Sabine B. Shreves, Thomas E. Stone, Mark C. Tomilko, Yevgeniy Reyes, Carlos Agravante Rosenbery, Ellen M. Schmidbauer, Erica Shtromberg, Elena Storey, Jeanette M. Tomlinson, Alan Reyes, Darwin B. Ross, Jack Schmidt, Eike D. Shubitowski, Joseph M. Strickler, Stacey R. Tompkins, Susan M. Reyes, Emily Ross, Robert L. Schmidt, Karen Silverstrom, January K. Stulik, Dusan C. Topalian, Linda Reyes, Lester F. Rossow, Charles A. Schodt, Elisabeth A. Sim, Magdalene G.M. Stutts, Romita Topper, Julian Reynolds, Matthew M. Rubinstein, Melissa J. Schow, David Simmons, Carolyn D. Suh, Minna H. Tormey, William R. Rhoads, Thomas W. Rubio, William F. Schrad, Michelle Simmons, Rebecca S. Sulprizio, Chiara Torres, Obed E. j. paul getty staff trust j. paul Riback, Kimberly B. Rudolf, Esenija Schrader, Stephanie Simon, Chloe Sumilang, Joselito E. Torres, Rene Rice, Amy K. Ruhr, Michael T. Schreiber, Barbara M. Sims, Julio C. Sundquist, Susan M. Torres, Rosio J. Rice, Michael L. Runyons, Thomas P. Schroffel, Laura C. Singh, Nindapal Sutham, Supatra Toth Jr., Tom L. Rice, Pamela A. Rush, Tasha Tamika Schuchart, Christine L. Singh, Pancham Sutton, Gloria H. Tovalin, Juan D. Richards, James M. Rusk, Marianne C. Schuster, Tracey L. Singh, Rani Svetlik, Michael Kathleen Tovar, Carrie E. Richardson, Christopher Russakis, Barry J. Schwartz, Kristina A. Singleman, David Svoboda, Marie Tradowsky, Christopher M. Rico, Sharon L. Russell, Nancy J. Schwerin, Ginnell N. Slack, Jerry Swain, Lynce B. Tranner, Julia Riddle, Matthew J. Russell, William Schwerin, John B. Slavin, Vladimir A. Swallow, Sara Trautwein, Mary Beth Riley, Sallie A. Saakyan, Asmik Scott, Emily Smiri, Hassane Swarts, William N. Trejo, Brenda Ringgold, Deborah Sackett, Mary Reinsch Scott, Stefanie W. Smith, Barbara A. Swetland, Luke J. Trentelman, Karen Rios, Cipriano Sadikhov, Farhad Seale, La Toya Laurae Smith, Brenda A. Swimmer, Steven S. Trento, Robin L. Rios Jr., Luis Saenz, Ronald Sealey, Mark K. Smith, Donald Danny Szafran, Yvonne Trinidad, David C. Risser, Erik G. Safer, Lea Sealy, William B. Smith, Elizabeth M. Tagami, Kelly L. Trowbridge, Cameron E. Rizzo, DaNetta Sahagon, Jomar Sears, Julia Smith, Gysla S. Takamatsu, Christina Trudeau, Nicole L. Roberson, William Kent Salas, Charles G. Sebastian, Ruben L. Smith, Jovita T. Talbot, Annette I. True, Marion Roberts, Jeanne M. Salazar, Arnel See, Jonathan K. Smith, Michael J. Talledo, Medardo D. Trujeque, David J. Roberts, Michael V. Salazar, Aurelio Segler, Bruce Smith, Michael John Tani, Emily C. Trujillo, Mark L. Robinson, Jessica Salazar, Christina G. Segler, Christina C. Smith, Ronald A. Taniwal, Wazir Tseng, Jean Lee Robinson, Kenneth Salazar, Eliseo Medellin Seko, Michael Kenji Smith, S. Corbin Tapia, German J. Turner, Amber E. Roby, Thomas C. Salcedo, Eduardo G. Semtner, Nancy A. Smith, Stanley R. Tas-Ten, Peter Turner, Iyesha Rock, James Salcido, Julio A. Senga, Eidelriz Smith, Tyrone V. Taylor, Anne C. Turner, Michael L. Rodarte, Salvador M. Salcido, Nestor Senkevitch, Tatiana V. Snell, Carol A. Taylor, Erin Turner, Nancy Rodriguez, Ana M. Salisbury, Elizabeth A. Serna, Eriberto T. Soleau, Teresa Taylor, Katherine Turriaga, Adalberto M.

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F I Walton, Marc S. Walter, L. Hilary Walsh, Sean Waller-Wing, Barbara Walker,Lamar William Walker, Andre Walia, Niranjan Walder, Justin Michael Walbye, TedR. Walby, Maureen A. Wainwright, David L. Wahi, Sapna Vuilleumier, Gerard Vriethoff, Gregory Vo, TuanH. Vo, Reagan V. Vivens, Michael Villena, ChrisSimon Villatoro, Dinora Delcarmen Villania, Marlon G. Villaneda, Ricardo Villalobos, Patrick M. Viereck, Julie C. Vieira, Leandro Felipe A. Viands, Kathryn Vera-Martinez, Rebecca M. Velez, Maria J. Velasquez, Norma E. Vaughns, Naimah Vatman,E. Victoria Vasquez, Angela Vasquez, Agripina Vargas, Valentin Vargas, Rodolfo C. Vanderpool, James L. Vandenberg, Nicholas Van Zyl, Debi Van Fleet, ChristopherH. Vallejo, RaulC. Valladares, George Valentino, Rodolfo Valenta, Deborah A. Valdez, Jackie Valadez, Jose L. Vadala, Stacy-Ann Uy,F. Victor Uy, Reuben L. Ursic, Jaime L. Urrutia, Rose Urrutia, Rosa Maria Uejo, Ron Udwin, Elizabeth Nancy Tyner, Tyner, Kathryn Tyan, Paul R. N A L . i n d d

9 7 Williams, Donovan R. Williams, Debra Williams, Brenda Wilkins, Amy Wilcox, Shirley O. Wight, Karol Wiebe, Jeff R. Wholihan, J.David Fitin Whittaker-Bey, Rasheedah White III, Theodore R. White, Richard White, Philip Whitaker Luce, Adrienne L. Whisnant, Diane M. Hawxhurst Wheelock, William Wheeler, TobeyWarren Wheatley, Guy Wheat, Richard L. P.Whalen, Timothy Whalen, Maureen T. Westad, Kimberley D. West, Jillian L. Wells, Bradley W. Welch Howe, Kathryn Welch, Stephan P. Weissberger, Robin A. Weisblatt, Beverly Weintraub, Marisa N. Weinstein, Joan Weinberg, George Weddle, Candace Weber, Jack V. Weber, Erick Weber, Eric Bayron Weaver, Jeffrey Weaver, Anwar Weakland, Patrick L. Wax, Neil Jeffrey Watson, Suzanne Watson, Stephen L. Watson, AnneS. Watanabe, Lena Washington, WandaJ. Washington, Medicus N. Washington, E. Darryl Warning, Gary Warner, Cristina Ware, Kenneth Ware, Cristi R. Ward, Jonathan R. Ward, Jesse G. Wang, Linlin Walton, Robert J. Yuskoff, ClaudiaE. Yue, Genevieve Yudell, Lynn D. Young, Sylvie Young, Patricia A. Young, Kevin M. Young, AntwoneD. Yocco, Nancy Yeo, Beng Lin Yeboah, Edmund O. Yazdzhyan, Musheg Yamazaki, David S. Yamada, Naomi Wung, Jonlin Wulffson, Jennifer S. Wu, Philman M. Y. Noel Wu, Wu, Edith Wu, Audrey Ellen Wright, Marcus C. Danganan Wright, Christopher Woronec, Dana V. Woollett, Anne T. Woods, DeVaughn Woods, Christopher Woodruff,Marie Tia Woodruff, David Woodland, Jimmy L. Woodard, Will Woodard, Jermaine Wongsatittham, Kathaliya Wong, Sonja Wong, Lorinda Wolfe, Julie P. Wolf, Gordon Andrew Witt, TracyG. Wiseman, AnnabelleS. Wirchanske, Peter M. Winterrowd, ScottM. Winterhawk, Susanne Wingate, Alice Winder, Michael R. Wilson, Matthew G. Wilson, LillianElaine Wilson, Laurie Wilson, Karen M. Wilmering, AntoineM. Williamson, Heather-Rose Williams, Petrus T. Williams, KatherineS. Nathaniel Williams, Jefferson Williams, James M. Williams, DwayneN. Zwack, Jesse Zuralski, Isabella A. Zozom, Elizabeth Marc Zorn, Zolkosky, Erin R. Ziman, Stacy Zilinskas, Annette Zhitomirsky, Polina Zenner, ChristopherJon Zelljadt, Katherine Zarate, Jose L. Zarate, Jacqueline Zamora, Gabrielle Zak, Jacqueline Zaidman, Natasha Zagorski, AnnaM. 44/9/07 4:51:21 PM / 9 / 0 97 7

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Board of Trustees, Ofﬁ cers & Directors (as of June 30, 2006)

Board of Trustees Offi cers & Directors John H. Biggs Deborah Marrow Chairman Interim President and Chief Executive Offi cer Louise H. Bryson Bradley W. Wells Vice Chairman Vice President, Finance & Administration Ramon C. Cortines Peter Erichsen Vice President, General Counsel and Secretary Lloyd E. Cotsen Vice Chairman James M. Williams Vice President and Chief Investment Offi cer Agnes Gund Ron Hartwig Joanne C. Kozberg Vice President, Communications Luis G. Nogales Thomas Crow Stewart A. Resnick Director, Research Institute William E.B. Siart Michael Brand Director, Museum Mark S. Siegel Joan Weinstein Peter J. Taylor Interim Director, Foundation Jay S. Wintrob Timothy P. Whalen Director, Conservation Institute Trustee Emeriti Kenneth Hamma Executive Director of Digital Policy and Initiatives John F. Cooke Robert F. Erburu Chairman Emeritus John T. Fey David I. Fisher David P. Gardner Chairman Emeritus Gordon P. Getty Vartan Gregorian Helene L. Kaplan Jon B. Lovelace Chairman Emeritus

Herbert L. Lucas officers & directors of trustees, board Stuart T. Peeler Rocco C. Siciliano Jennifer Jones Simon J. Patrick Whaley John C. Whitehead Harold M. Williams President Emeritus Blenda J. Wilson

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 9999 44/9/07/9/07 4:51:254:51:25 PMPM 100 J. Paul Getty Trust Financial Information

$5.6 $5.6 $5.2 $5.1 $4.9 $4.7 $4.8 $4.3 $4.4 $4.3 financial information 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006

Endowment Value Amounts in billions

Footnote: Endowment Value is from Financial Statements and includes investments net of payables and receivables, investments loaned under a securities lending agreement, and it excludes investments whose use is limited.

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 100100 44/9/07/9/07 4:51:264:51:26 PMPM 101 Statements of Financial Position June 30, 2006 and 2005

Amounts in thousands 2006 2005 Assets Cash $ 264 $ 119 Receivables: Investments 42,689 85,923 Interest and dividends 5,842 6,331 Other 2,312 2,471 Investments 5,359,889 4,933,611 Investments loaned under securities lending agreement 197,216 204,209 Investments whose use is limited 1,609 39,854 Collateral held under securities lending agreement 201,678 209,639 Property and equipment, net 1,433,930 1,396,906 Collections and other assets 1,777,432 1,708,818 $ 9,022,861 $ 8,587,881

Liabilities and Net Assets Liabilities: Accounts payable $ 25,783 $ 23,971 Payables on investment purchases 29,306 136,162 Accrued and other liabilities 107,708 112,305 Grants payable, net 11,196 7,841 Payable under securities lending agreement 201,678 209,639 Bonds payable, net of bond issue discount of $1,268 and $1,315 in 2006 and 2005, respectively 616,237 619,685

991,908 1,109,603 financial information Net assets: Unrestricted 8,029,472 7,476,951 Temporarily restricted 1,161 1,027 Permanently restricted 320 300 8,030,953 7,478,278 $ 9,022,861 $ 8,587,881

To view ﬁ nancials with notes and auditor’s statement visit www.getty.edu

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 101101 44/9/07/9/07 4:51:264:51:26 PMPM 102 Statements of Activities Years ended June 30, 2006 and 2005

Amounts in thousands 2006 2005 Change in unrestricted net assets: Operating revenue and expenses: Support and revenue: Endowment funds used for operations $ 225,000 $ 224,300 Sales and other income, net 13,590 12,123 Contributions 36,197 2,545 Net assets released from restriction 488 239 Total support and revenue 275,275 239,207 Expenses: Program services: Museum 115,623 103,812 Research and library 55,827 60,684 Conservation 43,281 42,637 Education 10,075 10,642 Grants 40,107 38,015 Total program services 264,913 255,790 Supporting services: General and administrative 28,655 31,264 Total expenses 293,568 287,054 Operating loss, net (18,293) (47,847) Nonoperating revenue and expenses: Interest and dividend income, net 66,010 79,318 financial information Net realized and unrealized gains on investments 711,047 461,776 Unrealized gain (loss) on interest rate swap agreements 23,337 (22,809) Reserve for impairment of assets (4,580) (45,685) Endowment funds used for operations (225,000) (224,300) Nonoperating revenue and expenses, net 570,814 248,300 Change in unrestricted net assets 552,521 200,453 Change in temporarily restricted net assets: Contributions 622 391 Net assets released from restriction (488) (239) Change in temporarily restricted net assets 134 152 Change in permanently restricted net assets: Contributions 20 25 Change in net assets 552,675 200,630 Net assets, beginning of year 7,478,278 7,277,648 Net assets, end of year $ 8,030,953 $ 7,478,278

To view ﬁ nancials with notes and auditor’s statement visit www.getty.edu

RR3_Getty3_Getty 016016 FINAL.inddFINAL.indd 102102 44/9/07/9/07 4:51:264:51:26 PMPM 103 Statements of Cash Flows Years ended June 30, 2006 and 2005

Amounts in thousands 2006 2005 Cash fl ows from operating activities: Change in net assets $ 552,675 $ 200,630 Adjustments to reconcile change in net assets to net cash used in operating activities: Depreciation and amortization 45,012 34,749 Net realized and unrealized gains on investments (711,047) (461,776) Unrealized (gain) loss on interest rate swap agreements (23,337) 22,809 Change in minimum retirement liability 14,715 23,113 Noncash contributions of art (34,294) (1,453) Reserve for impairment of collections 4,580 45,685 Contributions restricted for long-term investment (20) (25) Loss (gain) on disposition of property and equipment 746 (616) Amortization of bond discount and issuance costs 47 1,393 Changes in operating assets and liabilities: Interest and dividends receivable 489 6,855 Other receivables 159 1,390 Other assets (35,102) (27,349) Accounts payable 1,812 1,409 Accrued and other liabilities 227 278 Grants payable 3,355 (2,180) Net cash used in operating activities (179,983) (155,088) Cash fl ows from fi nancing activities: Proceeds from bond issuance — 96,000

Payments on bonds payable (3,495) (95,645) financial information Contributions restricted for long-term investment 20 25 Net cash (used in) provided by fi nancing activities (3,475) 380 Cash fl ows from investing activities: Proceeds from sales of investments 5,155,169 17,454,525 Purchases of investments (4,825,162) (17,076,010) Decrease in investments receivable 43,234 1,382 Decrease in payables on investment purchases (106,856) (126,326) Proceeds from sale of property and equipment 103 29 Purchases of property and equipment (82,885) (99,224) Net cash provided by investing activities 183,603 154,376 Net increase (decrease) in cash 145 (332) Cash, beginning of year 119 451 Cash, end of year $ 264 $ 119 Supplemental disclosure of cash fl ow information: Cash paid during the year for interest, net of amounts capitalized of $5,768 and $8,601 as of June 30, 2006 and 2005, respectively $ 24,359 $ 11,857

To view ﬁ nancials with notes and auditor’s statement visit www.getty.edu

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The J. Paul Getty Trust

Published by the J. Paul Getty Trust Addresses Visit www.getty.edu to order additional Maureen McGlynn Visit the Getty online at www.getty.edu copies of this report and to fi nd out more Assistant Director, Communications about the Getty. The J. Paul Getty Trust Maria Velez Senior Designer 1200 Getty Center Drive, Suite 403 Los Angeles, CA 90049-1691 Kelly Gray Tel: 310-440-7360 Senior Editor Fax: 310-440-7722 Kathy Barreto [email protected] Editor The J. Paul Getty Museum Ellen Rosenbery 1200 Getty Center Drive, Suite 1000 Photographer Los Angeles, CA 90049-1687 Jessica Robinson Tel: 310-440-7330 Project Management Coordinator Fax: 310-440-7751 Claudia Yuskoff Project Management Coordinator The Getty Research Institute 1200 Getty Center Drive, Suite 1100 Anita Keys Los Angeles, CA 90049-1688 Senior Production Coordinator, Getty Publications Tel: 310-440-7335 Fax: 310-440-7778 With acknowledgements to: The Getty Conservation Institute Deborah Marrow 1200 Getty Center Drive, Suite 700 Interim President and CEO Los Angeles, CA 90049-1684 Lizzie Udwin Tel: 310-440-7325 Executive Assistant, Offi ce of the President Fax: 310-440-7702 Kristen Quine Protocol Offi cer, Offi ce of the President The Getty Foundation 1200 Getty Center Drive, Suite 800 Ron Hartwig Los Angeles, CA 90049-1685 Vice President, Communications Tel: 310-440-7320 Mary Flores Fax: 310-440-7703 Manager, Communications For information on grant policies and Michael Brand procedures, visit www.getty.edu/grants Director, The J. Paul Getty Museum or write to the Getty Foundation. Mikka Gee Conway Assistant Director, The J. Paul Getty Museum All works of art and archival materials Tami Philion illustrated are in the collections of the Project Specialist, The J. Paul Getty Museum J. Paul Getty Museum (JPGM) or the Getty Research Institute (GRI) unless Thomas Crow otherwise indicated. Director, The Getty Research Institute Carolyn Gray Anderson Senior Project Specialist, The Getty Research Institute Design: Guerard Design Offi ce Melissa Piper Senior Staff Assistant, The Getty Research Institute Printing: Lithographix, Inc. Timothy P. Whalen Paper: Topkote Dull Director, The Getty Conservation Institute Typefaces: LTSyntax and Adobe Garamond Kris Kelly Assistant Director, The Getty Conservation Institute © 2007 J. Paul Getty Trust Jeffrey Levin Editor, The Getty Conservation Institute Joan Weinstein Interim Director, The Getty Foundation Monica Case Senior Project Specialist, The Getty Foundation Front and back covers: Thanks to colleagues in the Communications View of the Barbara and Lawrence Fleischman department, and the rest of the Getty staff who Theater at the Getty Villa. assisted with this publication. Photo: Julius Shulman & Juergen Nogai

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