Ken Gonzales-Day

PAC Prize 2011 LACMA K EN GONZALES-DAY PROFILED PROFILED

To draw any head accurately in profile, takes me much time. I have dissected the sculls of people lately dead, that I might be able to define the lines of countenance … I began with the monkey, proceeded to the Negro and the European, til I ascended to the countenances of antiquity, and examined a Medusa, an Apollo, or a Venus de Medici. This concerns only the profile.

Petrus Camper, quoted in Johann Kaspar Lavater, Physiognomy; or The Corresponding Analogy between the conformation of the features and the ruling passions of the mind …, 1775–78, p. 128

Whatever rules may be transgressed, it is a noble and beautiful face, more so, perhaps,than if all rules had been obeyed.

Nathaniel Hawthorne, Passages from the French and Italian Note-Books, 1871, p. 312

A professor who happens to be black is arrested for breaking into his own home in Cambridge, Massachusetts. A Pakistani- American man is shot by police in Los Angeles—he is autistic. A Latin-American is late for work after he is pulled over and questioned on suspicion that he may be undocumented. The ACLU investigates accounts that U.S. citizens perceived to be Muslim are unduly questioned about their religious beliefs by border patrol agents. Each represents a contemporary example of racial profiling. Together, they form the backdrop against which this project evolved. Racial profiling, discriminatory treatment of persons of color, remains at the center of political debates about crimi- nal justice, terrorism, national security, and immigration reform despite the fact that scholars and scientists increasingly argue that race has more to do with culture than biology. In order to decouple the appearance of difference from moral, legal, and spiritual judgments, thinkers have drawn attention to the economic and political invisibility of whiteness, from housing loans to the locations of supermarkets and fast food chains. But while studies have been made of literary and art-historical depictions of race in text and painting, the sculpted figure and the portrait bust have garnered little attention. Profiled addresses these forms.

5 This project surveys depictions of the human form as found in some of the most prestigious collections in the United States and Europe, spanning mainly from the eighteenth century until the present day. Yet Profiled is not a history of : it is a conceptual clustering of cultural artifacts, arranged to foreground the emergence, idealization, and even folly of race, including whiteness. My aim is to provide a new context for considering these ambiguous and sometimes troubling objects, some of which might otherwise be withheld from public view. So, like the protagonist in a mystery novel, I set out to look for clues in a vast cultural warehouse of sculptural depictions of race spanning more than two centuries and stretching across two continents. The images gathered during this investigation are presented here in an artist’s book (thanks to the support of the Los Angeles County Museum of Art’s PAC Prize) that conceptually reframes Western figurative sculpture through the lens of race and material history. As noted in the Petrus Camper epigraph, an Apollo or a Venus came to symbolize a particular conception of human “achieve- ment.” As such, their marble limbs may tell us as much about the times in which they were made as the subjects they depict. The profile was long a favorite site for moral and character valuations, even before the genteel paper silhouettes of the Victorians or the photographic mug shots of the criminologist. In the last decades of the eighteenth century, author Johann Kaspar Lavater wrote his influential Essays on Physiognomy, proposing The next site I visited, the Field Museum of Natural History in Chicago, the importance of “physiognomical lines,” as he called them, to elucidate character prompted me to expand the formal parameters beyond the profile as such, in order analysis. Informed and guided by a fascination with measuring everything from to consider the origins, appearance, and uses of race as a subject of aesthetic and the angle of the forehead to the proportions of the body, the Enlightenment’s long- scientific interest. Granted access to the Field Museum’s storage vaults in the ing for knowledge contributed to the othering of difference across a wide range of summer of 2009, I photographed examples from artist Malvina Hoffman’s exten- subject positions, from gender and sexual orientation to the identification of “prim- sive sculptural series, Races of Mankind, exhibited in conjunction with the 1933 itive” races: the Oriental, the Jew, the Noble Savage—to name just a few. Over time, Chicago World’s Fair, “A Century of Progress.” Hoffman’s commission to sculpt numerous texts, treatises, and pamphlets have continued to shape ideals of beauty 104 distinct racial types points to a quantitative turn in the history of racial typolo- in the arts, humanities, and the sciences. gies. I visited as well the San Diego Museum of Man to see a number of works from The project began while I was a Visiting Scholar and Artist-in-Residence its display of racial/evolutionary “types” for the 1916 Panama-California Exposition at the Getty Research Institute in Los Angeles in 2008–09. The idea was simple that inspired the Field Museum to commission Hoffman in 1930 and today remain enough: I set out to photograph every portrait bust in the J. Paul Getty Museum and on view or in storage. Such attempts at comprehensive taxonomies are fascinating the Getty Villa, in Malibu, as a way of thinking about race, even if that race turned for a number of reasons. Perhaps the most meaningful aspect of Hoffman’s work out to be mostly white. I initially intended to shoot them all in profile as a way is the intended fusion of science and fine arts: to capture and preserve “the vanish- of suggesting a comparison to the historic use of the facial profile in the mug shot, ing races” before, as some believed, they disappeared altogether. with its obvious associations with the “science” of physiognomy, character analysis, As became evident during my museum research, many and portrait and the many pseudo-sciences that emerged in the latter half of the nineteenth busts derive from earlier versions, or are even copies of copies. In some cases, the century and the first decades of the twentieth. sculptor worked from a photograph. In others, the busts were not busts at all, but fragments from larger sculptures. Even Hoffman’s convincing “portraits” may have been composited from various models. So Profiled is about more than the uncanny double, it is about the fragmented and fractured subject and its visual potential.

6 7 in 2010 I visited the Bode Museum on ’s in order to examine this iconography at its European point of origin. The Bode has a rich collection and was one of the last museums to be emptied during the Second World War. The Museum Island was badly damaged by Allied bombing and the ensuing fires.R estoration efforts have been underway for over five decades, and many dam- aged works have been brought back from the brink of destruction. For me, their charred and stained surfaces silently testify to a legacy of racial and ethnic categori- zation that took place in both Europe and the United States during the period. They also serve as a potent reminder of the tragic consequences of the eugenics movement. While in Germany, I travelled to the collections of the Foundation for Prussian Palaces and Gardens in search of four sculptures of “Moors” purchased by Electress Dorothea and Frederick William I (1620–88), Elector of Brandenburg, for their country palace in Caputh. The seventeenth-century Italian sculptures appear to have been obtained to memorialize the Brandenburg’s African colonies, including the Brandenburg Gold Coast and Arguin (the port from which thousands of slaves were also shipped under Portuguese and Dutch rule). They are displayed with Chinese porcelains, beneath a frescoed ceiling depicting allegorical figures of Germany and Africa. Later, I photographed the death mask of Frederick II of (1712–86), or Frederick the Great. He may be best known for his Palace and Gardens in Potsdam, meant to rival even the grandeur of Versailles. Amidst Sanssouci’s extensive grounds stands the Chinese House. Created not as a scientific study but as an extravagant folly (local Prussians posed for the gilded, life-size sculptures of “Orientals” that surround the pavilion), this work is one of the earliest, and Transported from other times and places, these sculptures are silent certainly largest, sculptural depictions of Asians in Europe. reminders of persons once loved, celebrated, and even feared. Photographing them Extending the discussion of race in a slightly different manner, Frederick and researching their origins has helped me to better understand not only the condi- the Great was also among the most dedicated patrons of Voltaire, a man held as tions of their making, reception, and use, but the malleability of racial categories the epitome of Enlightenment ideals. Voltaire’s 1759 novella Candide freely employs themselves—including the construction of whiteness. Profiled examines these dated literary images of the “primitive” races, but they in turn are used to satirize over- ideologies and their aesthetic manifestations, but the project is as much about the civilized European society. One of Voltaire’s characters suggests that Candide’s present as it is about the past. Cast, carved, burned, and broken, these are the shad- face is an “index of his mind,” reflecting positivist ideas that would be explicitly ows of people who once lived in this world, or in the imaginations of their makers; articulated when Lavater claimed to have made a “science” of physiognomy. they are subtle reminders of the philosophical, metaphysical, spiritual, legal, and My interest in the philosopher also led me to L’École des beaux-arts in Paris—where scientific claims that once depended upon appearance alone. This project seeks to such Neoclassical luminaries as Jean Auguste Dominique Ingres and Jacques-Louis integrate these motionless—yet multivalent—forms into the complex history of racial David studied and taught—to see a life-size likeness of Voltaire. To my surprise the formation. Encompassing everything from memorials of emperors and kings to sculpture had been defaced. A swastika was carved into its forehead and bright gods and goddesses, Orientalist follies, and racial typologies—together they provide red paint dabbed onto the narrow lips in what some might interpret as the ultimate a new perspective on what it means to be profiled in our own time. critique of whiteness. Ken Gonzales-Day Los Angeles, 2011

8 9 The forehead and nose of the Greek gods and goddesses form almost a straight line. Johann Joachim Winkelmann, quoted in Johann Kaspar Lavater, Physiogmony; or The Corresponding Analogy between the confirmation of the features and the ruling passions of the mind … , 1775–78, p. 251

10

22 26 27 28 29 32 33 34 35

The soul is written on the face; it must be perceived in order to be transmitted to the canvas…we discern in it the peculiar character of his propensities, of his affections, of his passions, in a word, the good and bad qualities of his heart and mind. And in this respect the portrait is still more expressive than Nature, in which nothing is permanent, where everything is only a succession of movements infinitely varied. Johann Kaspar Lavater, Essays on Physiognomy, 1789–98, Vol. II, p. 241

43 I never asked any of my sitters to take any particular pose, but after watching them in their daily life—fishing, hunting, praying and preparing their food, or resting after a day’s work—I merely chose the moment at which I felt each one represented something characteristic of his race and no other. Malvina Hoffman, Heads and Tails (New York: Charles Scribner’s Sons, 1936), p. 416

44 50 51

70 71 81

89

“Do you believe there is really anything in Phrenology?”

“I do. I had my head examined by a phrenologist once, and the moment he came to my first bump he told me that my wife used an old fashioned rolling pin.” The New York Times, March 13, 1889, p. 7

94 95 96 97 …wounded artifacts may be compelling not only as witnesses to the violence of history but as signs of use, marks of the human touch, and hence links with the openness to touch that was the condition of their creation. Stephen Greenblatt, “Resonance and Wonder,” in Exhibiting Cultures: The Poetics and Politics of Museum Display, ed. Ivan Karp and Steven D. Lavine (Washington, DC: Smithsonian Institute Press, 1989), p. 44

105 108 109 Ken Gonzales-Day THE PAC PRIZE AT LACMA

Acknowledgements I would like to thank the Photographic Arts Council, Britt Salvesen, Edward Robinson, Eve Schillo, and Adrienne Adar at LACMA for their commitment and patience as the project evolved, as well as Charlotte Cotton. I would also like to acknowledge Thomas Gaehtgens, Andrew Perchuk, and Sabine Schlosser at the Getty Research Institute, where the project began. Thanks also to Antonia Boström, Karol Wight, Jackie Burns, and Jessica Robinson for allowing me to use the collections of The J. Paul Getty Museum and The Getty Villa. Alaka Wali and Jamie Kelly welcomed me to the Field Museum and its storage facilities. Emmanuel Schwartz made my experience at the École des Beaux Arts a pleasure. Julien Chapuis was a generous host at the Bode Museum—where I spent many hours photographing well into the night. Hartmut Dorgerloh and Saskia Hueneke of the Prussian Palaces and Gardens Foundation Berlin-Brandenburg not only greeted me warmly but provided a remarkable array of works to the project. Tori Randall at the San Diego Museum of Man, kindly shared works from the 1915 Exposition. Very special thanks to Marie-Paule Vande Velde at The Westin Paris- Vendôme and Scripps College Faculty Research Funds. Finally, I would like to acknowledge and thank Gary Wolf, for doing so much more than I can list here, and without whom, this project would not have been possible.

The PAC Prize at LACMA This artist book is the first in a series of PAC Prize editions, published by the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art. Lead support is generously provided by the Photographic Arts Council of LACMA. The PAC Prize acknowledges the central role played by books in the history of photography. It is awarded biennially by nomination to a photographic artist or curator whose development will be fostered by a publication.

147 LIST OF ILLUSTRATIONS

Cover: Untitled (Antico [Pier Page 11: Untitled (Unknown, Page 21: Untitled (Jean-Jacques Page 31 (top): Untitled (The Jacopo Alari-Bonacolsi], Bust of Portrait of a Man, The J. Paul Getty Caffiéri, Bust of Alexis-Jean- Indian, 1915 Panama-CA a Young Man, The J. Paul Getty Museum, Villa Collection, Malibu, Eustache Taitbout [1705–78], Exposition, San Diego Museum Museum, Los Angeles, CA; Francis CA), 2011. The J. Paul Getty Museum, of Man, San Diego, CA), 2011. Harwood, Bust of a Man, The J. Los Angeles, CA), 2011. Paul Getty Museum, Los Angeles, Page 12: Untitled (Unknown, Page 31 (bottom): Untitled CA), 2011. Portrait Head of Caligula, The J. Page 23: Untitled (Franz Xaver (The Eskimo, 1915 Panama-CA Paul Getty Museum, Villa Messerschmidt, The Vexed Man, Exposition, San Diego Museum Frontispiece: Untitled (Pin Tech Collection, Malibu, CA), 2011. The J. Paul Getty Museum, of Man, San Diego, CA), 2011. Industries, Bertillon Calipers), Los Angeles, CA), 2011. 2011. Page 13: Untitled (Unknown, Page 32: Untitled (The Mongolian, Bust of a Man [after the antique], Page 24: Untitled (Unknown, 1915 Panama-CA Exposition, San Page 3: Untitled (Cephalometer of The J. Paul Getty Museum, Villa Portrait Bust of Livia, The J. Paul Diego Museum of Man, San Diego, Dr. Du Moutier with Self-Portrait), Collection, Malibu, CA), 2011. Getty Museum, Villa Collection, CA), 2011. 2011. Malibu, CA), 2011. Page 14: Untitled (Unknown, Page 33: Untitled (The Eskimo, Page 4: Harvard University scholar Portrait Head of Agrippina the Page 25: Untitled (Pier Gabriele 1915 Panama-CA Exposition, Henry Louis Gates Jr. was arrested Younger, Gift of J. Paul Getty, Vangelli, Bust of J. Paul Getty, The San Diego Museum of Man, for disorderly conduct while trying The J. Paul Getty Museum, Villa J. Paul Getty Museum, Los Angeles, San Diego, CA), 2011. to force open the front door of his Collection, Malibu, CA), 2011. CA), 2011. home on July 16, 2009. Cambridge Page 34: Jose Cordello, Police Dept., AP. Page 15: Untitled (Unknown, Page 26–27: Untitled (Antico [Pier Police Department, Bureau Head of Athena, The J. Paul Getty Jacopo Alari-Bonacolsi], Bust of of Identification, Richmond, Page 7: Redrawn from Malvina Museum, Villa Collection, Malibu, a Young Man, The J. Paul Getty CA, 1914. Hoffman, Sculpture Inside and Out CA), 2011. Museum, Los Angeles, CA; Francis (New York: Bonanza Books, 1939), Harwood, Bust of a Man, The J. Page 35: Untitled (Chris. p. 137. Page 16: Untitled (Unknown, Paul Getty Museum, Los Angeles, Los Angeles, CA), 2000. Portrait Head of an Old Man, CA), 2011. Page 9: Redrawn from Petrus The J. Paul Getty Museum, Villa Page 36–37: Untitled (Malvina Camper, Peter Campers Vorlesungen, Collection, Malibu, CA), 2011. Page 28-29: Untitled (Pierre-Jean Hoffman Collection, Blackfoot Man gehalten in der Amsterdammer David d’Angers, Bust of Ann [337236], The Field Museum, Zeichen-Akademie, über den Page 17: Untitled (Unknown, Head Buchan Robinson, Museum of the Chicago, iL; Unknown, Faun Ausdruck der verschiedenen Leiden- of a Young Woman from a Grave City of New York; Joseph Nollekens, Holding a Goat, marble, 1800–1865, schaften durch die Gesichtszüge : Monument, The J. Paul Getty Venus, The J. Paul Getty Museum, after Jacques-François-Joseph Saly, über die Bewundernswürdge Museum, Villa Collection, Malibu, Los Angeles, CA.; Malvina Faun Holding a Goat, The J. Paul Ähnlichkeit im bau des Menschen, CA), 2011. Hoffman, Japanese Woman Getty Museum, Los Angeles, CA), der vierfüssigen Thiere, der Vögel [337087], The Field Museum, 2011. un Fischè, und über die schonheit Page 19: Untitled (Unknown, Chicago, IL; Malvina Hoffman, der Formen / herausgegeben von Statue of a Victorious Youth, Eskimo Woman [337060], The Page 38: Untitled (Alison. Oakland, seinem Sohne A.G. Camper ; aus The J. Paul Getty Museum, Villa Field Museum, Chicago, IL), 2011. CA), 2011. dem holländischen übersetzt von Collection, Malibu, CA), 2011. G. Schaz ; mit eilf Kupfertafeln und Page 30: Untitled (The Indian, Page 39: Untitled (Nora Scully, einer kurzen Nachricht von dem Page 20: Untitled (Attributed to 1915 Panama-CA Exposition, Cast of Alison. Oakland, CA), 2011. Leben und den Schriften des Ver- Jean-Jacques Caffiéri, Bust of a San Diego Museum of Man, fassers, (Berlin: In der Vossischen Man [Possibly François Bouchen], San Diego, CA), 2011. Page 40-41: Untitled (Malvina Buchandlung, 1793), Fig. III. The J. Paul Getty Museum, Hoffman Collection, Ubangi Los Angeles, CA), 2011. Woman [337168], The Field Museum, Chicago, iL; Unknown, Head of a Woman, The J. Paul Getty Museum, Villa Collection, Malibu, CA), 2011.

149 Page 42: Untitled (David. Page 56-57: Untitled (Malvina Page 70: Untitled (Italian, Page 82-83: Untitled (Lesser Dome, Page 96: Untitled (Dancing Faun Page 109: Untitled (Désiré-Maurice Page 124-25: Untitled (Greek, Page 140–41: Untitled (Malvina Oakland, CA), 2011. Hoffman Collection, Arab from Bust of Moor, Sanssouci Palace, Bode Museum, Berlin), 2011. [cast from the antique in the Uffizi], Ferrary, Psyche [after the antique], Etruscan, and Roman Antiquities, Hoffman Collection, Mangbetu Kish [Iraq Man] [336989]; Austrian Small Gallery [in situ since École des Beaux-Arts, Paris), 2011. École des Beaux-Arts, Paris), 2011. Louvre Museum, Paris), 2011. Woman [337107], The Field Page 45: Untitled (Malvina “Alpine” Man [337008], The Field 1845], possibly 18th Century, Page 84-85: Untitled (Frank Museum, Chicago, IL; Unknown, Hoffman Collection, Senegal Man Museum, Chicago, iL), 2011. marble [SPSG Skulpt.slg. 2693, Schauseil, Youthful Dionysus of Page 97: Celestial Venus [cast Page 110: Untitled (Henri-Charles Page 127: Untitled (Francois Head of a Woman, The J. Paul [337136], The Field Museum, GK III 585], Prussian Palaces Sanssouci Palace, Garden Façade, from the antique in Uffizi], École Maniglier, The Venus de’ Medici Gaspard Adam, Apollo, from Getty Museum, Villa Collection, Chicago, IL), 2011. Page 58: Untitled (ernst Friedrich and Gardens Foundation Berlin- 2009, marble copy after the antique des Beaux-Arts, Paris), 2011. [after the antique in the Uffizi], Sanssouci Park, 1752, marble, Malibu, CA.; Malvina Hoffman August rietschel, Bust of Felix Brandenburg), 2011. [with 18th century restorations], École des Beaux-Arts, Paris), 2011. storage facilities of SPSG Collection, Ethiopian Woman Page 46: Untitled (Malvina Mendelssohn [1809-1847], The and other sculptures in the storage Page 98: Untitled (Tullio Lombardo, in Potsdam, [SPSG Skulpt.slg. [336966], The Field Museum, Hoffman Collection, Mangbetu J.Paul Getty Museum, Los Angeles, Page 71: Untitled (Antique, facilities of SPSG in Potsdam Arms Bearer from the Tomb of the Page 111: Untitled (Félix Benneteau, 159], Prussian Palaces and Chicago, IL; Malvina Hoffman Woman [337107], The Field CA), 2011. Torso of Pan [possibly Marsyas], [SPSG Skulpt.slg. 5636], Prussian Doge Vendramin, Bode Museum, Boy with Thorn [Spinario][after Gardens Foundation Berlin– Collection, San Ildefonso Woman Museum, Chicago, IL), 2011. Sanssouci Palace, Small Gallery, Palaces and Gardens Foundation Berlin), 2011. the antique], École des Beaux-Arts, Brandenburg), 2011. [337212], The Field Museum, Page 59: Untitled (Jean-Baptiste second half of 2nd century A.D., Berlin –Brandenburg), 2011. Paris), 2011. Chicago, IL; Malvina Hoffman Page 47: Untitled (Malvina Hoffman Carpeaux, Portrait of Nadine marble [SPSG Skulpt.slg. 200, Page 99: Untitled (Unknown, Page 128-29: Untitled (Francesco Collection, Japanese Woman Collection, Kashmiri Man Dumas [Madame Alexandre Dumas GK III 4157], Prussian Palaces Page 86-87: Untitled (Jean-Batiste Bust of Flora, Bode Museum, Page 113: Untitled (Unknown, da Sangallo, Ecce Homo, [337087], The Field Museum, [Prakash Haksar], [337097], The Fils, 1827-1875], The J. Paul Getty and Gardens Foundation Berlin– Pigalle, Venus, plaster cast, 1748 Berlin), 2011. Head of a Woman, The J. Paul Storage facility, Bode Museum, Chicago, IL), 2011. Field Museum, Chicago, IL), 2011. Museum, Los Angeles, CA), 2011. Brandenburg), 2011. sculpture from Bode Museum Getty Museum, Villa Collection, Berlin), 2011. [used to produce a marble copy Page 100: Untitled (Francesco Malibu, CA), 2011. Page 142: Untitled (Safety Area, Page 48: Untitled (Malvina Page 60–61: Untitled (Henry Page 72: Untitled (Charlottenburg for the French Rondell in Laurana, Portrait Bust of a Page 131–34: Untitled (Sculptures, The J. Paul Getty Museum, Hoffman Collection, Samoan Man Weekes, Bust of an African Woman; Palace, Chinese Room with Sanssouci Park], and other Young Woman “Princess of Page 114-15: Untitled (The marble, sandstone, bronze, The Getty Villa, Malibu, CA), 2011. [337129], The Field Museum, and Jean-Baptiste Pigalle, Bust of Chinese Covered Vases and sculptures in the storage facilities Naples” [fragment], Bode Museum, Emperor Caligula [37-41 A.D.], iron, zinc, iron, lead, terracotta Chicago, IL), 2011. Mm. Adélaïde Julie Mirleau de Guanyin, late 17th century, in of SPSG in Potsdam, Prussian Berlin), 2011. c. 39-40, A.D., marble, Louvre and concrete, Antiquity to 1900; Page 143: Untitled (Freight Neuville, neé Garnier d’Isle, The J. Chinese room, reconstructed from Palaces and Gardens Foundation Museum, Paris), 2011. and modern plaster casts, in Elevator, LACMA, Los Angeles, Page 50: Malvina Hoffman, Paul Getty Museum, Los Angeles, 1706 interior design, Prussian Berlin–Brandenburg), 2011. Page 101: Untitled (Francois the SPSG storage facilities in CA), 2011. Sculpture Inside and Out (New York: CA), 2011. Palaces and Gardens Foundation Duquesnoy, Cupid Carving Page 116: Untitled (Southern Potsdam, Prussian Palaces Bonanza Books, 1939), p. 134. Berlin–Brandenburg), 2011. Page 88: Untitled (Antique, His Bow [fragment], Bode Museum, Netherlands, c. 1420, Head and Gardens Foundation Berlin– Page 145: Untitled (Frederick II Page 63: Untitled (Jean-Baptiste Dionysus, third quarter of 2nd Berlin), 2011. of John the Baptist on a Platter, Brandenburg), 2011. of Prussia, Death Mask with Open Page 51: Untitled (Malvina Stouf, Belisarius, The J. Paul Getty Page 73: (front to back): Untitled century A.D., Sanssouci Palace, Bode Museum, Berlin), 2011. Eyes, wax, cast from the original Hoffman Collection, [top: left Museum, Los Angeles, CA), 2011. (Attributed to Jean-Jacques Caffieri, Small Gallery [SPSG Skulpt.slg. Page 102: Untitled (Andrea della Page 136: Untitled (Portrait mold taken by John Eckstein to right] Mayan Man [336921]; Bust of a Man [Possibly François 197, GK III 4155], Prussian Robbia, Virgin and Child with Page 119: Untitled (Léon Fagel, busts of Friedrich Tieck and on August 17, 1786, in the SPSG South African Bushwoman Page 64–65: Untitled (Grand Dome, Boucher 1703–70]; Joseph Chinard, Palaces and Gardens Foundation Four Angels, Bode Museum, Berlin), Discobolos at Rest [after the antique Christian Daniel Rauch, in storage facilities in Potsdam [336951]; Asparoke Indian Bode Museum, Berlin), 2011. Bust of Madame Récamier [1777– Berlin–Brandenburg), 2011. 2011. sculpture by Naukydes of Argos the storage facilities of SPSG [SPSG Skulpt.slg. 1800, GK III, Man [336935], Ubangi Woman 1849]; Joseph Chinard, The Family {4th century B.C.} in the Vatican], in Potsdam, Prussian Palaces 3997, formerly Hohenzollern [336943]; [bottom: left to right] Page 66–67: Untitled (Sanssouci of General Philippe Guillaume Page 89: Untitled (Cour vitrée, Page 103: Untitled (Augsburg, École des Beaux-Arts, Paris), 2011. and Gardens Foundation Berlin- Museum Inv. No. 3121], Prussian Sudan Woman [336938]; Palace, Small Gallery with Duhesme, The J. Paul Getty École des Beaux-Arts, Paris), 2011. Beardless Man with a Fur Cap, Brandenburg), 2011. Palaces and Gardens Foundation Padaung Woman [336925]; French Paintings, 18th century, Museum, Los Angeles, CA), 2011. before 1518, Bode Museum, Page 120-21: Untitled (Antique Berlin–Brandenburg), 2011. Tibetan Merchant [336941A]; and ancient sculptures from the Page 91: Untitled (Bartolomeo Berlin), 2011. sculptures in the storage facilities Page 137: Untitled (August Kiss, Zulu Woman [336945]; Lapp Polignac collection, Prussian Page 75–78: Untitled (Johann Cavaceppi, Bust of Friedrich II of SPSG in Potsdam, Prussian Amazon Warrior, Gipsbozetto, Page 146: Untitled (Malvina Man [336917], The Field Museum, Palaces and Gardens Foundation Gottlieb Heymüller and Johann of Prussia, Sanssouci Palace, Page 105: Untitled (Antonio della Palaces and Gardens Foundation 1838; Unknown, Bust of Queen Hoffman Collection, Chinese Chicago, IL), 2011. Berlin–Brandenburg), 2011. Peter Benckert, Statues of Chinese Library, 1774, Marble [SPSG Skulpt. Porta, Portrait of Acellino Salvago, Berlin–Brandenburg), 2011. Louise of Prussia [SPSG Skulpt. Rickshaw Driver [337036], The Muscians from the Chinese House slg.188, GK III 3387], Prussian Bode Museum, Berlin), 2011. slg. 3088 and 1578, GK III, 4082], Field Museum, Chicago, IL), 2011). Page 52–53: Untitled (Malvina Page 68–69: Untitled (italian, Bust in Sanssouci Park, 1756, Prussian Palaces and Gardens Foundation Page 122–23: Untitled (Malvina in the storage facilities of SPSG Hoffman Collection, [left to right] of Moor, Sanssouci Palace, Small Palaces and Gardens Foundation Berlin–Brandenburg), 2011. Page 106: Untitled (Urbino, Hoffman Collection, [top: in Potsdam, SPSG, Prussian Palaces Page 148: Redrawn from Arab from Kish [337001]; North Gallery [in situ since Berlin–Brandenburg), 2011. Portrait of a Young Lady, left to right] Fragment, Kalahari and Gardens Foundation Berlin– Miscellanea Humbert de Superville, Italian Man [337074]; Benares 1845], possibly 18th Century, Page 93: Untitled (Florence, “Princess of Urbino,” 15th century, Bushman Man [337188.E]; Brandenburg), 2011. edited by Jacob Bolten (Leiden: Brahmin Man [337021], The Field marble [SPSG Skulpt.slg. 2694, GK Page 81: Untitled (Young Dionysus, Portrait of an Older Man, Bode Museum, Berlin), 2011. Fragment, Hawaiian Man Privately Published, 1997). Museum, Chicago, IL), 2011. iii 584], Prussian Palaces of Sanssouci Palace, plaster copy 15th century, storage facility, [337072.D]; Fragment [337195.G]; Page 139: Untitled (Unidentified and Gardens Foundation Berlin– from Bode Museum original Bode Museum, Berlin), 2011. Page 107: Untitled (Tirol, St. Pieces of plaster model for Heads, Scripps College, Claremont, Colophon: Redrawn from Page 54: Untitled (Malvina Brandenburg), 2011. antique [with 18th century Vitus in a Caldron, c. 1430, Bode Tamil Man [337157.C]; [bottom: CA), 2011. Miscellanea Humbert de Superville, Hoffman Collection, Carib Man restorations], storage facilities Page 95: Untitled (Voltaire, Museum, Berlin), 2011. left to right] Fragment [337179.H]; edited by Jacob Bolten (Leiden: [337034], The Field Museum, of SPSG in Potsdam [SPSG Skulpt. École des Beaux Arts, Paris), 2011. Fragment [337179.i], The Field Privately Published, 1997). Chicago, IL), 2011. slg. 5636], Prussian Palaces Museum, Chicago, IL), 2011. and Gardens Foundation Berlin- Page 55: Untitled (Malvina Brandenburg), 2011. Hoffman Collection, Mangbetu Woman [337107], The Field Museum, Chicago, IL), 2011.

150 151 Published by the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art, with funding provided by the Photographic Arts Council.

Additional support was provided by the Ralph M. Parsons Fund.

Los Angeles County Museum of Art 5905 Wilshire Blvd. Los Angeles, CA 90036 lacma.org

Distributed by Art Catalogues at LACMA, Los Angeles. [email protected] edited by edward robinson Design by Lorraine Wild and Victor Hu, Green Dragon Office, Los Angeles Printed and bound by C S Graphics, Singapore

© 2011 Museum Associates/LACMA Photographs © 2011 Ken Gonzales-Day All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage or retrieval system, without prior permission in writing from the publisher.

iSBN: 978-1-7323094-0-1