Advance Book Information Frankfurt 2019 ADVANCE BOOK INFORMATION Persia and the Classical World
A comprehensive survey of Persia’s encounters, cultural exchanges, and economic entanglements with the classical world across more than eleven centuries
The ancient Greeks viewed the Persian Empire, which reached from the borders of Greece to India, as a vastly wealthy and powerful rival, and often as an existential threat. When the Macedonian king Alexander the Great finally defeated the Persians in 331 BCE, Greek culture spread throughout the Near East, but Persian dynasties soon reestablished themselves. The rise of the Roman
Empire as a world power quickly brought it, too, into conflict with Persia.
Conceived to accompany a major international loan exhibition at the J. Paul Getty Museum, this ambitious and deeply researched volume will trace the interactions and influences between Persia and the classical world during three major phases of the former’s evolution: the Achaemenid Period (ca. 550–330 BCE), the Parthian Empire (247 BCE–AD 224), and the Sasanian Empire (AD 224–651).
• Explores the artistic, political, intellectual, and religious relations between Persia, Greece, and Rome from 550 BCE to AD 651 • Features a wealthy of color illustrations and seventeen fascinating essays by established scholars of antiquity • Appeals to a range of audiences, including historians of ancient art and culture, archaeologists, and nonspecialists
EDITORS Jeffrey Spier is senior curator in the Department of Antiquities at the J. Paul Getty Museum. Timothy Potts is director of the J. Paul Getty Museum. Spier and Potts are coeditors of Beyond the Nile: Egypt and the Classical World (Getty Publications, 2018).
384 pages, 9 ½ x 11 ½ in. (24.1 x 29.2 cm) Exhibition on view at the J. Paul Getty 269 color illustrations Museum at the Getty Villa from Hardcover, Retail price: US$65.00 March 17 to August 30, 2021 Spring 2021 Rights available: All languages except English
www.getty.edu/publications Persia and the Classical World
Table of Contents
Director’s Foreword Lenders to the Exhibition Honorific and Scientific Committees
Introduction – Timothy Potts and Jeffrey Spier
Part I: The Achaemenid Empire (550–330 BCE) Map The Medes – Wouter Henkelman The Achaemenid Empire – Robert Rollinger The Greco-Persian Wars: Image, Effect, and Afterlife – Margaret Miller Impact of Empire? The Greco-Persian Middle Ground of Anatolia – Jeffrey Spier and Nicholas Cahill Persian Art in the Mediterranean – Margaret Cool Root Persians on Cyprus? – Antigoni Zournatzi 60 catalogue entries
Part II: The Parthian Empire (247 BCE–AD 224) Map The Parthian Empire (247 BCE–AD 224) Alexander the Great, the Seleucids, and the History of Central Asia – Rolf Strootman and Stefan Hauser The Question of Parthian Art – Lucinda Dirven Religion – Albert de Jong Understanding Parthian Hellenism: Seleukia and Susa – Vito Messina and Miguel John Versluys 35 catalogue entries
Part III: The Sasanian Empire (AD 224–651) Map The Sasanian Empire – Rahim Shayegan Visualizing Kingship between Tradition and Innovation – Matthew Canepa Rome and Persia: Entangled Relations – Touraj Daryaee or Engelbert Winter Roman Perceptions of Persia – Rolf Michael Schneider The End of Antiquity 35 catalogue entries
Chronological Table Bibliography List of Contributors Illustration Credits Index
Total Estimated Word Count: 75,000
www.getty.edu/publications ADVANCE BOOK INFORMATION Touching Skin Why Medieval Users Rubbed, Touched, and Kissed Manuscripts
On the cutting edge of scholarship, this book looks at the interactive and performative uses of medieval illuminated manuscripts as evidenced by specific traces of wear on their pages
As literacy grew during the three centuries before the printing press, people learned not only how to read but also how to handle their manuscripts. Certain physical gestures that readers enacted with illuminated manuscripts— kissing or laying hands on sacred images and rubbing out the faces of the reviled—imparted a ritual significance to books. These sorts of book-centered ceremonies originated with priests, but they were soon imitated by secular authorities and other laypersons.
In this groundbreaking study, the author treats many kinds of volumes, including service books for the clergy, prayer books for both religious and lay owners, and romances for courtiers. The presentation is organized around the locations in which authority figures demonstrated the use of these various types of books: altar, shrine, court, cloister, nave, and guildhall.
While recent studies examine the development of style in illuminated manuscripts and their role in legitimizing authority—with art historians consistently looking beyond images they consider “damaged” to focus on these other concerns—none has examined the physical traces of wear as evidence of how readers interacted with their books. The author is virtually alone in analyzing such effects on medieval manuscripts. As such, her research contributes significantly to not only the study of illuminated manuscripts, but to the history and anthropology of reading. And her research is especially fascinating in the context of the digital age, when a whole new set of gestures related to reading on screens has developed.
AUTHOR Kathryn M. Rudy is senior lecturer in art history in the School of Art History, University of Saint Andrews, Scotland, and former curator of illuminated manuscripts at the Royal Library of The Netherlands. She is the author of Postcards on Parchment: The Social Lives of Medieval Books (Yale University Press, 2015).
328 pages, 8 ½ x 10 ½ in. (21.6 x 26.7 cm) 230 color and 80 b/w illustrations Hardcover, Retail price: US$79.95 Spring 2020 Rights available: All languages except English
www.getty.edu/publications Touching Skin
Table of Contents
Introduction
Chapter 1. Altar: Priestly rituals conducted around the missal
Chapter 2. Nave: Laypeople, their lips, and the osculatory target
Chapter 3. Court: Animating the image during public readings
Chapter 4. Convent: Reading aloud
Chapter 5. Courthouse and Guildhall: Swearing an oath with an image
Chapter 6. School: Books for children’s learning
Chapter 7. Shrine: Libelli and the behavior of crowds
Conclusions
Total Estimated Word Count: 77,600
www.getty.edu/publications ADVANCE BOOK INFORMATION Mira Calligraphiae Monumenta
The dazzling opus of master calligrapher Georg Bocskay and Europe’s last great manuscript illuminator, Joris Hoefnagel, this exquisite facsimile returns to print in a second edition with beautiful new photography
Between 1561 and 1562, Georg Bocskay, imperial secretary to the Holy Roman Emperor Ferdinand I, created the Mira calligraphiae monumenta as a demonstration of his preeminence among scribes. Bocskay assembled a vast selection of contemporary and historical scripts in his codex, which nearly thirty years later were further embellished with exquisite illustrations of flora and fauna by the artist Joris Hoefnagel. This book, now in the collection of the J. Paul Getty Museum, is reproduced here in complete facsimile form, accompanied by a full description of the manuscript; a discussion of the work’s patron, Emperor Rudolf II (Ferdinand I’s grandson), and his cultural milieu; biographies of Hoefnagel and Bocskay; and an analysis of the manuscript’s role in the two contributors’ careers.
Seeking to demonstrate the superiority of his illustrations over Bocskay’s calligraphic prowess, Hoefnagel employed every resource of illusionism, hue, and form in a rich, striking, and witty scheme. Brilliantly colored and executed illustrations of a variety of objects and creatures—flowers, fruit, butterflies, caterpillars, monsters, and masks— stand in counterpoint to the masterful lettering and elaborate on the nature of the universe, the word of God, and the glory of the Holy Roman Emperor.
• Lavish critical reception, including The Los Angeles Times’s praise of the work as “the ultimate book-lover’s gift book,” spurred four printings of the book, which sold out in 2011. • Stunning renderings of flora, fauna, fruit, and decorative “grotesques” offer a feast for the eyes. • Of consuming interest to scholars, the book will also be a source of inspiration to graphic designers, typographers, practicing calligraphers, and devotees of the art of the book.
AUTHORS Lee Hendrix is the former senior curator and head of the Department of Drawings at the J. Paul Getty Museum. Thea Vignau-Wilberg is the former curator of Netherlandish prints and drawings at the Staatliche Graphische Sammlung, Munich. She is the author of Joris and Jacob Hoefnagel: Art and Science around 1600 (Hatje Cantz, 2017).
424 pages, 5 ½ x 7 ½ in. (14 x 19 cm) 183 color and 3 b/w illustrations Hardcover with slipcase, Retail price: US$100.00 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Mira Calligraphiae Monumenta
Table of Contents
Foreword –Timothy Potts
Preface – Thomas Kren
Mira calligraphiae monumenta: An Overview – Lee Hendrix
Georg Bocskay, the Calligrapher – Thea Vignau-ilberg
The Writing Model Book – Lee Hendrix
The Constructued Alphabet – Thea Vignau-Wilberg
Codicological Description of the Manuscript – Prepared with the assistance of Linda Ogden and Nancy Turner
Total Estimated Word Count: 36,000
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www.getty.edu/publications ADVANCE BOOK INFORMATION Under the Skin The Art of Anatomy
Explores the history of anatomical illustration from the Renaissance to modern times, drawing on the rich collection of rare books and prints at the Getty Research Institute
This catalogue and its related exhibition examine anatomical drawings from important rare books and prints that documented and disseminated the development of scientific knowledge about the body as well as the evolution of artistic presentations of such knowledge. From the sixteenth century onward, observation rather than textual descriptions became the basis for the study of the human body. This material circulated not only among medical doctors and other scientists, but also among artists who used the illustrations as references for their own creative production.
Rather than a comprehensive survey, this book offers thematic highlights of the engrossing history of anatomical illustration, including depictions of living skeletons capable of motion, the use of ancient sculptures as illustrated frames for anatomical study, the rise of interest in anatomy by artists beginning in the sixteenth century, the eighteenth-century trend for life-size anatomical display in prints and sculpture, and the use of overlays to depict anatomical layers. The book concludes with a look at modern interpretations of the inner workings of the human body in artists’ books, sketchbooks, video, and sculpture.
• At the nexus of science and art, this book offers a fascinating window on the evolution of scientific and artistic knowledge about the human body • Includes largely unpublished and unexhibited works from rare books • Appeals to a broad audience of experts in the history of science and art, as well as to the educated general reader
AUTHORS Exhibition on view at the Getty Monique Kornell, editor, is an independent scholar specializing in the history of Research Institute at the Getty anatomical book illustration and the study of anatomy by artists.Erin Travers is a Center from May 18 to October 3, specialist in seventeenth-century anatomy and art. Thisbe Gensler is a research 2021 associate at the Getty Research Institute. Jens Daehner is associate curator at the Getty Villa.
240 pages, 8 x 11 in. (20.3 x 27.9 cm) 111 color and 50 black-and-white illustrations Hardcover, Retail price: US$55.00 Spring 2021 Rights available: All languages except English
www.getty.edu/publications Under the Skin
Table of Contents
Introduction – Monique Kornell
Life after Death: Animation in Anatomical Illustration – Monique Kornell
Anatomy and the Antique – Monique Kornell
Anatomy for Artists – Monique Kornell
Restricted Access: The Body, Sex, and Reproduction in Anatomical Collections and Catalogues – Erin Travers
Life-Size Anatomy – Monique Kornell
Endless Copies – Monique Kornell
Surface Anatomy – Monique Kornell
“An appearance of reality which cheats the sense with its seeming truth”: Representing the Body in Three Dimensions – Thisbe Gensler
Modern Views of Anatomy – Monique Kornell
Catalogue entries (57)
Appendix
Bibliography
Total estimated word count: 67,400
www.getty.edu/publications ADVANCE BOOK INFORMATION Peter Paul Rubens Picturing Antiquity
Explores the creative impact of Peter Paul Rubens’s remarkable knowledge of the art and literature of classical antiquity on his oeuvre
Peter Paul Rubens (1577–1640) was among the most erudite and influential artists of the Baroque period. As did so many Renaissance and Baroque artists before him, Rubens traveled to Italy, where he was first exposed to the classical past as a young painter in the courts of Mantua and Florence, and later avidly ingested its rich legacy during two prolonged stays in Rome.
In this lively volume, a carefully selected group of ancient objects are juxtaposed in thematic groupings with drawings, preparatory oil sketches, and monumental paintings by Rubens that were inspired by these earlier sources. The works illustrated are from a range of American and European museum collections, including paintings previously unknown before their acquisition by the Getty, and a number of antique gems and other objects owned by Rubens himself. Through close comparison and detailed analysis, the authors highlight the formal relationship between the ancient objects and Rubens’s work, and reveal the artist’s extraordinary ability to translate his inspirational sources into new subjects through his dynamic painting style. Exhibition on view at the J. Paul Getty • A fascinating look at the reception of the classical world on the Museum at the Getty Villa from Baroque era and on Rubens in particular October 21, 2020, to January 11, • Highlights Rubens’s acuity and artistry in translating antique forms and 2021 themes into new work appropriate for the religious, political, and aesthetic purposes of his patrons • Offers a unique angle on this towering figure in art history, about whom so much has been written
AUTHORS Adriano Aymonino is a lecturer and coordinator of the undergraduate history of art program at the University of Buckinghan, United Kingdom. Davide Gasparotto is senior curator of paintings, Jeffrey Spier is senior curator of antiquities, and Anne Woollett is curator of paintings at the J. Paul Getty Museum.
192 pages, 9 x 11 in. (22.9 x 27.9 cm) 158 color illustrations Hardcover/Paper (TBC); Retail price: US$40/$30 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Peter Paul Rubens
Table of Contents
Foreword (Timothy Potts) [500–750 words]
Introduction (Authors) [2,000 words]
1, Rubens, His Friends, and the Study of the Antique (Self-Portrait with Friends, Seneca, Electorum Libri II, Letter to Peiresc [7 objects]) (Gasparotto) [3,000 words]
2. The Smell of Stone: Rubens and the Statues of Rome (drawings after the antique, Farnese Hercules [16 objects]) (Aymonino) [4,000 words]
3. Rubens, Peiresc, and Pasqualini and Ancient Gems (12 objects) (Gasparotto and Spier) [3,500 words]
4. Rubens and the Roman Triumph (12 objects) (Spier and Woollett) [3,000 words]
5. Beauty, Bravery, and Playfulness: Rubens and Classical Mythology (19 objects) (Woollett) [4,000 words]
List of exhibited works (approx. 70; tombstone information and selected bibliographies): alphabetically by maker/chronological
Bibliography [approx. 6,000 words]
Acknowledgments (Authors) [500–750 words]
Index
About the Contributors
Total Estimated Word Count: 32,750
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www.getty.edu/publications ADVANCE BOOK INFORMATION
Poussin and the Dance
The first publication devoted to the theme of dance in the famed Baroque painter’s work as he explored the expressive potential of the body in early modern Rome
Scenes of bacchanalian revelry and apollonian allegory, tripping maenads and skipping nymphs, the dancing pictures of Nicolas Poussin (1594-1665) helped the artist develop a new approach to painting that would become the model for the French classical tradition. Though Poussin’s painted portrayals are often described as dancelike, balletic, or choreographed, no prior publication has explored the theme of dance in his production.
Conceived to accompany an exhibition jointly organized by the Getty Museum and the National Gallery, London, this richly illustrated and engaging study offers a fresh perspective on the dancing pictures created in Rome in the 1620s and 1630s.
• Addresses for the first time the theme of dance and dancers in Poussin’s work as he formulated a new classical style • Examines in lavish detail a key group of paintings that allowed the artist to tackle the problem of arresting motion • Engages both the educated reader and Poussin specialists with accessible prose and a novel interpretive framework
AUTHORS Emily A. Beeny is associate curator of drawings at the Getty. She is the cocurator of the exhibition Manet and Modern Beauty (2019- 2020) and coeditor of the accompanying catalogue. Francesca Whitlum-Cooper is Myojin-Nadar Associate Curator of Paintings, 1600-1800, at the National Gallery, London, where she recently curated an exhibition on the Parisian artist Louis-Léopold Boilly.
144 pages, 9 ½ x 11 in. (24.13 x 27.94 cm) Exhibition on view at the J. Paul Getty 71 color illustrations Museum at the Getty Center from June 8 Paperback, Retail price: US$30.00 to August 29, 2021 Spring 2021 Rights available: All languages except English
www.getty.edu/publications Poussin and the Dance Table of Contents
Directors’ Foreword – Timothy Potts and Gabriele Finaldi (500 words) Acknowledgments – Emily A. Beeny and Francesca Whitlum-Cooper (approx. 1,500 words) Preface – Piere Rosenberg (500 words)
Essays
I. Invitation to the Dance (5,000 words) – Elizabeth A. Beeny This essay sets the scene for Poussin in Rome at the end of the 1620s, his study of antique reliefs, and his interest in the riotous processional dances depicted in them. Key work: Votary of Bacchus
II. Animating the Frieze (5,000 words) – Francesca Whitlum-Cooper This essay looks at Poussin’s evolving compositional strategies for the arrangement of bodies in space. Key works: Bacchanalian Revel before a Term, Adoration of the Golden Calf
III. Dances for Richelieu (5,000 words) – Francesca Whitlum-Cooper This case study discusses the paintings and preparatory drawings associated with one of Poussin’s most important commissions—a suite of decorations for the Château de Richelieu—which arose from Poussin’s growing reputation in Rome as the leading painter of Bacchanalian dances.
IV. Choreographing Drama (5,000 words) – Emily A. Beeny Poussin’s battle scenes are often described as balletic or choreographed in some way; this essay will take the two painted versions of the Abduction of the Sabine Women and a sequence of associated drawings as the point of departure for exploring the artist’s process and, more specifically, how a dancelike deployment of bodies in space came to inform his approach more broadly.
V. The Dance to the Music of Time (3,500 words) – Jonathan W. Unglaub or Yuriko Jackall The Dance to the Music of Time at the Wallace Collection is a masterpiece and Poussin’s most iconic dance painting. One of these leading Poussin scholars will address this picture and its place in the cultural life of late 1630s Rome.
Brief Chronology of Poussin’s Life (750 words) Summary Checklist of Exhibited Objects (1,000 words) Bibliography (8,000 words) Contributor Biographies (300 words) Illustration Credits Index
Total Estimated Word Count: 36,150
www.getty.edu/publications ADVANCE BOOK INFORMATION
William Blake: Visionary
Offers a comprehensive yet accessible introduction to the achievements of this groundbreaking poet and artist, and demonstrates why he remains relevant nearly 200 years after his death William Blake (1757–1827) was an English poet, painter, printmaker, political radical, and mystical thinker. From young adulthood he challenged existing artistic practices and societal norms. Blake criticized the curriculum of the Royal Academy where he studied art and pushed the boundaries of traditional engraving to develop his own innovative method of relief etching. He questioned the institutions of marriage, the church, and government, befriending other dissenters such as the feminist writer Mary Wollstonecraft and the revolutionary Thomas Paine.
In this engaging look at the artist’s varied creative activities, the authors masterfully synthesize a host of Blake scholarship, from his training as an engraver and work as a book illustrator and highly skilled printmaker, to the development of his aesthetic theories in dialogue with medieval and Renaissance art, and his reception in his own lifetime, when he was relegated to relative obscurity. The overview of Blake’s work presented here—in his preferred media of watercolor, tempera paint, and prints—reveals a world replete with rich symbols, obscure mythologies, and fantastical, shape-shifting characters. The inventive juxtaposition of his writings and artwork in the books he created were unique in his time.
The volume concludes with a discussion of Blake’s reception in the United States, which has dominated the collecting of his work over the past 150 years. He drew the interest of Boston intellectuals in the mid-nineteenth century and millionaire bibliophiles during the Gilded Age. But it was in the twentieth century that Blake’s prominence really grew as he was embraced by the Beat poets of the 1950s and Exhibition on view at the J. Paul artists, writers, and musicians of the 1960s and 1970s. Getty Museum at the Getty Center from July 21 to October • A richly illustrated introduction to a highly original painter-poet 11, 2020 • Draws heavily on the superior Blake collections from the Tate, the Huntington Library, and the Yale Center for British Art • Demonstrates why Blake, a foundational figure in the poetry and visual arts of the Romantic Age, continues to confound, dazzle, and inspire today AUTHORS Julian Brooks is senior curator and head of the Department of Drawings at the J. Paul Getty Museum, where Edina Adam is assistant curator. Matthew Hargraves is chief curator and head of collections information and access at the Yale Center for British Art.
160 pages, 9 x 11 in. (22.9 x 27.9 cm) 135 color and one b/w illustration Hardcover, Retail price: US$35.00 Spring 2020 Rights available: All languages except English
www.getty.edu/publications William Blake: Visionary
Table of Contents
Director’s Foreword – Timothy Potts
Introduction – Edina Adam and Julian Brooks
William Blake’s “Bounding Outline”: On the Sources of Artistic Originality – Edina Adam
America’s Blake – Matthew Hargraves
Plates
The Printmaker (Plates 2–25)
The Painter-Illustrator (Plates 26–48)
The Painter-Poet (Plates 49–60)
Blake and His Contemporaries (Plates 61–68)
The Visionary (Plates 69–93)
The Myth Maker (Plates 94–110)
Suggested Further Reading
Index
Total Estimated Word Count: 14,800
www.getty.edu/publications ADVANCE BOOK INFORMATION Artists’ Things Recovering Lost Property from Eighteenth-Century France
Brings the eighteenth-century French art world to vivid life through an exploration of the histories and uses of artists’ possessions
This innovative and accessible volume features fifty short biographies of objects owned by some of the leading artists of eighteenth-century France, including Jacques-Louis David, Jean-Antoine Houdon, Antoine Watteau, and Elisabeth Vigée Le Brun. The possessions discussed range from the luxurious (a harpsichord, a pocket watch) to the mundane (a table, eyeglasses), and from the expected (sketchbooks, pastels) to the more surprising (divorce papers, a sword, a joke book). While some of these things still exist, others survive only as traces, represented in paintings or described in written documents.
Approaching art through artists’ things yields significant new insights not only into familiar works, but also into less familiar artistic practices, such as the use of a brown pigment ground from the remains of Egyptian mummies or the mechanical reproduction of sculpture. The short narratives offer glimpses into the social lives of the featured objects—the people they encountered, the relationships they fostered, and the spaces they inhabited. The authors also explore more generally how material things were used, experienced, circulated, and valued in eighteenth-century France.
• Shifts the idea of artists’ biographies from persons to their possessions and the stories that these objects tell • Follows an approach popularized by A History of the World in 100 Objects by Neil MacGregor, which has had enormous impact on scholarship, museum practice, and teaching • Engages recent debates about sociability, luxury, and the consumer revolution in eighteenth-century France • Offers multiple paths into the content—lists of owners, an inventory of things, an index by themes, a typology by material—that will appeal to a wide range of readers
AUTHORS Katie Scott is professor of art history at the Courtauld Institute of Art and co- editor of Rococo Echo (Voltaire Foundation, 2014). Hannah Williams is a research fellow at Queen Mary University of London and author of Académie Royale: A History in Portraits (Ashgate, 2015).
300 pages, 8 x 10 in. (20.3 x 25.4 cm) 81 color and 75 b/w illustrations Hardcover, Retail price: US$55.00 Fall 2021 Rights available: All languages except English
www.getty.edu/publications Artists’ Things
Table of Contents
Introduction: Retrieving Lost Property – Katie Scott & Hannah Williams
Five tables presenting the artists’ possessions in different ways
• Inventory of Things • List of Owners – Alphabetical • List of Owners – Chronological • Index by Theme (Death, Fashion, Technology, etc.) • Typology by Material (Glass, Leather, Metal, etc.)
The Things Fifty short essays arranged in alphabetical order as per the Inventory of Things, twenty-five authored by Katie Scott and twenty-five authored by Hannah Williams
Bibliography
Total Estimated Word Count: 104,600
www.getty.edu/publications ADVANCE BOOK INFORMATION
Hollywood Arensberg
Presents the first comprehensive reconstruction of California’s foundational collection of modern and pre-Columbian art, which was assembled by a married couple of pioneering collectors
In the first half of the twentieth century Louise and Walter Arensberg assembled one of the most important private collections of art in the United States, as well as the world’s largest private library of works by and about Sir Francis Bacon. By the time they died—in 1953 and 1954, respectively—the Arensbergs had acquired some 4,000 rare books and manuscripts and nearly 1,000 works of art, including hundreds of Mesoamerican objects, world class examples of Cubism, Surrealism, and Primitivism, and the bulk of Marcel Duchamp’s oeuvre.
The Arensbergs have long held a central role in histories of modernism and collecting, but images of their Los Angeles home—the space in which their collection was developed, displayed, and visited by leading artists and curators— have never been assembled or examined. This volume marks the first time these works have been brought together in a single place, set in sequence, and put in context. Presenting a room-by-room, wall-by-wall, object-by-object tour of the Arensberg home through largely unpublished photographs taken between 1942 and 1951—a few years before the collection was divided between the Phila- delphia Museum of Art and the Francis Bacon Library at the Huntington in Pasadena—the book offers an absorbing discussion of the deep knowledge and careful planning behind the acquisition and display of the Arensberg collection.
• Reflects years of in-depth research into the fascinating history and display of a pivotal collection of modern and Mesoamerican art • Deeply enhances the history of the mid-twentieth-century Los Angeles art scene that laid the groundwork for curators and artists such as Walter Hopps, Wallace Berman, and Earl Stendahl • Appeals to those interested in modern art and architecture, pre- Columbian art, and the history of collecting and display
AUTHORS Mark Nelson is design director and partner at the book design firm McCall Associates. William H. Sherman is the director of the Warburg Institute, London. Ellen Hoobler is the William B. Ziff, Jr., Associate Curator of the Art of the Americas at the Walters Art Museum in Baltimore.
440 pages, 9 x 11 in. (22.9 x 27.9 cm) 109 color and 226 black-and-white illustrations Hardcover, Retail price: US$65.00 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Hollywood Arensberg
Table of Contents
Preface – Mark Nelson and William H. Sherman
The King and Queen Surrounded: The Arensberg Collection in Context – William H. Sherman and Mark Nelson
From Private Collection to Institutional Holdings – Key to Captions
Hollywood Arensberg: A Reconstruction of the Home and Art Collection of Louise and Walter Arensberg – Mark Nelson
Smoothing the Path for Rough Stone: The Changing Role of Pre-Columbian Art in the Arensberg Collection – Ellen Hoobler
Interview with Walter Arensberg, ca. 1948, by Kenneth Ross - notes by Mark Nelson and William H. Sherman
Biographical Notes on Photographers – Mark Nelson and William H. Sherman
Notes on Selected Objects – Mark Nelson
Bibliography
Index of Named Artists and Artworks
Index of Objects by Identifying Numbers
Total estimated word count: 193,000
www.getty.edu/publications ADVANCE BOOK INFORMATION Imogen Cunningham
Reassesses the enormous contributions of this artist to twentieth-century photography and makes the case that her stature should be raised to that accorded her male counterparts
Imogen Cunningham (1883–1976) created a large and diverse body of work that show- cases her artistic versatility and commitment to the medium of photography. After beginning her career as an assistant to Edward S. Curtis, she established her own portrait studio, first in New York City and then in San Francisco. Her relocation to the West Coast was accompanied by a shift away from the soft-focus painterly effects of the pictorialist tradition that had occupied her previously and toward sharply focused plant studies. In 1932 she became a founding member of the f/64 group along with Edward Weston and Ansel Adams and was subsequently invited by Adams to join the faculty of the California School of Fine Arts where she taught alongside Weston, Dorothea Lange, and Lisette Model. She continued to work into her nineties, launching her last project— a portrait series of the elderly—at age ninety-two.
This generously illustrated book explores Cunningham’s life and work chronologically through her engagement with key stylistic movements (pictorialism and modernism), genres (portraiture, landscape, the nude, still life, and street photography), and themes (flora, dancers, hands, and the elderly). The inclusion of letters, diaries, and family albums offers insights into the artist’s motivations and the challenges she faced as a working mother.
• Cunningham’s extended, intense commitment to photography in multiple genres and styles establishes her as one of the most important photographers of the twentieth century • Few monographic treatments of Cunningham’s work have been produced and only one is currently in print Exhibition on view at the J. Paul AUTHORS Getty Museum at the Getty Paul Martineau is associate curator in the Department of Photographs at the J. Paul Center from September 15 to Getty Museum and the editor of Icons of Style: A Century of Fashion Photography December 28, 2020 (2018). Susan Ehrens is an independent art historian and curator based in Berkeley, California. She is a contributor to Anne Brigman (Rizzoli Electa, 2018).
304 pages, 9 ½ x 11 in. (24.1 x 27.9 cm) 27 color and 251 b/w illustrations Hardcover, Retail price: US$50.00 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Imogen Cunningham
Table of Contents
Director’s Foreword
Introduction Paul Martineau
Essays:
1883-1922 Susan Ehrens
1923-1933 Susan Ehrens or third scholar TBD
1934-1946 Paul Martineau or third scholar TBD
1947-1976 Paul Martineau or third scholar TBD
Plates
Plate list
Bibliography
Index
Institutional holdings list
Illustrations credits
Total Estimated Word Count: 46,100
www.getty.edu/publications ADVANCE BOOK INFORMATION Fluxus Means Change The Avant-Garde Archive of Jean and Leonard Brown
This exhibition catalogue will broaden the understanding and appreciation of the radical avant-garde practice of Fluxus artists and their contributions to modern art through a close examination of an exemplary collection
A deliberately disruptive mode of postwar artistic production, Fluxus questioned the authority of increasingly powerful contemporary critics, collectors, curators, and galleries. While high-profile New York museums and collectors prioritized international respectability and high prices, this parallel movement advanced visionary ideas about what art could be and how it might be exhibited, emphasizing interdisciplinary practice and artistic process over finished product.
The catalogue and its related exhibition draw on the Jean and Leonard Brown Collection of Fluxus objects, originally installed at Jean Brown’s home in Massachusetts—a former Shaker seed house—and now held at the Getty Research Institute in Los Angeles. The Brown Collection has been widely recognized by curators and scholars for the significance and variety of Fluxus works it contains. The author meticulously reconstructs the original presentation of these works in Brown’s house, and drawing from tremendous stores of archival materials, correspondence, publications, and artists’ multiples, she highlights the historical significance of important artworks from the collection, the interconnections among the artists who produced them, and the new ways in which these works were created, exhibited, performed, and collected.
• Promotes deeper understanding of avant-garde and Fluxus artists and their importance for late twentieth-century and twenty-first- century art • Reconstructs the Jean Leonard Brown Collection as displayed in the Shaker Seed House and examines this radical new form of exhibition • Synthesizes a wide array of archival materials, publications, and contemporary photographs—an invaluable resource for scholars
AUTHOR Exhibition on view at the Getty Research Marcia Reed is chief curator of the Getty Research Institute. She is the Institute at the Getty Center from author of Artists and Their Books / Books and Their Artists (Getty Publications, November 17, 2020, to April 4, 2021 2018).
144 pages, 10 x 10 in. (25.4 x 25.4 cm) 91 color illustrations Hardcover, Retail price: US$50.00 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Fluxus Means Change
Table of Contents
Introduction 750 words
1. Creating the Archive: Jean and Leonard Brown as Collectors 3,000 words; 10 photos of the Shaker Seed House and objects; a map of western Massachusetts Exhibitions on avant-garde art, particularly Fluxus, have tended to be art-biographical, concerned with the roles artists played, their interactions, art works, and events. Yet, it is clear that the artists themselves were not only creators, but also collectors.
2. Duchamp in the Berkshires 5,000 words; 30 illustrations of objects This chapter describes the Browns’ foundational avant-garde collections and explores the context in which they collected works in New York and on trips to Europe, primarily in Paris.
3. Fluxus in the Seed House 5,000 words; 30 illustrations of objects Based on her visits to Jean Brown’s Shaker Seed House and research on the collections at the Getty Research Institute, Marcia Reed writes about the second phase of the archive with emphasis on this history of the Shaker Seed House and the use of the traditionally designed space as an installation and archive.
4. Killing with Kindness: Challenges of Conservation and Access 5,000 words; 15 illustrations The final chapter explores issues of curating and conserving avant-garde and Fluxus collections in institutions.
Total Estimated Word Count: 20,000
www.getty.edu/publications ADVANCE BOOK INFORMATION Uta Barth Peripheral Vision
Surveys the career of this influential contemporary photographer, offering the most authoritative and comprehensive overview of her career to date
Born in West Berlin in 1958, the photographer Uta Barth has lived and worked in Los Angeles for more than thirty years. Her interest in differentiating what the human eye sees from what the camera lens captures has been a continuing preoccupation in her long and productive career.
Barth has often worked in thematic series. In two of her early, critically acclaimed serial projects—Ground (1992–97) and Field (1995)—she introduced the imagery for which she has become known: blurry backgrounds created by focusing her camera on empty foregrounds. Several years later in White Blind (2002) and Untitled (2005), she mimicked the visual phenomenon of the afterimage, the impression that remains after closing one’s eyes following long periods of looking.
Much of Barth’s work has focused on the photographic environment as opposed to the photographic subject. In several series between 2000 and 2011, she photographed the interior of her home and the view out of her living room windows in order to capture the changing qualities of light and shadow at various times of the day and over the course of many weeks. Barth continues to challenge expectations of the photographic image as a representation of an objective reality.
• Covers Barth’s most significant photographic series, from her student work Exhibition on view at the J. Paul Getty in the early 1980s to the debut of a commission created for the Getty Museum at the Getty Center from Center February 8 to May 29, 2023 • Explores the artist’s use of out-of-focus images, color saturation, and light and shadow in exploring the limits of vision and perception • Offers a critical analysis of Barth’s most recent work, which has been covered only briefly in media reviews of her exhibitions
AUTHORS Arpad Kovacs is an assistant curator in the Department of Photographs at the J. Paul Getty Museum. Amelia Jones is Robert A. Day Professor at the Roski School of Art and Design at the University of Southern California. Lynne Cooke is senior curator at the National Gallery of Art in Washington, D.C.
296 pages, 10 x 11 in. (25.4 x 27.9 cm) 332 color illustrations Hardcover; Retail price: US$65.00 Fall 2023 Rights available: All languages except English
www.getty.edu/publications Uta Barth
Table of Contents
Director’s Foreword – Timothy Potts (500 words) Introduction – Arpad Kovacs (1,000 words)
1. Essay on early work (approx. 1980–98) – Lynne Cooke (4,000 words) • Surveys the work Barth made after completing her graduate studies, including a critical discussion of the two projects that initially garnered the artist widespread attention in the mid-1990s: Ground (1992–97) and Field (1995–98). • Examines how these two exhibitions, including at the Museum of Contemporary Art Los Angeles in 1994 and the Museum of Modern Art in 1995, were influenced by the display practices of artists associated with California’s Light and Space movement
2. Essay on work made from 1998–2010 – Amelia Jones (4,000 words) Examines projects including nowhere near (1999), …and of time (2000), White Blind (Bright Red) (2002), and Sundial (2007) produced over approximately a dozen years after the debut of Bath’s Field series. • Discusses Barth’s shift from investigations of the relationship of optics and camera vision to the way the human eye sees the world. • Explores the biological phenomenon of the afterimage through the photographic medium in the series White Blind (Bright Red) and Sundial.
3. Essay on work made in the 2010s, including the Getty Commission – Arpad Kovacs (4,000 words) • Considers the artist’s most recent projects, including To Walk Without Destination and to Only See (2010), Compositions of Light on White (2011), Deep Blue Day (2012), In the Light and Shadow of Morandi (2017), Getty Commission (2020). • Contextualizes these recent projects in relation to Barth’s broader concerns about visual perception and the traditional functions and expectations of the photographic image.
Plates (approximately 260) Plate list (5,000 words) Bibliography (3,000 words) Exhibition History (3,000 words) Acknowledgments (1,200 words) Index
Total Estimated Word Count: 25,700
www.getty.edu/publications ADVANCE BOOK INFORMATION Print Matters Histories of Photography in Illustrated Magazines
Offers a geographically wide-ranging and in-depth analysis of the illustrated press in the twentieth century, placing it at the center of photo-historical research
Between 1910 and 1970, the vast majority of photographs printed and consumed around the world appeared on the pages of illustrated magazines. As the internet does today, this deluge of printed matter defined a global visual knowledge of the world. Taking advantage of twentieth-century technologies and presenting photographs in carefully edited and laid out sequences within a seductive physical container, the format provided a place where artists, authors, advertisers, and readers coalesced into communities.
Despite the omnipresence of the illustrated magazine throughout the twentieth century, scholars have not yet devised a method for studying its history and presentation. The contributors to this volume address the fundamental question of how to isolate and define the illustrated periodical as an object of photo-historical research.
Beginning with a definition of the illustrated magazine that contrasts it with other media and formats, the authors investigate the technological, political, commercial, and aesthetic conditions up to World War II that laid the groundwork for the magazine layout. They explore the golden age of illustrated magazines in the West and the fascinating ways that it was received across national and continental borders, where locals both copied and subverted the classic format. The book concludes with a look at how general interest magazines have forged distinct readerships based on national, political, and sexual identity, and a discussion of the future of this highly influential format.
• Presents a transcultural and interdisciplinary approach to the study of illustrated magazines • Offers both a rich illustration program—with numerous examples from the United States, Europe, Africa, and Asia—and serious scholarly analysis of the illustrated magazine format
EDITORS Maria Antonella Pelizzari is professor of art history at Hunter College and the Graduate Center, City University of New York. Andrés Mario Zervigón is professor of the history of photography at Rutgers, the State University of New Jersey.
304 pages, 8 ½ x 10 ¾ in. (21.6 x 27.3 cm) 80 color and 75 b/w illustrations Hardcover, Retail price: US$TBD Fall 2022 Rights available: All languages except English
www.getty.edu/publications Print Matters
Table of Contents
Part One: Identifying the Illustrated Magazine • PM – “This Is Not a Magazine,” by Jason Hill (University of Delaware) • Stefan Lorant: Metropolis to the Münchner Illustrierte Presse and Beyond, by Vanessa Rocco (Southern New Hampshire University) • Albums and/as Magazine during the Spanish Civil War, by Jordana Mendelson (New York University) • Rizzoli’s Star-Making Machine, by Maria Antonella Pelizzari (Hunter College and Graduate Center, CUNY)
Part Two: Systems of Pictorial Organization: The Layout • The Making of (Modern) Magazines, by Thierry Gervais (Ryerson University) • Die freie Welt (1919–1921) and the Distrust of Photography, by Andrés Mario Zervigon (Rutgers, the State University of New Jersey) • The Spectacular and the Banal: On the Visual Logic of the Illustrierter Beobachter, by Daniel H. Magilow (University of Tennessee) • The Magazine Mundo Peronista in Perón's Argentina, by Iliana Cepero (The New School and New York University) • VU Magazine: Photography between the Avant Garde and the Mainstream Press, by David Campany (University of Westminster)
Part Three: Cultural Transfer • Portraits of Chinese Ladies in the Age of the Global Periodical, by Joan Judge (York University) • AIZ and Regards: A Cultural Transfer, by Christian Joschke (University of Paris Ouest–Nanterre) • The Stars of Vie Nuove, by Isotta Poggi (Getty Research Institute) • Africa Rising? Women on the Move in Bingo and Drum Magazines, by Tsitsi Jaji (Duke University)
Part Four: Illustrated Magazines: Shaping and Breaking the Canon • Light and Shadow on Machines: Industrial Photography in Fortune Magazine, 1930-1936, by Margaret Innes (Harvard University) • Mainstream Differences. The Distinctive Looks of Life and Look in U.S. Media Culture, by Sally Stein (Professor Emeritus, UC Irvine) • Before and After: Look, the FSA Legacy and the Origins of MS Magazine, by Mary Panzer (Independent Scholar) • Magnum on Holiday: Photographers, Editors and the Demands of Postwar Magazines, by Nadya Bair (Yale University Library) • Decolonizing Print Culture: The Example of Bingo, by Jennifer Bajorek (Hampshire College)
Part Five: Magazines, Communities, Modernities • “Black Spots and Queer Blotches”: Moving Magazine Pictures, c. 1915, by Jennifer Greenhill (University of Southern California) • Photographic Afterlives of Neorealism: Mainstream Media and the Left, by David Forgacs (New York University) • Vietnam Pictorial, Visual Restoration, and National Renovation (1954–75), by Thy Phu (Western University) • Realidade in 1970s Brazil, by Thyago Nogueira (Instituto Moreira Salles, Sao Paulo)
Conclusion: Magazines and New Documentary Outlets: An Interview with Susan Meiselas
Total Estimated Word Count: 127,150
www.getty.edu/publications ADVANCE BOOK INFORMATION The Uncanny Guest Masks in Theory and Practice from Europe to Africa
Focuses on the performative and evocative aspects of masks, using examples from African cultures where masquerading plays an important role in rituals and celebrations
In Western European languages the words mask and masquerade exert a powerful presence as figures of speech. To masquerade is to pretend to be someone one is not. By extension, unmasking is a heroic metaphor for exposing a hidden truth.
In this fascinating new book, which is based on the third annual talk in the Getty Research Institute Council Lecture series, the art historian Zoë Strother disputes the assumption that masks are universally seen as a means for the wearer to hide. Drawing on ethnographic studies Memorial celebration in Mboh, 1976. Oku, Cameroon. © Ethnologisches Museum, of individual mask cultures in Africa, her aim is to push Staatliche Museen zu Berlin – Preußischer Kulturbesitz. Photo: Hans-Joachim Koloß art historians and anthropologists to lay aside their fixation with the mask as an alternate version of the face and engage more with the performance literature that treats the evocative role of masks. She focuses on the emotions that masks arouse—joy, wonder, awe, fear, and laughter—and most of all the uncanny, a delicious shiveriness triggered when familiar spaces and individuals become strange and changeable.
AUTHOR Zoë Strother is the Riggio Professor of African Art at Columbia University. She specializes in Central and East African art history with a focus on the twentieth and twenty-first centuries. The Ofurumo masquerade. Ondewari, Nigeria, 1992. Photograph © by Martha G. Anderson 128 pages, 6 x 8 ¼ in. (15.24 x 20.96 cm) 30 color illustrations Hardcover, Retail price: US$15.00 Spring 2021 Rights available: All languages except English
www.getty.edu/publications The Uncanny Guest Masks in Theory and Practice from Europe to Africa
Table of Contents
Introduction
Part I. The Mask in Rhetoric For speakers of Western European languages, the mask exists more as a metaphor structuring the relation of deceit and its exposure than it does as a performance medium—even though European and American societies engage in myriad forms of masquerade, including Halloween St. Nicklaus, the KKK, and avant-garde theater, to name only a few.
Part II. Masks in Africa From Germany to Africa: The Frightfulness of Masks The dialectic of masks hiding or revealing (or liberating) has had a direct impact on the interpretation of African masquerading. Masks scare and scare away. What do masks hide? From the 1950s to the 1980s, the most popular response was that masks dissumulate political control. A. Dogon—The Most Famous People in Africa B. Masks as Agents of Social Control
Part III. The Transformation Hypothesis On spirit possession and the realness of transformation, and disentangling masks from deceit A. Buraud B. Caillois C. Eliade/Cola
Part IV. The Masquerading Uncanny A. Fo/Rudlin B. Unmasking, Taussig
Conclusion: A Delicious Shiveriness
Total estimated word count: 35,000, including endnotes
www.getty.edu/publications ADVANCE BOOK INFORMATION Visualizing Empire Africa, France, and the Politics of Representation
A multidisciplinary inquiry into the ways France systematically deployed visual culture to construct and disseminate its imperial ideology
By the end of World War I, France had fortified its colonial holdings around the globe from the Caribbean and Latin America to Africa, the Indian Ocean, and Asia. In an effort to normalize its colonial projects to its citizens and the rest of the world, the French created racialized and gendered images of French citizens and their colonial subjects that were widely disseminated in a range of media.
Drawing on the large and diverse collection of the Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) at the Getty Research Institute (GRI), as well as other relevant archives, this book makes a much-needed contribution to broader conversations about the visual and literary politics of empire. The authors make extensive and incisive use of the variety of materials in the ACHAC archive (photographs, postcards, maps, travel posters, advertisements, and children’s games) in order to highlight how images and ephemera were utilized as primary agents in creating French imperial ideology and sustaining its colonial system.
• Addresses a growing interest in the mechanisms deployed to establish a colonial culture and the impact of this legacy on contemporary France and its former colonies • Offers insights into the systematic approach of the French authorities in framing the colonial project as key to France’s economic development and global influence • Explores how French visual culture operated differently according to geographical location and target audience • Fully mines the stunning range of visual materials in the Getty’s ACHAC Collection, the first publication to do so
EDITORS Steven Nelson is director of the African Studies Center and professor of African and African American art history at the University of California, Los Angeles (UCLA). Rebecca Peabody is head of research projects and programs at the Getty Research Institute. Dominic Thomas is chair of the Department of French and Francophone Studies at UCLA.
304 pages, 8 x 10 in. (20.3 x 25.4 cm) 95 color and 40 b&w illustrations Paperback, Retail price: US$49.95 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Visualizing Empire
Table of Contents Introduction – Steven Nelson, Rebecca Peabody, and Dominic Thomas
Part I: Pedagogies of Parody, Play, and Entertainment a) Intersecting legacies of caricature, bande dessinée, and colonial instruction: Les aventures de Mbumbulu in Nos Images (1948-55) – Peter Bloom Examines the long history of bande dessinées (comic strips such as TinTin, Asterix and later drawn strips) in disseminating colonial culture b) Essay, Title TBD – Dominic Thomas Explores how board games for children created during the colonial era replicated the competitive dynamics of empire, coupling pedagogy with propaganda and shaping the mentalities of French citizens c) Essay, Title TBD – Charles Forsdick Discusses how exercise book covers, cut-out toys, and related items served a range of ends, including the pedagogic, propagandist, and commercial
Part II: Resistance, Pacification, and Conquest a) Essay, Title TBD – Michelle Craig Discusses how photographs and other representations of the Sahara Desert in ACHAC and related collections articulate the commodification of the Desert during the colonial era b) Essay, Title TBD – David Murphy Examines representations of the sub-Saharan African colonial infantryman, the famed tiraiffeur senegalais, who became an iconic figure in France in the aftermath of WWI and was widely disseminated in drawings, postcards, photographs, and posters c) Title TBD – Lauren Taylor Explores how enlistment posters were used by the French government from World War I through the 1950s to not only recruit soldiers for the colonial army, but to represent of the formidable global power of France amid a changing geopolitical landscape
Part Ill: Surveying the Empire a) France et ses colonies: Mapping, Representing, and Imagining Empire – Steven Nelson Explores how maps of France and its colonies imagined colonizer and colonized, and how such images participated in the circulation of knowledge of their empire to the French public b) On the Guide Officiel and Livre d'Or of the 1931 Exposition Coloniale Internationale de Paris: Resituating a Few Objects of the ACHAC Collection – Panivong Norindr Examines a number of items in the ACHAC collection that depict French Indochina, its people, and its flora and fauna, in the context of the 1931 Exposition Coloniale Internationale de Paris and its publications
Part IV: ACHAC in Context a) Decolonizing the ACHAC Collection – Pat Morton a) Starting from images that evade straightforward interpretations as racist, Morton's essay creates alternative readings of the ACHAC collection by means of a cross-cultural, finegrain approach. The essay probes how the collection presents conflicting narratives of colonizing violence, assimilation, modernity, and normativity. b) This collaborative essay situates the GRl's ACHAC collections within the larger ACHAC project, providing a biography of the collection and an overview of how its aims and reach have evolved over time.
Total Estimated Word Count: 104,600
www.getty.edu/publications ADVANCE BOOK INFORMATION A History of the Art Market From the Renaissance to Today
A fascinating and wide-ranging account of the development of the art market from its beginnings to the current day, and with an eye toward future research
Given the attention devoted to this topic in academia—where it is one of the fastest growing fields in art history—as well as the great interest in the subject among museum professionals and the media, it is striking that no comprehensive survey of the long-term development of the art market exists. This volume will fill that significant gap in the literature.
The authors synthesize the long history of the commercial art market from its beginnings in Antwerp in the 1460s, through the rise of London, Paris, and New York as important centers for the buying and selling of artworks from the eighteenth through the twentieth centuries, to the recent emergence of Asia and Latin America as important market hubs, and the rise of e-commerce. They also point to the many possibilities for future research and analysis in this rapidly developing field.
• Synthesizes and confronts the existing literature on art market histories for key cities and regions • Provides a long perspective that allows for an accurate assessment of important trends and innovations over time • Offers a transnational perspective that maps the art trade over long distances and allows comparisons of market centers across the world • Incorporates new methodologies applied in the digital humanities for data gathering and analysis
AUTHORS Christian Huemer is former head of the Project for Study of Collecting and Provenance at the Getty Research Institute and editor of the book series Studies in the History of Collecting and Art Markets (Brill). Filip Vermeylen is professor of global art markets at Erasmus University in The Netherlands. He is the author of Painting for the Market (Brepols, 2003), which won the Robert Bainton Prize for Art History.
304 pages, 8 x 10 in. (20.3 x 25.4 cm) 95 color and 40 b&w illustrations Paperback, Retail price: US$49.95 Spring 2022 Rights available: All languages except English
www.getty.edu/publications A History of the Art Market
Table of Contents
1. Patronage and On-Spec Production in the Renaissance Primary art markets developed in the dominant cultural centers of Southern (Florence) and Northern (Bruges) Europe. During this era, the artist’s studio was the central locus for the commissioning and sale of artworks in a patronage system.
2. Commercialization of Art in Sixteenth-Century Antwerp Mass demand for luxury goods in Europe’s trading centers was fueled by the birth of commercial art markets. Thanks to new outlets such as the schilderspand or painter’s gallery in Antwerp, artists were given the opportunity to produce their works on spec, in other words, readymade and directly for the open market.
3. Painting for the Middle-Class in the Dutch Golden Age The art markets of Amsterdam and Haarlem thrived as painters catered to the seemingly insatiable demand of the burgeoning upper and middle classes for genre scenes, land- and cityscapes, still lifes, and religious compositions. The first global art dealerships began operating out of Antwerp.
4. Emergence of a European Auction Market in the Eighteenth Century The proliferation of art auctions with a printed auction catalogue is one of the seminal developments in the history of the art market. London dominated the European auction market, followed by Paris and Amsterdam. Christie’s and Sotheby’s were established during this time.
5. Marketing Modernism in Nineteenth-Century Paris Paris was the leading center for art, luxury goods, and fashion throughout Europe. The academic system worked as a drag on the art market as its members had to refrain from keeping an open shop, from exhibiting in windows, or doing anything that confused their honorable rank with “debased” guild masters. This era saw the decline of the Salon as a central venue for art.
6. Pushing the Boundaries in the American Century After the American Civil War, the purchasing power of gilded-age steel and railway magnates was redirected toward the acquisition of old master paintings, sculptures, and decorative arts by dealers such as Sedelmeyer, Knoedler, and Duveen. The redistribution of art during World War II brought not only more artworks to the United States but also leading émigré artists, collectors, and dealers as New York City became the new hub of the art market in the second half of the twentieth century.
7. Emerging Art Markets in the Digital Age A crop of new millionaires in Brazil, Russia, India, China, and South Africa (the so-called BRICS) who benefitted from economic growth in their respective nations are now claiming a sizeable share of the world’s art trade. These countries are operating on the western art-market model with its gallery system, art fairs, biennales, and auction houses. This chapter investigates to what extent western notions of value and artistic worth are also being appropriated in these emerging art markets, and ends with a look at the impact of the Internet and e-commerce on the art market.
8. Conclusion
Total Estimated Word Count: 98,800
Total Estimated Word Count: 98,800 www.getty.edu/publications ADVANCE BOOK INFORMATION Art Dealers and the Invention of the American Art Market
Explores the development of an international art market in the United States from the late nineteenth century until the outbreak of World War II, highlighting the latest research on the market’s dynamics and major players
Art history has traditionally credited major collectors such as Henry Clay Frick and Andrew Mellon with bringing noteworthy European art to America, relegating dealers’ activities to the realm of biography and gossipy anecdote. This deeply researched book brings the art dealer to the fore in its scholarly analysis of the market’s systems and influencers. With access to important dealer archives, including those of the Knoedler Gallery (recently acquired by the Getty Research Institute), the Duveen Brothers, Goupil, and British Agnew’s, the authors trace the movement of artworks from the pages of dealers’ stock books to the galleries of The Frick Collection, the Detroit Institute of Arts, The Metropolitan Museum, and other important collections.
Knoedler’s became the keystone American dealer in the international art market by the early twentieth century, nurturing and educating important American collectors, selling directly to museums, and pioneering a system of joint ownership and sale of artworks in partnerships with major European dealers who had access to well-heeled collectors. This system of cooperation, newly uncovered in the archival research for this book, emerges as the mechanism by which many of the most prized Old Masters found their way into American collections.
• Includes fascinating new research into important art dealer archives and the use of data-driven analyses to discover revealing patterns and trends • Uncovers innovative ownership and marketing models used by American and European dealers, both unilaterally and in cooperative relationships • Highlights the crucial role of dealers in creating the art market and influencing the formation of early museum collections EDITORS Gail Feigenbaum is associate director for research and publications at the Getty Research Institute (GRI) in Los Angeles. Sandra van Ginhoven is the head of the Project for the Study of Collecting and Provenance at the GRI. Edward Sterrett is a Postdoctoral Research Associate in the Scholars Program at the GRI. 336 pages, 7 x 10 in. ( 17.9 x 25.4 cm) 84 color and 74 b/w illustrations Paperback; Retail price: US$60.00 Spring 2021 Rights available: All languages except English
www.getty.edu/publications Art Dealers and the Invention of the American Art Market
Table of Contents
Part I: American Buyers in the European Art Markets • Chapter 1. Wilhelm Bode and the “American Danger” in the Art Market – Thomas Gaehtgens, formerly of the Getty Research Institute • Chapter 2. Charles Sedelmeyer’s “Coup de l’Americain” – Christian Huemer, Belvedere • Chapter 3. American Buying Power and Parisian Art Dealer Goupil & Cie – Agnès Penot, Independent Scholar • Chapter 4. The Art Market and Collecting between France and South America at the Beginning of the Twentieth Century – María Isabel Baldasarre, Universidad Nacional de San Martín • Chapter 5. David Croal Thomson’s 1898 Report for Agnew’s on His Visit to America – Alison Clarke, University of Liverpool • Chapter 6. “The Agony of Getting It Out of the Country”: Emilio Costantini, Bernard Berenson, and Exporting Artworks from Italy – Joanna Smalcerz, Bern University • Chapter 7. The Manufacture of Italian Renaissance Art for the American Market – Lynn Catterson, Columbia University
Part II: New Markets and Market Segments in America’s Great Wave of Importation • Chapter 9. The Brokers of Brooklyn: Pioneers of American Collecting – Paolo Serafini, Università degli Studi di Roma La Sapienza • Chapter 10. Marketing European Tonalism in America: Daniel Cottier and the Quest of Art for the Aesthetic Home – Petra Chu, Seton Hall University • Chapter 11. Medieval Architectural Interiors for American Collections – Victoria Kastner, Hearst Castle • Chapter 12. Knoedler: Building Galleries, Business Strategies, and the International Brand – Anne Helmreich, GRI Chapter 13. “Early English” and Modern Americans: Buying, Selling, and Painting Portraits in the United States, 1890–1920 – Barbara Pezzini, National Gallery, London, and University of Manchester • Chapter 14. “An Audacious Buyer and a Seller Whom We Cannot Resist”: How Joseph Duveen Sold Hundreds of “Antiques” to Henry Clay Frick – Charlotte Vignon, The Frick Collection • Chapter 15. Crafting the Past: French & Co. and the Trade of Italian Objects and Decorative Arts in New York (1913–1930) – Flaminia Gennari Santori, Gallerie Nazionali d’Arte Antica di Palazzo Barberini e Palazzo Corsini
Part III: Dealer Relationships, the Emergence of an International “Art World” • Chapter 16. Sales and Sociability: Charles S. Carstairs and the Model Dealer for Americans – Margaret Iacono, The Frick Collection • Chapter 17. Knoedler Enters the Big Game – Gail Feigenbaum, Sandra van Ginhoven, Edward Sterrett, Getty Research Institute • Chapter 18. Pandora’s Box of Expertise: Velázquez in the Museum of Fine Arts, Boston – Gail Feigenbaum, Sandra van Ginhoven, Edward Sterrett, Getty Research Institute • Chapter 19. Cornering the Right of First Refusal: Henry Clay Frick and the Dealers Who Helped Shape His Collection – Inge Reist, The Frick Collection • Chapter 20. Spoiling the Deal: Duveen and the Art of De–Attribution – Jeremy Howard, University of Buckingham and P. & D. Colnaghi & Co. • Chapter 21. W. R. Valentiner and Joseph Duveen: Expertise, Museums, and Art Market Connections – Catherine Scallen, Case Western Reserve University
Total Estimated Word Count: 113,000
www.getty.edu/publications ADVANCE BOOK INFORMATION The Encyclopedic Museum of the Future
Offers insights into the widely debated model of the encyclopedic museum from leading figures in the worlds of art, architecture, journalism, politics, and philosophy
The idea of the encyclopedic museum grew out of the Enlightenment and its promotion of rational thought and scientific inquiry as guiding principles. Yet this was also an era when empires ruled the world and the treasures carted back to Western capitals from the colonial hinterlands added to a country’s own sense of power and global reach. In recent years encyclopedic museums have been under attack, with many critics arguing that they are mere relics—or even perpetuators—of this shameful imperial past.
In this book’s lively text, more than twenty thought leaders including museum directors, artists, journalists, and philosophers discuss the case for the encyclopedic museum as a unifying force. They argue that in exposing visitors to a wide array of world cultures, large and varied collections can promote tolerance for diversity along with an understanding of the universality of human experience and a shared sense of history.
The issues discussed in this provocative volume include the origins of the encyclopedic museum and evolving attitudes toward it, the meaning of establishing such museums outside of the West, museum studies as a discipline, and the museum as a locus at the heart of the geopolitics of culture.
EDITOR Donatien Grau holds doctoral degrees in comparative literature from the Université Paris-Sorbonne and in philosophy from the University of Oxford. He is the author of Néron en Occident (Gallimard, 2016).
256 pages, 7 x 10 in. (17.8 x 25.4 cm) 48 color and 39 b/w illustrations Paperback, Retail price: US$40.00 Spring 2021 Rights available: All languages except English
www.getty.edu/publications The Encyclopedic Museum of the Future
Table of Contents
Introduction: The Encyclopedic Museum: A Catchphrase, a Concept, a History
Part I: Problems and Methodologies Conversation I: Marc Fumaroli (Collège de France) Conversation II: Krzysztof Pomian (Ecole des Hautes Etudes en Sciences Sociales) Conversation III: James Cuno (Getty Trust) Conversation IV: Camille Henrot (artist) Conversation V: Grayson Perry (artist) Conversation VI: Amit Sood (Google Cultural Institute) Conversation VII: Massimiliano Gioni (New Museum)
Part II: In the Museum Conversation I: Philippe de Montebello (Institute of Fine Arts, New York University) Conversation II: Timothy Potts (Getty Museum) Conversation III: Hartwig Fischer (British Museum) Conversation IV: Thomas Campbell (Metropolitan Museum of Art) Conversation V: Michael Govan (Los Angeles County Museum of Art) Conversation VI: Mikhail Piotrovsky (Hermitage State Museum) Conversation VII: Sabyasachi Mukherjee (CSMVB Mumbai)
Part III: A Model in the World Conversation I: Homi Bhabha (Harvard University) Conversation II: Jean Nouvel (architect) Conversation III: Fiammetta Rocco (The Economist) Conversation IV: Zaki Nusseibeh (United Arab Emirates) Conversation V: Irina Bokova (UNESCO) Conversation VI: Anthony Appiah (NYU) Conversation VII: Kavita Singh (Jawaharlal Nehru University) Conversation VIII: George Abungu (archaeologist and founding chairman of the International Standing Committee on the Traffic of Illicit Antiquities)
Total Estimated Word Count: 103,050
www.getty.edu/publications ADVANCE BOOK INFORMATION The Emergence of the Metropolis in Latin America, 1830–1930 From Independence to the Threshold of Modernism
Analyzes the growth of post-colonial Latin American cities and the circulation of ideas about city planning and architecture in the region
Following the independence of their countries from Spain and Portugal in the early nineteenth century, Latin American cities grew rapidly over the next 100 years. City planners and architects appropriated the pre- Hispanic past and colonial models in their march toward modernization while also incorporating new European ideas about urbanism and architecture in their projects.
In this deeply researched book, the authors examine the role of local political conditions and intellectual elites in forging the identities of individual Latin American capitals. They trace changes in urban landscapes through a comparative analysis of city maps, photographs, and early films, highlighting the ways that remnants of the colonial city, native motifs and their vernacular interpretations, and European avant- garde art and architecture were all woven into the local urban fabric. Particular attention is given to the transfer of urban planning and design ideas embodied in the works of leading architects and designers such as Pierre Forester, Alfred Agache, and Le Corbusier.
During their century-long decolonization process, these cities were transformed into modern metropolises, which by the end of the 1920s provided fertile ground for the emergence of today’s Latin American megalopolis.
EDITORS Idurre Alonso is associate curator of Latin American collections at the Getty Research Institute. She is coeditor and cocurator of Photography in Argentina, 1850-2010: Contradicton and Continuity (Getty Publications, 2017). Maristella Casciato is senior curator and head of architectural collections at the Getty Research Institute. She is co-author of Chandigarh Revealed: Le Corbusier’s City Today (Princeton Architectural Press, 2017).
288 pages, 11 x 10 ½ in. (27.9 x 26.7 cm) 169 color and 90 b/w illustrations Spring 2021 Hardcover, Retail price: US$69.95 Rights available: All languages except English
www.getty.edu/publications The Emergence of the Metropolis in Latin America, 1830–1930
Table of Contents
Introduction Idurre Alonso & Maristella Casciato
1. From the Colonial to the Republican City Jorge Rivas Pere
2. The Latin American Capitals in the Socio-Political Context of the Republic Germán Rodrigo Majía Pavony
3. Urban Transformations: From the Village to the Metropolis Arturo Almandoz Marte
4. Picturing the New Capitals Idurre Alonso
5. Forming a National Architecture Cristobal Andrés Jácome
6. Connecting the Americas: The Pre-Hispanic and the C olonial as a Stage for Modernity Rodrigo Gutiérrez Viñuales
h7. T e Cities in Moving Pictures Rani Singh
8. Visions of Modernism Maristella Casciato
Chronology
Bibliography
Total Estimated Word Count: 58,750 (27,000 in Spanish; 26,750 in English; and 5,000 in Italian)
www.getty.edu/publications ADVANCE BOOK INFORMATION Southern California Modernist Architects A series drawing on primary source material in the archives at the Getty Research Institute to present critical analyses of groundbreaking Southern California modernist architects
Frank D. Israel (1945–1996) stands alongside Frank Gehry, Thom Mayne, and Eric Owen Moss as one of the most important Los Angeles architects of the late twentieth century. He deftly synthesized seemingly antithetical approaches—mainstream and vanguard, modern and postmodern, East Coast and West Coast—to produce a body of work that defied easy alignment with any established idiom. Alongside a close examination of his seminal buildings, the author analyzes Israel’s work on set designs for the film industry and his little-known exhibition projects. AUTHOR Todd Gannon is an architect, curator, and a faculty member of the Design and Cultural Studies Department at the Southern California Institute of Architecture (SCI-Arc.). 294 pages / 151 color & 100 b/w illustrations / 60,000 words / Spring 2021
Ray Kappe (b. 1924) built on the legacy of pioneering modernists such as the Wrights, Neutra, and Schindler. He pursued their interests in innovative materials, new technologies, and designs for the California lifestyle, while also helping to introduce the importance of environmental sensitivity and green building in the 1960s and 1970s. AUTHOR Dana Hutt is an architectural historian and a contributor to Overdrive: L.A. Constructs the Future, 1940–1990 (Getty Publications, 2013) and The Impossible Becomes Possible: The Making of Walt Disney Concert Hall (Abrams, 2003).
272 pages / 116 color & 105 b/w illustrations / 78,400 words / Spring 2021
9 ½ x 10 in. (24 x 25.4 cm) Hardcover, Retail price: US$59.95 Rights available: All languages except English
Previously published in this series:
Pierre Koenig: A View from the Archive – Author Neil Jackson offers a vibrant profile of the prolific Southern California modernist architect widely known for his innovative and iconic Case Study Houses. 320 pages / 136 color and 115 b/w illustrations/ 80,000 words / Fall 2018 / $55.00
www.getty.edu/publications
ADVANCE BOOK INFORMATION Widescreen Architecture Visual Immersion and John Lautner in Los Angeles
The first extended scholarly study of John Lautner’s buildings as exemplars of a broad cultural ethos of visual immersion that emerged in the 1960s
Like other immersive manifestations of post-World War II visual culture—especially television, Op Art, and widescreen cinema— the buildings of Los Angeles architect John Lautner (1911–94) have been frequently derided and marginalized in the modernist canon. This is in part because his structures often frame panoramic views that are seen as excessive when viewed through the surprisingly anti-visual lens of modern design and critical theory. However, as the proliferation of 3D, HD, and virtual reality raise crucial questions about the future of technology and perception, it becomes vital to investigate architecture’s own experiments with visual envelopment and interactivity.
This book reflects six years of original research, including dozens of personal interviews with architects and filmmakers, first-hand photography of most of Lautner’s extant buildings, and extended research in the Lautner archive housed at the Getty Research Institute in Los Angeles.
The author argues that architecture, no longer confined by the rhetorical strictures of deconstruction and psychoanalysis, is actively developing alternative frameworks for design and interpretation. Lautner’s early experiments with visual immersion constitute one powerful post-linguistic trajectory for the future of architecture and its study.
AUTHOR Jon Yoder is a scholar of modern architecture and visual media who completed his Ph.D. in architecture, with a minor in film, television, and digital media, at UCLA. He currently teaches design and theory in the College of Architecture and Environmental Design at Kent State University.
296 pages, 9 ½ x 10 in. (24.1 x 25.4 cm) 76 color and 125 b/w illustrations Hardcover, Retail price: US$49.95 Spring 2021 Rights available: All languages except English
www.getty.edu/publications Widescreen Architecture
Table of Contents
Introduction: The Cineramic Vision of John Lautner Introduces Lautner’s “post-cinematic” architecture, and challenges certain anti-visual interpretations of his work through an analysis of his personal drawings, interviews with architects and historians, and first-hand photography by the author
Chapter 1: Concentration, Distraction, Immersion Elucidates the two dominant models of visual perception in architecture—static (photographic) perspective and mobile (cinematic) montage—and relates Lautner’s model of panning (cineramic) immersion to historical and contemporary developments in entertainment media
Chapter 2: An Answer Concerning Technology Poses a provocative alternative to philosopher Martin Heidegger’s anti-visual and anti- technological phenomenology (see, for example, “The Question Concerning Technology”) by focusing on Lautner’s architecture through the lenses of philosopher Maurice Merleau-Ponty’s visual phenomenology and architectural historian Reyner Banham’s technological Futurism
Chapter 3: Perspective, Portraiture, Panorama Compares and contrasts the framing of vision in Julius Shulman’s iconic linear perspective and portrait-like photos of Lautner’s buildings with the unconventional parabolic and panoramic photos of his buildings made by celebrity photographers and the author
Chapter 4: Crime Seen Investigation Exposes the shared anti-visual bias of critical theory and the entertainment industry through an analysis of the use of Lautner’s buildings as prominent locations in dozens of feature films, television shows, and fashion shoots
Chapter 5: Vehicles of Ocular Desire Explores the anti-gravitational ambitions of Jet Age Modernism and the framing of vehicular vision in Lautner’s architecture through an analysis of his personal photos made while traveling in airplanes, boats, buses, cars, helicopters, and trains across six continents
Conclusion: Toward an Immersive Visuality Summarizes Lautner’s historical contributions to the framing of architectural vision, and relates his visually immersive oeuvre to the work of contemporary ocular-centric architects in Los Angeles and beyond
Total Estimated Word Count: 80,000
www.getty.edu/publications ADVANCE BOOK INFORMATION The Artist’s Materials Rene
A series presenting new research on twentieth-century artists who used industrial or other unusual materials and offering critical analyses of the challenges of conserving their work
René Magritte Centering on recent analysis of a large collection of the artist’s oil paintings and gouaches in the Royal Museum of Fine Arts in Belgium, this much-needed book offers thorough physiochemical analysis of Magritte’s work and suggests conservation protocols to address the pressing needs presented by his painted oeuvre. AUTHORS: Catherine Defeyt is a researcher at the Centre Européen d’Archéométrie at the University of Liège, Belgium. Francisca Vandepitte is curator of the Magritte Collection at the Royal Museums of Fine Arts of Belgium. David Strivlay is director of the Centre Européen d’Archéométrie. 136 pages / 73 color and 24 b/w illustrations / 42,000 words / US$40.00 / Spring 2020
Alexander Calder The first comprehensive study of Calder’s working methods, which combined artistic vision and exceptional technical engineering skills, to produce his monumental metal sculptures. Case studies focused on particular works reveal the conservation methods developed in close association with the Calder Foundation to preserve and restore these sculptures. AUTHOR: Abigail Mack is a conservator of objects and sculpture in private practice at the Abigail Mack Art Conservation LLC. 88 pages / 7.5 x 10 in. (19.1 x 25.4 cm) / 60 color and 15 b/w illustrations / 28,750 words / Spring 2020
This survey of the outdoor sculpture of Roy Lichtenstein thoroughly documents the range of his materials and working methods throughout his career. Case studies related to structure, surface, and restoration practice provide key information for developing better guidelines in the care and documentation of the artist’s work. AUTHORS: Julie Wolfe is associate conservator at the J. Paul Getty Museum; Alan Phenix is a scientist at the Getty Conservation Institute; Jack Cowart is executive director of The Lichtenstein Foundation. 168 pages / 118 color and 39 b/w illustrations / 43,500 words / Fall 2020
Additional upcoming titles in the series: Published titles in the series: Cai Guo-Qiang Sidney Nolan (on press) David Smith Willem de Kooning (2010) Franz Kline Lucio Fontana (2011)
7.5 x 10 in. (19.1 x 25.4 cm) Paperback, Retail price: US$40.00 Rights available: All languages except English
www.getty.edu/publications ADVANCE BOOK INFORMATION Cai Guo-Qiang The Artist’s Materials
The first comprehensive examination of this globally recognized artist’s processes and signature use of gunpowder and their implications for conservation efforts
International contemporary artist Cai Guo-Qiang was born in China in 1957, but has lived for extended periods of time in Japan and the United States. His polymorphic and prolific artistic practice draws on a personal cosmology that freely blends Asian and Western culture, the political and the intimate, and local and global art histories. In the 1980s he began to experiment with burning his paint layers and combining them into gunpowder; after moving to Japan in 1988, he dispensed with paint altogether to explore the sole use of gunpowder as a medium for drawing and painting strikingly beautiful, highly conceptual works.
The latest title in the Getty Conservation Institute’s Artists’ Materials series, this essential publication is the first to address the implications of Cai’s distinctive materials and processes for the conservation of his work. Leading scholars examine the practices used by Cai for his early transitional paintings and experiments with gunpowder, black-and-white drawings on paper and canvas, the more recent gunpowder paintings, and selected installations. Based on numerous interviews with the artist and studio assistants as well as extensive sampling and scientific analysis of a wide range of works, this essential volume will present new and significant insights into the work of one of today’s most important contemporary artists. • Investigates a wide range of works by Cai, and draws attention to his early, lesser-explored experiments with gunpowder • New analysis from leading scientists, interviews with the artist and his studio assistants, and striking photographs of his techniques and results point to new directions in conservation • A vital publication for art historians, conservators, curators, artists, and admirers of Cai’s work
AUTHORS Rachel Rivenc is an associate scientist with the Getty Conservation Institute. Hung Wu is the Harrie A. Vanderstappen Distinguished Service Professor in Art History and East Asian Languages and Civilizations at the University of Chicago. He is also the director of the Center for the Art of East Asia and a consulting curator for the Smart Museum of Art at the University of Chicago.
160 pages, 7 ½ x 10 in. (19.1 x 25.4 cm) 123 color and 10 b/w illustrations Paperback, Retail price: US$40.00 Fall 2020 Rights available: All languages except English
www.getty.edu/publications Cai Guo-Qiang
Table of Contents
Foreword—Timothy P. Whalen, Getty Conservation Institute Director (500 words)
Preface—Cai Guo-Qiang (500 words)
Acknowledgements (500 words)
Introduction (3,000 words)
Chapter 1: Cai Guo-Qiang, a Chinese and Global Artist—Wu Hung (7,000 words)
Chapter 2: Destroying the Paint: Early Experiments with Gunpowder (7,000 words)
Chapter 3: Gunpowder Drawings and Paintings (9,000 words)
Chapter 4: Installations and Ephemeral Events (6,000 words)
Chapter 5: Conservation (5,000 words)
Technical and Analytical appendices (5,000 words) • Light sensitivity of Gunpowder Drawings and Paintings • Cai Guo-Qiang on Conservation, additional excerpts from conversations with the artist • The Behavior of Realgar
Artist chronology (500 words)
Notes (3,000 words)
Reference list (5,000 words)
Total Estimated Word Count: 52,000
www.getty.edu/publications ADVANCE BOOK INFORMATION René Magritte The Artist’s Materials
The latest title in this acclaimed series presents an in-depth technical analysis of the largest collection of René Magritte (1898-1967) works and illuminates the renowned Surrealist’s obscure oil painting process
Despite abundant literature devoted to the most famous Belgian Surrealist, the materiality of René Margritte’s works remains poorly documented, and the artist himself was always reluctant to talk about his techniques and materials. This volume sheds new light on Margritte’s oil painting production through the prisms of technical art history and conservation science.
Centering on recent analysis of forty-two oil paintings and twenty-one gouaches made between 1921 and 1963 from the Royal Museum of Fine Arts of Belgium, this book is destined to become essential reading for conservators, scientists, and curators of twentieth-century art.
• Presents the results of systematic study of the world’s most extensive collection of Magritte works with noninvasive physicochemical techniques • Resolves pressing conservation challenges posed by Magritte’s oil painting production process • Deepens scholarly understanding of Magritte the practitioner and rediscovers previously unknown or lost early works
AUTHORS Catherine Defeyt is a researcher at the Centre Européen d’Archéométrie at the University of Liège, Belgium. Francisca Vandepitte is senior curator of modern art and curator of the Magritte Collection at the Royal Museums of Fine Arts of Belgium. Together they oversee the “Magritte on Practice” research project. David Strivay is director of the Centre Européen d’Archéométrie, director of UR Art, Archéologie, Patrimoine, and professor of physics at the University of Liège, Belgium.
136 pages, 7.5 x 10 in. (19.05 x 25.4 cm) 73 color and 24 b&w illustrations Paperback, Retail price: US$40.00 Spring 2020 Rights available: All languages except English
www.getty.edu/publications René Magritte Table of Contents
Foreword by Tim Whalen Introduction (1,000 words)
I. Short biography of the artist (1,000 words) – Francisca Vandepitte
II. René Magritte (1898–1967), the collection of the Royal Museum of Fine Arts of Belgium: Ten years of the Magritte Museum (5,000–5,500 words) – Francisca Vandepitte
III. Tradition and Innovation in Magritte Research: From poetics to digital image analysis (5,000–5,500 words) – Francisca Vandepitte
IV. Magritte on Practice: Concept and goals, exhaustive explanation of developed cases, and selection based on results (3,000–3,500 words) – Catherine Defeyt and David Strivay
V. Global Results of the Research: Survey of materials and techniques used by the artist (7,000–7,500 words) – Catherine Defeyt
Conclusion (2,000–3,000 words)
Appendix 1: Methodology (5,000 words) – David Strivay Appendix 2: Schemes, diagrams, photographs (2,000 words) – Catherine Defeyt, Elodie Herens, and David Strivay Appendix 3: List of paintings and gouaches (60 works in tabular format)
Bibliography (5,000 words) Index Acknowledgments (1,000 words) About the Authors (600 words)
Total Estimated Word Count: 42,000
www.getty.edu/publications ADVANCE BOOK INFORMATION Photographic The Life of Graciela Iturbide
This graphic biography by a bestselling author-illustrator team highlights the formative events in the career of the innovative Mexican photographer
2018 Boston Globe-Horn Book Nonfiction Award Winner 2018 Moonbeam Children's Books Gold Award winner in the Comic / Graphic Novel category 2018 Foreword INDIES Honorable Mention, Graphic Novels & Comics Selected as one of NPR’s Best Books of 2018 Included in The Horn Book’s Fanfare 2018 list Selected as one of YALSA’s 2019 Great Graphic Novels for Teens
Renowned Mexican photographer Graciela Iturbide was born in Mexico in 1942, the oldest of thirteen children. When tragedy strikes Graciela as a young mother, she turns to photography for solace and understanding. From then on Graciela embarks on a photographic journey that takes her throughout her native Mexico, from the Sonora Desert to Juchitán to Frida Kahlo’s bathroom, and to the United States, India, and beyond. On her travels Graciela discovers her own voice as an artist.
Photographic is a symbolic, poetic, and deeply personal graphic biography of this iconic photographer. Graciela’s journey will excite young adult readers and budding photographers who will be inspired by her resolve, talent, and curiosity. “Quintero and Peña’s biography of Mexican AUTHOR photographer Graciela Iturbide is far more than an Isabel Quintero is a California poet and the author of the young-adult account of her life…Eye-opening and masterfully novel, Gabi, a Girl in Pieces (Cinco Puntos Press, 2014), which won the rendered.” American Library Association’s William Morris award, honoring the —Booklist *Starred Review* best new voice in young-adult literature. ILLUSTRATOR “Striking black and white illustrations…A powerful Zeke Peña is an artist and illustrator whose work has been shown in homage to the five-decade evolution of artist still galleries and museums across the United States. He has created the working—and still evolving—today.” cover art for many young-adult novels, including Gabi, a Girl in Pieces. —Horn Book Magazine *Starred Review*
96 pages, 7 x 9 in. (17.8 x 22.9 cm) “The graphic novel honors a provocative life by 24 duotone photographs and 96 b/w illustrations taking a provocative form.” —Publishers Weekly Hardcover, Retail price: US$19.95 Spring 2018 Rights available: All languages except English and Spanish 6,000 words
www.getty.edu/publications Photographic
“This extraordinary biography captures the poetry of Graciela Iturbide’s photography. The brilliant pairing of Isabel Quintero’s words and Zeke Peña’s art creates a graphic novel that evokes the process and meaning of what it is to create. Highly recommended!” —Cathy Camper, author of Lowriders in Space
“It is a rare feat when a writer and illustrator are able to capture the creative magnitude of an iconic photographer…[This] stunning biography…will guide readers through a compelling visionary journey. Photographic is a worthy homage to an important and influential photographer and will stand alone as a truly creative piece of work.” —Lilliam Rivera, award-winning author of The Education of Margot Sanchez
“Quintero and Peña have set a new standard in artist biographies. A must for teen collections.” —School Library Journal
“The biggest question in creating a graphic novel about a photographer might be how to use the artist’s photographs themselves, if at all. It would have been injudicious to produce a biography without Iturbide’s memorable photos of a goat- slaughtering ritual in Mexico or her stunning portraits of Mexican natives and landscapes. Quintero and Peña strike a good compromise, featuring many of Iturbide’s photographs as a complement to the biography, but without being dependent on them. The result is a book that expertly combines various aspects to become something utterly unique.” —Foreword Reviews
“[Graciela] Iturbide’s artistic vision and story are conveyed with poetry, a simple sophistication, and a dollop of bold swagger.” —Mary McCoy, senior librarian, Los Angeles Public Library, and author of Camp So-and-So
www.getty.edu/publications ADVANCE BOOK INFORMATION Cleo and Cornelius A Tale of Two Cities and Two Kitties
Two cats living in ancient times discover that choosing the life you want can be better than sticking with the life into which you were born
Courageous Cleo and couch surfer Cornelius live in ancient Egypt, where cats lie around all day, being pampered like gods and goddesses. One day Cornelius accidentally boards a boat headed to the faraway city of Rome, and Cleo sets off on a quest to find him. In Rome, dogs are pampered while cats roam the streets looking for adventure. Free to find fun, Cleo and Cornelius race chariots, play games, perform in a theater, and more. Will they ever return to Egypt? Do they even want to?
A spin on Aesop’s classic fable “The Town Mouse and the Country Mouse,” Cleo and Cornelius brings a new twist to this timeless tale with hungry hippos, toga-clad dogs, and dancing cat mummies. Featuring an engaging seek-and- find feature, the book offers children the chance to hunt for important Egyptian and Roman objects throughout the tale, and fascinating back matter provides additional information about life in ancient times.
AUTHORS Elizabeth Nicholson is senior editor at Getty Publications. Janine Pibal holds an MFA in writing for children and young adults from Vermont College of Fine Arts. Nick Geller holds a PhD in Classical Studies from the University of Michigan. He is a former graduate intern at Getty Publications. ILLUSTRATOR Michelle Thies is an illustrator and animation artist based in Los Angeles.
32 pages, 9 x 10 in. (22.9 x 25.4 cm) 23 color illustrations Hardcover, Retail price: US$16.95 “An ideal class book for those studying ancient Egypt Fall 2018 or ancient Rome, and a wonderful cross-over picture Rights available: All languages except English book and non-fiction title.” —Armadillo Magazine Ages three and up 2019 Moonbeam Children’s Book Bronze Award
www.getty.edu/publications ADVANCE BOOK INFORMATION Don’t Let the Beasties Escape This Book!
A medieval peasant boy discovers a magical Book of Beasts and unknowingly unleashes its mythical creatures onto the castle grounds!
Godfrey, a thirteenth-century peasant boy who can’t read, has a lot of chores to do around the castle, but he would rather spend his day telling stories. When he comes across an enchanted bestiary book, he uses it to invent his own heroic tale. What he doesn’t realize is that each animal he describes emerges from the book and causes mayhem in his wake. The laughs pile up and the tension mounts: Will Godfrey finally turn the right way at the right time to see what’s happening behind him? Will the chores ever get done?
This marvelously illustrated, humorous adventure story introduces young readers to the creatures commonly found in illuminated bestiaries of the Middle Ages. Complete with absorbing back matter about life in an English castle during this period and a mini-bestiary, the unicorns, sirens, griffins, and dragons truly leap from these parchment-inspired pages.
AUTHOR Julie Berry is author of the 2017 Printz Honor book The Passion of Dolssa; the YALSA award-winning All the Truth That’s In Me; and the humor series Splurch Academy for Disruptive Boys, among other publications. This is her second picture book. ILLUSTRATOR Michelle Thies is an illustrator and 2D special-effects animator. Her animated e-book The Dragon and the Pixies earned honorable mentions at the London and Los Angeles book festivals.
40 pages, 8.5 x 11 in. (21.59 x 27.94 cm) 51 color illustrations Hardcover, Retail price: US$18.95 Spring 2019 Rights available: All languages except English Ages five to eight Total estimated word count: 1,000, with a 500-word note to parents and teachers
www.getty.edu/publications ADVANCE BOOK INFORMATION If…
The Getty’s bestselling children’s book—now updated in a twenty-fifth anniversary edition—continues to inspire young readers to consider a universe of endless possibilities, where whales can live in outer space and ugly can be beautiful
Artist Sarah Perry’s picture book of surreal possibilities has delighted and inspired young readers for a quarter of a century. Perry suggests a series of intriguing or funny or strange propositions and then makes them come true in her strikingly rendered paintings. If frogs ate rainbows... or If kids had tails… or If ants could count.., what then? Readers will be motivated to make up stories about what could happen next in a world where such unexpected things are possible.
In addition to a fabulous new cover and two newly created spreads, this revised edition includes a brief reader’s guide prompting discovery of the “Secrets of If…”—Easter eggs planted throughout the book that only the most curious and observant of children, educators, and parents may ever have noticed. Now those secrets are revealed!
First published in 1995, If… has been reprinted twelve times and has sold more than 130,000 copies in English.
AUTHOR/ILLUSTRATOR Sarah Perry is a Southern California sculptor who has shown her work in more than 150 exhibitions, including fourteen solo shows. Her pieces reside in numerous public and private collections throughout the United States.
48 pages, 8 1/2 x 10 1/8 in. (21.6 x 25.7 cm) 30 color illustrations Hardcover, Retail price: US$17.95 Fall 2020 Rights available: All languages except English and Spanish Ages 3 and older
www.getty.edu/publications