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A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Fall 2015 PRESIDENT’S MESSAGE

Each fall, we welcome new visiting scholars to the Getty Fall 2015 Center and Getty Villa, and thousands of local area stu- theGETTY dents. Over the course of its thirty years, the Getty Scholars Program has attracted some of the brightest art historians TABLE OF President’s Message 3 and conservators in our field, providing them uninter- rupted time to pursue their research and writing. Our library CONTENTS New and Noteworthy 4 resources are unparalleled and our professional staff of art historians, museum curators, conservators, and scientists Paving the Roman Empire 6 contributes substantially to the intellectual life of the Getty Scholars Program. No scholar goes home from the Getty A Feast for the Eyes 12 disappointed. Our more than 150,000 local K–12 students have an equally stimulating time at the Getty, exploring our A Look Back at the Fund for New Orleans 16 art collection under the direction of our dynamic Museum Education staff. One has only to see the smiles on their faces How Can Health Science Aid Museum Collections? 22 to know that their experience at the Getty was, in no small measure, life changing. We take seriously our responsibil- Book Excerpt: Ishiuchi Miyako 25 ity to provide educational services to our visitors, whatever their ages or academic preparation. New from Getty Publications 26 In the cover story of this issue of The Getty magazine, we explore mosaic masterworks from our Museum’s collection. New Acquisitions 28 The extraordinary size and weight of many of these mosaic pavements have prevented them from being installed in our From The Iris 30 galleries on a regular basis. As we prepare for the Roman Mosaics across the Empire exhibition, the mosaics are being Getty Events 31 brought back into the light, and the lab, for analysis and cleaning. Sponsor Spotlight: Louis Vuitton 32 The ornate monuments made of food for festivals and celebrations in early modern Europe are the subject of the Exhibitions 34 Getty Research Institute’s article and upcoming exhibition The Edible Monument: The Art of Food for Festivals. Drawn From the Vault 35 from the Research Institute’s Festival Collection, the books and prints presented in the exhibition allow a glimpse into James Cuno the elaborate celebrations that characterized both public and private celebrations during the sixteenth through eigh- teenth centuries in Europe. Send correspondence and address The J. Paul Getty Trust is a cultural and The J. Paul Getty Trust is a tax-exempt We also look back over the past ten years and review the changes to philanthropic institution dedicated to organization under Section 501(c)(3) work made possible by the grants the Getty Foundation Getty Communications critical thinking in the presentation, of the Internal Revenue Code (the made to the city of New Orleans after Hurricane Katrina. 1200 Getty Center Drive, Suite 403 conservation, and interpretation of the “Code”), and is specifically classified as The destruction of that storm was extraordinary. But Los Angeles, CA 90049 world’s artistic legacy. Through the col- a private operating foundation under happily, much of the city’s cultural organizations have Email: [email protected] lective and individual work of its con- Section 4942(j)(3) of the Code. Con- rebounded and are once again a vital part of the city’s civic stituent programs—Getty Conservation tributions to the Getty are deductible and cultural life. Institute, Getty Foundation, J. Paul under Section 170 of the Code and may And finally, the Getty Conservation Institute reports on Getty Museum, and Getty Research also be deductible for federal estate and a surprising new way they are applying approaches from Institute—it pursues its mission in gift tax purposes. Prospective donors health science and the field of epidemiology to improve envi- Los Angeles and throughout the world, should consult their own legal and tax ronmental conditions for museum collections. serving both the general interested advisors in connection with gift and As always, I encourage you to visit the Getty—both of our public and a wide range of professional planning matters, as the Getty cannot campuses—and enjoy our many exhibitions and educational communities with the conviction that a provide tax advice. and cultural programs. We stand proud knowing that we greater and more profound sensitivity are our nation’s most visited visual arts institution west of On the cover: to and knowledge of the visual arts and Washington, DC. Graduate intern Sara Levin removes their many histories is crucial to the darkened acrylic coating from the Bear Hunt mosaic’s surface. promotion of a vital and civil society.

2 3 NEW AND NOTEWORTHY

“One of Thom’s decisive contribu- “Thom has dedicated more than tions to the field of manuscript stud- three decades to the Getty and through ies has been to establish a program his connoisseurship, scholarship, and of manuscripts exhibitions that has skilled management has helped shape attracted world-wide attention,” said the Getty Museum into one of the Dr. Elizabeth Morrison, senior curator world’s foremost cultural institutions,” of manuscripts at the Getty Museum, said Dr. Timothy Potts, director of the J. who has worked alongside Dr. Kren for Paul Getty Museum. “The Department nearly twenty years. “He has made the of Manuscripts is widely recognized as Getty a leader in manuscript research, having one of the most important col- publication, and display.” Just this past lections in the United States, thanks April, The Art Newspaper reported that both to the high quality of acquisitions five of the most popular medieval exhibi- he secured for the Museum and to the tions of 2014 were at the Getty Museum, highly ambitious exhibitions and publi- and attributed that success to Dr. Kren’s cations he oversaw. In his more recent leadership role in the field. His 2003 role, Thom has been an invaluable exhibition, Illuminating the Renaissance: adviser to me.” Following his official The Triumph of Flemish Manuscript retirement date, Dr. Kren will continue Founder of Manuscripts Painting in Europe was recognized with his work at the Getty as guest curator Department Retires Apollo Magazine’s prestigious award for of a major exhibition on the nude in This fall, Dr. Thomas Kren retires Exhibition of the Year and the corre- Renaissance art that will open in 2018. from the J. Paul Getty Museum as sponding catalogue has become a major associate director for collections after reference work on the topic. The Creation of the World from the Stammheim Missal, probably 1170s. Tempera colors, gold leaf, silver leaf, and ink on parchment. The J. Paul Getty thirty-five years. Dr. Kren joined the Throughout the course of his career, Museum, Ms. 64, fol. 10v Museum in 1980 as associate cura- Dr. Kren has forged strong relationships An animation cel from the Disney filmAlice in Wonderland. Photo: © Disney Enterprises, Inc. tor of paintings and was appointed with collectors and art enthusiasts in the founding senior curator of the the Los Angeles community and around Department of Manuscripts four the globe, including Suzanne Deal Searchable Online Grant Database Work with Disney Animation Research Library Continues years later after spearheading the Booth, the art conservator, collector, Visitors to the Getty Foundation’s The Walt Disney Animation Research Library (ARL) and the Getty Getty’s acquisition of more than one and co-founder of Friends of Heritage website can now easily browse three Conservation Institute (GCI) announced the second phase of their hundred medieval and Renaissance Preservation. “As a friend and colleague, decades of grants using a new online ongoing collaborative research into the conservation of Disney anima- illuminated manuscripts from the col- Thom has always impressed me with searchable grant database. The tool tion cels. Over the course of four years, scientists and conservators from lection of Peter and Irene Ludwig of his academic brilliance and his abil- offers different ways to look up infor- the GCI and ARL, as well as researchers from partner institutions, will Germany. For more than twenty-five ity to parley that into an ease of com- mation, including a sliding timeline to investigate optimal storage conditions for cels, as well as strategies for years, Dr. Kren built and shaped the municating his passion with others,” isolate specific date ranges, a keyword re-attaching flaked and delaminated paints to the plastic surface. The manuscript collection through a series said Ms. Booth. “He has excelled in the search, and a sorting feature that continued research is made possible by a generous contribution from of major acquisitions, including the disparate fields of academics, curating, organizes by year, initiative, grantee, The Walt Disney Company. Stammheim Missal, a stunning example administration, and funding because of region, and country. The database is The ARL and GCI began their collaboration in 2009, when the ARL of German Romanesque illumination, his intense love of his work and desire part of a larger effort by foundations provided the GCI with access to over 200,000 cels from the 1920s to late the Northumberland bestiary, a mas- to bring others into his world and share across the United States to increase 1980s housed in their climate-controlled facility. GCI researchers ana- terpiece of English Gothic illumination, in it. His insight and passion have been transparency and accessibility of lyzed and differentiated three types of plastic used to produce animation and the celebrated Flemish Visions of invaluable to me as a friend and he has their data called Glasspockets, a cels and assessed the condition of sample cels. Tondal illuminated for the Duchess of made an immense contribution to the service of the Foundation Center. To determine optimum storage conditions for cels—the most impor- Burgundy. Through these and many life, culture, and collection of the Getty Visit getty.edu/foundation/grants to tant factor in the overall strategy for preserving the collection—GCI other major acquisitions, he assembled Museum.” explore the Foundation’s support of researchers will investigate parameters such as mechanical behavior, what is now regarded as one of the finest Dr. Kren assumed his current posi- projects around the globe. moisture uptake, and rate of chemical degradation. This research will collections of illuminated manuscripts tion as associate director for collections be aided by the ARL’s well-documented collection of animation cels and in the United States, representing many in 2010. Since then, he has helped in the paint formula information, which spans many decades. of the most celebrated book illumi- acquisition of a number of masterpieces The spirit of cooperation and the lending of expertise undertaken nators in art history, including Jean to the collection, including landmark as part of this collaboration can serve as a model for future partner- Fouquet, Simon Marmion, Giovanni di paintings by Rembrandt, Turner, and ships in plastics conservation. The ARL-GCI effort is at the center of the Paolo, Girolamo da Cremona, Belbello Manet, and drawings by Seurat and Preservation of Plastics project, one of the key components of the GCI’s da Pavia, and countless others. Fragonard. Modern and Contemporary Art Research Initiative.

4 5 Mosaic Floor with Orpheus and the Animals, with Four Seasons in the Corners, Gallo-Roman, late 2nd– early 3rd century. Stone and glass. The J. Paul Getty Museum

PAVING THE Roman Empire

oman mosaic pavements are one of the great artistic legacies of the ancient world. A common feature of private homes and public R buildings across the Roman Empire, mosaics are not only appre- ciated today for their beauty as art objects, but for the invaluable record they present of ancient life, often depicting flora and fauna, athletic competitions, hunting, and other everyday activities. The J. Paul Getty Museum is excavating eleven of its own mosaics from storage in prepara- tion for an exhibition at the Villa next spring, Roman Mosaics across the Empire. “Mosaic floors were an essential element of ancient Roman luxury living, providing a very beautiful and sophisticated means of decorating both public buildings and private residences. This exhibition highlights a number of the Museum’s largest and most impressive mosaics, which have not been displayed for many years,” said Timothy Potts, director of the Getty Museum. “Their rich colors and vivid depictions of scenes from mythology, everyday life, and intricate decorative patterns are almost as fresh today as when they were first made two thousand years ago, such is the durability of the medium. The exhibition will also place the works in their original contexts, which include luxurious private villas in southern France and Tunisia, Roman baths and early Christian churches in Syria, and what we think may have been an imperial palace near Naples.” The Getty’s collection of mosaics traces the artistry of the medium throughout the Roman Empire. Many come from documented archaeo- logical contexts, and provide a glimpse into the richly embellished archi- tectural spaces of the Roman world. Through itinerant craftsmen from Italy, the use of mosaics became widespread in the Roman provinces over the course of the first and second centuries. Adapted by different regions, the dispersion of this quintessential art form in domestic, public, and religious settings worked as a unifying cultural expression. “Although some are too large to display permanently, the exhibition gives us an ideal chance to restudy, conserve, and reassemble these striking pavements.” said Claire Lyons, curator of antiquities at the Getty. Dating from the second through the sixth centuries, the mosaics in the Getty’s collection being prepared for the exhibition exemplify styles characteristic of mosaic production spanning the Roman Empire from its center in Italy to major provincial centers in North Africa, southern Gaul (France), and the coast of Syria (present-day Turkey).

6 7 that decorated the floors of a wealthy Roman villa in Saint-Romain-en-Gal, one of the centers of mosaic production in the region. The cities further south were dependent pri- marily on the workshops of Aix-en-Provence, which developed a more conservative tradition, limited mostly to monochrome compositions (usu- ally white with a black border). More expensive mosaics from this area, found almost exclusively in wealthy Roman villas, included colorful central panels with detailed figural scenes illustrating epi- sodes from mythology and literature. The Getty’s Combat between Dares and Entellus, a subject taken from Virgil’s Aeneid (5.362-482), illustrates the conclusion of a boxing match in Sicily between a young Trojan, Dares, and Entellus, an older local Sicilian. Entellus, the victor, claims a large white bull as his prize. A second mosaic (now in the Los Angeles County Museum of Art), repre- senting a scene of Diana and Callisto from Ovid’s Metamorphosis, decorated an adjacent room in the same villa. The pair will be reunited in the Getty exhibition this spring. The site of this Gallo-Roman villa, first exca- vated in 1900 near the town of Villelaure (twenty miles north of Aix-en-Provence) has recently been threatened by modern construction. In 2006 the local community intervened to preserve the area, prompting new excavations that unearthed Italy a panel that remained behind in Naples. A scroll- From left: wild ass. Although set in a natural landscape, the additional foundations of the villa. Currently, the The production of mosaic pavements using tes- ing vine along the outer border of the mosaic sur- Mosaic Floor with Diana and Cal- appeal of this scene for the Roman viewer lay in association of Villa Laurus en Luberon is working listo Surrounded by Hunt Scenes, serae (small cubes of stone or glass) was wide- rounds images of fruit, armed cupids, and animals. Gallo-Roman, 3rd century. Colored the immense popularity of wild beast fights staged not only on the preservation of the ancient site, but spread throughout Italy by the first century BC. A large face enveloped in acanthus leaves decorates marble, limestone, and glass as public entertainment in the amphitheater. The also the foundation of a new study center for mosa- tesserae. Los Angeles County Mosaics decorated public and private buildings the corner of the mosaic. Museum of Art, The Phil Berg small size of the fragment suggests that it might be ics. Mosaicist and scholar Mr. André Girod has alike with complex geometric designs and narra- Collection, www.lacma.org only part of a much larger floor depicting several acted as liaison on behalf of the association during

tive scenes. North Africa Mosaic Floor with Combat scenes. the organization of the exhibition. The Getty’s mosaic floor with a Bear Hunt was More mosaics are preserved in the Roman prov- Between Dares and Entellus, “Our partnership with Villelaure has provided Gallo-Roman, about 175. Stone unearthed in 1901 in the town of Baiae on the Bay inces of North Africa than anywhere else in the and glass tesserae. The J. Paul Gaul access to invaluable archival material on the mod- of Naples, home to many Roman emperors and Roman Empire. From the second century on, Getty Museum The earliest mosaics in Gaul were also influenced ern history and recent excavations of this other-

aristocrats. At the time of its discovery, Italian numerous public buildings and wealthy villas were Mosaic Fragment with Peacock by contemporary Italian traditions. However, wise little-known Gallo-Roman villa,” said Alexis architects and archaeologists working for the decorated with ornately designed mosaic floors. Facing Left, Roman Syria, 5th–6th local craftsmen quickly incorporated their own Belis, curator of the exhibition. “Visitors to the century. The J. Paul Getty Mu- Naples Archaeological Museum suggested that Although the earliest mosaics in North Africa seum, Gift of William Wahler designs and themes to create distinctive Gallo- exhibition will have the rare opportunity to view the mosaic may have decorated the great room of copied Italian black-and-white patterned mosaics Roman styles. Characteristic of workshops in the the Getty’s Combat between Dares and Entellus a bath. The mosaic was lifted from the ground, but like the Getty’s Mosaic Floor with Medusa from upper Rhone River valley is the so-called “multiple and LACMA’s Diana and Callisto mosaics together portions of it remained in situ owing to its large Rome (on view in the Getty Villa’s Auditorium décor” design, which isolates individual figures or with this new archaeological evidence.” scale and poor condition. lobby), a local style soon emerged preferring the scenes in an elaborate grid-like framework. The The center of the mosaic depicts a bear hunt. use of vibrant color for both figural and decora- Getty’s mosaic of Orpheus and the Animals is typi- Syria Four hunters holding staffs drive bears into a large, tive compositions. The Getty’s Lion Attacking an cal of this style, with animals set within a pattern The course of mosaic production in the eastern semi-circular net tied to a pair of trees. Two of Onager, discovered near Hadrumetum (present- of interlocking hexagons surrounding a bust of Mediterranean evolved directly from Greek, the bears turn their heads back as if to snarl at the day Sousse in Tunisia) displays a vivid use of Orpheus. The mosaic represents a popular subject rather than Italian, traditions. The influence of hunters. Inscriptions identify two figures as Lucius color and finely detailed composition, almost from Greek mythology, in which Orpheus charmed Hellenistic narrative painting, which frequently and Minus. Both inscriptions are preserved on like a painting. The scene in the mosaic depicts all living creatures with the music from his lyre. depicted subjects from classical mythology, panels in the Getty, but Minus himself appears on a lion tearing into the back of a fallen onager, or Discovered in 1899, the mosaic was one of several dominated Syrian mosaics well into the Christian

8 9 and cleaning all the fragments that MOSAIKON: Conserving will be going on view, there still was a challenging issue to resolve. Some frag- Mosaics at Bulla Regia ments were disfigured by dark-brown staining that marred their appear- ance. Unfortunately, stain reduction The Getty Conservation Institute (GCI) has been working techniques on porous surfaces like internationally for more than twenty-five years to improve mosaics can take a long time, and risk the state of conservation of mosaics in situ. In 2008, the GCI, doing more harm than good. However, Getty Foundation, the International Centre for the Study the team decided to investigate what of the Preservation and Restoration of Cultural Property improvements might be possible. (ICCROM) in Rome, and the International Committee for “Because the stains were generally in the Conservation of Mosaics (ICCM), partnered to create a line, we assumed this probably had to MOSAIKON— a strategic regional program which aims to do with the rusted iron rebar,” explained build upon our collective knowledge and resources to create Sanchez. “Iron supports in the cement a better future for the Mediterranean region’s mosaic heri- eventually corrode and cause staining tage. Through a series of interrelated activities, MOSAIKON as well as fracturing of the cement and aims to build capacity, develop replicable models of best tesserae. Our assumption was that the practice, and promote the dissemination and exchange of stains came from iron.” information regarding the conservation and management of With this in mind, the team tested archaeological mosaics throughout the southern and eastern several cleaning solutions designed Mediterranean region, both those in situ and those in muse- to target iron. Although the solu- ums and storage. tions showed some measured success, One element of MOSAIKON is a model conservation the effects were minimal. A sample project at Bulla Regia, an important Roman and Byzantine- of the staining was sent to the Getty era city located in northwest Tunisia. This project builds Conservation Institute for analysis. on over ten years of training in situ mosaic conservation Using a Gas Chromatography/Mass technicians, in collaboration with the Institut National du Associate Conservator Eduardo San- chez carefully removes a thick layer period. By the middle of the fifth cen- Conserving Mosaics Spectrometry (GC/MS) instrument, Patrimoine (INP), and relies on those technicians based at of glossy and darkened arcylic coating tury, however, the prominence of large Through careful and collaborative which identifies different organic com- the site to carry out most of the mosaic conservation work. from the Bear Hunt mosaic’s surface, which was applied during a previous narrative themes diminished in favor efforts, Getty conservators are work- pounds in a sample, the coating was The project demonstrates the impact of these training activi- conservation campaign. of smaller figural subjects set within ing to ready mosaics that have not identified as a coal-derived product ties and epitomizes a sustainable approach to conservation abstract designs. been seen in decades for display. At such as bitumen, or tar. Directed by practice through its reliance on local resources and materi- The Getty’s Mosaic floor with the time of publication, the Bear Hunt these results, the team used an appro- als. The implementation component of the project focuses on Animals from the Bath of Apolausis mosaic filled the conservation studio. priate solvent to dissolve and draw the conservation and presentation of an entire building, the at Antioch (present-day Antakya, The mosaic, measuring approximately the stain out of the mosaic without Maison de la Chasse, one of the emblematic structures of the Turkey) exemplifies this tendency, in 28 feet long x 22 feet high, had been damaging the tesserae or mortar. The site with its underground level of well-preserved, exquisite which very modest animal scenes of divided into twenty-three panels stains have been significantly reduced, mosaic floors. a hare eating grapes and birds peck- after its removal in 1906—weighing improving the overall aesthetic quality The second component of the project is the development ing at foliage are subordinate to an in at a mighty 16,000 pounds. When it of the piece for exhibition. of a conservation and maintenance plan for almost four hun- elaborate decorative framework. At the was lifted over a century ago, the sec- Once treatment is completed, a spe- dred excavated mosaics throughout the site. By developing a same time, a new selection of images tions were backed with iron rebar and cial metal armature will be built in order replicable planning methodology and producing a planning developed to fit the needs of a grow- cement. Now the conservation team— to install the mosaic on the Villa gallery document for Bulla Regia’s mosaics, the project is filling a ing number of churches being estab- Eduardo Sanchez, Jeffrey Maish, and floor, as it would have been in its origi- need not only at the site but for the entire region. Based on lished throughout the region. Vegetal former graduate intern Sara Levin— nal setting. The conserved fragments an assessment of the mosaics as well as the resources avail- elements such as the scrolling vine have to contend with old restorations, will be reunited (although only the main able to conserve and manage the site, a pragmatic, sustain- were used to frame an assortment of applying the technologies of today. section of the mosaic will be displayed, able approach is also being taken in the planning. While still animals, similar to those in the Getty’s They began by removing the coat- due to its massive size) and fit together presenting mosaics to the public, many others are being mosaic panels thought to belong to a ing that had been applied during a like puzzle pieces from long ago. protected through preventive measures such as reburial, an church in Homs, Syria, which include previous restoration campaign in 1982, Roman Mosaics across the Empire important long-term management tool. These integrated peacocks, lions, bulls, and birds, allud- which had become slightly discolored will be on view at the Getty Villa from approaches will create an effective model that can be adapted ing to the Christian vision of paradise. over time. After reducing the coating March 30 through September 12, 2016. and used for similar sites in the region.

10 11 A Feast for the

These edible festival arts and deco- Festivals. Drawn from the GRI’s Festival innumerable vases full of liqueurs, and rations were significant projects in their Collection of rare books and prints, it the final table with a display of caramels. time—as important as the surviving is on view at the Getty Center through There were great vases of orange and architecture and monuments in cities, March 13, 2016. other fruit trees with candied fruit. After or the paintings and sculptures now the king and his court had finished their Eyes in museums. Feasts for the eye, these THEATER OF THE TABLE meals, the guests left the tables to be pil- n early modern Europe, cities and courts staged elaborate festivals ornate monuments made of food, while Civic, court, and religious banquets laged by the people who had been watch- to commemorate historic events, sacred feasts, and popular holi- ephemeral in nature, live on in the were elite affairs associated with con- ing them dine. This “second sitting” Idays. Festivals were multimedia events, some staged as week-long books and prints published to describe gratulatory occasions, such as birthdays, served as entertainment for the court as programs with parades and processions, theater and dances, banquets and publicize these events. name days, and royal coronations and they watched the tumult and confusion and street feasts. Sugar pastry and other artistically designed foods were Although the original works do visits. Specific foods were served only to of the people as they demolished the presented theatrically at elegant royal or civic banquets. Similarly, in not survive, the art of festivals can be notables; by design, a person’s class or marzipan castles and mountains made public ceremonies for saint’s days, folk festivals, or Carnival, food was studied in archival documents and status was discernible by what they were of candies. This spectacle was often the part of elaborate extravaganzas staged in the streets. printed works that were made to plan served. The order of service, arrange- finale of court banquets. and publicize these events. The collec- ment of tables, and even the location of tion of works from Italy, France, Spain, the festivities established and under- A Civic Banquet in Bologna England, Germany, Switzerland, and lined social boundaries. Royal banquets In Bologna, banquets were staged to Austria at the Getty Research Institute took place in a guarded palace hall where mark the political terms of the city’s (GRI) allows researchers to study the only a few guests, or just the king, dined. elders and to confirm the solidarity of historic, cultural, and socioeconomic Others watched, and most waited, either the city government. On February 28, context of European festivals, with spe- in view of the table or outside, hun- 1693, Senator Francesco Ratta gave an cial focus on visual documentation. gry and hoping for leftovers. This was especially sumptuous dinner for sixty- The guiding question on Chief particularly true at the great feasts at four eminent people in the Palazzo Curator Marcia Reed’s mind as she Versailles. Vizzani. An unusually extensive amount planned the exhibition was: How does In the late seventeenth century, the of documentation—two booklets and our appreciation of art change when court of Louis XIV established the gold at least nine prints—was published to it is made of food? “As I read the early standard for festivals and for the books record and interpret the artistic produc- festival descriptions, I realized that and prints about them, all of which were tions designed for the dinner that com- feasts were essential elements of cel- based on elaborate myths and cosmic memorated the end of Ratta’s term as ebrations, noting that even the word, metaphors that characterized the king gonfalonier. ‘feast,’ is a significant clue since it is so and promoted his accomplishments. One The frontispiece to Disegni del con- close to the word festival,” she said. “It such festival book was André Félibien’s vito (Designs of the banquet) shows a cir- is the same word (festa, fête) in many Relation de la feste de Versailles (1679; cular table in the great hall of the Palazzo European languages. It puzzled me that, Account of the festival of Versailles), Vizzani. Unlike long banquet tables, although offerings and displays of food which celebrated Louis’s military con- this arrangement allowed guests to be were important to festival programs, quests and sought to demonstrate bal- seated as equals, avoiding the isolation the edibles were not well described in ance in the king’s administration by of the head table or seating hierarchy. the rare books and prints. I became returning to the gardens at Versailles Featuring wonders of nature and art, fascinated with trying to find out more and providing beauty and entertainment the banquet hall displayed the wealth about what was actually prepared and for his subjects. The program included and good taste of Bologna as well as cel- served, and realized that I needed to several grand banquets, among other ebrated the genius of Senator Ratta. The put the festival collection together with entertainments. The guests entered centerpiece for the reception, designed early cookbooks and serving manuals to through five different paths into a leafy by Giuseppe Mazza, was made of sugar understand how food was prepared and pentagonal enclosure. Five tables were and sculpted by Sebastiano Sarti. More displayed, occasionally even performed set as buffets with different themes: a than twenty-two feet high and almost theatrically, as art.” mountain with caverns filled with fro- sixty feet across, this table sculpture This is the enticing exploration zen meats, a palace façade constructed was made to be seen from all sides; the undertaken in the GRI exhibition The of marzipan and sugar paste, pyramids rocky crag is made of silver and covered Centerpiece for the Banquet of Senator Francesco Ratta, Giacomo-Maria Giovannini after Marc’Antonio Chiarini, 1693. From Disegni del Edible Monument: The Art of Food for coated in cuttlefish confections, one with with green foliage like the majestic palm convito fatto dall’illustrissimo signor senatore Francesco Ratta (Bologna, 1693), frontispiece. 1366-803. The Getty Research Institute

12 13 The Cuccagna According to medieval folk tales, the Cuccagna, or “Land of Cockaigne,” was a paradise on earth, the mythical land of plenty and idleness. Most popular in Naples, Cuccagna monu- ments were temporary festival structures made of wood scaf- folding, papier-mâché, and stucco, and decorated with meat, cheese, bread, and pastry. They were usually built in the cen- tral square of the city by the royal palace. Celebrations based on the Cuccagna theme frequently included fireworks and fountains flowing with water and wine. Members of the court sat in balconies looking down on the street spectacle. When the king gave the signal, the citizenry stormed the monument in order to consume or carry away what they could. An early-seventeenth-century hand-colored etching titled Description of the Land of Cockaigne, Where Whoever Works the Least Earns the Most, depicts a fanciful monument with a lake of meatballs and salami, plains of marzipan and candies, a river of Spanish wine, hills of fine sugar cakes, and mountains of gold. This magical place rains pearls, diamonds, and cooked poultry; the landscape features a cave made of ravioli and plants that produce cakes, pastries, and macaroni. The print shows one industrious soul going to prison for working, while the laziest citizen, Mr. Panigon, is the master of the land. Life presents itself as easy, full of sensual pleasures, and without responsibilities. The Land of Cockaigne was the opposite of the hard life of the hungry poor. It was the perfect theme for BEHIND THE SCENES festival celebrations that sought to take people away from the These fanciful food festivals occurred long before the inven- conditions of everyday life. tion of refrigerators. Festivals were held for a period of several days up to a week, while grand banquets could take hours, Festa della Porchetta and menus often listed hundreds of separate dishes. In order The Festa della Porchetta, or “Feast of the Roasted Pig,” in to support such an undertaking, kitchens became a series Bologna was held in the last weeks of August. The festival of complex spaces dedicated to different operations, with commemorated the end of a bloody civil war in 1281, and the storage areas for specific temperatures. Specialized cooking tree that caps the arrangement. The Although guests at this banquet medieval processions. They were held designs created for the central square were documented with methods required several ovens, the cold kitchen, and diverse four river gods adorning the center- were the city’s elite, there was food for on traditional holidays, saint’s days, rul- a publication and a print. Michaele Mazza’s 1716 design for culinary devices. piece seem inspired by Gian Lorenzo all. The Bolognese printmaker G. M. ers’ birthdays, and particularly, to mark the macchina, an ephemeral festival sculpture, was staged While festival books were beautifully printed and illus- Bernini’s Fountain of the Four Rivers Mitelli’s series of six popular prints coronations and weddings. Celebrations in the Piazza Maggiore. It featured an enclosed garden with trated, they did not provide detailed descriptions of the food in the Piazza Navona in Rome. Civic shows a procession of foods given by of religious and seasonal events such bulls running outside its fence and trees hung with birds, and how it was made. Initially, instructions and recipes were emblems of Bologna are dispersed the gonfalonieri of Bologna to the Swiss as Carnival and wine harvests included called alberi della cuccagna. Amid the games, dances, jousts, found in handwritten or modestly printed cookbooks and throughout the sculpture and coated in Guards. Held high above the marchers’ games and contests, costumes, parades, and theater, the primary entertainment was the chase of live- serving manuals. By the mid-seventeenth century, cookbooks gilt. La Felsina, the crowned Etruscan heads, the platters and containers were and fireworks. stock—wild boar, bulls, and birds—let loose among the tempo- and related guides to carving or pastry making, were pub- warrior from whom the city derives its paraded through the streets like booty These occasions allowed the rulers rary festival architecture and sculpture. Rather than formal lished in successive editions; evidently popular and useful, nickname, stands triumphant in the during a triumphal procession, display- to create a sense of political solidarity ceremony, the Festa della Porchetta focuses on the spectacle they circulated widely. Copied and often plagiarized, they shelter of the palm, resting her left hand ing the connections between public and community, and to demonstrate of the participants scrambling as they pursue food that is still became models that spread throughout European court on the head of a lion. The lion supports feasts and private celebrations. the largesse and ultimate power of the on the hoof. In addition, the Bolognese people could elect to culture, eventually leading to the popularity of recipe books a shelf on which is inscribed “Libertas,” government. But for the impoverished scale “trees” hung with birds. These were actually greased today. alluding to Bologna’s status as a free city SPECTACLES IN THE STREETS citizenry, the highlight was the distribu- poles, cuccagna trees, hung with fowl as rewards for success- Eating is essential to life, and it has always been embed- under papal protection. Winged griffins Banquets for court, civic, and religious tion of food. ful climbers. ded in culturally specific contexts. What we like to eat and the stand on either side of the mounds of leaders were held in palaces and gar- In Italy, there were two popular ways in which we eat are well-crafted, age-old rituals. In both rocks on the sculpture, as well as on four dens. By contrast, popular festivals with street festivals—the Cuccagna and the daily habits and special ceremonies such as festivals, food pedestals around the room. Both griffins a focus on food took place in city streets Festa della Porchetta—both featuring Opposite page: Description of the Land of Cockaigne, This page: The Main Kitchen, Anonymous. From works to satisfy the appetite, but also serves to bring people Where Whoever Works the Least Earns the Most, Anony- Bartolomeo Scappi, Opera de M. Bartolomeo Scappi, and the lion are emblems from the Ratta and squares following the model of ephemeral food monuments and out- mous, 1606. The Getty Research Institute cuoco secreto di Papa Pio Quinto (Venice, 1570), pl. 1. together to bond over a shared experience. Internally and family coat of arms. ancient Roman triumphal marches and door roasts. 86-B27679. The Getty Research Institute externally, it makes us feel good, and hence—full.

14 15 TEN YEARS AFTER HURRICANE KATRINA A LOOK BACK AT THE FUND FOR NEW ORLEANS

In late August 2005, many households across America were glued to images of New Orleans on their television screens as the tragedy of Hurricane Katrina unfolded: people desperately perched on rooftops awaiting rescue, families crowded into the Superdome, houses threatened by the catastrophic failure of the levee system. It would become one of the five deadliest storms in United States history and the costliest natural disaster on record, with water covering 80 percent of the city. Since New Orleans is home to many historic buildings, museums, and art objects, the cultural heritage community waited anxiously for word regarding the condition of these resources. The unprecedented scale of the storm’s destruction became clearer in the days following Hurricane Katrina. Property was damaged, numerous lives were lost, and many of the cultural institutions that defined The Big Easy faced an uncertain future.

Classic French Quarter architecture in New Orleans, along the Missis- sippi River. Photo: Hal Bergman/ Getty Images In the immediate aftermath, public safety was listing the number of live and dead bodies found Museum. But there were equally important needs, clearly the highest priority. But as the days passed, inside; cars in treetops and many roads barely pass- such as updating conservation and emergency staff at the Getty began to discuss how it could play able. It was heartbreaking.” preparedness plans, conducting condition surveys, a part in the recovery of one of the country’s most As the Getty team traveled to cultural organiza- and identifying technical expertise and facilities iconic historic cities. Not long after the disaster, tions throughout the city to assess the damages for a region that lacked them. Additionally, it was Getty Foundation Director Deborah Marrow spoke and determine ways that they could make a differ- clear that post-Katrina New Orleans was going to to Richard Moe, then-president of the National ence through grants, they heard stories of trauma be a very different place. The Foundation’s transi- Trust for Historic Preservation in Washington, DC, and resilience. At the New Orleans Museum of Art tion planning grants were designed for cultural a longtime Getty partner. (NOMA), a staff member recounted how she found institutions to have the time and the resources to “The National Trust determined very early herself alone at the museum as the waters started find thoughtful ways forward, to strengthen senior that this was not a local tragedy confined to New to rise; she manned a boat, protecting the collec- leadership, and to increase collaboration across a Orleans and a few other communities, but rather it tion from possible looters. At Longue Vue House range of arts nonprofits. was a national crisis that commanded our urgent and Gardens, a National Historic Landmark, reme- The time period immediately after Hurricane attention and more resources than were locally diation equipment snaked out of the windows and Katrina was one of great hardship for all of New available,” said Moe recently, reflecting back on the doors, mitigating the water that had flooded the Orleans, and although the Fund for New Orleans early days after Katrina. “We knew we had to raise basement level, which held the mechanical systems only represented a small fraction of the enormous considerable funds to marshall a creditable effort that protected the museum’s collections. Other cost of the recovery, the Getty grants still had a sig- and our first thought was of the Getty Foundation organizations harnessed the healing power of art nificant impact. In particular, the early first grant because of its years of experience in helping his- to commemorate the city’s devastating losses. Less to the National Trust for Historic Preservation toric communities in various ways and because than two months after Katrina, staff at the Ogden helped to signal clearly to the arts and cultural we needed to enlist a respected institution that we Museum of Southern Art organized an exhibition heritage communities in the US that there was an could persuade others to follow.” of photographs documenting the first weeks after enormous challenge in New Orleans, and that the That conversation resulted in a grant to the the storm, providing the community with a place to institutions there needed immediate assistance National Trust to establish a field office in New gather, grieve, and share. from the whole country. Orleans, the aim of which was to assess damage and Making their way to cultural organizations convince local officials that hundreds of historic across the city during their visit, Getty staff were Key Outcomes structures “red-tagged” for demolition, including able to carry news along the route. Most institu- Ten years on, the accomplishments of New many in the Holy Cross neighborhood of the lower tions were operating with minimal staff; key per- Orleans’ arts organizations are impressive. All of Ninth Ward, could be saved. This initial grant to sonnel had evacuated the city and funds were often the institutions that received Getty grants have the National Trust was the starting point for the scarce to pay those still there. Executive directors survived, and most are thriving. This was not an Fund for New Orleans, a Getty Foundation initia- struggled to reopen their organizations’ doors, obvious outcome in the fall of 2005, when many tive that eventually awarded $2.9 million in grants even as they coped with personal loss and displace- organizations had reduced their staff levels, had to help the city’s cultural organizations on the dif- ment. None of them, though, doubted that their lost audiences and donors, and faced compromises ficult road to recovery. organizations—and their beloved city—would to their physical structures and collections at a “After the storm and as soon as a few hotels in come back. time when many of their leaders were dealing with the city had reopened for business, I asked Joan the loss of their own homes or other personal trag- Weinstein, deputy director of the Foundation, to Identifying the Needs edies. Now a decade later, virtually every one of the lead a team of staff members from all four Getty No one questioned the challenges of what lay organizations supported by the Foundation has programs to go to New Orleans and talk to lead- ahead, but Getty staff were compelled to do what undergone a successful leadership change, and arts ers of cultural organizations,” said Marrow. “This they could to help out fellow arts organizations. and heritage professionals in the city are very posi- allowed the Getty to better understand how we After the group returned to Los Angeles, two areas tive about the future. might help these institutions recover and safe- were identified where Getty Foundation grants A critical outcome of many Getty grants is the guard their collections and historic buildings for could make a difference: conservation of collec- improved safety of important collections. The the future.” tions and built heritage damaged in the aftermath damaged African collections of the Center for of Katrina, and transition planning grants for key African and African American Studies at SUNO Opposite, top: Home exterior in the Discovery Mission museums and cultural institutions. were stabilized and conserved. The project proved Holy Cross neighborhood of the “None of the media coverage we had seen really Urgent conservation work was needed on to be galvanizing for the small historically black Lower Ninth Ward

prepared us for what we witnessed firsthand when several collections that had been submerged and college, and the Center’s collection has tripled in Middle: Mardi Gras beads in the we arrived in New Orleans,” said Weinstein. “Long exposed to high humidity, such as the collection of size since 2005, with some works loaned for exhibi- wreckage

stretches of rubble more than twenty feet high, African art at Southern University of New Orleans tion outside the city. The fact that the collection Bottom: Dehumidification at Longue with water-soaked furniture, clothing, and chil- (SUNO). The buildings that housed key collec- has grown by over 300 percent since Katrina is a Vue House and Gardens in New Orleans following Hurricane Katrina. dren’s toys tossed willy-nilly; houses in low-lying tions also suffered water damage, as at Longue Vue testament to the faith that others have placed in Photo: Longue Vue House and flooded zones marked in front with a large “X” and House and Gardens and the Tulane University Art the Center’s stewardship of their collection. Prior Gardens

18 19 to Katrina, there were no plans or pro- Ursuline Convent in 2018. The garden tocols for disaster preparedness for the has been restored and a partnership collection. As a result of the grant, there with the National Landscape Institute is now a plan in place. in Versailles, organized through the Similar success has been earned French Heritage Society, now brings an by the New Orleans Jazz and Heritage intern to the garden every summer. Foundation. Acting on a recommenda- Another important result of the tion of a grant-funded study, the organi- Fund for New Orleans was the damage zation has catalogued and rehoused its assessment and recovery campaign archival collections, including moving spearheaded by the National Trust. parts of the collection to climate-con- Overall, National Trust staff inspected trolled, off-site storage. Likewise, the nearly four hundred properties and SUNO Graduate Student Erika Witt conservation work supported by a grant ultimately saved close to 150 buildings holds her favorite mask in the university’s African Art Collection in at the garden at St. Louis Cathedral that had been slated for demolition. preparation for a 2015 exhibition touched off an extraordinary series The Fund was also transformative for on campus as part of her graduate degree in Museum Studies. Photo: of discoveries about the early history the way the National Trust approached Master of Arts in Museums Studies of New Orleans, which will be high- its projects thereafter—focusing all its Program, Center for African and African American Studies, SUNO lighted in an upcoming exhibition at the resources and departments in order to

A view of Jackson Square and St. develop a comprehensive and cohesive inspired arts leaders in the city, and Louis Cathedral in New Orleans, preservation strategy. their dedicated staff, have created one Louisiana. Photo: iStock.com/ The recovery effort also gave rise to of the most vibrant art scenes in the Spondylolithesis the successful Prospect New Orleans country, situated in a historic built international art biennial, which began environment that preserves the city’s in November 2008, funded in part by distinctive mix of cultures. a Getty grant (the Foundation joined In the immediate aftermath of leading national funders in this effort). Katrina, it was not clear that many Now in preparation of its fifth iteration, of the cultural institutions in the city the biennial continues to attract leading would endure. The Getty Foundation’s artists from the international art scene, support in the earliest transition stages enhance the city’s reputation as a cul- contributed to the ability of arts organi- tural destination, and boost the reputa- zations in New Orleans to rebound and tion of key arts organizations in the city. contemplate a future. The outcomes demonstrate that relatively small grants Challenges Remain in the face of a disaster of this hurri- Even with these positive outcomes, cane’s magnitude, if well designed and there is more work to be done. For executed, can make a difference. example, there is still a need for a regional conservation facility to serve For a complete list of Fund for New Orleans the Gulf Coast, as well as additional grants and to read the summary report, visit the climate-controlled storage that would Foundation’s website at getty.edu/foundation. help protect collections should another severe storm hit the region. But the

20 21 Right: Jim Druzik, GCI senior Windmill Hill Archive on the scientist, introduces the concept of Waddesdon Manor estate (UK). epidemiology at the meeting. The sustainable architecture offers a stable environment for the archives’ repositories by Below: Participants in the 2015 using passive climate control meeting. features and thus avoids the need for air-conditioning.

Photo: Richard Bryant / arcaidimages.com

In June 2015, the GCI convened a head of the Sustainable Conservation together in new research projects and meeting in the United Kingdom at the Lab at Yale University’s Institute for case studies. “It is a real step forward to Windmill Hill Archive located on the the Preservation of Cultural Heritage, create a synthesis of the subject matter. Waddesdon Manor estate, home of the noted, “We all work, more or less, in There is clearly a lot of information, a lot Rothschild Foundation, to explore the this field of environmental impact on of research, and a lot of knowledge resid- possibilities of adapting an epidemio- cultural heritage, especially on physical ing in different areas and with different logical approach to cultural heritage. damages, but what was missing some- research groups,” said Nigel Blades, pre- Leading researchers active in the study how was this nomenclature, the differ- ventive conservation adviser (environ- he field of cultural heritage preservation is rela- of materials’ behavior in fluctuating ent understanding of biases, the criteria ment) at the National Trust UK. “This HOW CAN tively small, and it is rare for a scientific tool, be it climatic conditions, as well as those for epidemiology and so on.” meeting has provided a great oppor- Trelated to technology or research methodology, to working with collections, were brought It was found that prospective study tunity to bring these different aspects be developed specifically for the study and conservation together to explore ways in which this designs (i.e., those studies in which together for discussion and to begin HEALTH SCIENCE of cultural heritage. A more efficient way of advancing approach can help in the investigation material response to fluctuating cli- thinking about the synergies and how it conservation research is to adapt and transfer ideas and of the causal relationships between matic conditions is monitored in real can all come together in the future.” technologies from other disciplines—such as chemistry, objects’ mechanical damage and their time) would provide the most reliable The meeting concluded with partici- AID MUSEUM physics, engineering, medicine, biology, materials science, environment. data since they would allow for control pants organizing themselves into several and, more recently, from communication and imaging “For this meeting we tried to create a over the type and quality of data col- smaller working groups that will explore COLLECTIONS? technologies. This method of technology transfer is an visual analogy of what an epidemiologi- lected. Recent advances in monitor- specific topics in more detail. These will area in which the Getty Conservation Institute (GCI) has cal study could achieve and visualized ing objects in their setting by using focus on big data issues when sharing been engaged for many years. Now, as part of the Managing it as a jigsaw puzzle, where the pieces of more sensitive techniques, such as data, mechanical lab studies and their Collection Environments Initiative (MCE)—see page 24 the puzzle are all the different research acoustic emission and thermography, application in the field, and communica- for more information—the GCI is looking to health science projects being undertaken by the differ- are extremely suitable for this kind of tion—which includes terminology, stan- and the field of epidemiology, which focuses on under- ent research groups,” explained Foekje study and support the need to continue dards, and web tools. standing the distribution of a disease or specific adverse Boersma, GCI senior project specialist the adaptation and deployment of Boris Pretzel, head of science at the condition in a study population. and MCE project manager. mechanical-testing techniques from the Victoria and Albert Museum, reflected “As applied to cultural heritage, an epidemiological “Epidemiology is the ‘tool’ that laboratory into the field. Retrospective on how an epidemiological approach approach can identify how a physical condition or environ- could put the jigsaw puzzle pieces closer studies in which a displayed object’s could strengthen the evidence for which mentally driven adverse effect is distributed in museum together to form a clearer picture of the condition is examined using a variety of climatic conditions are safe. “It would be collections. Thus, it may be used to develop rational environmental conditions that put sus- historic and recent data sources ranging really nice that, at the end of a few years, guidelines for collection environments, with the idea of ceptible objects at risk.” from images, conservation reports, and we have a higher level of certainty about identifying safe indoor recommendations with respect to Over the two days of the meeting, climate data can be useful for vetting the advice we’re giving. I think individu- temperature and relative humidity fluctuations,” said Jim participants discussed the scope and hypotheses. ally we often are quite convinced that Druzik, GCI senior scientist and MCE research manager. methodology of an epidemiology study This meeting set the stage for we’re doing the right thing, but we need “In addition, it may also be considered a governing prin- of collections and welcomed the idea of exploring ways to collaborate by shar- to know more, and this is a great way of ciple for the entire MCE initiative.” synergizing research. Lukasz Bratasz, ing project data and potentially working going about it.”

22 23 BOOK EXCERPT

Managing Collection Environments represented in the “old boys club” that had This book and the exhibition associated long dominated Japanese photography. Her with it present work made during three dis- Initiative images were thrust before an international tinct phases of Ishiuchi’s career. In the first, audience, expressing the strong, indepen- she created a trilogy using her hometown as dent voice of an artist who explored life in a starting point. The three series—Yokosuka postwar Japan through the very particular Story (1976–77), Apartment (1977–78), and What is the most appropriate envi- world she knew. Endless Night (1978–80)—weave together ronment for preserving collections? The Thirty-six years later, after winning notions of memory, fiction, cultural and another major photography prize—the political histories, and personal experi- best answer may well be: that depends. Hasselblad Award—Ishiuchi’s work is again ence. Ishiuchi continued with Yokosuka For most of the second half of the twen- being shown in a large exhibition in the Again (1980–90), returning to the city to tieth century, collecting institutions and United States, at the J. Paul Getty Museum. photograph locations in Honchō, a gritty conservation professionals considered In the period since that first presentation neighborhood near the naval base that she the standards for the collection environ- to the West in 1979, Ishiuchi has generated had consciously avoided since childhood. ment to be a clear-cut matter. In recent more than twenty-five series and publica- All of these series—in which her subjective years, however, there has been increas- Ishiuchi Miyako tions and participated in numerous exhibi- perspective is made visible in the heavy grain ing concern regarding current practices tions. Yet, even though her photographs have she achieved by overdeveloping her under- been displayed in galleries and museums exposed negatives, as well as in the gently for maintaining climatic conditions Postwar Shadows throughout the world, they remain rela- off-kilter horizon lines, the extreme close- for objects, not only those imposed by Amanda Maddox tively unknown outside her native country. ups, and the scenes captured from faraway institutions in international loan agree- Intended to familiarize Western audiences distances—reveal worlds constructed by the The museum environment balances the preservation needs of a wide variety of objects, while also considering the type of building, its geographic location, and the ments but also for collections on display available resources. with Ishiuchi’s work, Ishiuchi Miyako: photographer. and in storage. These concerns reflect Ishiuchi Miyako is a major figure in the Postwar Shadows traces the artist’s impres- *** a general awareness of the imperative The conservation field has of factors, including objects’ materials, world of photography and in particular her sive trajectory since 1977, concentrating on Ishiuchi has described the projects that of environmental and financial sustain- responded, initiating new scientific use of collections, available resources, native Japan. A recent recipient of the pres- her photographic exploration of postwar bookend both her career and this book— ability, as well as the need to take into research and professional platforms for types of buildings, and environmental tigious Hasselblad Award, her impressive Japan and what she once referred to as the Yokosuka Story and ひろしま / hiroshima—as account new understanding about col- discussion and exchange of ideas and systems. The risk of damage from envi- oeuvre has quietly influenced generations of “postwar shadows” that lingered over the wounds inflicted by war. Though she came photographers born in the post-war era. This nation in the wake of World War II and to know these histories only in the postwar lection requirements and advances in information at conferences and meet- ronmental agents of deterioration is rich and captivating exploration of her career American occupation. era, she presents them as current, lived thinking about approaches to environ- ings. The International Institute for assessed in context with other, poten- will reaffirm her rightful place in the pan- The United States holds a meaningful experiences. Her photographs represent her mental control. Conservation of Historic and Artistic tially more damaging risks. theon of contemporary art. place in Ishiuchi’s personal history. Not only individualized process of understanding and Directors associated with the Works (IIC) and the International Addressing the need for more did her first exhibition outside Japan take healing. Ishiuchi’s work—in its consideration International Group of Organizers of Council of Museums – Committee for research on real objects in real condi- In 1979 Ishiuchi Miyako received a place there but, more crucially, it dominated of subjects such as Yokosuka and Hiroshima, Large-scale Exhibitions—also known Conservation (ICOM-CC) released a tions, the GCI is combining labora- phone call from Yamagishi Shōji, who was her childhood in the port city of Yokosuka, which had been photographed by predeces- as the Bizot group—have questioned joint declaration on environmental tory research on a microscale with in the midst of organizing an exhibition for where the U.S. Navy has maintained a base sors such as Tōmatsu Shōmei and Moriyama the environmental specifications for guidelines, which support a more prag- empirical studies of climate-induced the International Center of Photography since August 1945. Ishiuchi still recalls how Daidō, as well as by contemporaries like (ICP) in New York after having resigned as the American presence permeated the city’s Tsuchida Hiromi—also constitutes an impor- museum objects on loan, stating that matic approach, but also states that damage in the field. These studies will chief editor of Camera Mainichi. As Ishiuchi atmosphere and roused fear in local resi- tant incursion in the history of photography. museums should stop imposing stan- “the issue of collection and material help identify more precisely the condi- tells the story, the call came shortly before dents. She remembers hearing people chant She entered the field at a time when very dard environmental conditions. Urging environmental requirements is com- tions under which irreversible damage she officially received the fourth Kimura “Yankee, go home!” during intermission at few Japanese women had active, success- consideration of sustainability, the Bizot plex, and conservators/conservation occurs as a result of climatic agents of Ihei Memorial Photography Award, given local screenings of English-language films ful careers as photographers. Ishiuchi has group has called for “environmental scientists should actively seek to explain deterioration. annually to the Japanese photographer who like Love Is a Many-Splendored Thing and set the stage for subsequent generations of standards to become more intelligent and unpack these complexities” (IIC Responding to the necessity of produced the best body of work that year— Lawrence of Arabia. For the subject of her women—from Narahashi Asako and Onodera and better tailored to specific needs,” and ICOM-CC 2014 Environmental interdisciplinary collaboration in either published or exhibited—as voted by a first major project, Yokosuka Story, Ishiuchi Yuki to younger photographers including (Bizot Green Protocol, November 13–15, Guidelines Declaration). implementing sustainable environmen- committee. Yamagishi asked to include her chose her hometown and her conflicting Nagashima Yurie, Sawada Tomoko, and Shiga 2014) resulting in suggested guidelines To help address the many ques- tal strategies, the initiative will target work in the ICP exhibition, called Japan: A emotions toward it. The cultural and politi- Lieko—to reshape the history and the future Self-Portrait (Ishiuchi learned later that the cal tensions found in Yokosuka, as a base of Japanese photography. with broadened parameters for many tions that still remain, the Getty the wider conservation community, museum’s director, Cornell Capa, had ques- town, are incorporated into her photographs. classes of objects containing moisture- Conservation Institute (GCI) launched including conservators and allied pro- tioned why no women were included among Such struggles—wherein the personal This excerpt is taken from the book sensitive materials, but also recognizing the Managing Collection Environments fessionals with an educational program the eighteen photographers selected for the becomes tangled with the political—are also Ishiuchi Miyako: Postwar Shadows, published that more sensitive objects may require initiative (MCE). This initiative seeks designed to improve understanding of show). Ultimately, twelve photographs from at the heart of many of her projects made by the J. Paul Getty Museum. ©2015 by The specific and tighter relative humidity to inform environmental strategies for preventive conservation issues by build- Ishiuchi’s Apartment series were featured in beyond Yokosuka, including, most recently, J. Paul Getty Trust. All rights reserved. control. collections, which depend on a range ing technical expertise. the exhibition, making her the only woman the series ひろしま / hiroshima.

24 25 NEW FROM GETTY PUBLICATIONS

Getty Publications produces award-winning titles that result from or complement the work of Paul Cézanne France—rank among the finest achievements the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute. Drawings and Watercolors in this difficult medium from any period. These books cover a wide range of fields including art, photography, archaeology, architecture, This beautifully illustrated volume traces conservation, and the humanities for both the general public and specialists. Christopher Lloyd the development of Cézanne’s style through his works on paper. Diverse in subject matter Order online at shop.getty.edu Paul Cézanne (1839–1906) was one of and execution, his drawings and watercolors the most influential artists of his day, pro- include copies of other masters’ works, stud- ducing work derived from “the most acute ies of his immediate family and their domes- sensibility at grips with the most search- tic surroundings, and preliminary ideas for ing rationality” according to his friend, the finished compositions. They reveal Cézanne Cave Temples of Mogao at Dunhuang sutras, poems, and prayer sheets. In this new writer Joachim Gasquet. Honoring tradition as someone deeply committed to devising a Art and History of the Silk Road expanded edition, Cave Temples of Mogao at while also challenging it, his example made process for comprehending and recording Second Edition Dunhuang, first published in 2000, combines possible the advances of numerous younger the world as he saw it. The result is some of lavish color photographs of the caves and their artists such as Henri Matisse, Pablo Picasso, the most absorbing art ever created. Roderick Whitfield, Susan Whitfield, and Neville art with the fascinating history of the Silk and Georges Braque, thereby paving the way Agnew Road to create a vivid portrait of this remark- for the emergence of modern art. J. Paul Getty Museum able site. Chapters narrate the development Cézanne’s novel approach was evident 320 pages, 6 x 9 inches The Mogao grottoes in China, situated of Dunhuang and the Mogao cave temples, as much in his drawings and watercolors as 198 color and 28 b/w illustrations near the town of Dunhuang on the fabled the iconography of the wall paintings, and the in his oil paintings. While the hundreds of ISBN 978-1-60606-464-1, hardcover Silk Road, constitute one of the world’s extraordinary story of the rare manuscripts— drawings that the artist left behind in his US $39.95 most significant sites of Buddhist art. The including the oldest printed book in existence, sketchbooks confirm the centrality of this hundreds of caves carved into rock cliffs at a ninth-century copy of the Diamond Sutra. medium to his artistic practice, his water- the edge of the Gobi desert preserve one The book also discusses the collaboration colors from the 1890s were undertaken as thousand years of exquisite art. Founded by between the Getty Conservation Institute and works of art in their own right. These latter Buddhist monks as an isolated monastery in Chinese authorities in conservation projects efforts—most of them landscapes and still the late fourth century, Mogao evolved into at Mogao, and the ways in which the site can lifes executed in Provence in the South of an artistic and spiritual mecca whose renown be visited today. extended from the Chinese capital to the Western Kingdoms of the Silk Road. Among Getty Conservation Institute its treasures are miles of stunning wall 160 pages, 8 x 10 inches paintings, more than two thousand statues, 155 color and 25 b/w illustrations, 1 map magnificent works on silk and paper, and ISBN 978-1-60606-445-0, paper thousands of ancient manuscripts, such as US $29.95 The Edible Monument Formal occasions and spontaneous celebra- The Art of Food for Festivals tions drew communities together, while special foods and seasonal menus revived Edited by Marcia Reed ancient legends, evoking memories and With contributions by Charissa Bremer-David, Qing Encounters reciprocity from both Eastern and Western recalling shared histories, values, and tastes. Joseph Imorde, Marcia Reed, and Anne Willan Artistic Exchanges between China perspectives, Qing Encounters offers a new Drawing on books, prints, and scrolls and the West and nuanced understanding of this critical that document festival arts, elaborate ban- period. The Edible Monument considers the quets, and street feasts, the essays in this Edited by Petra ten-Doesschate Chu and Ning Ding elaborate architecture, sculpture, and floats volume examine the mythic themes and Getty Research Institute made of food that were designed for court personas employed to honor and celebrate Qing Encounters: Artistic Exchanges 320 pages, 7 x 10 inches and civic celebrations in early modern rulers; the methods, materials, and wares between China and the West examines how 68 color and 45 b/w illustrations Europe. These include popular festivals used to prepare, depict, and serve food; and the contact between China and Europe in the ISBN 978-1-60606-457-3, paper such as Carnival and the Italian Cuccagna. how foods such as sugar were transformed to eighteenth and early nineteenth centuries US $55.00 Like illuminations and fireworks, ephem- express political goals or accomplishments. transformed the arts on both sides of the eral artworks made of food were not well This book is published on the occasion of East-West divide. The essays in the volume documented and were challenging to an exhibition at the Getty Research Institute reveal the extent to which images, artifacts, describe because they were perishable and from October 13, 2015, to March 23, 2016. and natural specimens were traded and thus quickly consumed or destroyed. In copied, and how these materials inflected times before photography and cookbooks, both cultures’ visions of novelty and plea- there were neither literary models nor Getty Research Institute sure, battle and power, and ways of seeing a repertoire of conventional images for 192 pages, 9 x 10 inches and representing. Artists and craftspeople how food and its preparation should be 91 color illustrations on both continents borrowed and adapted explained or depicted. ISBN 978-1-60606-454-2, hardcover forms, techniques, and modes of representa- Although made for consumption, food US $35.00 tion, producing deliberate, meaningful, and could also be a work of art, both as a special complex new creations. By considering this attraction and as an expression of power.

26 27 NEW ACQUISITIONS

William T. Wiley, Letter to Gordon Parks Margo Leavin, 1976. Photographs

an emphasis on pop and minimalism, The J. Paul Getty Museum recently acquired then becoming a premier venue for twenty-four prints by renowned American pho- conceptualism, helping to bring key tographer Gordon Parks (1912–2006). Among conceptual artists from Los Angeles to this group are twenty-one photographs from his national prominence. Margo Leavin landmark series Flavio, which began in 1961 while Gallery represented Dan Flavin, Donald Parks was on assignment in Brazil for Life maga- Judd, Sol LeWitt, Claes Oldenburg, zine. During the trip he met a young boy, Flavio da Alexis Smith, John Baldessari, Sherrie Silva, in a favela (slum) outside of Rio de Janeiro. Levine, Allen Ruppersberg, the Estate Parks ultimately chose to concentrate his story on of David Smith, William Leavitt, and Flavio, the da Silva family, and their destitute living Christopher Williams, among many oth- conditions. The extensive, deeply moving photo ers. The gallery placed numerous works essay “Freedom’s Fearful Foe: Poverty,” published at the world’s top museums, including in Life in June 1961, presented the favelas as places the Los Angeles County Museum of of extreme poverty. Parks subsequently produced Art; the Museum of Contemporary Art, another photo essay for Life, a book, and a film Los Angeles; the Museum of Modern about Flavio, whom he regarded as one of the most Above: Albia and Isabel, Rio de Art, New York; the Whitney Museum of Janeiro, Brazil, negative 1961; print important photographic subjects of his career. American Art; the Metropolitan Museum about 1970s, Gordon Parks. Gelatin Born in Fort Scott, Kansas in 1912, Parks silver print. The J. Paul Getty Museum, of Art; the National Gallery, Washington, Purchased with funds provided by the became interested in photography after seeing DC; Tate Modern, London; The National Photographs Council. © The Gordon the work of Farm Security Administration (FSA) Gallery of Australia, Canberra; and Parks Foundation photographers such as Walker Evans, Dorothea Museo Tamayo, Mexico City. Lange, and Ben Shahn. Parks worked briefly for the Left: Flavio da Silva, Rio de Janeiro, The records of Margo Leavin Gallery Brazil, negative 1961; print about agency, making his iconic portrait of Ella Walker, comprise a comprehensive view of busi- 1960s, Gordon Parks. Gelatin often referred to as American Gothic, during that silver print. The J. Paul Getty Museum, ness dealings, including provenance, his- Purchased with funds provided by the period. Jobs at Stanford Oil, Vogue, and Glamour tories of installations, brochures, reviews, Photographs Council. © The Gordon followed. A photo essay on Harlem gangs in 1948 and photographs and slides of decades of Parks Foundation earned Parks a coveted full-time position at Life artists’ works. In nearly two hundred lin- magazine, where he was on staff for two decades. ear feet of records, the archive includes He chronicled various social issues and injustices correspondence with collectors, foreign related to race, poverty, and crime for the maga- and domestic art dealers, and museums, zine, as well as fashion shows, sports, and other as well as exhibition files, photographic current events. Margo Leavin documentation of exhibitions, and Commonly regarded as a modern-day annotated auction catalogs noting prices Renaissance man for his work in the fields of and buyer information. There are more photography, literature, film, and music, among Gallery Records than eighty works on paper or unique others, Parks made some of his most significant ephemera created by such artists as contributions while at Life magazine. The addition The Getty Research Institute (GRI) has acquired Hannah Wilke, H. C. Westermann, Billy of these twenty-four photographs, all made during the complete archive of the legendary Margo Leavin Al Bengston, Claes Oldenburg, Sherrie his tenure at Life, will strengthen the Museum’s Gallery, which opened in Los Angeles in 1970 and closed Levine, Félix González-Torres, William T. holdings of work by traditional documentary prac- in 2013. In forty-three years of operation as one of Wiley, Andy Warhol, and many others. titioners associated with the magazine, including the most prominent art venues in Los Angeles, Margo Andreas Feininger, Leonard Freed, Carl Mydans, Leavin Gallery presented more than five hundred The Margo Leavin Gallery records, and W. Eugene Smith. The acquisition was made exhibitions, four hundred of which were solo shows. 1960–2013, will be catalogued and digi- possible with the assistance of the Getty Museum The gallery showed a mix of works by cutting-edge art- tized at the GRI and made available to Photographs Council, supplemented with addi- ists from New York and Los Angeles, beginning with researchers. tional funds from individual members.

28 29 FROM THE IRIS GETTY EVENTS A Hidden Rembrandt Has Been Digitally Reconstructed in Color

Thanks to science, we now have a to find the answer to this and many clearer image of the painting hidden other unanswered questions about the beneath Rembrandt’s An Old Man in painting. “Maybe he’s working some- Military Costume. A paper published on thing out in this first version, has an September 1 in Applied Physics A reveals ‘aha’ moment, then proceeds to execute a color reconstruction of a painting of the grander idea,” said Szafran. “Or per- 1 2 3 a young man that Rembrandt painted haps he simply started, put it aside, and over centuries ago. returned to it later.” The presence of a hidden figure This project is an example of a major has been known since 1968, when the shift now taking place in art history, as painting was first X-rayed. The color technical imaging allows scholars to reconstruction was created by a team look at an artist’s work and technique at the Getty Conservation Institute in unprecedented detail. It’s also a leap (GCI) and the Getty Museum, together forward for conservation science. Just a with collaborators from the University few years ago, notes Karen, a study like 5 of Antwerp and the Delft University of this would have required transporting Technology, using a technique known the fragile Old Man to the nearest syn- as macro-X-ray fluorescence scanning chrotron—in the Getty’s case, the one (macro-XRF or MA-XRF), which detects at Stanford. “As analytical tools become the chemical composition of an artwork more portable and more affordable,” she 4 without damaging it. said, “we can now bring the instrument They found different color pigments to the painting, rather than the other that were used during Rembrandt’s way around.” time. The reconstructed image reveals “What’s also exciting about the Power and Pathos: Bronze Sculpture from the a man with brownish hair, with a col- macro-XRF scanner is that it produces Hellenistic Age Opening lar (perhaps a metal gorget) and an scientific data as images, which are a olive cloak. (The line through the face universal language,” said Trentelman. 1. Raul Anaya, market president for Greater Los Angeles, Bank of America; Timothy Potts, director of the J. Paul Getty is a shadow from the strong contour “I’ve never seen our curators as excited Museum; and Garrett Gin, senior vice president, Global of the beret in the Old Man in Military by data as they were on that day. I wasn’t Marketing and Corporate Affairs, Bank of America Costume.) In the view of curator Anne showing them graphs with lines, I was 6 2. Getty Board of Trustees Chair Maria Hummer-Tuttle and Woollett, it’s likely that the first paint- showing them pictures.” Getty President and CEO James Cuno ing is also by Rembrandt. Rembrandt There is still much for the team to was known to have reused his supports learn about Rembrandt’s Old Man. Up 3. Getty Disegno Group member Alex Bouzari and (wood panels, canvases), painting over next is visualizing the figure’s clothing Alena Simone the initial composition with another, in better detail, and investigating how 4. Getty Board of Trustees member Peter Taylor and his wife usually different image. About two the colors in the final painting may Coralyn A. Taylor with Elizabeth Faraut and Getty Board of dozen such “palimpsests” have been have changed over time. “We think of Trustees member Mark Siegel identified. Rembrandt’s colors as being rich but 5. Director of the Palazzo Strozzi Arturo Galansino and his But why did Rembrandt abandon luminous,” said Szafran, “but some of guest with artist Bill Viola and Kira Perov the initial figure, rotate the panel 180 them have altered as they aged.” 6. Timothy Potts, Getty Board of Trustees member Ronald degrees, and start again? “That’s the big Looking further ahead, the team Spogli, and James Cuno with the famous Terme Boxer from question,” said Yvonne Szafran, head hopes to eventually gain an even better Rome Top: Tentative color reconstruction of the hidden portrait under An Old Man in of paintings conservation at the Getty view of the hidden painting, which is Military Costume. 7. Co-curator Kenneth Lapatin leads a tour during the opening. Museum. She is working with Anne and obscured by the thick pigment on top. Above: An Old Man in Military Costume, about 1630–31. Rembrandt Hermansz. scientist Karen Trentelman of the GCI, van Rijn. Oil on panel. The J. Paul Getty Museum 7

30 31 SPONSOR SPOTLIGHT GETTY EVENTS

The J. Paul Getty Medal Dinner

1. Getty President and CEO James Cuno, Frank Gehry, Getty Board of Trustees Chair Maria Hummer-Tuttle, and Los Angeles Philharmonic Conductor Gustavo Dudamel 2. Cal Arts President Steven D. Lavine, Getty Board of Trustees Chair Emerita Louise Bryson, and Michael Eisner 3. Tommaso De Vecchi, senior vice president, southwest region, Louis Vuitton and Elizabeth Segerstrom 4. Frank Gehry and Gustavo Dudamel 5. Ambassador Frank E. Baxter, Ambassador and Getty Trustee Ronald P. Spogli, and Ambassador Robert H. Tuttle 6. Bobby Shriver, artist Ed Moses, and Anjelica Huston

1

Fondation Louis Vuitton arts center. Photo: Iwan Baan

to art—especially contemporary art— The Fondation Louis Vuitton offi- and above all a place for meaningful cially opened to the public on Monday, Since its creation, in 1854, Louis exchanges between artists and visitors October 27, 2014. In addition to his work Vuitton—a company of the LVMH from Paris, from France, and from the with the Fondation, Gehry has collabo- Group—has been inspired by a desire entire world. By encouraging spon- rated with Louis Vuitton on other initia- to explore new horizons, continually taneous dialogue, the new Fondation tives. In 2014, Louis Vuitton unveiled accompanying a world in motion with seeks to inspire both emotion and store windows featuring Gehry’s sculp- its emblematic creations. The com- contemplation.” tures alongside Nicolas Ghesquiere’s 2 3 4 pany has a privileged relationship with “LVMH’s many years of corporate Fall/Winter 2014 collection, a first for Frank Gehry and generously agreed to patronage and Louis Vuitton’s collabo- the world-renowned architect. Also present the 2015 J. Paul Getty Medal rations with artists resonate powerfully in 2014, Louis Vuitton introduced the dinner in his honor. with my personal passion for artistic Celebrating Monogram collection and LVMH Chairman and Chief creation. This passion is what fueled invited six creative iconoclasts, the best Executive Officer Bernard Arnault my decision to build the Fondation in their fields, to create limited-edition first met Gehry in December 2001 and Louis Vuitton, bringing Paris a place items. Gehry was one of the individuals soon after the idea of collaborating on that not only pays tribute to artists, but chosen for this honor. the Fondation Louis Vuitton, a new at the same time inspires them in a vir- The Getty is pleased and honored to museum and cultural center in the tuous circle of creativity,” said Arnault. welcome Louis Vuitton as a presenting heart of Paris, was born. “Frank Gehry is one of the greatest sponsor of the 2015 J. Paul Getty Medal “The Fondation Louis Vuitton architects of our times, and I knew he dinner. We extend our gratitude and opens an exciting new cultural would meet the challenge of designing appreciation for their support and for chapter for Paris,” said Arnault. “It an amazing monument of twenty-first joining us in recognizing Gehry’s work brings the city a new space devoted century architecture.” in transforming the built landscape. 5 6

32 33 EXHIBITIONS FROM THE VAULT

Far right: Yokosuka Story #73, AT THE 1976–1977, Ishiuchi Miyako. Gelatin silver print. The J. Paul The Origins of GETTY Getty Museum. © Ishiuchi CENTER Miyako Flavored Waters Right: OMIAI ♡, 2001, Sawada Tomoko. Chromogenic print. The J. Paul Getty Museum, Purchased with funds If Whole Foods workers had read a copy of Walther provided by the Photographs Council. © Sawada Tomoko Hermann Ryff’s Das new groß Distiller Buch, they might have avoided the public outcry over their expensive “aspara- gus water.” The key to making flavored waters is the art of distillation, a technique invented by ancient alchemists for extracting the essence of a substance through evapora- The Edible Monument: The Art of Food tion and condensation. These hand-colored leaves from for Festivals the second edition of Ryff’s distillation manual, donated by October 13, 2015–March 13, 2016 botanical art collector and Getty Research Institute Council member Tania Norris, contain recipes for making distilled Louis Style: French Frames, 1610–1792 Eat, Drink, and Be Merry: Food in the floral and herbal waters from botanicals like violets, peonies, September 15, 2015–January 3, 2016 Middle Ages and Renaissance water lilies, and citrus. The flowers and herbs are heated in October 13, 2015–January 3, 2016 water, vaporizing certain compounds and leaving behind Art of the Fold: Drawings of Drapery others, producing a concentrate of pigments, flavonoids, and and Costume In Focus: Daguerreotypes aromatics—that is, the essence of the flower. October 6, 2015–January 10, 2016 November 3, 2015–March 20, 2016 The first published book devoted solely to distillation was Hieronymus Brunschwygk’s Liber de arte distillandi The Younger Generation: Contemporary Woven Gold: Tapestries of Louis XIV de Compositis (1512). Ryff’s work claims to be a re-release Japanese Photography December 15, 2015–May 1, 2016 of the more famous earlier treatise, but the nature of this October 6, 2015–February 21, 2016 claim is unclear: Ryff, in addition to being a physician, was also Germany’s most prolific “writer” of scientific and tech- Ishiuchi Miyako: Postwar Shadows nical texts over the period of a decade—frequently using October 6, 2015–February 21, 2016 pirated woodcuts and attaching his name to translations of and elaborations on work written by others. In the case Right: Triumph of Bacchus (detail), about 1560. Woven in Brussels by Frans Geubels (Flemish, fl. ca. 1545–85), after a design by Giovanni da Udine (Italian, of Das new groß Distiller Buch, while Ryff repeats many of 1487–1564). Wool, silk, and gilt metal–wrapped thread. Image courtesy of and Brunschwygk’s woodcuts of distillation apparatus, he has © Le Mobilier National. Photo by Lawrence Perquis Above: Recipes for distilling added a wealth of new botanical information and illustra- peach, bitter orange, citron, and tion. And, indeed, this was often the way that recipes trav- lemon flower waters. Hand- colored woodcuts from Walther eled through medieval and Renaissance Europe: copied and Hermann Ryff’s Das new groß recopied in books of secrets, printed and reprinted under Distiller Buch (Frankfurt: Heirs of Christian Egenolff, 1556), Getty new names, with pages torn out for use in the kitchen or the Research Institute laboratory. Left: Recipe for distilling violet Ryff’s manual was primarily concerned with the medici- water. Hand-colored woodcut nal uses of floral waters, but these products of distillation had from Walther Hermann Ryff’s Das new groß Distiller Buch (Frankfurt: a broad range of applications from the culinary to the cos- Heirs of Christian Egenolff, 1556), metic. While distillate of violets was prescribed for ailments Getty Research Institute AT THE Greece’s Enchanting Landscape: like epilepsy and insomnia, it could also be used as perfume, Watercolors by Edward Dodwell and food coloring, or delicate flavoring for food and drink. During GETTY Simone Pomardi the reign of Charles II, a favorite dessert was “violet-plate,” colors, sweet smells, and delicious flavors—with the added VILLA October 21, 2015–February 15, 2016 a kind of floral conserve made with violet extract. Orange bonus of medicinal qualities. Whole Foods’ asparagus water flower water is a traditional ingredient in Spanish king cake was trying to cash in on just these benefits: delicious AND The Erechtheion, Athens, after 1805, Simone Pomardi. Watercolor. The Packard Humanities Institute as well as in French madeleine cookies, while rose water has good for you (and for a luxurious price); this is a case, how- been used for centuries as a perfume, skin treatment, and fla- ever, where the trend for natural, unprocessed foods doesn’t voring for marzipan and Turkish delight. Properly made, flo- apply. Here, a chemist (which is really just another name for ral waters are a feast for all the senses: giving edibles bright cook) is needed to unlock the flavors of nature.

34 35 NON-PROFIT ORGANIZATION US POSTAGE PAID LOS ANGELES, CA PERMIT NO. 32365

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