Summer 2016 PRESIDENT’S MESSAGE

theGETTY

A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Summer 2016 PRESIDENT’S MESSAGE

theGETTY Summer 2016 TABLE OF President’s Message 3 In 2005, the Getty Research Institute (GRI) acquired from the Long Beach Museum of Art and the City of Long CONTENTS New and Noteworthy 5 Beach an important video art archive spanning three decades of innovation in this modern medium. With this Mapping Video Art in Latin America 8 addition, the GRI became home to one of the largest insti- tutional collections of video art in the world. Since then, the The School of London Is in Session 14 GRI has worked to round out the collection by acquiring and studying video art from underrepresented parts of the world. Digital Innovation Unveils Mysteries of Bosch 18 Over the last twelve years, the GRI has presented a series of exhibitions and programs that look at the birth of video art Arches 22 in Latin America. This has led to a wide-ranging research project titled Video Art in Latin America. Our cover story New from Getty Publications 27 takes an in-depth look at this project that aims to chart the development of Latin American video art and create a set of New Acquisitions 30 shared scholarly resources that can be used for teaching and research. From The Iris 32 In 2013, a Getty Foundation grant to the Stichting Noordbrabants Museum provided support for the treatment Getty Events 34 of three multi-panel works by artist Hieronymus Bosch. In this issue of The Getty, we highlight the results of a second Sponsor Spotlight 37 Getty Foundation grant that is supporting the innovative website Bosch Online, an interactive tool that will allow art Exhibitions 38 historians, conservators, and the public to compare detailed images of nearly forty Bosch paintings from twenty-six From the Vault 39 museum collections across Europe and the United States. James Cuno We also explore yet another iteration of the Getty Conservation Institute’s Arches project, which offers a resource for heritage organizations to manage inventories of cultural heritage places such as buildings, structures, archae- ological sites, cultural landscapes, and urban districts. This time the focus is on the Kingdom of Bhutan where modern Send correspondence and address The J. Paul Getty Trust is a cultural and The J. Paul Getty Trust is a tax-exempt excavation surveys are just beginning. changes to philanthropic institution dedicated to organization under Section 501(c)(3) Rounding out this issue is a story on the Getty Museum’s Getty Communications the presentation, conservation, and in- of the Internal Revenue Code (the special exhibition, London Calling: Bacon, Freud, Kossoff, 1200 Getty Center Drive, Suite 403 terpretation of the world’s artistic legacy. “Code”), and is specifically classified as Andrews, Aurbach, and Kitaj. On view at the Getty Center Los Angeles, CA 90049 Through the collective and individual a private operating foundation under July 26 through November 13, it provides a look at the work Email: [email protected] work of its constituent programs—Getty Section 4942(j)(3) of the Code. Con- of a group of London-based artists who, in the 1940s through Conservation Institute, Getty Founda- tributions to the Getty are deductible the 1980s, developed new styles and approaches to depicting tion, J. Paul Getty Museum, and Getty under Section 170 of the Code and may the human figure and the landscape. These painters resisted Research Institute—the Getty pursues also be deductible for federal estate and the allure of abstraction, minimalism, and conceptualism its mission in Los Angeles and through- gift tax purposes. Prospective donors that dominated contemporary art at the time, instead focus- out the world, serving both the general should consult their own legal and tax ing on depicting contemporary life through innovative figu- interested public and a wide range of advisors in connection with gift and rative works. professional communities in order to planning matters, as the Getty cannot I encourage you to visit the Getty this summer to enjoy promote a vital civil society through an provide tax advice. all that we have to offer. We also welcome you to connect understanding of the visual arts. with us online at getty.edu and through Facebook, Twitter, On the cover: Instagram, and YouTube, and to download our new podcast Bronze Revirado, 2011, Pablo Lobato (Brazil). Single-channel color video series, Art + Ideas. I think you will find it interesting and installation. © Pablo Lobato. provocative.

2 3 NEW AND NOTEWORTHY

Head of a Sleeping Bacchante (detail), 1847, Gustave Courbet. Getty Museum Senior Curator of Drawings After taking a position at the Metropolitan WE’RE BRINGING YOU ART + IDEAS Fabricated black chalk with Retires Museum of Art in 1994 as curator of early German stumping, lifting, and scratching. The J. Paul Getty Museum After thirty-two years, the Getty Museum’s drawings and prints, Hendrix returned to the Getty THAT INSPIRE AND PROVOKE Senior Curator of Drawings Lee Hendrix has in 1998 and was appointed curator of drawings (the retired, but will remain Curator Emeritus. Museum’s third). The move to the Getty Center, Join J. Paul Getty Trust President Jim Cuno in a new podcast, Art + Ideas. In the debut episodes, discover the complex Hendrix finished her Ph.D. thesis on the six- with its larger exhibition spaces, inaugurated an history of porcelain with potter and author Edmund de Waal; explore the depth of visual intelligence with art historians teenth-century Flemish manuscript illuminator aggressive program of international-loan shows. T. J. Clark on Poussin, and Yve-Alain Bois on Ellsworth Kelly; delve into the formative years of Los Angeles–based architect Joris Hoefnagel in 1984 and joined the Getty In 2000, the Museum hosted Painting on Light: Frank Gehry; and unearth the ancient past and explore the importance of its fragmentary remains with archaeologist Colin that same year as the first drawings intern. In Drawings and Stained Glass in the Age of Dürer Renfrew. Visit getty.edu/podcasts, iTunes, or SoundCloud to listen today. 1985, she became the department’s first assistant and Holbein, an exhibition that took Hendrix and curator of drawings. Just a few months later, the her co-curator Barbara Butts ten years to prepare. Museum purchased the last important Hoefnagel The exhibition was the first survey of this material manuscript in private hands, Model Book of since 1913 and it remains the basic source book Calligraphy. Virtually unpublished, this manu- for the field today. In 2009, Hendrix and a team script was facsimilized by the Getty in 1992, with of Rembrandt scholars organized Drawings by A World of Art, Research, Conservation, and Philanthropy. Hendrix writing part of its commentary. Rembrandt and His Pupils: Telling the Difference,

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Saint John the Evangelist, about 1625–1628, Frans Hals. Oil on canvas. The J. Paul Getty Museum. Text and design © 2016 J. Paul Getty Trust 5 Right: Wu Man. Photo: © Takenao which laid out what has become the Anzawa Wim Swaan Photograph Collection most accepted approach to distinguish- Digitization Project Opposite page: Saadian Tombs in ing drawings by Rembrandt from those Marrakech, Morocco. Photograph Architect and photographer Wim Swaan (1927– of his thirteen most important follow- taken 1967 or earlier. Wim Swaan 1995) was born in South Africa, where he earned photograph collection, 1951-1995. ers. Most recently, Hendrix curated The Getty Research Institute, two degrees in architecture before moving to the Noir: The Romance of Black in 19th-Cen- 96.P.21. Gift of the Willem A. Swaan US and studying at Yale and Harvard universi- tury French Drawings and Prints. The Estate ties. A prominent contributor to hospital and exhibition traced the explosion of black Opposite, right: 2014 Getty intern medical science architecture, Swaan was also an Anabel Garcia Romo at the Los graphic media in the late Industrial Angeles County Museum of Art. accomplished photographer. His architectural eye Revolution and took a close and inno- helped create stunning images of buildings and vative look at the many nuances of the sites around the world that resulted in multiple color black used in graphic art during publications. Over the course of his extensive that period in France. career, Swaan traveled widely across five con- The past eighteen years have wit- tinents, documenting the art and architecture nessed an incredible growth in the of many cultures. The Wim Swaan photograph drawings collection, including Courbet’s collection, in the photo archive of the Getty Head of Sleeping Bacchante (1847); Research Institute (GRI), contains approximately Van Gogh’s Arles: View from the Wheat 47,900 photographs. About 860 recently digitized Fields (1889); and three drawings by images from the collection have been added to the Seurat: Woman Strolling (ca. 1884), Open Content Program, available to download The Artist’s Mother (ca. 1882–83), and and use for any purpose. The digitization proj- Indian Holy Man (ca. 1878–79). Hendrix ect focused on architectural photographs from also spearheaded the cultivation of three of Swaan’s publications: Lost Cities: Ceylon, collectors and donors that has been Pagan, Angkor (1966), Morocco: Marrakesh, Fez, instrumental in the continuing growth Rabat (1967), and Mughul India: Delhi, Agra and of the drawings collection and exhibi- Fatehpur Sikri (1968). The photographs, shot in tion programs. In 2013, Hendrix and her black-and-white and color, document the cities department formed the Disegno Group, and sites as they looked in the mid- to late-1960s. the drawings-support council that The selected photographs from the Wim Swaan has contributed funds earmarked for photograph collection join over 100,000 images many significant acquisitions. In honor from the Getty Museum and the GRI already of her retirement, several donations available through the Open Content Program. have been made by the Disegno Group Silk Road Ensemble Residency in Hendrix’s name, including Joseph- Musicians from the Silk Road Ensemble will take part in a Benoît Suvee’s Porta Tiburtina, Rome series of short residencies at the Getty Center this summer, and Rosa Bonheur’s Charcoal burners creating a constellation of musical events inspired by the exhi- (Les Charbonniers). bition Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road. The exhibition celebrates more than twenty-five years of collaboration between the Getty Conservation Institute and the Dunhuang Academy to preserve the UNESCO World Heritage Site. Since 2000, the Silk Road Ensemble has been Multicultural Undergraduate Interns Arrive for the Summer exploring how the arts can advance global understanding, The Getty Foundation’s Multicultural Undergraduate Internship pro- deepen learning, and promote innovation. Under the artistic gram kicks off its twenty-fourth year this month, with seventeen interns direction of cellist Yo-Yo Ma and representing a global array at the Getty and an additional ninety-three Getty interns at cultural of cultures, the ensemble’s musicians model new forms of organizations across Los Angeles County. Aiming to encourage greater cultural understanding through performances, workshops, diversity in the professions related to museums and the visual arts, the and residencies. The ensemble’s residencies at the Getty will Getty Foundation created the Multicultural Undergraduate Internship bring together musicians and sounds from across the globe. program in Los Angeles to support substantive, full-time summer work Lead artists will include Iranian kamancheh master Kayhan opportunities for college undergraduates from cultural backgrounds Kalhor, Chinese pipa virtuoso Wu Man, and Japanese-Danish that have traditionally been underrepresented in the arts. Since the performer and composer Kojiro Umezaki, who will play the program’s founding in 1993, over 150 local arts institutions, as well as shakuhachi. The Silk Road Ensemble residency program is the Getty Center and the Getty Villa, have hosted over three thousand generously supported by Jim and Anne Rothenberg. interns, exposing these students to career possibilities in the arts.

6 7 MAPPING VIDEO ART IN LATIN AMERICA

Las órdenes no se discuten, 2011, Patricia Bueno and Susana Torres (Peru). Color video. © Patricia Bueno and Susana Torres n 1977, Brazilian artist Sonia Andrade used an of more than twenty-five years, across more early-model Sony Portapak camera to create than a dozen artistic centers. While the earliest Ia video recording of her hands. Artists’ hands experiments with video in Latin America began in can be richly symbolic, and traditionally might be Argentina in the late 1960s and Brazil in the early seen as the embodiment of artistic skill and labor, 1970s, artists in other countries did not begin using but Andrade had another idea. Placing her right video technology until the later 1970s, 1980s, 1990s, hand on a table, Andrade used her left hand to or even the 2000s. In general, however, delayed hammer nails into the table in the space between access to the video recorder in Latin America each finger, creating little “posts” that began to deferred its widespread use within artistic spheres limit her mobility. Continuing to use her left hand, until the late 1970s and 1980s. It then became she then wrapped cord around and between the an important medium for the expression of dis- nails until her right hand was completely immo- sent during an era dominated by military regime bilized and useless. Though this action may seem governments. cryptic today, it was a powerful statement about Over the past twenty years video art practice has the restrictions placed on Brazilians during the witnessed an unprecedented expansion, particu- period of the military dictatorship, and portable larly after the advent of digital video. Artists from video provided a radical alternative outlet to the all over Latin America, including those in Central tightly controlled messages of state controlled tele- America and the Caribbean, have been active par- vision during this era. ticipants in international exhibitions. While today’s Andrade’s Pregos [Nails] is one of a number digital productions look profoundly different from of works that the Getty Research Institute (GRI) the lo-fi videos of the 1970s, there is a distinctive preserved and acquired in 2006, following a 2005 continuity in the nature of themes explored by program at the Getty on Pioneers of Brazilian Video early video artists to that of more recent years. A Art, 1973–83. Now, more than ten years later, the critique of televised information and mass media GRI is returning to the subject of video in Latin mechanisms; a commitment to alternative media America with a wide-ranging research project circuits and to accommodating dissident voices and that aims to chart the development of video across political activism; as well as explorations of gender, several countries in Latin America, and to create a ethnic, and racial identity continue to frame recent set of shared scholarly resources that can be used video art production. Other salient themes concern for teaching and research. Aptly titled, the Video the upheaval resulting from ecological disasters, Art in Latin America project is headed up by the global violence, urban chaos, social inequality, and GRI’s head of modern & contemporary collections an engagement with memory through the reinter- Glenn Phillips, and Elena Shtromberg, a professor pretation of historical events. The Act, 2011, Diego Lama (Peru). in the art history and visual studies program at the The overall goals for the Video Art in Latin • Producing online resources that map the and an exhibition at the alternative art space Color video. © Diego Lama University of Utah. America research project are multiple, and primar- emergence and development of video art LA>

11 of scholars and critics from Mexico, countries but there are so many different types of artists throughout South America, Europe, the US, and working, and a lot of video art pursues other the Caribbean to begin an international dialogue goals—exploring ideas of family, for instance, or and create a framework to study video art with a beauty, or humor. We want to present a spectrum comparative view in mind. of what the medium produces.” “The pioneer generation of curators and schol- The exhibition begins with the earliest experi- ars that have been intense advocates for this art ments in South America, where video became an their whole lives will be brought together with important medium for expressing dissent during some of the most exciting younger scholars who an era dominated by repressive military regimes, work. Often, the only way to see and learn about specific artist The video art collection at the GRI is one of the best in the Above: Production still for El will bring in a very different perspective,” said and follows themes that emerged throughout Basurero, 2009, Donna Conlon videos is to travel to the target region and meet with the art- world, documenting the growth of video as an artistic medium (Costa Rica). Color video. Shtromberg. “We think this is one of the first times Latin America, from labor, ecology, and migra- ists themselves or visit private and public collections. And so internationally from the late 1960s to the present. The collec- © Donna Conlon these people and ideas will come together and be tion, to borders, memory, and consumption. It that is exactly what Glenn and Elena did. tion includes representation from the United States, Europe, Above, right: Solo yo, 2012, discussed in comparative ways, and we hope to also highlights the ways in which contemporary Javier Calvo (Costa Rica). Color The research project began in July 2013, and since that and Southeast Asia, with especially strong collections of work video. © Javier Calvo build on that workshop with a publication.” video artists in Latin America continue to pursue time the research team has visited Argentina, Brazil, Chile, from California. the sociopolitical commitment of earlier work, Costa Rica, Colombia, Cuba, Ecuador, Mexico, Peru, Puerto “Looking at the scope of our collections and what they The Exhibition exploring themes related to identity and the con- Rico, and Uruguay, and conducted studio visits, interviews, or aim to do, one of our objectives is to chart the birth of video The Video Art in Latin America exhibition will be sequences of social inequality, without shying away meetings with more than 250 artists, curators, scholars, gal- art around the world. We are lacking in deep collections of held at LA>

12 13 of theSCHOOL

LONDONis in Session

n 1976, when R. B. Kitaj, an American painter In his “Human Clay” essay—which is now inex- living and working in London, curated an tricably linked with these unique postwar paint- Iexhibition of contemporary drawing at the ers—Kitaj characterized London as a singular place, Hayward Gallery in London, he famously adopted an “island” fostering fertile creative developments the term “School of London” in his essay for the distinct from anywhere else in the world. Kitaj exhibition. Under the title, The Human Clay, the speculated that if the figurative work that he and his exhibition presented the work of forty-eight fel- friends were creating was given the same attention low painters in London, including Lucian Freud that abstract and minimalist painting and sculpture (1922–2011), Francis Bacon (1909–1992), and were receiving, it too would have influenced artists Frank Auerbach (b. 1931). While these artists had and, presumably, the larger conversations about art. very different approaches and styles, they all used “In fact, I think there is a substantial School the human figure and daily contemporary life as of London . . . If some of the strange and fascinat- their central subjects. ing personalities you may encounter here were At the time, minimalism and abstraction domi- given a fraction of the internationalist attention nated the contemporary art discourse in much of and encouragement reserved in this barren time Europe and America. By contrast, artists such as for provincial and orthodox vanguardism, a School Kitaj, Bacon, Freud, Michael Andrews (1928–1995) of London might become even more real than the and Leon Kossoff (b. 1926) had spent decades cre- one I have construed in my head. A School of real ating large paintings exploring the role of sensory London in England, in Europe . . . with potent art perception and using their friends, family, and lessons for foreigners emerging from this odd old, Girl with a Kitten, 1947, Lucian Freud. Oil on canvas. Tate: the city of London as their subjects. They experi- put-upon, very singular place,” he wrote. Bequeathed by Simon Sainsbury mented with new and radical approaches to repre- Since that key essay and exhibition, Kitaj’s char- 2006, accessioned 2008. © Lucian Freud Archive / Bridgeman Copyright sent the body and places, emphasizing mortality, acterization has stuck, often cited in discussions of Service. Photo © Tate, London 2016 sensory experiences, and psychology. the unique flourishing of figurative and landscape

14 15 Below: The Wedding, 1989–1993, Right: Triptych—August 1972, 1972, R.B. Kitaj. Oil on canvas. Tate: Francis Bacon. Oil and sand on can- Presented by the artist 1993. © R.B. vas. Tate: Purchased 1980. © The Kitaj Estate, courtesy Marlborough Estate of Francis Bacon. All rights Fine Art. Photo © Tate, London 2016 reserved. / DACS, London / ARS, NY 2016. Photo © Tate, London 2016

painting that took place in London in the mid- and late- intense study of the subject from life. The exhibition includes Pool, Autumn Afternoon, 1971, by Leon Kossoff, rooftops, cars, and passersby—are highlighted with twentieth century. This is the background to the first major works that are now regarded as some of the greatest master- depicts a newly built swimming pool near the art- thick strokes, which contrast with the treatment of US museum exhibition to consider these artists as a group, pieces of British twentieth-century art and shows the pur- ist’s North London studio where he took his son to large areas of the sky, road, and buildings. and assess their place in modern art history. On view at the poseful, multifaceted reinvigoration of figurative art.” learn to swim. Kossoff made five large paintings of A major work by Kitaj echoes the themes of his J. Paul Getty Museum from July 26 to November 13, London Most of the works in the exhibition were created between the pool and its light-filled space from 1969 to 1972, 1976 essay as well as the core values of his practice. Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj the 1940s and the 1980s, and many are portraits of friends and each distinguished by an expansive treatment of The Wedding, 1989–93, incorporates elements of explores six of the principal figures in this group as central others close to the artists. Freud made a number of portraits space and vibrant sense of energy. the artist’s Jewish identity, his friendships, and to a richer and more complex understanding of twentieth- between 1947 and 1951 of his first wife, Kathleen (“Kitty”) Swimming also featured in a major painting his association as a “School of London” artist. century painting. The exhibition includes eighty paintings, Garman, including Girl with a Kitten, 1947, a psychologically by Michael Andrews. Melanie and Me Swimming, Depicting Kitaj’s 1983 wedding to the American drawings, and prints. charged image of Garman holding a kitten by its neck in a 1978–79, shows the artist and his daughter, then artist Sandra Fisher, the painting prominently A collaboration between Tate and the J. Paul Getty tense grip, her white knuckles especially prominent. The age six, swimming together in a rock pool, based portrays fellow School of London artists Freud, Museum, London Calling is curated by Julian Brooks, curator extraordinary precision in this work is achieved through the on a color photograph taken by a friend while they Kossoff, and David Hockney—painters who were of drawings at the Getty Museum; Timothy Potts, director use of fine sable brushes. were on holiday at Glenartney Lodge in Scotland in linked by both friendship and shared artistic goals. of the Getty Museum; and Elena Crippa, curator of modern A highlight of the exhibition, Francis Bacon’s Triptych— the summer of 1976. As with many of his paintings, London Calling: Bacon, Freud, Kossoff, Andrews, and contemporary British art at Tate. Drawn largely from the August 1972 forms part of a series of so-called “black trip- this work combines real elements with his own Auerbach, and Kitaj is accompanied by a catalogue unrivaled holdings of Tate, the exhibition has been enriched tychs,” which he made in the aftermath of the suicide of memories of the event. published by Getty Publications and written by by a number of loans from other museums and private Bacon’s longtime lover, George Dyer, in 1971. In the com- One of the more recent paintings in the exhibi- Crippa and Catherine Lampert, an independent collectors. position, Dyer appears on the left and Bacon himself on the tion is Auerbach’s Mornington Crescent—Summer curator, art historian, and Auerbach scholar. “It’s amazing and wonderful to see how different the right. The image on the central panel is one of many paint- Morning, 2004, which revisits a location the artist works produced by these artists are, considering that they ings inspired by a photograph of wrestlers by Eadweard painted as early as 1966. The process of its creation The presentation of this exhibition is a collaboration were all working in the same city and all within a figurative Muybridge. involved the use of large brushes to apply the paint between Tate and the J. Paul Getty Museum. The exhibition is framework at a time when that was highly unusual,” said The School of London artists also depicted places that energetically and rapidly. Elements of the compo- supported by an indemnity from the Federal Council on the Arts Brooks. “Some used photographs, some instead prized the were of personal significance to them. Children’s Swimming sition—such as the windows and edges of buildings, and the Humanities.

16 17 Digital Visions of the Hereafter, c. 1505–15, Hieronymus Bosch. Panels L-R: The Way to Heaven: The Garden of Eden; The Way to Heaven: The Ascent of the Blessed; The Way to Hell: The Fall of the Damned; The Way to Hell: The River to Hell. Venice, Museo di Innovation Palazzo Grimani. Photo Rik Klein Gotink and image processing Robert G. Erdmann for the Bosch Research and Conservation Project Unveils Mysteries of Bosch

eaven and hell, iconic subjects for artists throughout the ages, play a recurring role in the supernatural Hcreations of Hieronymus Bosch, perhaps the most intriguing and exciting Netherlandish artist of the late Middle Ages. In his painting Four Visions of the Hereafter—a four- panel masterpiece divided equally between the two sites of the afterlife and conserved with the support of a grant from the Getty Foundation—flailing, terrified figures are seen fall- ing helplessly through thick, billowing clouds of smoke as they are cast down into the depths of hell to be tormented by grotesque demons. Fiery mountains encompass the damned, some of whom struggle to avoid drowning. In contrast, the other two panels depict a serene rise into heaven for the chosen faithful. Angels lead the dead into a tunnel filled with light, where a silhouette awaits their arrival, and in the final panel, the dead relax alongside angels among a lush, green landscape. Bosch is best known for the demonic figures, famous monsters, angels, and saints that populate his drawings and panels. His highly distinctive work, full of illusions and

18 19 hallucinations, weird creatures and nightmares, The documentation alone that has been gath- All of these seamlessly overlap and represents the great themes of his time, such ered by the team has generated nearly fourteen expose the artist’s process as well as any as temptation, sin, and final reckoning, like no terabytes of information. Site users can analyze alterations hidden to the naked eye. other. Created around the turn of the sixteenth this large store of data with exceptional speed Using machine-learning technology, century, as the Middle Ages were giving way to thanks to the team’s eight-year development of the photographs of the artworks have the Renaissance, Bosch’s paintings and drawings image processing advances and machine-learning been perfectly registered, down to the offer an enigmatic view of the relationship among algorithms. pixel, to allow for incredibly accurate human beings, their surroundings, and higher pow- “While not much is known about Bosch’s life, comparisons. ers. In contrast to the incredible detail of Bosch’s his complex imagery has fascinated scholars, “One of the motivations for design- art, very little is known about the artist himself, millions of museum visitors, and many others, ing the curtain viewer was to address a and, until now, no one-stop destination existed to since his death nearly five hundred years ago,” quirk of human perceptual psychology, study his works. Bosch’s artistic heritage consists said Deborah Marrow, director of the Getty the fact that side-by-side visual com- of about forty-five paintings and drawings spread Foundation. “The new website allows all viewers parisons are difficult, time consuming, across two continents, ten countries, eighteen cit- to experience his beguiling works of art in unprec- and sometimes flawed. You lose key ies, and twenty collections. edented detail, while also learning more about how visual details in the half-second it takes Enter the Bosch Research and Conservation the works were constructed and painted.” your eye to glance from one paint- Project (boschproject.org), a groundbreaking The Getty Foundation supported the devel- ing to another,” says Rob Erdmann, website that features dazzling high-resolution opment of the site as part of its Panel Paintings senior scientist at the Rijksmuseum in images and new scholarship for nearly forty paint- Initiative, a project which is training a new corps Amsterdam, professor of conservation ings and drawings by the artist and his workshop. of structural panel paintings conservators in a science at the University of Amsterdam, Developed by a team of art historians, conserva- profession that was in danger of disappearing. and special professor of visualization at tors, scientists, and software developers with the An international team from the Bosch Research Radboud University, who invented the aid of a €175,000 grant from the Getty Foundation, and Conservation Project, including Matthijs curtain viewer technology and led the the site allows researchers to study Bosch’s work Ilsink and Jos Koldeweij of Radboud University, design of the web application. “The cur- in depth through several technological advances, Nijmegen in the Netherlands, and Ron Spronk of tain viewer was designed to minimize including its innovative curtain viewer that trans- Queen’s University in Kingston, Ontario, traveled visual distractions and make it easier to forms image comparison for the digital age. around the world to photograph the work of Bosch maintain focus when analyzing the art- and his extensive workshop, using specific lighting works—an unprecedented approach to conditions, cameras, and microscopy equipment looking and comparing.” and techniques to ensure vivid, high-resolution In an effort to accommodate a vari- images. The launch marks the first standardized ety of users, developers created an intui- photo documentation of any artist’s body of work. tive and easy-to-use interface, ensuring “There are so many aspects of this project that casual and repeat visitors alike would Top: A comparison of hands in advance art history—it is truly a quantum leap,” be able to navigate the site. Those who nineteenth-century Italian art historian Bosch paintings using the Morelli / said Spronk, technical art historian on the team. simply want to view the artworks up Giovanni Morelli and now taken into the Erdmann method. Photo Rik Klein Gotink and image processing Robert “Through the standardized documentation and close and study their details can do so digital age by Erdmann. Other features G. Erdmann for the Bosch Research photography of Bosch’s work, art historians, for with ease, while those curious about include a comprehensive Bosch bibliog- and Conservation Project

the very first time, can look at differences in the different elements of Bosch’s work can raphy and interactive versions of condi- Bottom: Infrared photography artworks themselves, not differences in the photo- use a variety of search functions to filter tion reports for all the artworks on the exposes male figure next to John graphic images of those works. They are now face- and sort. site. the Baptist. Detail from Saint John the Baptist in the Wilderness, 1489, to-face with work that can be mapped and studied Users can even compare recurring “We are confident that our invest- Hieronymus Bosch. Oil on panel. Museo Lázaro Galdiano, Madrid. with much more precision and speed.” details across the artist’s oeuvre. For ments in photography and the develop- Photo Rik Klein Gotink and image The site’s significant innovation is its curtain example, if a user wants to compare ment of this innovative online research processing Robert G. Erdmann for the Bosch Research and Conserva- viewer, a split-view browsing experience that is Bosch’s images of owls, they can use the tool will turn out to be a lasting contribu- tion Project designed to feel like the user is peeling back the “tag” search function to find sections tion to the study of the work of Bosch,” Opposite: The Bosch Research surface of the painting with the drag of a cursor. of each artwork that features owls. Art said Ilsink. “Since the site is planned to and Conservation Project team Clicking any artwork thumbnail immediately historians could also search by hands, be entirely open source, the technical conducts research on Triptych of St. Uncumber. Photo Rik Klein Gotink brings the user to the curtain viewer, revealing facial features, or any other details that advances made by our team also have the and image processing Robert G. details of the painting as well as technical features are often used to determine a work’s potential to serve as a model for future Erdmann for the Bosch Research such as X-ray images and infrared photographs. authenticity, a concept developed by art historical projects.” and Conservation Project

20 21 ARCHES PROTECTING THE WORLD’S IRREPLACEABLE CULTURAL SITES

or organizations responsible for the safeguarding of cultural heritage places, inventories are the most Fimportant tool for making proactive, timely, and informed decisions. Afterall, the critical first step in protect- ing cultural heritage sites is knowing what and where they are. Inventories are most effective and reach their fullest potential when employed through modern information technologies that offer widespread and quick access to key information, and that allow records to be easily updated to reflect chang- ing conditions. However, developing and maintaining effec- tive digital inventory systems and sustaining related data is a costly and difficult undertaking that can be beyond the reach of many heritage organizations. In an environment of diminishing resources for heritage organizations, the Getty Conservation Institute (GCI) and World Monuments Fund have created the Arches Heritage Inventory and Management System (Arches), a modern open source software platform designed for use by heritage institu- Taktsang Palphug Monastery tions around the world. Arches, web-based and geospatially (also known as Paro Taktsang or Tiger’s Nest Monastery), a enabled, is purpose-built for managing inventories of all types seventeenth-century Buddhist of culture heritage places, including buildings, structures, temple complex located at over 10,000 feet elevation in the archaeological sites, cultural landscapes, urban districts, and Himalayan mountains in Bhutan. cultural routes. Cultural Heritage Initiatives for Syria and Iraq has A National Heritage Inventory for the also been using Arches as part of its collaboration Kingdom of Bhutan with the US Department of State to further its aims One of the more recent adopters of Arches is of documenting damage, promoting global aware- Bhutan’s Division for Conservation of Heritage ness, sharing information with other organizations Sites (DCHS), the national heritage authority. around the world, and planning emergency and Until recently the Kingdom of Bhutan was lack- post-war responses concerning the war-torn cul- ing a modern digital heritage inventory. Tangible tural heritage of Syria and areas of Islamic State heritage in Bhutan is largely reflected in the mon- activity within Iraq. In April 2016, the GCI and umental architecture of monasteries, chortens ASOR signed an agreement through which the GCI (stupas), and dzongs (fortified religious/adminis- is more formally supporting ASOR’s use of Arches trative complexes). Any inventory system must be in its initiatives for Syria and Iraq. able to cope with these multifaceted structures, “The work of the GCI and ASOR demonstrates often revealing complex histories of rebuilding the role humanities play in the broader discussion and renovation. Little archaeological research has of international relations and cultural security,” taken place in Bhutan. Modern excavations and said Andrew Vaughn, ASOR executive director. surveys are just beginning, raising issues as to how “Arches is the only software that serves the needs to encourage the protection of buried archaeol- of the cultural heritage community when it comes ogy. Continued settlement, agriculture, and urban to this kind of data gathering, organization, and expansion pose significant threats to understand- analysis.” ing pre-modern Bhutan, and predictive models The GCI–ASOR collaboration and subsequent of earlier settlement patterns and landscapes are software enhancements will address the signifi- being used to help target the investigation and cant challenges associated with cultural heritage protection of archaeological sites. monitoring in conflict zones. Key enhancements to Since 2015, the DCHS has been working Arches due later this year will include the ability to together with a team from University College capture and organize satellite imagery, rapid assess- London’s Institute of Archaeology to develop a ment capabilities for mobile data collection, and national heritage inventory system for this eastern increased security for the submission of data. Himalayan kingdom. As noted by Tim Williams, “The ability to quickly and securely assess the senior lecturer at the Institute of Archaeology, condition of cultural heritage sites that are endan- they chose Arches because it had the overwhelm- View of ruins of the ancient city of Palmyra, Syria, prior to recent Arches is freely available to be down- the Philippine Heritage Map in order gered by conflict is an absolute necessity, especially ing advantage of delivering an explicit framework intentional destruction by the loaded by large and small organizations, to publish online information collected in the wake of the destruction of places of such for organizing a wide range of monument types Islamic State. government entities, and nonprofit through an ongoing national-scale significance as the ancient city of Palmyra in Syria,” and documentation needs; is a web-enabled sys- groups to be configured and customized heritage survey of the Philippines. The said Tim Whalen, director of the GCI. “This collabo- tem that provides public access while providing without restrictions to meet their par- Cane River National Heritage Area in ration is yet another way in which the international security for sensitive information; is a low or no- ticular needs. Organizations may choose Louisiana has implemented Arches as community can work together to promote cultural cost system, which could be developed to meet to provide unrestricted access to their the Cane River Heritage Inventory and security and protect the world’s cultural heritage.” local needs, without extensive additional costs; Arches implementation and data or limit Map to both manage information on A number of other Arches implementations are has the ability to document monument condition access. A number of organizations world- heritage resources and to promote pub- currently under preparation worldwide, includ- and change; has the ability to attach paper-based wide have already implemented Arches. lic knowledge, appreciation, and inter- ing for national-scale inventories in Asia and the records, photographs, and drawings as digital The first large-scale implementation was est in those resources. In addition, the Caribbean, as county- and city-scale inventories files; provides mapping functions, including legal launched in our hometown in February Endangered Archaeology in the Middle in the United States and Britain, as an inven- and conceptual boundaries for monuments and 2015, when the City of Los Angeles East and North Africa project at Oxford tory for the Armed Forces Retirement Home landscapes; and has the functionality to enable deployed Arches as HistoricPlacesLA, University is using Arches to record in Washington, DC, and for use in teaching in interfaces in multiple languages—in Bhutan’s case, the official Los Angeles Historic archaeological sites and landscapes that university-level heritage conservation programs in English and Dzongkha. Resources Inventory, to serve both as are under threat across the Middle East North America and Asia. Other implementations With UNESCO/Korea Funds-in-Trust sup- a tool to fulfill its obligations under and North Africa, from rapid population may exist, but given that the code is open source port, the project commenced in late 2015 when federal, state, and local historic pres- growth, urban expansion, agricultural and freely available to download and install, it is a United Kingdom team, led by Bryan Alvey of ervation laws and to make information development, warfare, and looting. unlikely we are aware of all of them. The Arches Cultural Heritage Information Consultants, cus- publicly accessible. A Manila-based Since May 2015, the American software code is being downloaded approximately tomized Arches for Bhutan. The implementation nonprofit has implemented Arches as Schools of Oriental Research’s (ASOR) 1,500 times per month. of the system also provided capacity-building

24 25 NEW DIGITAL PUBLICATIONS

Two new online scholarly catalogues from the J. Paul Getty Museum focus on works from the antiquities collection. Featuring high-resolution zoomable images, interactive maps, linked opportunities for the DCHS staff in heritage man- the potential of visitors and locals to engage with footnotes and glossaries, and 360-degree views of select objects, these open-access catalogues agement, specifically database and geographic documenting monuments is very exciting. are available for free online, and in multiple formats for download, including PDF, Kindle, and information system (GIS) skills. Additional It will also be important to consider how intan- EPUB. Paperback reference editions are also available for purchase. Bhutanese staff began gathering data and in gible heritage (performance, dance, music, etc.) February 2016 a workshop was held in Thimphu to can be incorporated into the inventory, since the provide training in the use of Arches. A live system relationship between tangible and intangible heri- is now operational and existing digital data is being tage in Bhutan is often blurred: the management Roman Mosaics in the J. Paul Getty Museum artistry in new color photography as well as cleaned and incorporated into the system. of dzongs, for example, must also encompass their the contexts of their discovery and excava- Many challenges remain. Adding existing social and religious use. Alexis Belis with an introduction by Christine tion across Rome’s expanding empire—from conventional records—and thereby delivering a “Overall, we hope that the inventory will be Kondoleon and contributions by Nicole Budrovich, its center in Italy to provinces in southern reasonable body of data to the general public— an important step in collating and presenting a Kenneth Lapatin, and Sean Leatherbury Gaul, North Africa, and ancient Syria. depends upon the resources available for scanning wide range of Bhutanese heritage to both interna- and checking. This will be a long-term activity, pri- tional audiences and the people of the Kingdom,” The mosaics in the collection of the www.getty.edu/publications/romanmosaics oritized against the expected urban, agricultural, said Williams. “It will also underpin the work of J. Paul Getty Museum span the second through the sixth centuries CE and reveal J. PAUL GETTY MUSEUM and infrastructural development challenges facing the DCHS, developing links with other govern- the diversity of compositions found through- ONLINE Bhutan. mental agencies, enhancing strategic and holistic out the Roman Empire during this period. 93 color and 5 b/w illustrations, One of the new enhancements of Arches due to approaches to heritage management. We also hope Elaborate floors of stone and glass tesserae 4 interactive maps be completed by the end of the year is the ability to that providing an inventory platform will promote transformed private dwellings and public 978-1-60606-499-3 use mobile devices with no network access to cap- discussion of the pre-seventeenth century archae- buildings alike into spectacular settings of FREE ture data. This development will be of considerable ology of the country. The potential is considerable.” vibrant color, figural imagery, and geometric value to a country as remote as Bhutan, as many design. Scenes from mythology, nature, daily E-BOOK PRINT sites cannot easily be visited by the DCHS staff and life, and spectacles in the arena enlivened (EPUB and MOBI/Kindle) 72 pages, 8½ × 11 inches interior spaces and reflected the cultural 29 color and 5 b/w illustrations, 29 color and 5 b/w illustrations, ambitions of wealthy patrons. This online 4 maps 4 maps catalogue documents all of the mosaics in the 978-1-60606-498-6 978-1-60606-497-9, paper Getty Museum’s collection, presenting their FREE US $20.00 S [UK £12.50] Members of a workshop, held in Thimphu, Bhutan, in August 2014, where the idea for a national inventory was first raised. Subse- quent research by the workshop team selected the Arches system J. PAUL GETTY MUSEUM as the best fit for this project. Ancient Terracottas from South Italy and Sicily In the ancient world, terracotta sculp- Photo: Tim Williams in the J. Paul Getty Museum ture was ubiquitous. Readily available and ONLINE economical—unlike stone suitable for carv- 240 color illustrations, Maria Lucia Ferruzza with Claire L. Lyons ing—clay allowed artisans to craft figures interactive map of remarkable variety and expressiveness. 978-1-60606-123-7 Terracottas from South Italy and Sicily attest FREE to the prolific coroplastic workshops that supplied sacred and decorative images for E-BOOK sanctuaries, settlements, and cemeteries. (EPUB and MOBI/Kindle) Sixty terracottas are investigated here by 72 color illustrations, 1 map noted scholar Maria Lucia Ferruzza, com- 978-1-60606-485-6 prising a selection of significant types from FREE the Getty’s larger collection—life-size sculp- tures, statuettes, heads and busts, altars, and PRINT decorative appliqués. In addition to the com- 250 pages, 8½ × 11 inches prehensive catalogue entries, the publication 72 color illustrations, 1 map includes a guide to the full collection of over 978-1-60606-486-3, paper one thousand other figurines and molds US $60.00 S [UK £40.00] from the region by Getty curator of antiqui- ties Claire L. Lyons.

www.getty.edu/publications/terracottas

26 27 NEW FROM GETTY PUBLICATIONS

Getty Publications produces award-winning titles that result from or complement the work of Color Science and the Visual Arts color inconstancy; and applications, where the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute. A Guide for Conservators, Curators, and artwork display, painting materials, and These books cover a wide range of fields including art, photography, archaeology, architecture, the Curious color reproduction are discussed. A unique conservation, and the humanities for both the general public and specialists. feature of this book is the use of more than Roy S. Berns 200 images as its main medium of communi- Order online at shop.getty.edu cation, employing color physics, color vision, “A curator, a paintings conservator, a and imaging science to produce visualiza- photographer, and a conservation scientist tions throughout the pages. An annotated walk into a bar.” What happens next? In bibliography complements the main text London Calling understanding of postwar British art and lively and accessible prose, color science with suggestions for further reading and Bacon, Freud, Kossoff, Kitaj, Auerbach, culture. expert Roy S. Berns helps the reader under- more in-depth study of particular topics. and Andrews Rigorous and gorgeously illustrated, stand complex color-technology concepts Engaging, incisive, and absolutely critical for the essays reflect on the parallel yet diverse and offers solutions to problems that occur any scholar or student interested in color sci- Elena Crippa and Catherine Lampert trajectories of these artists, their friendships when art is displayed, conserved, imaged, or ence, Color Science and the Visual Arts is sure and mutual admiration, and the divergence reproduced. to become a key reference for the entire field. Between the postwar years and the 1980s of their practice from the discourse of high Berns writes for two types of audiences: in Britain, and in particular in London, a modernism. The authors seek to dispel the museum professionals seeking explana- Getty Conservation Institute number of figurative painters simultane- notion of their work as a uniquely British tions for common color-related issues and 208 pages, 8 x 10 inches ously reinvented the way in which life is rep- endeavor by highlighting the artists’ inter- students in conservation, museum studies, 250 color illustrations resented in art. Focusing on the depiction of national outlook and ongoing dialogue with and art history programs. The seven chap- ISBN 978-1-60606-581-8,, paper the human figure, these artists rendered the contemporary European and American ters in the book fall naturally into two sec- US $55.00 frailty and vitality of the human condition. painters as well as masters from previous tions: fundamentals, covering topics such as Offering a fresh account of developments generations. spectral measurements, metamerism, and that have since characterized postwar British This book is published to coincide with painting, this catalogue focuses on Michael an exhibition at the J. Paul Getty Museum Andrews, Frank Auerbach, Francis Bacon, from July 26 through November 13, 2016. Lucian Freud, R. B. Kitaj, and Leon Kossoff— artists who worked in close proximity as they J. Paul Getty Museum were developing new forms of realism. If 136 pages, 9 x 11 inches for many years their efforts seemed to clash 101 color illustrations with dominant tendencies, reassessment in ISBN 978-1-60606-484-9, hardcover recent decades has afforded their work a cen- US $35.00 Futurist Painting Sculpture in the vast array of manifestos that the tral position in a richer and more complex (Plastic Dynamism) Futurists had already produced. Featuring Umberto Boccioni photographs of fifty-one key works and a large selection of manifestos devoted to the Introduction by Maria Elena Versari visual arts, Boccioni’s book established the Unruly Nature and Édouard Kopp alternately examine Translation by Richard Shane Agin canon of Italian Futurist art for many years The Landscapes of Théodore Rousseau Rousseau’s diverse techniques and working and Maria Elena Versari to come. procedures as a painter and as a draftsman, First published in Italian in 1914, Futurist Scott Allan and Édouard Kopp as well as his art’s mixed economic and criti- Futurist Painting Sculpture (Plastic Painting Sculpture has never been available With Line Clausen Pedersen cal fortunes on the art market and at the Dynamism), a truly radical book by Umberto in English—until now. This edition includes a Salon. Line Clausen Pedersen’s essay focuses Boccioni (1882–1916), claimed a central critical introduction by Maria Elena Versari. Théodore Rousseau (1812–1867), argu- on Mont Blanc Seen from La Faucille, Storm position in artistic debates of the 1910s and Drawing on the extensive Futurist archives ably the most important French landscape Effect, an early touchstone for the artist 1920s, exerting a powerful influence on the at the Getty Research Institute, Versari sys- artist of the mid-nineteenth century and and a spectacular example of the Romantic Italian Futurist movement as well as on the tematically retraces, for the first time, the a leader of the so-called Barbizon School, sublime in the Ny Carlsberg Glyptotek’s entire European historical avant-garde, evolution of Boccioni’s ideas and arguments; occupies a crucial moment of transition collection. This catalogue accompanies an including Dada and Constructivism. his attitude toward contemporary political, from the idealizing effects of academic eponymous exhibition on view at the J. Paul Today, Boccioni is best known as an racial, philosophical, and scientific debates; painting to the radically modern vision of Getty Museum from June 21 to September artist whose paintings and sculptures are and his polemical view of Futurism’s role in the Impressionists. He was an experimental 11, 2016, and at the Ny Carlsberg Glyptotek prized for their revolutionary aesthetic by the development of modern art. artist who rejected the traditional historical, from October 13, 2016, to January 8, 2017. American and European museums. But biblical, or literary subject matter in favor Futurist Painting Sculpture demonstrates Getty Research Institute of “unruly nature,” a Romantic naturalism J. Paul Getty Museum that he was also the foremost avant-garde Texts & Documents Series that confounded his contemporaries with 224 pages, 9 1/2 x 11 inches theorist of his time. In his distinctive, 304 pages, 7 x 10 inches its “bizarre” compositional and coloristic 140 color and 15 b/w illustrations exhilarating prose style, Boccioni not only 28 color and 36 b/w illustrations innovations. Lavishly illustrated and thor- ISBN 978-1-60606-477-1, hardcover articulates his own ideas about the Italian ISBN 978-1-60606-475-7, paper oughly documented, this volume includes US $49.95 movement’s underpinnings and goals but US $49.00 five essays by experts in the field. Scott Allan also systematizes the principles expressed

28 29 NEW ACQUISITIONS

collection currently holds six works by Rong Rong and ephemera. Spreading his reputa- and this donation adds six important early works tion were the some fifty-three dealer Contemporary from the “East Village” project. catalogues he produced between 1992 Hong Hao began his best known photographic and 2011, which imitated the form of Chinese project, “My Things,” in 2001. He gives new life and historic art publications and multiples. meaning to everyday objects by scanning each item The 2008 catalogue, for instance, adver- Photographs he has come into contact with on a given day, com- tises items from the Hal Glicksman Beat piling the scans into categories, then digitally com- Archive, and appropriately resembles bining similar objects in large-scale collages beset an issue of the artist Wallace Berman’s Forty-one photographs by some of the most with mesmerizing detail. Along with “My Things,” journal Semina. He also worked as an significant Chinese photographers working in the donation includes several works from an ear- appraiser, and has assessed the papers the past two decades have been acquired by the lier series, in which the artist digitally inserted of, among others, pop artist Claes J. Paul Getty Museum in the form of a generous, himself into his own re-creations of glamorous Oldenburg, the groups General Idea and anonymous gift. The donation broadens existing magazine advertisements. Ant Farm, avant-garde filmmaker Jack holdings in this area with additional works by In the late 1980s and early 1990s, Xing Danwen Smith, the well-known artist’s journal several artists already in the collection and the was one of the few artists in China who pushed the Avalanche, and several archives now introduction of new, related artists. boundaries of photography by practicing it as an in the GRI Special Collections, namely Rong Rong has practiced photography since art form. She moved to New York in 1998 and has those of Allan Kaprow, Eleanor Antin, the 1990s, when he moved into Beijing’s “East exhibited internationally at such venues as the Charles Brittin, and Hal Glicksman. Village” and began a long-term photographic Whitney Museum of American Art, New York; the In 2001, he curated the first major study of the lives of the young artists living there. Centre Pompidou, Paris; and the Sydney Biennale. exhibition of artists’ ephemera, Extra In 1996, he co-founded New Photo magazine with Four works from her 2005 “disCONNEXION” Art: A Survey of Artists’ Ephemera Liu Zheng, and in 2006 he established the Three series are currently in the Getty collection, and this from 1960–99, in San Francisco at the Shadows Photography Art Centre in Beijing donation adds an important triptych, Born with the Wattis Institute for Contemporary Arts with his wife and artistic partner, inri. The Getty Cultural Revolution, created a decade earlier. before it traveled to the Institute of As one of China’s most celebrated performance Contemporary Art in London. In 2008, artists, Cang Xin approaches his work as a means he co-founded RITE Editions with the to promote harmonious communication with collector Robin Wright, which contin- nature. His “Communication Series” is an ongoing ues to operate. piece begun in 1996 in which he records his tongue The Steven Leiber Basement records engaging with objects from around the world. comprise over 230 boxes with more These ten photographs are the first of Cang’s works than 2,600 files on artists. The files to enter the Getty collection. include invitations, articles and texts, Known for his calligraphy, photography, and correspondence, artists’ books, post- video installations, Qiu Zhijie has been included ers, and other multiples and ephemera. in exhibitions organized by Tate Liverpool; Centre about twenty-one boxes of materials Some of the material is very rare, and Pompidou, Paris; and MoMA PS1, New York. The from the artist Jeff Berner relating to often obtained by Leiber directly from fourteen photographs in this donation are the first Steven Leiber the performance-oriented Fluxus art the artist or from historical peers and by the artist to enter the Getty collection; among movement of the early 1960s, the Beat collectors. The archive also includes them are ten works from the series “Standard Basement and Concrete poetry movements, and materials related to his activities as Pose,” which explores the historical significance of the 1960s counterculture movements, a curator, publisher, and professor at the posturing found in the poster art and operas of Records Leiber found a new niche in the art California College of Arts and Crafts the Cultural Revolution era. world. He discovered that ephemera (now California College of Arts), along Trained as a traditional Chinese ink painter, and documentation were as integral to with business-related documents and Wang Jinsong expanded his artistic practice The archive of Steven Leiber conceptual art and other avant-garde financial papers. to include painting, photography, and video. (1957–2012), a pioneering art dealer movements as traditional forms such as This archive directly complements Following the Tiananmen Square protests of and collector, has been acquired by painting and sculpture, if not more so. other records and archives already 1989, he was one of the first artists to produce Left : Untitled from Communication the Getty Research Institute (GRI). In 1987, Leiber moved his gallery to in the GRI Special Collections, and Series No. 2, 1999, Cang Xin. works critical of the political situation in China’s Chromogenic print. The J. Paul After graduating from UC Berkeley his grandmother’s house in the Marina includes documents of and ephemera Getty Museum, Anonymous gift. post-Mao era; he continues to address social and © Cang Xin and obtaining his J.D. from Golden neighborhood, and renamed it Steven from virtually every artist of note from economic issues being faced in China today. These Gate University, Leiber opened his own Leiber Basement. With this reorienta- the 1960s on. are the first works by the artist to enter the Getty Right: Steven Leiber showing Eleanor gallery in San Francisco specializing tion, he became one of the first experts Antin’s 100 Boots (1971–73). Photo collection. courtesy Sébastien Pluot in works on paper. After he acquired in the nascent field of artist’s archives

30 31 FROM THE IRIS

rediscovered in the early-twentieth century. Along with the panel additions, the paintings were dirty and overpainted in areas, making it difficult to assess their quality. After care- ful cleaning and study in 1988, however, it became clear that Rembrandt at these small, dramatic scenes share many stylistic characteris- tics. This left little doubt over their authorship. Eighteen The treatment of certain effects—such as anatomical details and the contrast of light and shade—are tentatively handled, suggesting the Senses series probably pre-date What does the beginning of a great artist’s Rembrandt’s exposure to the powerful works of Pieter career look like? Rare signed works—the drawn Lastman, his teacher and mentor, in Amsterdam around 1625. Self-Portrait by Albrecht Dürer aged thirteen and Anthony van Dyck’s arresting painted Self- Rembrandt’s Senses Reunited Portrait at about sixteen—reveal their startling Thanks to the generosity of the Leiden Collection, which talents as young teenagers, an age when most owns all three panels, Touch and Hearing are on display at artists are still diligently learning the rudiments the Getty along with Smell, the newly acquired companion of their art. Many painters, including Titian and painting. They are hanging in our Rembrandt gallery, on pub- Rubens, were conceptually ambitious from the lic view side-by-side for the first time in over three hundred first, but a bit awkward in execution. years. What of youthful Rembrandt, one of the most What do we see in these paintings? In each composition, extraordinary and distinctive artistic person- Rembrandt visualized one of the five senses through a human alities in the history of art? He too painted and activity, adding moralizing commentary as was the style in art etched his own image frequently as a young man, of the time. Touch portrays a man writhing in pain as a quack but the very earliest moments of his career— doctor performs surgery by the light of a candle held by a sus- small, dramatic multi-figure compositions—are picious-looking assistant in outlandish garb. The operation, still being discovered. to remove stones from his head, was a proverbial cure for fool- ishness. In Hearing, the satire is less biting: a youth, a middle- Spectacular Surprise—Rembrandt in aged man, and an older woman sing harmoniously together. New Jersey Smell adds an especially interesting element to this trio. On September 22, 2015, a panel painting of figures Rembrandt devised an unusual and witty narrative: on the in an interior (one described as an unconscious right, a young, well-dressed man lolls unconsciously, while “lady”) appeared at auction at Nye & Co. in New two quacks hold a handkerchief, presumably with smelling Jersey. It was catalogued as “Continental School salts, under his nose and watch with anxious expressions for Nineteenth Century.” Despite the discolored var- him to revive. There are few clues to identify his plight, but his nish, condition issues, and awkward additions to bare arm suggests he has undergone a common treatment for the panel, the curious figure group struck knowl- many illnesses—bloodletting—and fainted. edgeable viewers as singularly important. After The other two senses in the series are, of course, sight and vigorous bidding, the so-called Triple Portrait upper right, cleverly placed on the portrait of a Above: The Unconscious Patient (Al- taste. The Spectacle Seller (Sight) is in the collection of the legory of the Sense of Smell), about with Lady Fainting was acquired by a European man tacked to the back wall: RHF (Rembrandt 1624–25, Rembrandt van Rijn. Oil on Lakenhal Museum in Leiden, but Taste remains as yet undis- panel. Image courtesy of The Leiden phone bidder. The subsequent announcement Harmenszoon fecit). The rediscovered Rembrandt Collection, New York covered. It, too, probably features a small group of figures that the painting was thought to be by Rembrandt was the long-lost Smell from this very same series, in a dim room, drinking and carousing in brilliantly colored ignited enthusiasm and conversation around the painted when the artist was about eighteen. Opposite, top: The Stone Operation costumes. It may yet be out there, waiting to be rediscovered— (Allegory of Touch), about 1624–25, world. The panel had been set into another, larger Rembrandt van Rijn. Oil on panel. keep your eyes peeled! Image courtesy of The Leiden Collec- After conservation treatment (and removal panel, probably in the eighteenth century, to cre- tion, New York “These paintings show a young, developing artist, but from its ornate gilded frame), the painting looked ate a more elaborate composition. This process, Rembrandt’s extraordinary ability to convey emotions and quite different. Its brilliant palette, descriptive which had also been carried out on the other three Opppsite, bottom: The Three Musi- create a compelling narrative on a small scale is fully evident,” cians (An Allegory of Hearing), about brushwork, and tightly arranged figures con- paintings, helped confirm that the new discovery 1624–25, Rembrandt van Rijn. Oil on said Anne Woollett, curator of paintings at the Getty. “As a panel. Image courtesy of The Leiden firmed that it was, in fact, related to the earliest belonged to the group. The conservation treatment Collection, New York curator specializing in Dutch art, I find these works fascinat- known paintings by Rembrandt, depicting three also revealed the array of tiny implements on the ing and important, and hope you will as well. We can see in of the senses: The Three Musicians (Hearing), The back wall in the upper left corner, as well as the them early signs of the enthusiastic praise Rembrandt would Stone Operation (Touch), and the Spectacle Seller glass jar just below them. receive only five years later for his ‘liveliness of emotions.’” (Sight). Close scrutiny also revealed Rembrandt’s In the past, scholars had been divided over earliest signature, which you can see at the the attribution of the three senses, which were Visit The Getty Iris, the blog of the Getty, at blogs.getty.edu/iris.

32 GETTY EVENTS

2016 Donor Recognition Dinner On March 21, a dinner was held to recognize the many generous individuals who support the Getty and its programs. We were delight- ed to welcome a number of corporate sponsors and individual donors along with council members from the Getty’s support groups: Getty Research Institute Council, Getty Conservation Institute Council, and Museum Councils for Paintings, Drawings, Photographs, and the Getty Villa.

1: Nancy and Eric Garen 2: Kirsten Grimstad and Dan Greenberg 3: Maureen Stockton and Louise Bryson 4: Brian and Eva Sweeney 5: Joel Aronowitz and Ming Hsieh 6: Getty Board of Trustees Chair Maria Hummer-Tuttle and Getty 6 President and CEO James Cuno 7: Carole Black and Susan Steinhauser 8: J. Paul Getty Museum Director Timothy Potts and Ambassador and Getty Trustee Ronald P. Spogli 1

5

2

3 4 7 8

34 35 SPONSOR SPOTLIGHT

Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Opening Reception This exhibition is made possible with the East West Bank generous support of Presenting Sponsor, East West Bank prides itself on being the premier The Robert H. N. Ho Family Foundation; bridge between the East and West, financially as Lead Corporate Sponsor, East West Bank; well as culturally, and is proud to be the lead cor- Lead Sponsor, Henry Luce Foundation; porate sponsor of the exhibition Cave Temples of Official Airline, Air China Limited; Virtual Dunhuang: Buddhist Art on China’s Silk Road. The Immersive Experience Sponsors, yU+co; organization’s robust corporate philosophy oper- the Dunhuang Foundation; and the ates on the idea that vibrant and strong commu- Blakemore Foundation; as well as China nities are the cornerstones of economic growth. COSCO Shipping; and the incredible sup- Sponsorships are awarded with the belief that port of the following individuals: Louise education is the most effective method of support and John Bryson, Peggy and Andrew that leads to sustained results. The Mogao cave Cherng, Eva and Ming Hsieh, Ellen and temples are one of the world’s greatest treasures David Lee, Li Lu and Eva Zhao, and Jim and this significant exhibition provides a rare opportunity for the people in the U.S. to experi- and Anne Rothenberg. 1 2 ence the beauty of this UNESCO Heritage Site. 1: Wang Xudong, director, Dunhaung “We are pleased to partner with the Getty and Academy; Fan Jinshi, director emerita, East West Bank headquarters in the Dunhuang Academy to bring this monumental each other’s culture,” says Dominic Ng, chairman Pasadena, California Dunhuang Academy; and Xia Hongmin, exhibition to Los Angeles. As the financial bridge and CEO of East West Bank. “This exhibition deputy governor of Gansu Provence, between East and West, we believe the core of all showcases the rich cultural exchange that took China exchanges, whether it is financial, trade, or busi- place between East and West more than a thousand 2: Kent Kresa, Lynn Booth, and Getty ness, comes from understanding and appreciating years ago.” Board of Trustees Member David Lee and Ellen Lee

3: Andrew Perchuk, deputy director, Air China Limited Getty Research Institute; James Cuno, As China’s exclusive national flag carrier, Air China president and CEO, J. Paul Getty Trust; is at the forefront of promoting global understand- Bill Gates; Mimi Gardner Gates, chair, ing through the arts. The organization provides Dunhuang Foundation; and Deborah an important bridge that connects peoples and Marrow, director, Getty Foundation cultures, trade and tourism in today’s sharing 4: Rebecca and Richard Zapanta economy. 5: Dr. Zhihang Chi, vice president and “Our partnership with the Getty in bringing general manager of North America, Air the Cave Temples of Dunhuang exhibition to the China Limited, and Li Chen 3 United States demonstrates our commitment in promoting a deeper understanding and apprecia- tion of China’s rich, centuries-old cultural history. U.S.-China relations is of paramount importance to us. Supporting cultural exchanges such as this is vital to the bilateral relations of two of the world’s largest economies,” said Dr. Zhihang Chi, vice pres- ident and general manager, North America. “We are greatly honored to have played a leading role in bringing the exquisite treasures of the ancient past for present audiences to explore and enjoy. Thanks to the Getty, visitors in and residents of Los Angeles, and Southern California as whole, now have this once-in-a-lifetime opportunity to experi- ence these invaluable arts that are brought in from 4 5 different countries.”

36 37 EXHIBITIONS FROM THE VAULT

Right: Butterflies, 1935, Man Robert Mapplethorpe: The Perfect London Calling: Bacon, Freud, Kossoff, Moro left Lima for Paris in 1925 to study art and poetry AT THE Ray. Carbro print. The J. Paul GETTY Getty Museum. © Man Ray Trust Medium Andrews, Auerbach, and Kitaj and exhibited in collective shows in Brussels in 1926 and ARS-ADAGP Through July 31, 2016 July 26–November 13, 2016 in Paris in 1927. He entered into the exchange of ideas and CENTER art with the likes of André Breton, Paul Éluard, Benjamin Far right: Man with Octopus Real/Ideal: Photography in France, Péret, and, outside the Surrealist group, Henri and Simone Tattoo II, 2011, Richard Learoyd. Silver-dye bleach print. Collection 1847–1860 Jannot. In Paris, Moro was active in political protests of the Wilson Centre for Photogra- August 30–November 27, 2016 through his involvement in the writing of the 1933 anti-war phy. © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco manifesto “La mobilisation contre la guerre n’est pas la paix” (“Mobilization against the War is Not Peace”). After his return to Lima in 1934, Moro continued to write against those in power. The police of dictator Óscar Benavides entered Moro’s home and confiscated copies of his clandestine pamphlet CADRE (Comité de Apoyo a la Repúbica Española [Support Committee of the Spanish Republic]), which supported the Spanish Republic. Finally, in 1938, he was forced to flee Peru as a result of police The Thrill of the Chase: The Wagstaff harassment. Collection of Photographs Moro went to Mexico City, a haven for immigrants Through July 31, 2016 fleeing from a variety of political or artistic tensions. There he befriended progressive artists such as Wolfgang In Focus: Electric! Paalen, Alice Rahon, and Xavier Villaurrutia. In turn, Through August 28, 2016 Moro introduced Breton to the Mexican modernist group Los Contemporaneos (The Contemporaries). Mexico Cave Temples of Dunhuang: Buddhist City’s nexus of avant-garde thinkers and artists resulted Art on China's Silk Road in the 1940 Exposición internacional del surrealismo Through September 4, 2016 Richard Learoyd: In the Studio (International Exposition of Surrealism) at the Galería de August 30–November 27, 2016 Arte Mexicano, organized by Wolfgang Paalen and Moro Unruly Nature: The Landscapes of with Breton’s guiding hand from New York. Moro was Théodore Rousseau Recent Acquisitions in Focus: Latent prolific in Mexico, publishing frequently in journal and Through September 11, 2016 Narratives periodicals such as Dyn, El Hijo Prodigo (The Prodigal Son) September 13, 2016–January 29, 2017 and Letras de México (Letters from Mexico) and publishing Things Unseen: Vision, Belief, and two volumes of his poetry, Le chateau de grisou (Firedamp Experience in Illuminated Manuscripts The Life of Art: Context, Collecting, Castle) and Lettre d’amour (Love Letter), and numer- July 12–September 25, 2016 and Display ous translations of his surrealist and avant-garde texts Ongoing circulated. “The César Moro archive unfolds a seminal universe Cover of Lettre d’amour, 1944, César Moro. The Getty Research Institute of artistic networks and ideas that were key in the devel- opment of Surrealism in Latin American art. Likewise, the vast and rich collection of Latin American materials César Moro Archive held at the GRI—encompassing documents and objects AT THE Roman Mosaics Across the Empire from the colonial time to the contemporary period—bring Through September 12, 2016 together valuable information for the understanding of GETTY Peruvian artist César Moro was an important figure in Latin American art and culture,” said Idurre Alonso, asso- VILLA the Surrealist movement, both in France and Latin America. ciate curator of Latin American collections. “I hope to keep Only recently has attention focused on Moro in American developing our collection and generate scholarly projects scholarship, thanks to the efforts of the Getty Research that pursue innovative approaches to our holdings.” Institute (GRI). Moro’s papers reside in the GRI’s Special The César Moro papers at the GRI include notebooks, Collections, and have so far led to his inclusion in the publica- drafts of poems, manuscripts of articles, personal diaries, Lion Attacking an Onager, late 2nd century, Tunisia, Africa. Stone and glass tesserae. The J. Paul Getty Museum tion Surrealism in Latin America and its related conference, exhibition catalogues, photographs, and correspondence “Vivisimo Muerta.” The artist was also included in the 2013 with a number of other artists of the era and provide a trea- exhibition, Farewell to Surrealism: The Dyn Circle in Mexico. sure trove of scholarly material on this artist.

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Melanie and Me Swimming, 1978–1979, Michael Andrews. Acrylic on canvas. Tate: Purchased 1979. © the Estate of Michael Andrews, courtesy James Hyman Gallery, London. Photo © Tate, London 2016