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COMPLETE GUIDE The J. Paul Getty Museum

COMPLETE GUIDE TO ADULT AUDIENCE INTERPRETIVE MATERIALS: GALLERY TEXTS AND GRAPHICS

The J. Paul Getty Museum

COMPLETE GUIDE TO ADULT AUDIENCE INTERPRETIVE MATERIALS: GALLERY TEXTS AND GRAPHICS Permanent Collection Installations and Exhibitions (Including Permanent Collection Rotations)

Overview Pg 2–5

Interpretive Elements Pg 6

At-a-Glance Outline Pg 7

Diagram of Interpretive Elements Pg 8

Descriptions, Editorial Tips, Specifications, and Samples Pg 9–26

Appendix Pg 27

Interpretive Materials Development Process Pg 28–33

Editorial/Design Request Form and Process Pg 34–35

Label Tags (GettyGuide, Recent Acquisitions, etc.) Pg 36

Object Not on View Pg 37 Museum Policy on Second-Language Didactics

for Exhibitions Pg 38

Suggested Reading and References Pg 39

Contact Information Pg 40

Get the Guide to Adult Audience Interpretive Materials online: http://go.getty.edu/forms_tools/forms/museum/aaim_completeguide.pdf http://go.getty.edu/forms_tools/forms/museum/aaim_quickguide.pdf

FRONT COVER: A Renaissance Cabinet Rediscovered, november 22, 2005–August 5, 2007

This guide outlines the various types of texts and graphics offered to adult visitors to the J. Paul Getty Museum at both the Getty Center and the Getty Villa. It addresses audience, approach, style, and content for the full array of interpretive materials to help curators and other authors prepare appropriate and engaging gallery texts and graphics for the permanent collections and exhibitions (including permanent collection rotations). The guidelines also include descriptions of and design speciﬁ cations for each element. It offers ideas, suggestions, goals, and tips for preparing interpretive materials.

CONCEPT For our wide spectrum of visitors, the Getty provides information in a variety of formats to accommodate different learning styles (including GettyGuideTm, Web presentations, gallery talks, active learning spaces in the sketching Gallery at the Getty Center and the Timescape Room at the Getty Villa, etc.). This guide focuses speciﬁ cally on in-gallery texts and graphics.

Our goal is to capitalize on the strengths of each interpretive element to communicate different types of information. For example, some components are best suited to present information that is contextual or analytical (introductory statements) or to help visitors focus on what can be seen in an individual work of art (object labels). Others foster learning in a more experiential manner by breaking down information into smaller units (such as section and focus texts and gallery cards). We make decisions to repeat some information across media so that key points are emphasized. These materials work in tandem with the Getty’s in-gallery media and online presentations.

The primacy of the art is at the forefront of all gallery presentations. Judicious use of a variety of interpretive elements helps to guide the visitor’s experience of the art. Taken together, our materials should:

• foster curiosity about the objects on display • provide guidance for looking closely and seeing critically • help visitors access information that increases understanding • offer a more meaningful experience in front of a work of art

COMPLETE Guide to Adult Audience Interpretive Materials © 2011 J. Paul Getty Trust Pg 3 of 41 AUDIENCE STYLE The majority of the Getty’s visitors are curious, college-educated, nonspecialist adults. To use a tone that is appropriate to the project’s goals and engages visitors. reach this target audience, think about the patterns visitors exhibit as they look at art. They: • Write to encourage looking and thinking, to foster a sense of discovery. • are motivated to learn • Be crisp, clear, and concise (see the At-a-Glance Outline [pg 6] for word counts • have limited time for individual types of interpretive materials). • have their own priorities and organizational approach to taking in information • Use strong verbs and an active voice. and navigating space • Consider visual cues and other techniques to enliven text blocks: headings, • may be overwhelmed or put off by too much information or specialized subheadings, time lines, and didactics with strong visual components, art terminology such as images, diagrams, and maps. • are often visiting the Museum as a social outing • When writing about artists at work, use past tense; for works of art, use present tense. • Avoid large or infrequently used words, and make an effort to defi ne specialized terminology (i.e., foreshortening, linear perspective). APPROACH • When foreign terms are used, defi ne them, and translate foreign titles (if this Organize interpretive materials hierarchically, fi rst establishing the logic, context, and themes is not possible, use the foreign title fi rst, followed by the English translation in of the gallery installation and revealing relationships among the objects, then moving to parentheses). For subsequent mentions, use English. specifi cs regarding individual works of art. Here are some important points to assist in writing:

• Identify the unifying theme or idea for each gallery. Layer information supporting CONTENT that idea from general to specifi c—from gallery title, to introductory statement, Consider these strategies when preparing texts: to section and focus texts, to individual object labels (see At-a-Glance Outline, pg 6). • Focus on conveying no more than one to three ideas. • Regardless of sequence or adjacencies, individual elements such as object labels • For object labels, begin by identifying concrete visual details to assist should be able to stand on their own, offering information and strategies for viewers in guided looking. looking closely as well as reinforcing the themes of the gallery. • Avoid unsupported, qualitative judgments such as “The artist is the greatest • The hierarchy for interpretive materials should be consistent throughout the of his time” or a particular work of art “is the fi nest example of its type.” Museum to build on visitor expectations about where and how to learn more. • When appropriate, make a connection between the historic object and a contemporary context (i.e., a cartonnier is “like a modern fi ling cabinet”). While no single component can provide all possible answers, gallery materials should generally • If possible, include quotations by artists or contemporaries to provide address the questions the visitor may have, such as: a fi rsthand voice. • “What is it?” • When relevant, provide information about the technical process involved • “Why is it here, and why should I care?” in the creation of a work of art. • “What is the story or symbolism?” • When making comparisons, the comparative work should be close by or • “How was it made?” reproduced on the label. • “How was it used?” • Sometimes tombstone information is enough—not all objects require • “What can I discover by looking more carefully?” additional text.

Examples of interpretive materials are included in the complete Guide to Adult Audience interpretive Materials, beginning on pg 9. For other aspects of style and content, refer to the Getty Editorial style Guide, available online at http://wiki.getty.edu/conﬂ uence/display/WEb EDusGuIDE/main+Page. Note that additional samples of previous exhibitions and installations are available by request from Design and Collection Information & Access Editorial.

Interpretive Elements

At-a-Glance Outline Pg 7

Diagram of Interpretive Elements Pg 8

Descriptions, Editorial Tips, Specifications, and Samples Pg 9–26

complete Guide to Adult Audience Interpretive Materials © 2011 J. Paul Getty Trust Pg 6 of 41 AT-A-GLANCE OUTLINE Gallery interpretive materials, including titles, texts, and graphics, are driven by the goals and context of each installation.

DIAGRAM OF INTERPRETIVE ELEMENTS Pg 8

BRANDING TITLE Pg 9 • states main concept, often illustrated with iconic objects • Word count: approx. 30 characters

EXHIBITION TITLE / GALLERY NAME AND NUMBER Pg 10–11 • serving as both on-site orientation and promotion, the exhibition/installation title appears in Center common spaces, including Orientation station maps, and at the Villa Entry Pavilion. • Permanent collection installation titles appear in gallery doorjambs. • Exhibition galleries read “Changing Exhibitions.” • Thematic, chronological, or geographic focus • Word count: approx. 30 characters

INTRODUCTORY STATEMENT Pg 12 • states main concept; may include highlight objects • Word count: 50–200

SECTION, FOCUS, AND DIAGRAMMATIC TEXTS Pg 13–15 • section texts address larger themes and unify groups of objects and, when necessary, divide the installation space into more digestible areas for public viewing and understanding. • Focus texts provide additional strategies and approaches to directed looking, conservation stories, thematic threads, biographies, and connections among objects. • On a more intimate scale and scope than section texts, focus texts contextualize a number of objects, sometimes as a case overview. • Diagrammatic texts provide additional information through maps, time lines, images and illustrations, family trees, etc. • All of these texts may include comparative illustrations and captions. • Word count: 200 maximum

OBJECT LABELS Pg 16–21 • In general, types of labels include wall labels, group labels, case labels, and pedestal labels. • begin with speciﬁ cs that encourage close looking and proceed to biographical and contextual information, when relevant. • Present one to three essential points about a particular work of art to foster close looking and understanding. • Word count: varies, depending on type of label, design, and layout (generally 30–140 words maximum)

SUPPLEMENTARY MATERIALS Pg 22–26 • Wall quotes, murals, and captions • brochures • self-guided activities • Gallery cards • Labels for in-gallery video, interactive media, and listening stations

A B

E B B F E E D C

B B B F C B D C F D E E F

E F

INTERPRETIVE ELEMENTS

A. BRANDING TITLE

B. EXHIBITION TITLE / GALLERY NAME AND NUMBER

C. INTRODUCTORY STATEMENT

D. SECTION, FOCUS, AND DIAGRAMMATIC TEXTS

E. OBJECT LABELS

F. SUPPLEMENTARY MATERIALS

December 8, 2009–February 28, 2010

Exhibitions Pavilion, Upper Level EDITORIAL TIPS

• The title conveys the main concept of the exhibition/installation, often illustrated with imagery.

• Keep titles to a manageable length, as they will be used on a variety of promotional and installation materials in a range of sizes.

• Titles may be abbreviated for street banners and appear full-length in on-site applications.

• Enrich titles with an evocative phrase, where appropriate (as: “Telling the Difference”). Drawings by

SPECIFICATIONS

Getty Center Rembrandt & His Pupils • Word count: Approx. 30 characters Telling the Difference • Measurements: Dependent on available wall space, size Also on View of installation, light levels, and selected Drawing Life promotional materials The Dutch Visual Tradition at the at

West Pavilion, Plaza Level November 24, 2009–February 28, 2010 • Typeface: Dependent on design solution

• Fabrication: Various methods, including direct-application dec. 8, 2009–feb. 28, 2010 Rembrandt vinyl, murals, 3-D lettering, silk-screen, or

imAGE CourtEsy of thE British musEum, London. © thE trustEEs of thE British musEum MANufAcTurED by AMGrAPH (818) 301-5353 TEXT AND DESIGN © 2009 J. PAul GETTy TruST projection (depending on overall design and installation)

sTREET bANNERs ENTRANCE HALL *sHORTENED TITLE *CONTAINs FuLL TITLE

Exhibitions serving as both on-site orientation and promotion, the exhibition/installation title appears in Center common spaces, including Orientation February 17 February September 18 September

SPECIAL E xh I b ITIO n station maps, and at the Villa Entry Pavilion. I LL u MI n ATED MA nu SC r IPTS Opening March 23

Plaza Level Plaza Level Through May 16, 2010 Through July 29, 2007 Opening Opening Opening Opening Permanent collection installation titles appear S South Pavilion in gallery doorjambs; exhibition galleries read “Changing Exhibitions.” SPECIAL E xh I b ITIO n Ph OTO gr AP h S Ph OTO gr AP h S May 6 May

L2 Terrace Plaza Level L2 Terrace TThroughhrough June January 6, 2010 10, 2010

North Pavilion N Opening EDITORIAL TIPS March 18 March

Ph OTO gr AP h S • Thematic, chronological, or geographic focus

L2 Terrace

Through Opening March 21, 2010 W West Pavilion • Promotional materials offer a glimpse of what will be seen in the galleries. Choose images and brief text (usually the exhibition title) that entice visitors to take a look, to make the journey.

Exhibitions Pavilion Getty Research Institute • Remember that one of the primary purposes for onsite signage, in addition

May 6 May to presenting the main concept of the December 8 December March 11 March SPECIAL E xh I b ITIO n

Opening Opening exhibition, is orientation. Opening June 15

Opening Opening Plaza Level

Through Opening April 18, 2010 • Ensure that language is consistent on maps and other orientation materials and text panels, as appropriate. CENTER: todAY At tHe GettY bOARD AND ORIENTATION mAP VILLA: ORIENTATION DIsPLAY

SPECIFICATIONS

• Word count: Approx. 30 characters

• Measurements: Dependent on available wall space, size of installation, and light levels

• Typeface: LT Syntax for directional language Minion Pro, using expert numerals and fi , fl , and ff ligatures, or exhibition-specifi c logotype, for descriptive texts

En dashes between inclusive dates

• Fabrication: Various methods, including direct-application vinyl, murals, 3-D lettering, silk-screen, or projection (depending on overall design CENTER: ENTRANCE HALL PROmOTION and installation)

In gallery doorjambs and on Orientation station maps, also Center common spaces and at the Villa Entry Pavilion. Exhibition galleries read Title: ¾” cap height; “Changing Exhibitions” so it is not necessary to Arrow: change frequently. 7/8” cap height

Dates: EDITORIAL TIPS Match title point size, expert • Gallery name and number provide orientation and indicate what is displayed in each gallery.

Gallery Number: ½” cap height; • Ensure that language is consistent on maps Univers 55 and other orientation materials and text panels, as appropriate.

• Wherever possible, choose names that have a thematic focus, using terms that are understandable to our general visitors.

SPECIFICATIONS

• Word count: Approx. 30 characters

• Measurements: CENTER: 12” W X 7” H , or for a double 12”w X 14” H VILLA: 10.25” W X 6.125” H

• Typeface: Minion Pro, using expert numerals and ﬁ , ﬂ , and ff ligatures

En dashes between inclusive dates CENTER VILLA • Fabrication: CENTER: Glass bead-blasted on reverse. Type etched and paint in-ﬁ lled in black. Flush stainless steel pins to mount. Sign stands-off ¼” from doorjamb surface.

VILLA: Bronze and painted photo-etched magnesium with screen-printed tactile graphics

states main concept; may include highlight objects

EDITORIAL TIPS

• The introductory statement clearly and concisely articulates the primary organizing PAUL OUTERBRIDGE concept for the exhibition or installation. • It provides the context in which to consider the works of art, elaborating on relevant Command Performance historical, societal, or artistic factors.

• This is also the place to acknowledge Paul Outerbridge (American, 1896–1958) burst onto the photographic In 1943 Outerbridge moved from New York to Southern California, organizing parties, indemnity, the presence scene in the early 1920s with images that were visually fresh and tech- eventually settling in Laguna Beach, where he opened a small of an online checklist or presentation, nically adept. He applied his talent for the formal arrangement of portrait studio. During the 1950s he traveled extensively, making GettyGuide or related exhibition objects to the commercial world, introducing an artist’s sensibility to 35 mm photographs in black-and-white and in color. His work was information, as well as display conditions, advertisements for men’s haberdashery, glassware, and perfume in featured in Family Circle, Holiday, and American Photography such as low light levels. (Note: Sometimes fashionable magazines such as Vanity Fair and Harper’s Bazaar. magazines. From 1954 until his death in 1958, Outerbridge wrote a this is included earlier, on a title wall.) monthly column on color photography for U.S. Camera magazine. In the mid-1930s Outerbridge developed a highly successful career as a freelance color photographer. His controversial nudes, often printed POE SPECIFICATIONS in the intensely hued carbro color process, allowed him to naturalisti- cally reproduce subtle skin tone variations—something that had not • Word count: Permanent collection galleries: 50–150 been doneALL GRAPHICSbefore. TBD His seminal book, Photographing in Color, sealed *WALL MURAL APPLICATION his reputation as one of the pioneers of color photography. Exhibition galleries: 150–200

• Measurements: Dependent on available wall space, size of installation, and light levels

• Typeface: For exhibitions, the standard is Minion Pro, but it may be customized to suit the installation. Use old-style numerals and Drawn By:

PAUL OUTERBRIDGE DW Command Performance ﬁ , ﬂ , and ff ligatures, when available.

Paul Outerbridge (American, – ) burst onto the photographic In Outerbridge moved from New York to Southern California, scene in the early s with images that were visually fresh and tech- eventually settling in Laguna Beach, where he opened a small nically adept. He applied his talent for the formal arrangement of portrait studio. During the s he traveled extensively, making objects to the commercial world, introducing an artist’s sensibility to mm photographs in black-and-white and in color. His work was Revisions: advertisements for men’s haberdashery, glassware, and perfume in featured in Family Circle, Holiday, and American Photography fashionable magazines such as Vanity Fair and Harper’s Bazaar. magazines. From until his death in , Outerbridge wrote a monthly column on color photography for U.S. Camera magazine. In the mid- s Outerbridge developed a highly successful career as a freelance color photographer. His controversial nudes, often printed in the intensely hued carbro color process, allowed him to naturalisti- 5 cally reproduce subtle skin tone variations—something that had not been done before. His seminal book, Photographing in Color, sealed his reputation as one of the pioneers of color photography. 4 4.23.09 AB 2.24.09 3 1.20.09 2 • Fabrication: 1 12.16.08 Name Date 2009.4.49 EX.2009.4.53 EX.2009.4.54 Various methods, including direct-application Issue Date:

11.12.08 vinyl, murals, 3-D lettering, silk-screen,

Description or projection (depending on overall design 3" ELEVATION 7 1/4" 3/4" W 001A and installation) 1'-6 1/4" 2'-5 3/4" 3'-3" 2'-5" 3'-0" 8'-5" Drawing 3'-7 3/4" 5'-0 1/2" OUTERBRIDGE: W001A.1 W 003 W 001C W 001D Text CALLIS: ANN

JO Introductory

W 001B 6'-8 3/4" Scale= 3/8" = 1'-0"

W 005 PAUL OUTERBRIDGE: 2009.4.49 Introductory Text ROTATING EXHIbITION INTRO PANEL: PAUL oUteRbRidGe: coMMAnd PeRFoRMAnce, mARCH 31–AuGusT 9, 2009 PERmANENT COLLECTION INTRODuCTORY sTATEmENT PANEL: NORTH

EX.2009.4.57 EX.2009.4.29 EX.2009.4.31 EX.2009.4.58 EX.2009.4.50

EX.2009.4.77 EX.2009.4.32 EX.2009.4.45 W 004 EX.2009.4.4 W 001A 2009.4.28 EX.2009.4.71 EX.2009.4.70 EX.2009.4.3 9'-0 1/4"

EX.2009.4.42 W 002 84.XP.208.138 84.XP.727.3 84.XP.208.137 EX.2009.4.16

EX.2009.4.2 84.XP.208.141

EX.2009.4.27 EX.2009.4.51 EX.2009.4.6 EX.2009.4.13 96.XM.338.61 EX.2009.4.8 85.XM.201

EX.2009.4.9 EX.2009.4.1 96.XM.338.54

97.XM.70.33 97.XM.70.32

EX.2009.4.11 EX.2009.4.30 EX.2009.4.15 84.XP.208.139 EX.2009.4.10 EX.2009.4.43 EX.2009.4.14 EX.2009.4.5 84.XP.460.1 84.XP.727.4 EX.2009.4.33 EX.2009.4.7 EX.2009.4.44 EX.2009.4.12 A2.01 PAVILION, GALLERY N101

D. SECTION TEXTS oUdRY’s PAinted MenAGeRie, mAY 1–sEPTEmbER 2, 2007 tHe AZtec PAntHeon And tHe ARt oF eMPiRe, mARCH 24–JuLY 5, 2010 section texts address larger themes and unify groups of objects and, when necessary, divide the installation space into more digestible areas for viewing and understanding.

EDITORIAL TIPS

• Explore, in greater depth, one of the primary The King’s Menagerie themes of the installation or exhibition.

• The headline helps to highlight and deﬁ ne a

J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 7747 Designers: Nicole Trudeau, Emily Morishita m particular group of objects that are distinct from those in other sections of the installation. The paintings in this gallery celebrate some of the star specimens Empire, religion, and art were closely intertwined in Aztec culture. By the early of King Louis XV’s collection of animals at Versailles. Inherited 1500s, Aztec emperors based in Tenochtitlan (present-day Mexico City) ruled a population of some twenty-five million throughout central and southern Mexico. • May include comparative illustrations and from his great-grandfather Louis XIV, the menagerie was Though short-lived, the empire’s success depended on meeting two formidable challenges: maintaining authority over conquered provinces and engendering a captions (“A picture paints a thousand words”) designed by the court architect Louis Le Vau. His design shared identity among subject peoples. Imperial power was enforced through perpetual warfare and the collection of tribute. Temples and sculptures created centralized the animal exhibits, as opposed to scattering them in the artistic style of the Aztec capital were deployed strategically to unify communities of diverse ethnic backgrounds. across the park. Visitors could watch the animals from an SPECIFICATIONS octagonal observation room in a small château in the central Archaeologists today explore cross-cultural comparisons between the Aztec and the Roman courtyard. The Versailles menagerie was compiled through royal empires. Both developed “theater states,” in • Word count: commission and diplomatic gifts. Exotic animals were imported which monumental architecture and ornate 200 maximum Text Panel, Cube Gallery. Dims: 29.25 X 44.5” cult precincts served as stages for performing on merchant ships along with sugar, coffee, and indigo, and religious and political ceremonies. Dramatic spectacles such as ritual combats, triumphal Oxford • Measurements: of they were intimately connected with colonialism and the luxury processions, and sacrifices celebrated elite University Dependent on available wall space, size of

Library, warrior values and ancestral traditions, securing trade. As trade with Africa, the Americas, and the East Indies Bodleian

the bonds of loyalty to the emperor.

of installation, and light levels

blossomed, specimens from these regions signified the growing Courtesy Surrounded by Aztec priests, a golden eagle perches on a blooming cactus, symbolizing the founding of Tenochtitlan. Illustration from the Codex Mendoza, colonial Mexican, reach of French mercantile about 1541 • Typeface: power. The menagerie served as For exhibitions, the standard is Minion Pro, a research source for scientists but it may be customized to suit the installation. and artists until the Revolution, Use old-style numerals and ﬁ , ﬂ , and ff when it was dismantled and ligatures, when available. the surviving animals were moved to the French natural Low light requires greater contrast and/or history museum. larger point sizes for legibility. View of the Versailles Menagerie, Nicolas Langois (French, active about 1640). © Réunion des musées nationaux/ • Fabrication: Art Resource, New York 827 Various methods, including direct-application

Page 2 of vinyl, murals, 3-D lettering, silk-screen, or projection (depending on overall design and installation) 3.08.07 Final Proof

CAPTURING EUROPA Focus texts provide additional strategies and approaches to directed looking, conservation Painterly Inspiration stories, thematic threads, biographies, and Ovid’s Metamorphoses, a series of darkly erotic connections among objects. On a more intimate Arent de Gelder poems written in the first century .., was one scale and scope than section texts, they of the most popular and widely read texts in contextualize a number of objects, sometimes Dordrecht, 1645–Dordrecht, 1727 Renaissance and Baroque Europe. Painters vied as a case overview. with each other to depict its verses—which describe the loves of the gods and the transformation of their human lovers into animals and plants—with EDITORIAL TIPS Arent de Gelder began his training in the late 1650s in Dordrecht vivid images of love and intrigue. Two contrasting portrayals of one of the most • Use focus statements to deﬁ ne a group of with Samuel van Hoogstraten (whose work is also on view in this beloved tales—in which the god Jupiter, in the objects apart from the larger sections within guise of a bull, seduces and captures the princess the installation. exhibition), himself a Rembrandt pupil of the 1640s. De Gelder Europa—are exhibited in this pavilion: Guido Reni’s luminous sea voyage Jupiter and Europa; and • Include comparative illustrations and went on to study with Rembrandt in Amsterdam in about 1661–63 Claude Lorrain’s lyrical seascape Coast View with captions, as applicable. before settling permanently in Dordrecht. Thanks to his wealthy the Abduction of Europa. Although related by their largely faithful adherence to Ovid’s text, these father, De Gelder could devote himself to his art while never works eloquently attest to these renowned painters’ SPECIFICATIONS distinctive and highly inventive artistic responses in having to earn a living from it. From the mid-1660s into the 1720s, Bologna and Rome between 1632 and 1645. • Word count: 200 maximum he painted biblical and literary subjects, portraits, and a couple of • Measurements: genre scenes. He adhered remarkably to Rembrandt’s style decades Smaller in scale than section texts, but greater than labels. Dependent on available wall after it had passed out of fashion. Having no pupils and making space, size of installation, and light levels. cAPtURinGLabel eURoPA #1 INsTALLATION,East PERmANENT Pavilion COLLECTION PAINTINGs Last revision: 8/21/08 Paintings Final art Examples on this page are different sizes (and GALLERIEs,Gallery eURoPeAn #E201 PAintinGs, 1600–1700, GALLERY E201 few preparatory studies, De Gelder was not a prolific draftsman. Label color: Dove Grey m a s t e r not to scale).

A modest group of drawings can now be attributed to him. • Typeface: For exhibitions, the standard is Minion Pro, but it may be customized to suit the installation. THEATRICAL MOTIFS Use old-style numerals and ﬁ , ﬂ , and ff ligatures, when available. Most of the surviving vases that depict dRAWinGs bY ReMbRAndt And His PUPiLs: teLLinG tHe diFFeRence, DECEmbER 8, 2009–FEbRuARY 28, 2010 theatrical performance were produced in Low light requires greater contrast and/or southern Italy and Sicily in the .. larger point size for legibility. Used at symposia (male drinking parties), these vessels are o en decorated with images • Fabrication: connected to the cult of Dionysos, god of wine and theater. Masks representing Various methods, including direct application speci c characters in a play also symbolize vinyl, 3-D lettering, silk-screen, or projection the cra of theater and its patron deity. (depending on overall design and installation)

GROuP CAsE LAbEL: FINAL sIZE: 11.5” W X 5.625” H “sTANDARD VILLA 6” LAbEL; VILLA PERmANENT COLLECTION GROuP CAsE LAbEL, dionYsos And tHe tHeAteR, GALLERY 114

Writers: JG/Team 2 FINAL ART Designers: AM/RC Theater Vase Case Page 2 VIM Editor: CC/ST Gallery 114 - Theater ID#92, Type 4.0, 60” wide 8/19/10 of 7

Villa Interpretive Materials The Getty Villa Permanent Collection J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 D. DIAGRAMMATIC TEXTS

Diagrammatic texts provide additional information through maps, time lines, images and illustrations, family trees, etc.

EDITORIAL TIPS All images courtesy of the Research unless Institute, the Getty Research Library, otherwise noted The J. Paul Getty Museum

Sarah C. McPherson Risher, 1889; George F. Getty, 1920 “The Petit Trianon,” Getty’s beach house in Santa Monica, California, 1940s Getty with King Ibn Saud in Saudi Arabia, 1955 The antiquities gallery in the ranch house, after 1957 Sutton Place, Surrey, after 1959 Getty with his fifth wife, Theodora “Teddy” Lynch, at Inspiration Point, Malibu, 1947 Life Antiquities Museum • Try to achieve at least a 50-50 ratio of images 1892 1903 1912–14 1916 1919–38 1939–40 1945 1948–49 1949–58 1953–54 1957 1957 1959 1959–67 1968–74 1968–76 1976 to text.

Jean Paul Getty, known as Taken by “oil fever,” George F. J. Paul Getty traveled extensively By mid-1916, aged twenty-three, Getty returned to the oil Getty’s first period of antiquities In 1945 Getty purchased a In 1948–49 Getty negotiated Sometime after World War II, Getty In 1953 Getty founded a museum Soon after the museum opened, Getty enjoyed relativeFortune anonymity Getty had left the United States No antiquities were purchased By April 1968 Getty’s collection The year 1968 reopened an active On June 6, 1976, at the age of Paul during his life, was born Getty moved to Oklahoma with in Europe and Asia in 1912–14, Getty had made his first million business in 1919 and proved collecting dates to 1939–40, sixty-four-acre property in the the oil concession in the Neutral returned to antiquities collecting, in his Malibu ranch house, which Getty required that his most until November 1957, when an in 1951 to manage his business in 1959–67, but Getty’s diaries had outgrown the space available period of collecting at a time when eighty-three, Getty passed away on December 15, 1892, in his family in 1903. Young Paul when he was studying political dollars in the oil business and to be a shrewd investor. when he was touring Italy. His Cañon de Sentimiento in Malibu, Zone between Saudi Arabia and the period of 1949–58 proved officially opened in April 1954. A prized antiquities be moved article published in listed interests with the intention reveal that they continued to be in the ranch house, and he decided Getty was formulating plans for a at Sutton Place without having Minneapolis, Minnesota, the learned the ropes of oil drilling science and economics at Oxford. decided to retire and enjoy a life During the Great Depression, diaries reveal countless visits California. He renovated the and Kuwait and transformed to be his most fruitful. Numerous portion of the house was accessible inside for their preservation. him as the richest man alive in to return. In 1959, after years on his mind. During this period, to erect an additional building on new museum building. The choice visited his museum, to which he child of Sarah C. McPherson while accompanying his father During his Grand Tour, he visited of “total indolence,” as he put it, he acquired major holdings in to Rome’s historical monuments existing Spanish-style ranch his company Getty Oil into a sculptures from distinguished to the public a few days a week, It became apparent that space the United States. He responded, of nomadic life in Europe, he Getty meditated on his career as his Malibu property. He ultimately of a Roman villa as its model, as bequeathed the bulk of his fortune Risher (1852–1941), a former in the fields. After the family the major museums and archaeo- in Southern California. various petroleum companies, and museums, and field trips to house and the grounds to hold global enterprise. collections became available, includ- while the rest remained for the was lacking to accommodate “I don’t think there is any glory bought Sutton Place, a sixteenth- a collector and often compared chose to re-create the ancient Villa well as Getty’s relationship with with a mission for “the diffusion schoolteacher, and George F. relocated to California in 1906, logical sites of the Mediterranean. and by 1938 he was heading archaeological sites such as Ostia part of his art collection and ing the Lansdowne Herakles and collector’s personal use. Several large-scale sculptures such as in being known as a moneybags. century Tudor mansion in himself with the Roman emperor dei Papiri at Herculaneum. When his advisor Bernard Ashmole, of artistic and general knowledge.” Getty (1855–1930), an attorney. he worked in the oil fields during Getty often dated the beginning an oil consortium composed and Pompeii. This phase was a small zoo. several Elgin marbles. This time was rooms were dedicated to paintings, the Lansdowne Herakles. In I’d rather be considered an active Surrey, England, where he Hadrian (ruled A.D. 117–138) the new museum opened in January influenced his selection of acquisi- In accordance with his last will, summer breaks. of his desire to collect to a trip of his father’s and his own interrupted by World War II, when also marked by Getty’s professional eighteenth-century French furni- 1957 the collector decided to businessman.” resided for the rest of his life. and the American newspaper 1974, his architectural choice was tions, which included frescoes, he was buried at Inspiration Point, to Japan and China during which companies. he became involved in the war relationship with his advisor Jean ture, and antiquities, which were add a wing to the ranch house tycoon William Randolph Hearst criticized by reviewers but popular mosaics, vases, and “minor arts” a cliff overlooking the ocean on • Quotations enrich and personalize stories. he bought some Oriental art. effort as president of the Spartan Charbonneaux. also displayed outside in a tiled to display ancient art. (1863–1951). with the public. such as glass and silver. his Malibu ranch. Aircraft Company. courtyard called the Monkey Court.

Fortune

J. Paul Getty at age eleven with his first dog, Jip, in Bartlesville, Oklahoma, 1904 Getty as an oil executive, 1930s Getty with his lioness Teresa in Malibu, late 1940s The Monkey Court with a display of ancient sculpture, early 1950s. The Lansdowne Herakles can be seen at far right. Cover of the magazine , November 1957 Getty (left) with friends and associates at Sutton Place, examining a model of his villa, early 1970s • Maps should call out geographic information , March 15, 1974, pg. 56

Daily Telegraph Magazine and sites directly pertinent to the display. Fortune Courtesy of the Courtesy of The J. Paul Getty Museum • When possible, title the map or add text to contextualize it. coLLectoR’s cHoice: J. PAUL GettY And His AntiQUities, NOVEmbER 18, 2009–FEbRuARY 8, 2010

SPECIFICATIONS

• Word count: Varies, depending on scale and legibility

• Measurements: in venice and the veneto Unique scale, dependent on available wall In Venice and the Veneto, drawing did not space, size of installation, and light levels occupy the central place in the creative process as it did elsewhere. Characterized particularly by the work of Mantegna, Bellini, and Titian, Venetian drawing sought pictorial effects • Typeface: through fragmented forms, depictions of light and shade, and a concentration on atmosphere For exhibitions, the standard is Minion Pro, over precise detail. To achieve these ends, but it may be customized to suit the Venetian draftsmen used—and popularized— The Inhabited Initial blue-colored paper, which provided a useful installation. Use old-style numerals and ﬁ , ﬂ , midtone for such effects. A tradition emerged in the Ottonian and Romanesque Periods of small, meticulous drawings made in pen and ff ligatures, when available. veneto and ink or with a fine brush; later, black chalk verona venice padua was adopted, allowing broad forms and intense Human, animal, and fantastic figures animate the large introductory letters in Ottonian and Romanesque contrast, a good match for the blue paper. manuscripts from the 900s to the 1100s. The luxurious aspect of books from these periods was often Low light requires greater contrast and/or emphasized by the large expanses of blank parchment (a prized commodity) in the margins of the page. Secular subjects that inhabited the richly decorated initials of religious books set a precedent for includ- larger point size for legibility. florence ing scenes of everyday life in the margins of later Gothic manuscripts. The delightful treatment of the vines in the initials, as if they were real plants with a three-dimensional presence, greatly influenced the design of later medieval borders. • Fabrication: Various methods, including direct application The Ottonian Empire, which lasted from 962 until 1024, extended into vinyl, 3-D lettering, silk-screen, or projection rome sections of present-day Germany and Italy. Ottonian artists such as Nivardus of Milan often enlivened their letter (depending on overall design and installation) forms with whimsical human figures.

italy Decorated Initial D: Two Men Climbing through Vines (detail) OttOnian GOthic Late MedievaL and Renaissance 900 1000 1100 1200 1300 1400 1500 1600

ROManesque

The term Romanesque refers to western European art in the 1000s and 1100s. Manuscript illumination from this period is characterized by intricate surface decoration, such as intertwined figures and plant forms that energize the page with their powerful, rhythmic compositions. Inhabited Initial Q (detail)

Line to LiGHt: RenAissAnce dRAWinG in FLoRence And oUt-oF-boUnds: iMAGes in tHe MARGins oF MedievAL MAnUscRiPts, venice, JuLY 20–OCTObER 10, 2010 sEPTEmbER 1–NOVEmbER 8, 2009

complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements diAGrAmmAtic teXts Pg 15 of 41 *items depicted not to scAle E. OBJECT LABELS DEPARTMENT OF ANTIQUITIES

Funerary Vessels EDITORIAL TIPS White-ground painting is a fragile technique Oil Jar with an Egg Offering • Titles are descriptive and visitor-friendly. that was often applied to lekythoi, oil jars that Greek, made in Athens, 460–450 b.c. were left as offerings at graves or were buried Terracotta • Begin with speciﬁ c visual cues that encourage close looking and proceed to with the dead. The vessels typically bear funerary White-ground lekythos attributed to the contextual information. scenes. One of the lekythoi displayed here shows a Painter of Athens 1826 Body copy: Gift of Barbara and Lawrence Fleischman • Present one to three essential points to Minion Pro: 18/22 pt; woman adorning a gravestone with ritual ribbons. encourage close looking and understanding— Regular The others depict women and youths visiting point out what is interesting or important and grave sites with various offerings, such as an egg, Oil Jar with Offerings of Lekythoi explain the iconography and function. a symbol of rebirth. Greek, made in Athens, 460–450 b.c. Terracotta • Where meaningful or relevant, offer observations on the extent of restoration, White-ground lekythos attributed to the archaeological context, or previous owners. Sabouroff Painter stAndArds not depicted

Accession number: Image credit line: • Translate inscriptions and defi ne specialized Univers: 8/12 pt; 45 Light terminology (in the example at left, the word 96.AE.99; 73.AE.41 Univers: 8/9.6 pt; 45 Light symposion was defi ned the fi rst time it was mentioned in the case).

GROuP CAsE LAbEL: FINAL sIZE: 11.5” W X 5.625” H “sTANDARD VILLA 6” LAbEL; VILLA PERmANENT COLLECTION GROuP CAsE LAbEL, WoMen And cHiLdRen in AntiQUitY, GALLERY 207 • Supplementary illustrations may show part of Image okay an object hidden from view or illustrate a point discussed in the label text. Title: Minion Pro: 22/24 pt; • Caption/tombstone order: Object title, culture, Image okay Semibold Cup with a Woman Drinking place made, date, place found, media, techni- in a Storeroom cal name and attribution, dimensions, courtesy/ Culture/Dates: credit, accession/loan/exhibition number Minion Pro: 16/16 pt; Regular Greek, made in Athens, 470–460 b.c.

Media: Terracotta Minion Pro: 16/16 pt; Regular Red-figured skyphos SPECIFICATIONS

Expert line: Minion Pro: 14/16 pt; Regular An unusual scene decorates this deep cup: a • Word count: Writers: JG/Team 1 Printed at 100% Tombstone (object info) + 30–100 words FINAL ART 5 Page 8 servantDesigners: girl AM/DVZ unhappilyFinal size: 6”Hbalances (approx.) aGallery full wineskin 207 - Women and Children in Antiquity Women’s Case VIM Editor: S. Tchaitian Paper Color: Object Labels 5/1/08 of 10 • Measurements: whileVilla Interpretive carrying Materials a jug, The Getty and Villa Permanent an older,Collectio double-chinned J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 **SEE DESIGN’S VILLA INTERPRETIVE woman tilts her head back to drink from a large MATERIALS GUIDE** vessel. Such an image of a woman getting drunk was probably amusing to men at a symposion, • Typeface: Minion Pro (may be customized to suit the where this cup would have been used. installation), with Univers for captions, credits, The other side of this cup depicts a store- Caption: and accession/loan/exhibition number room filled with household objects. Univers: 12/14 pt; GettyGuide: 86.AE.265 55 Roman Standard size as built; 520 Use old-style numerals and ﬁ , ﬂ , and ff ligatures, expert numerals when available. CAsE LAbEL, FINAL sIZE: 11.5” W X 5.625” H sTANDARD VILLA 6” LAbEL / VILLA PERmANENT COLLECTION, WoMen And cHiLdRen in AntiQUitY, GALLERY 207

Image okay complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements oBJect lABels_Antiquities Pg 16 of 41 *items depicted not to scAle no change Image okay

Writers: JG/Team 1 Printed at 100% FINAL ART Page 6 Designers: AM/DVZ Final size: 6”H (approx.) Gallery 207 - Women and Children in Antiquity Women in Public Case VIM Editor: S. Tchaitian Paper Color: Gray Object Labels 1/28/06 of 7 Villa Interpretive Materials The Getty Villa Permanent Collectio J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 E. OBJECT LABELS DEPARTMENT OF DRAWINGS

Title: Minion Pro: 24/24 pt; Amorous Putti at Play; Head of a Bird The Age of Gold EDITORIAL TIPS Semibold About 1530 About 1565 • Begin with speciﬁ c visual cues that encourage Dates: Minion Pro: 18/22 pt; Regular close looking and proceed to biographical and Michelangelo Buonarroti An Album of Pencil Sketches JacopoIn this sheet, which vergesZucchi on caricature, Degas contextual information, when relevant. Artist: (Study of Figures at a Funeral) studied the faces of figures attending a funeral. Italian, 1475–1564 Italian,Despite the occasion’s about somber mood,1541–1596 the artist Minion Pro: 24/24 pt; About 1877 • Present one to three essential points to Semibold exaggerated the amusing aspects of his subjects, Edgar Degas from the protruding nose and sloped forehead of encourage close looking and understanding. Pen and black and brown ink French, 1834–1917 Penthe man and at bottom brown center toink the pronounced and brush noses with brown, ocher, and red wash, Artist dates: Pencil on heavy wove paper heightenedof the three women with in profile white at upper right.gouache This on ocher-washed paper Minion Pro: 18/22 pt; Regular sketchbook also contains studies of dancers and • Describe the subject or composition and singers as well as portraits of Degas’s friends. mention or elaborate on the purpose of Media: In contrast to the finished religious composition the drawing, particularly with comparative Minion Pro: 14/18 pt; Regular on the other side of this sheet (reproduced below), 95.GD.35 Animals and humans peacefullyillustrations, coexist to in increase this understanding. Body copy: Michelangelo here made playful doodles. The boy at idyllic scene, which represents the• Describe first the ofmaterials the fourand/or techniques the Minion Pro: 18/22 pt; A LiGHt toUcH: eXPLoRinG HUMoR in dRAWinG, sEPTEmbER 23–DECEmbER 7, 2008 Regular artist used. left has fallen into a drunken slumber; meanwhile, a CAsE RAIL LAbEL: FINAL sIZE: 11” W X 4.5”ages H (Gold, Silver, Bronze, and Iron) that followed male infant approaches a female counterpart, who is the creation of the world, according• If only oneto pageclassical of an album of sketches is open, discuss book overall. NOTE: ON LAbELs WITH muLTIPLE COLumNs,mythology. ALIGN bODY In COPY addition TO to the more serious and encouraged by a young friend. Other pen sketches bAsELINE OF TITLE IN sECOND AND THIRD COLumNs. idealized classical nudes and an• Caption/tombstone elaborate land order:- Title, date, maker, showing the artist’s varied thoughts include the head Reproduction Restricted. This drawing and its the right to reproduce or publish without It is the responsibility of the manufacturer/fabrica- contents are the property of the J. Paul Getty express authority in writing from the J. Paul tor/ contractor to verify all dimensions and report Object Labels nationality and life dates, media, dimensions, Museum, Exhibition Design Department. The Getty Museum, Exhibition Design Department. any discrepancies to the J. Paul Getty Museum prior 8.27.08 use of same in whole or part does not include to commencement of work. © 2007 J. Paul Getty Trust Shown at 100% HUM A Light Touch: Exploring Humor in Drawing Final Art 2 11 of 24 scape, Zucchi punned on the goldencourtesy/credit, theme accession/loan/exhibition of the of a bird as well as an inscription, Tempo verra ancor Printed at 100% number (Time will come again), deriving from the early scene by playfully including two nude infants Renaissance poet Petrarch (Italian, 1304–1374). urinating into a stream of water. SPECIFICATIONS

Illustration: • Word count: Embed in body copy, Wall labels: Tombstone (object info) + 30 in most cases, align to words for small or 70 words for standard right margin 84.GG.22 Caption: • Measurements: Univers: 12/14 pt; 55 Roman Standard: 6” W X 7” H * Text may be placed to left of The Holy Family, about 1530, illustration to left align with Extended: 6” W X 8.5” H Michelangelo Buonarroti. body copy Case: 11” W x 4.5” H 93.GB.51, recto • Typeface: Minion Pro (may be customized to suit the Accession number: 93.GB.51, verso exhibition) Univers: 8/12 pt; 55 Roman Use old-style numerals and ﬁ , ﬂ , and ff ligatures, when available. A LiGHt toUcH: eXPLoRinG HUMoR in dRAWinG, sEPTEmbER 23–DECEmbER 7, 2008 stAndArds not depicted EXTENDED WALL LAbEL: FINAL sIZE: 6” W X 8.5” H • Fabrication: Lender line: Photocopy print on paper stock to be selected Univers: 16/18 pt; from in-house inventory 45 Light

Reproduction Restricted. This drawing and its the right to reproduce or publish without It is the responsibility of the manufacturer/fabrica- contents are the property of the J. Paul Getty express authority in writing from the J. Paul tor/ contractor to verify all dimensions and report Object Labels Museum, Exhibition Design Department. The Getty Museum, Exhibition Design Department. any discrepancies to the J. Paul Getty Museum prior 8.27.08 use of same in whole or part does not include to commencement of work. © 2007 J. Paul Getty Trust Shown at 100% HUM A Light Touch: Exploring Humor in Drawing Final Art 2 10 of 24 complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements oBJect lABels_drawings Pg 17 of 41 *items depicted not to scAle E. OBJECT LABELS DEPARTMENT OF MANUSCRIPTS

Section title: EDITORIAL TIPS Minion Pro: 20/24 pt; Regular TEXTILES IN RITUAL AND CEREMONY Title: • Begin with speciﬁ c visual cues that encourage Minion Pro: 24/24 pt; Semibold close looking and proceed to biographical and contextual information, when relevant. Dates: The Entry into Jerusalem Christ rides on a donkey toward the gate king’s path during processions, long strips Minion Pro: 16/22 pt; Regular Lyons, about 1480–90 of Jerusalem, followed by his apostles and of textiles (called runners) were important • Present one to three essential points to Mary. As in the biblical description of this elements of royal palace decoration. This Artist: Artist Master of Guillaume Lambert and Workshop encourage close looking and understanding— Minion Pro: 16/18 pt; Semibold event, the residents of the city, shown on practice is the source of the contemporary point out what is interesting or important and Author Attributed to Jean Gerson Author: the right, welcome him with praises of phrase “rolling out the red carpet.” By lay- explain the iconography. Minion Pro: 14/18 pt; Regular The Passion of Our Lord Jesus Christ (text in French) “Hosanna in the highest!” and lay their ing down cloth garments to separate Christ • Explain the purpose, use, and/or name of text, cloaks on the ground for the donkey to tread from the ground, the textiles underscore if appropriate. Body copy: upon. Placed in front of thrones or along a Christ’s majestic nature. Minion Pro: 18/22 pt; Regular • Specialized terminology related to manuscripts

Ms. 25, fols. 5v–6 or Christianity (such as miniature or liturgy) should Accession number: either be deﬁ ned or supported by Univers: 8 pt; 55 Roman appropriate contextual cues.

sHRine And sHRoUd: teXtiLes in iLLUMinAted MAnUscRiPts, JuNE 28–OCTObER 2, 2005 • Keep a non-Christian audience in mind. FINALTEXTILES sIZE: 15” W X 4.5”IN HRITUAL AND CEREMONY • Shading of book icon indicates primary image NOTE: ON LAbELs WITH muLTIPLE COLumNs, ALIGN bODY COPY TO being discussed. bAsELINEInitial OF TITLE IN O: sECOND The AND THIRDMan COLumNs.of Sorrows In the center of this initial O, Christ sits on on the bleeding wounds in his hands and Bruges, 1450s the edge of his tomb after his Resurrection. side. This image, known as the Man of • Caption/tombstone order: Title of illumination, city of origin with date of illumination, maker Two angels draw back a white cloth from his Sorrows, ﬁrst appeared in the ﬁfteenth Artist Master of the Llangattock Hours (if known), author, source (language), courtesy/ body, and objects related to his Passion (such century when Christian devotion focused credit, accession/loan/exhibition number (use Ms. Llangattock Hours (text in Latin) as the cross and a spear) fill the background. increasingly on Christ’s human suffering. numbers, not accession numbers) Standard burial practice during Christ’s The prayer that follows this initial asks for

Feast Scenes This multipaneled work presents thelifetime feasts celebrated and throughoutin Easter, the celebration the of the Middle Resurrection Ages that is Christ’s mercy and meditates on his sacrifice. during the church year. The narrative begins with the encapsulated in the image of the Anastasis (11). SPECIFICATIONS 1300s involved wrapping the deceased in a simple Annunciation (1) and unfolds horizontally across all Tempera and metal leaf (probably gold) on panel four panels, echoing the chronologycloth of Christ’s shroud. life— Here the opening of the textile Panel 1 Panel 2 Panel 3 Panel 4 • Word count: with the exception of the Transfiguration (12). The story Ms. Ludwig IX 7, fols. 14v–15 reveals Christ’s body and focuses attention Standard wall labels: Tombstone continues on the bottom row and concludes with the 1 2 3 4 5 6 7 8 Dormition (“falling asleep,” or death) of the Virgin (15), (object info) + 70 words which is followed by a portrait of Saints George and 9 10 11 12 13 14 15 16 Case labels: Tombstone + 120–140 words, Demetrius (16). In addition to the standard images of stAndArds not depicted 1 or 2 columns of text (illustration can replace the twelve major feasts, this cycle also includes images J. Paul1. The Getty Annunciation Museum • Exhibition9. The Deposition Design from the Cross Case Labels FINAL ART 2. The Nativity 10. The Lamentation SHRINE AND SHROUD (SAS) of Christ on the Way to Calvary (7), the Descent from Tel 310 440 7248 Fax 310 440 7747 Design: Nicole Trudeau + Davina Henderson Page 6 of 12 6.16.05 1 column of text) 3. The Presentation in the Temple 11. The Anastasis (Resurrection) Caption: Lender line: the Cross (9), and the Lamentation (10). These images 4. The Baptism of Christ 12. The Transfiguration 5. The Raising of Lazarus 13. The Ascension Univers: 12/14 pt; Univers: 12/14 pt; emphasize Holy Week, during which events of Christ’s 6. The Entry into Jerusalem 14. The Pentecost 7. Christ on the Way to Calvary 15. The Dormition of the Virgin 55 Roman • Measurements: 45 Light Passion are commemorated. Holy Week culminates 8. The Crucifixion 16. Saints George and Demetrius Standard wall: 6” W X 8.5” H Tombstone wall: 6” W X 4.5” H GettyGuide: Lent by the Holy Monastery of Saint Catherine, Sinai, Egypt Cat. no. 18 Case: 15” W x 4.5” H or 10.25” W x 4.5” H Standard size as built; expert numerals 737 • Typeface: HoLY iMAGe, HALLoWed GRoUnd: icons FRoM sinAi, NOVEmbER 14, 2006–mARCH 4, 2007 Minion Pro (may be customized to suit 3- Column Labels @ 85% of actual size the exhibition). Use old-style numerals and fi , fl , and ff ligatures, when available. PROOF 5 3- Column Labels @ 85% of actual size Holy Image, Hallowed Ground: Icons From Sinai Michael Lira, Simon Adlam, Robert Checchi, Jennifer Kubel Page 6 of 13 10.19.06 (Full size = 19” x 6.5”) J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements oBJect lABels_manuscripts Pg 18 of 41 *items depicted not to scAle contents are the property of J. Paul Getty use of same in whole or part does not include Reproduction Restricted. This drawing and its Museum, Exhibition Design Department. The D. OBJECT LABELS DEPARTMENT OF PAINTINGS the right to reproduce or publish without ex - press authority in writing from the J. Paul Getty Museum, Exhibition Design Department. Title: Minion Pro: 30/32 pt; A Walk at Dusk EDITORIAL TIPS Semibold It is the responsibility of manufacturer/ and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. fabricator/ contractor to verify all dimensions • Begin with specifi c visual cues that encourage Dates: About 1830–35 Minion Pro: 22/27 pt; Regular A Hare in the Forest close looking and proceed to biographical and About 1585 contextual information, when relevant.

© 2010 J. Paul Getty Trust Hans Hoffmann Artist: Caspar David Friedrich • Present one to three essential points to German, about 1530–1591/92 Minion Pro: 30/32 pt; encourage close looking and understanding. Semibold Oil on panel 1774 1840 Wall Label w/ illus 7.5” x 10.375” German, – Artist dates: A Walk at Dusk At the edge of a forest glen, an alert hare nibbles on • Minimize excess amounts of data in parentheses Minion Pro: 22/27 pt; Regular Oil on canvasAbout 1830–35 a clump of lady’s mantle. Hoffmann’s meticulous by including life dates only for artists and subjects. technique captures the texture of tufted fur and the Media: characteristics of individual plants and animals, • Caption/tombstone order: Title, date, maker, Minion Pro: 18/22 pt; Regular Caspar David Friedrich heightening the reality of the scene. He was inspired nationality and life dates, media, dimensions, Body copy: by Albrecht Dürer’s 1502 watercolor of a hare (see courtesy/credit, accession/loan/ A central ﬁgureGerman, in the1774 –German1840 Romantic move- reproduction below). exhibition number

Minion Pro: 22/27 pt; NPR Object Labels Regular This panel was prized by Hoffmann’s patron, ment, FriedrichOil on canvaspossessed a deeply personal and Emperor Rudolf II (1557–1612), the most important collector in central Europe. introspective vision that attracted a wide following. Only three years after its SPECIFICATIONS completion, Hoffmann helped A central ﬁgure in the German Romantic move- Rudolf II obtain Dürer’s Hare, • Word count:

Among the last canvases he completed before a NPR Object Labels FINAL ART_5 ment, Friedrich possessed a deeply personal and and both works were kept in Wall labels: Tombstone (object info) + 70 words body copy for standard size, or + 100 words the emperor’s Kunstkammer Sammlung Courtesy of the Graphische Vienna Albertina, debilitating stroke, A Walk at Dusk shows a single Hare, 1502, Albrecht Dürer for extended introspective vision that attracted a wide following. (art treasury) in Prague. (German, 1471–1528). Watercolor on paper

2001.12 ﬁgure—perhapsAmong the the artistlast canvases himself—contemplating he completed before a • Measurements:

446 76 FAMILY debilitating stroke, A Walk at Dusk shows a single Tombstone: 7.5” W X 5” H a megalithic tomb. This symbol of death is coun- EXTENDED WALL LAbEL: Standard: 7.5” W X 8.5” H figure—perhaps the artist himself—contemplating FINAL sIZE: 7.5” W X 10” H Extended: 7.5” W X 10” H terbalanced by the waxing moon, which was for 06/02/10 a megalithic tomb. This symbol of death is coun- Credit line: • Typeface: Friedrich a sign of Christ’s promise of rebirth. Univers: 8/9.6; 55 Roman Minion Pro (may be customized to suit terbalanced by the waxing moon, which was for 54 of 128 *Use 1/8” space between image an exhibition) Friedrich a sign of Christ’s promise of rebirth. and credit. Caption: Use old-style numerals and fi , fl , and ff ligatures, Univers: 12/14 pt; 55 Roman when available.

Accession number: • Fabrication: Univers: 8 pt; 55 Roman Photocopy print on paper stock to be 93.PA.14 GettyGuide: Standard size as built; selected from in-house inventory *Base align to top of 93.PA.14 expert numerals GG rule 853853 stAndArds not depicted

sTANDARD WALL LAbEL: Lender line: FINAL sIZE: 7.5” W X 8.5” H Univers: 16/19 pt; 45 Light

Label # 1 West Pavilion *Use 1/4” space between lender Label # 1 Last revision: 4/22/04 West Pavilion Paintings line and accession number Last revision: 4/22/04 Gallery W201 Paintings Label color: Light green Gallery W201 m a s t e r proof 3 Label color: Light green m a s t e r proof 3 complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements oBJect lABels_paintings Pg 19 of 41 *items depicted not to scAle E. OBJECT LABELS Town Councilor Member of Parliament (Democrat) DEPARTMENT OF PHOTOGRAPHS Title: Phoenix Rising 1928 1928 Minion Pro: 24/25 pt; Phoenix Rising August Sander August Sander Semibold 1937 1937 German, 1876–1964 German, 1876–1964Chinese Girl EDITORIAL TIPS Dates: Chinese Girl Gelatin silver print Gelatin silver print Minion Pro: 18/22 pt; Regular 1938 PaulPaul OuterbridgeOuterbridge 1938 • Begin with specifi c visual cues that encourage Businessman and parliamentarian Johannes close looking and proceed to biographical and American,American, 1896–19581896–1958 contextual information, when relevant. Artist: Scheerer was onePaulPaul of the many Outerbridge Outerbridge individuals at the Minion Pro: 24/24 pt; 84.XM.126.414 fringes of the political spectrum. He shoulders his Semibold umbrella like a shotgun,American, measuring 1896–1958up the viewer • Present one to three essential points to Carbro print American, 1896–1958 Carbro print with an owlish, suspicious glance. Behind this encourage close looking and understanding. Artist dates: formidable facade lurks a character more akin Minion Pro: 18/22 pt; Regular Carbro print HerePhoenix Outerbridge Rising created a composition that to a provincial Carbroschoolmaster print than a legislator. • Employ quotations, particularly the voice Media: Here Outerbridge created a composition that of the artist. Minion Pro: 14/18 pt; Regular boldly1937 fragments the female body with great boldly fragments the female body with great Chinese Girl • Defi ne specialized and technical terminology. Body copy: visual power. A plaster cast of the head of Hermes Minion Pro: 18/22 pt; visual power. A plaster cast of the head of Hermes 1938 Paul Outerbridge • Monographic shows do not need to repeat Regular (Greek messenger god and bringer of dreams) sits (GreekAmerican, messenger 1896–1958 god and bringer of dreams) sits artist’s name, nationality, and life dates. just below the model’s breasts and is held in place Paul Outerbridge just below the model’s breasts and is held in place • Minimize excess amounts of data in 84.XM.126.168 American, 1896–1958 bybyCarbro herher printtwotwo upraisedupraised arms.arms. Reminiscent of Ingres’sIngres’s parentheses by including life dates only for artists and subjects. depiction of the Sphinx (see reproduction below), depiction of the Sphinx (see reproduction below), AUGUst sAndeR: PeoPLeCarbro oF tHe printtWentietH centURY, • Caption/tombstone order: Title, date, maker, Here Outerbridge created a composition that mAY 6–sEPTEmbER 14, 2008 Outerbridge’sOuterbridge’s compositecomposite form conjures notions ofof LentLent by by the the Wilson Wilson Centre Centre for for Photography Photographynationality and life dates, media, dimensions, theboldly tension fragments between the real female and bodyideal beautywith great as well courtesy/credit, accession/loan/exhibition the tension between real and ideal beauty as well sTANDARD WALL LAbELEX.2009.4.17EX.2009.4.17 : number asasvisual mortalitymortality power. andand A plaster immortality.immortality. cast of the head of Hermes FINAL sIZE: 6” W X 7.5” H Reproduction Restricted. This drawing and its the right to reproduce or publish without ex- It is the responsibility of the manufacturer/fabrica- contents are the property of the J. Paul Getty press authority in writing from the J. Paul Getty tor/ contractor to verify all dimensions and report Museum, Exhibition Design Department. The Museum, Exhibition Design Department. any discrepancies to the J. Paul Getty Museum prior use of same in whole or part does not include to commencement of work. © 2007 J. Paul Getty Trust AUG Labels FINAL.indd AUG August Sander’s People of the Twentieth Century FINAL 6.18.09 SPECIFICATIONS OedipusOedipus(Greek andand messenger thethe Sphinx,Sphinx, aboutabout god 1826,1826, and bringer of dreams) sits 27 of 65 Jean-Auguste-DominiqueJean-Auguste-Dominique IngresIngres just below the model’s breasts and is held in place • Word count: (French,(French,by her 1780–1867).1780–1867). two upraised OilOil onon canvas,canvas, arms. Reminiscent of Ingres’s Wall labels: Tombstone (object info) + 30 words 17.517.5 x x 13.7 13.7 cm.cm. CourtesyCourtesy ofof thethe for small or 70 words for standard LouvreLouvredepiction Museum,Museum, of ParisParis the Sphinx (see reproduction below), • Measurements: Outerbridge’s composite form conjures notions of Lent by the Wilson Centre for PhotographyTombstone: 6” W X 5.5” H; no artist line Illustration: Embedded in body copy, 6” W X 4.5” H the tension between real and ideal beauty as well EX.2009.4.17 aligned to right margin Standard: 6” W X 7.5” H as mortality and immortality. Extended: 6” W X 10” H (with comparative Caption: illustration) Oedipus and the Sphinx, about 1826, Univers: 12/14 pt; 55 Roman stAndArds not depicted Case: 6/10.25/15” W X 4.5” H Jean-Auguste-Dominique Ingres * Text may be placed to left of illustration to left align with (French, 1780–1867). Oil on canvas, GettyGuide: • Typeface: body copy Regular size as built; Minion Pro (may be customized to suit 17.5 x 13.7 cm. Courtesy of the expert numerals Lender line: Louvre Museum, Paris the exhibition) Univers: 12/16 pt; Use old-style numerals and fi , fl , and ff ligatures, 45 Light Lent by the Wilson Centre for Photography PAUL oUteRbRidGe: coMMAnd PeRFoRMAnce, when available. Lent by the Wilson Centre for Photography mARCH 31–AuGusT 9, 2009 Accession number: • Fabrication: Univers: 8 pt; 55 Roman EX.2009.4.18EX.2009.4.18 EXTENDED WALL LAbEL: Photocopy print on paper stock to be selected FINAL sIZE: 6” W X 10” H from in-house inventory

Reproduction Restricted. This drawing and its the right to reproduce or publish without ex- It is the responsibility of the manufacturer/fabrica- Reproductioncontents are Restricted. the property This of drawingthe J. Paul and Getty its thepress right authority to reproduce in writing or publish from the without J. Paul ex Getty- Ittor/ is the contractor responsibility to verify of theall dimensions manufacturer/fabrica and report- complete GuidecontentsMuseum, are Exhibitiontothe property Adult Design of the Department. J. Paul Audience Getty The pressMuseum, authority Exhibition in interpretive writing Design from Department. the J. Paul Getty tor/ anymAteriAls contractor discrepancies to verify to the all J. dimensionsPaul Getty© 2011 Museum and reportJ. Paulprior Getty Trust oBJect lABels_photographs Pg 20 of 41 Museum,use of same Exhibition in whole Design or part Department. does not include The Museum, Exhibition Design Department. anyto commencementdiscrepancies to ofthe work. J. Paul Getty Museum prior © 2007 J. Paul Getty Trust Wall Labels interpretive elements Final Art 2 3.3.09 32 of 65 use of same in whole or part does not include to commencement of work. © 2007 J. Paul Getty Trust POE Paul Outerbridge: Command Performance Final Art 2 Wall Labels POE Paul Outerbridge: Command Performance *items depicted not to scAle 3.3.09 32 of 65

Lent by the Wilson Centre for Photography

EX.2009.4.18

Reproduction Restricted. This drawing and its the right to reproduce or publish without ex- It is the responsibility of the manufacturer/fabrica- contents are the property of the J. Paul Getty press authority in writing from the J. Paul Getty tor/ contractor to verify all dimensions and report Museum, Exhibition Design Department. The Museum, Exhibition Design Department. any discrepancies to the J. Paul Getty Museum prior use of same in whole or part does not include to commencement of work. © 2007 J. Paul Getty Trust Wall Labels POE Paul Outerbridge: Command Performance Final Art 2 3.3.09 32 of 65 E. OBJECT LABELS

Title: DEPARTMENT OF SCULPTURE & DEC. ARTS Title: Minion Pro: 22/24 pt; Minion Pro: 30/32 pt; Sphinx with Male Masks Venus Chastising Cupid Pair of Sphinxes on Scrolls Semibold Semibold Italian, about 1560 1500s Italian (Venice), 1500s EDITORIAL TIPS Dates: Dates: Bronze After a model by Andrea Bronze Minion Pro: 18/24 pt; Regular Minion Pro: 22/27 pt; Regular Briosco, called Riccio • Begin with specifi c visual cues that encourage Sphinxes—composite figures with the upper body Media: close looking and proceed to biographical and Media: Italian, 1470–1532 Minion Pro: 16/20 pt; Regular contextual information, when relevant. Minion Pro: 18/22 pt; Regular of a woman and the lower limbs of a reclining Bronze lion—were depicted as demons in ancient mythol- • Present one to three essential points to ogy. During the Renaissance, particularly in the Kneeling Satyr encourage close looking and understanding. work of Andrea Briosco, called Riccio, these 1500s Body copy: hybrid monsters were • Incorporate line drawings of installation Minion Pro: 22/28 pt; Workshop of Andrea Briosco, on group stanchions. Pay attention to Regular sometimes shown with the called Riccio sequencing numbers (top to bottom, left wings of eagles. Sphinxes Credit: Italian, 1470–1532 to right). Univers: 8/9.6 pt; were popular as guardians 55 Roman Bronze of portals and as bearers Accession number: 85.SB.62–.63 85.SB.66• May incorporate images of open objects or of sarcophagi. This pair Univers: 8/12 pt; alternative views. Caption: 55 Roman Univers: 12/14 pt; may have originally held Padua Anthony, of the Basilica Saint Courtesy PERmANENT COLLECTION ObJECT LAbEL: stAndArds not depicted • Describe the materials, process, and/or tech- 55 Roman Detail of a sphinx on the Paschal NORTH PAVILION, RenAissAnce ARt in itALY up a sarcophagus in a candelabrum (used during Easter) niques the artist(s) used in creating the object. in Padua’s Basilica of Saint Anthony, And noRtHeRn eURoPe, GALLERY N101 Body copy: Accession number: wall tomb. 1507–16, Andrea Briosco, called Riccio (Italian, 1470–1532). Bronze Minion Pro: 18/22 Univers: 8 pt; 55 Roman • Caption/tombstone order: Title/object name, GROuP CAsE RAIL LAbEL : pt; Regular 85.SB.418.1–.4 stAndArds not depicted culture, date, maker (if known), nationality FINAL sIZE: 6” W X 5.687” H Lender line: and life dates (if known), media, dimensions, Lender line: *ICONs usED FOR CAsE Univers: 16/18 pt; courtesy/credit, accession/loan/exhibition Univers: 12/15 pt; GROuPINGs 45 Light number PERmANENT COLLECTION ObJECT LAbEL: NORTH PAVILION, 45 Light RenAissAnce ARt in itALY And noRtHeRn eURoPe, GALLERY N101 GettyGuide: ** LARGER sIZE LAbELs usED Reproduction Restricted. This drawing and its the right to reproduce or publish without ex- It is the responsibility of the manufacturer/ contents are the property of the J. Paul Getty press authority in writing from the J. Paul Getty fabricator/ contractor to verify all dimensions Reproduction Restricted. This drawing and its the right to reproduce or publish without ex- It is the responsibility of the manufacturer/ Standard size as built; WALLMuseum, Exhibition DesignLAbEL: Department. The Museum, Exhibition Design Department. and report any discrepancies to the J. Paul Getty GettyGuide: contents are the property of the J. Paul Getty press authority in writing from the J. Paul Getty fabricator/ contractor to verify all dimensions use of same in whole or part does not include Museum prior to commencement of work. Wall Label w/ illus 7.5” x 8.875” Case Single object 6” x 5.687” © 2008 J. Paul Getty Trust NPR Object LabelsMuseum, Exhibition Design Department. The Museum,FORNPR Exhibition DIsTANCEObject Design Department. Labels and VIEWINGFINAL report any discrepancies to the J. Paul Getty03/30/10 1 of 129 FINAL sIZE: 7.5” W X 8.75” H Large size as built; use of same in whole or part does not include Museum prior to commencement of work. © 2010 J. Paul Getty Trust expert numerals NPR ObjectSPECIFICATIONS Labels NPR Object Labels FINAL ART_5 05/18/10 10 of 128 expert numerals • Word count: Wall labels: Tombstone (object info) + 30 words for small or 70 words for standard GROuP CAsE RAIL LAbEL: PERmANENT COLLECTION ROOm LAbEL: sOuTH PAVILION, RÉGence PAneLed RooM, 1710–1730, GALLERY s105 OuTDOOR sCuLPTuRE LAbEL • Measurements: 1 Chandelier 4 Pair of Lidded Vases 8 Inkstand with Paperweights 11 Writing Table Standard wall: 7.5” W X 8.75” H French (Paris), about 1710 Possibly Italian or French (Paris), 1700 French (Paris), about 1715 French (Paris), about 1710–20 Attributed to André-Charles Boulle (1642–1732, Marble; gilt-bronze mounts Gilt bronze Attributed to André-Charles Boulle (1642–1732, master before 1666) Walking Flower master before 1666) Extended wall: 7.5” W X 10.375” H 93.DJ.43.1–.2 75.DF.6 Oak veneered with brass, ebony, and tortoiseshell; gilt-bronze mounts; leather top Gilt bronze 564 5 85.DA.23  ;   76.DF.13 Lidded Vase Designed, – cast, – Case: 6/9/10/11.5” W x 4” H (stained glass) Chinese, Kangxi reign, 1662–1722 9 Lidded Bowl 2 12 Carpet Pair of Wall Lights Hard-paste porcelain and underglaze blue decoration Porcelain: Japanese (Imari), early 1700s Pedestal: 6.5/13” W x 5.687” H 1 French (Savonnerie manufactory), about 1665–67 French (Paris), about 1720 86.DE.629 Mounts: French (Paris), about 1717–27 Wool and linen Gilt bronze Hard-paste porcelain, underglaze blue, enamel decoration, and Fernand Léger 6 Pair of Firedogs gilding; silver mounts The Savonnerie manufactory made carpets and The sinuous branches of these wall lights resemble French (Paris), about 1735 screen panels, chieXy for the French royal family. • Typeface: designs by André-Charles Boulle. This prolific 2 3 A Parisian silversmith constructed this covered French, – Gilt bronze This carpet was delivered to Louis XIV in 1667. It craftsman became royal cabinetmaker in 1672 bowl by joining together two separate pieces of has retained much of its original bright coloring and was exempt from the guild restrictions gov- 4 Japanese porcelain: a bowl and a dish. The dish These firedogs are cast with military trophies and is extremely rare for its date, condition, and Minion Pro (may be customized to suit erning the production of furniture. Unlike guild was inverted to form the lid. To unify the new lid and weapons. One represents land warfare, with royal provenance. members, he was allowed to work with both a classical cuirass (armored breastplate) upheld by with the bowl, silver mounts were added to create Glazed ceramic the finial, handle, and rims. 70.DC.63 the exhibition) wood and metal. a club and a battering ram. The other, symbolizing 5 6 511 97.DF.16.1–.2 sea warfare, has armor in the Turkish style, with a 7 74.DI.27 Use old-style numerals and fi , fl , and ff 9 10 feathered turban, an anchor, and a naval cannon. 8 13 3 10 Desk Chair Mantel Clock 71.DF.114.1–.2 Casket French (Paris), about 1735 French (Paris), about 1715–25 11 13 French (Paris), about 1680–90 ligatures, when available. 7 Walnut; leather upholstery; velvet pocket lining; brass studs Case attributed to André-Charles Boulle (1642–1732, Pair of Candelabra 12 Wood veneered with brass, pewter, copper, mother-of-pearl, master before 1666); face and movement signed by and stained and painted horn; gilt-bronze mounts Paul Gudin (active about 1739–1755) French (Paris), about 1680–90 This chair contains an especially convenient The top of this box is decorated with a marquetry innovation: small, velvet-lined compartments Oak veneered with tortoiseshell, blue-painted horn, brass, Iron; gilt bronze; rock crystal, glass, and semiprecious stones and ebony; enameled metal; gilt-bronze mounts; glass scene depicting Venus reclining by the shore of a hidden under the hinged arm pads. These were • Fabrication: The small size and opulent decoration of these lake, attended by three cupids. The casket would used for the storage of personal items, such as a Gift of Fran and Ray Stark Cupid originally held the long-handled scythe candelabra suggest that they were intended to have contained various articles for use during the snuVbox, spectacles, or money. of Father Time (who reclines below). Love be displayed in an intimate, elegant interior. Photocopy print on paper stock to be selected toilette, such as hair ornaments. 71.DA.91 conquering Time was a favorite decorative 85.DF.382.1–.2 88.DA.111 theme of the 1700s. from in-house inventory 2005.110 72.DB.55 Do Not Touch 

Label #12 Stark *items depicted not to scAle Last revision: 7.6.06 Sculptures FINAL PROOF Area: T.B.D. Label color: T.B.D. MASTER F. SUPPLEMENTARY MATERIALS WALL CAPTION FOR PsV ADHEsIVE WALL QUOTES, MURALS, AND PRINTED muRAL: tAKinG sHAPe: Find- inG scULPtURe in tHe decoRAtive ARts, CAPTIONS mARCH 31–JuLY 5, 2009

EDITORIAL TIPS This enlarged reproduction of an albumen silver print shows the actual size of the marble sculpture • Use short, contextual information to explain Pluto Abducting Proserpine by François Girardon (French, –), installed since  in the what is being depicted. Give just enough Colonnade on the grounds of Versailles. information so that visitor can identify it and ﬁ nd it in the gallery, if applicable. The Colonnades, detail from Souvenirs of Versailles, Map of the Park, and Photographic Views of the Château, the Basins, and the Two Trianon Palaces (in French), about , unknown photographer. SPECIFICATIONS Albumen silver print, . x . cm. The J. Paul Getty Museum, .xb.. • Word count: Dependent on copy required to adequately   describe and source imagery (    ): • Typeface:

Although eyewitness depictions of the Templo Mayor in  Tenochtitlan are lacking, this 1582 image of the principal Pluto Abducting Proserpine, , François Girardon temple in Texcoco provides evidence for a comparable stepped pyramid. About one hundred feet high, it was surmounted by twin shrines dedicated to the rain god Customized to suit installation Tlaloc and the war god Huitzilopochtli.

Illustration after a watercolor from the Codex Ixtlilxochitl, colonial Mexican, late 1500s–early 1600s

e Colonnades, about , unknown photographer • Fabrication: A variety of materials may be used for large- scale graphics. Dependent on installation and budgetary constraints.

WET APPLICATION muRAL: tHe AZtec PAntHeon And tHe ARt oF eMPiRe, PsV ADHEsIVE PRINTED muRAL: tAKinG sHAPe: FindinG scULPtURe in mARCH 24–JuLY 5, 2010 tHe decoRAtive ARts, mARCH 31–JuLY 5, 2009

e artist should not attempt to paint a portrait of insigni cant, inanimate nature: he should portray it as it speaks to his soul.

—Pierre-Henri de Valenciennes, Reﬂ ections and Advice to a Student of Painting and Particularly on the Genre of Landscape (in French), 

VINYL LETTER DIRECT APPLICATION: cAPtURinG nAtURe’s beAUtY: tHRee centURies oF FRencH LAndscAPes, JuLY 28–NOVEmbER 1, 2009

complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements supplementArY mAteriAls Pg 22 of 41 *items depicted not to scAle bACK COVER FRONT COVER F. SUPPLEMENTARY MATERIALS BROCHURES Of Related Inte R e s t CURatORs’ GalleRy talKs All events are free and are held in the Harold M. Williams auditorium, unless otherwise Getty Museum curators lead one-hour gallery talks on the exhibi- noted. Seating reservations are required. For reservations and information, please call tion. No sign-up needed; meet under the stairs in the Museum (310) 440-7300 or visit www.getty.edu. bROCHuRE: WHeRe We Live: PHotoGRAPHs Entrance Hall. w h e R e leCtURes Judith Keller, associate curator, Department of Photographs Extraordinary Days: The Berman Collection of Photographs Thursday, October 26, 2006, 1:30 p.m. EDITORIAL TIPS oF AMeRicA FRoM tHe beRMAn coLLection, National Book Award-winning author Barry Lopez explores how Anne Lacoste, assistant curator, Department of Photographs the Berman collection brings us to one of art’s most potent Thursday, January 25, 2007, 2:30 p.m. OCTObER 24, 2006–FEbRuARY 25, 2007 intersections, the place where the seemingly ordinary event or w e l I v e Museum galleries object transcends our expectations. Sunday, October 29, 2006, 4:00 p.m. GettyGUIde ™ • Provide another, more in-depth layer of Hear collector Bruce Berman discuss his approach to collecting, Being a Photographer and listen to artists William Christenberry, William Eggleston, John Szarkowski, director of the Department of Photography Mitch Epstein, Karen Halverson, Sheron Rupp, and Camilo José P h O t OGR a P h s information, illustrated with maps, time lines, at the Museum of Modern Art in New York from 1962 to 1991, is Vergara share the ideas behind their work. Pick up an audio also an accomplished photographer. He speaks about his life and player in the Museum Entrance Hall. work in photography—its difficulties, frustrations, confusions, conservation photographs, etc. May include FINAL PAGE sIZE: 7.625” W X 6” H and its inconstant and equivocal rewards. vIsIt Getty.edU Thursday, November 2, 2006, 7:00 p.m. Explore images by the artists in this exhibition and listen to the O f a M e RIC a audio commentary on the Getty’s Web site. other viewpoints that elaborate on messages aRtIsts’ Panel dIsCUssIOn Where We Live: A Discussion with Four Photographers Related PUblICatIOn William Christenberry, Karen Halverson, Alex Harris, and Camilo Publications are available in the Getty Museum Store, by calling in the galleries. José Vergara discuss aspects of their work in the exhibition. (800) 223-3431 or (310) 440-7059, or online at www.getty.edu/ f ROM t h e Sunday, November 12, 2006, 3:00 p.m. bookstore.

PeRfORManCes Where We Live: Photographs of America from the Selected Shorts Berman Collection • Brochures typically function as takeaway Selected Shorts returns with a weekend of stories that evoke By Kenneth A. Breisch, Judith Keller, Anne Lacoste, and American life as seen from the road. Produced by New York’s Colin Westerbeck, with an essay by Bruce Wagner b e RM a n Symphony Space, the annual series features actors from stage, Often representing changing American communities, this book souvenirs to be read later, and their content screen, and television reading classic and new short fiction. reproduces photographs by 24 contemporary artists whose Tickets $20; $15 students/seniors. work is passionate but unsentimental. (Hardcover, $49.95) should complement and enrich the gallery Friday, February 9–Saturday, February 10, 2007, 8:00 p.m. alsO On vIew Sunday, February 11, 2007, 3:00 p.m. C O l l e C t IO n Public Faces/Private Spaces: Recent Acquisitions GalleRy COURse October 10, 2006–February 4, 2007 didactics. Sometimes visitors may use a America in Color Recently acquired photographs by four midcareer American Join Getty Museum educators on a journey through the history of artists are presented, with an emphasis on images made from brochure as a “what not to miss” guide, color photography and its influence on depictions of life in America the mid-1960s through the early 1980s. Incorporating elements of in the 20th century. Explore the colors of America through the MUSEUM/horizontal.epsportraiture, social documentation, and street photography, the works of more than 20 photographers in the exhibition. Course work demonstrates a commitment to observing the people and so plan reproductions and discussion of fee $30; $20 students/seniors. Open to 30 participants. places that define community. The exhibition features excerpts Saturdays, January 13 and 20, 2007, 10:30 a.m.–12:30 p.m. from Donald Blumberg’s series In Front of St. Patrick’s Cathedral individual objects accordingly. Getty Research Institute Lecture Hall and Museum galleries in Manhattan, Anthony Hernandez’s Public Transit Areas in Los 6/8 point The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 TelAngeles, 310 440 Mary 7300 Ellen Mark’s Streetwise in Seattle, and Bill Owens’s Los Angeles, CA 90049-1687 wwwSuburbia.getty .eduin the East Bay suburbs of San Francisco. OC t. 24, 2006– f e b . 2 5 , 2 0 0 7 • Use the opportunity to publicize related events The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 © 2006 J. Paul Getty Trust at the Getty Center Los Angeles, CA 90049-1687 www.getty.edu in printed form. INTERIOR sPREAD • Consider how the brochure text complements

7/9 point GettyGuide audio information. The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 The laTe hosT of The TonighT Los Angeles, CA 90049-1687 www.getty.edu show, Johnny Carson, who hailed

from nebraska, knew ThaT when The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 at the Getty Center Los Angeles, CA 90049-1687 www.getty.edu he welComed The CounTry To SPECIFICATIONS “beauTiful downTown burbank” every evening, his midwesTern aCCenT didn’T fool anyone. in faCT, • Word count: downTown burbank, JusT norTh of INTERIOR sPREAD 8/10 point The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 Dependent on page count and quantity of los angeles, is a business disTriCT Los Angeles, CA 90049-1687 www.getty.edu whose residenTs inClude nbC (home images; 200–1500 words maximum of Carson’s show), disney, and The The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 atdecades the Getty by CamiloCenter José VergaraLos is Angeles,the storefront CA 90049-168teaching7 in Dayton,www Ohio,.getty Jack.edu Teemer investigated Sternfeld, such monuments are the sites of tragic and social environment. Although the pace of 108-aCre warner bros. loT. burbank church. Encouraged by Berman’s interest, Vergara other people’s backyards, more private spaces events, such as the small Memphis motel where civil American life all but guarantees that this landscape is far from main sTreeT ameriCa, returns to Chicago, Los Angeles, Detroit, and other than what might be seen from the street (fig. 7). rights leader Martin Luther King Jr. was assassinated will change or even disappear, the Berman collection • Measurements: cities to record the renovation, reuse, and occasional The series he achieved by carrying his camera and the Los Angeles intersection that was the flash ensures our future sight of the past. buT iT is where bruCe berman works ruin of these neighborhood institutions (fig. 3). through the alleys of Baltimore, Cincinnati, and point of a major civic uprising in 1993 (fig. 8). Afraid Museum: 6“ W x 7.625” H page size and where a good porTion of his Choosing more intimate subjects, Doug Dubois Cleveland contains a profusion of pets, plants, that we will forget, Sternfeld photographs to extend —Judith Keller and Anne Lacoste, (fig. 4) and Mitch Epstein (fig. 5) create pictures of outdoor furniture, and fences assembled by an equal our memory. Department of Photographs GRI: Unique page size possible * expanding ColleCTion of ameriCan 9/11 point The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 family, documenting domesticity in a personal as variety of tenants and homeowners. Joel Sternfeld These images, many in the style that Walker phoTographs is displayed. piCTures Los Angeles, CA 90049-1687 www.getty.edu well as a universally American way. George Tice took restlessly crosses the country from his native New Evans called “transcendental documentary,” represent Cover The walls of lobbies, offiCes, on a familiar New Jersey neighborhood for an early York to Alaska in search of America’s landmarks. For the personal responses of one outstanding collector fig. 8 The northwest Corner of florence and normandie The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 • Typeface: and halls in berman’s ninTh-floor documentary project (fig. 6). He later admitted that and several thoughtful and talented photographers to avenues, los angeles, California, october 1993. print, 2005. at the Getty Center Los Angeles, CAfig. 90049-1687 baltimore, 19807. print, 1985. Jackwww d. Teemer.getty Jr..edu Joel sternfeld (american, born 1944). Chromogenic print, his vision of the region lacked objectivity because it the value and fleeting nature of the barns, churches, suiTe of The new warner bros. (american, 1948–1992). Chromogenic print, 20.5 x 26.2 cm. 47 x 59.7 cm. promised gift of nancy and bruce berman. Customized to suit installation was also, inevitably, a picture of his own past. While gift of nancy and bruce berman. 2005.99.7. © Joan Teemer billboards, and Main Streets that make up our visual © Joel sternfeld, courtesy of luhring augustine, new york CorporaTe building on burbank’s riverside drive. • Fabrication:

10/12 point The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Tel 310 440 7300 Offset print. Pages may come together in at the Getty Center Los Angeles, CA 90049-1687 www.getty.edu

fig. 1 n34°13.930´w116°17.310´ (detail). negative, 1995–98; print, 1998. a variety of layout styles, such as poster, John divola (american, born 1949). digital output print, 76.2 x 76.2 cm. gift of nancy and bruce berman. 99.XM.88.29. © John divola saddle stitch, or accordion fold. Long lead time

section 3 complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements supplementArY mAteriAls Pg 23 of 41 *items depicted not to scAle F. SUPPLEMENTARY MATERIALS Suggested The Miraculous Draught of Fishes SELF-GUIDED ACTIVITIES exercise 1563 Joachim Beuckelaer In educational areas, permanent collection Flemish, about 1533–1574 Sketch one figure and try to galleries, etc. capture the lively quality Oil on panel of a person engaged in an everyday activity. Beuckelaer often combined everyday scenes with biblical subjects. Here he created a parallel between EDITORIAL TIPS the peasants hauling in fish to take to the market and the miracle in which Christ and Saint Peter Nude Studies (detail) Study of a Triton Blowing a Conch Shell (detail) The Holy Family (detail) • Provide suggested activities, from closer pulled nets filled with fish into their boat. This event Bartolomeo Passarotti Agostino Carracci Michelangelo Buonarroti looking to participatory exercises, such as takes place in the middle ground while spires of the town rise in the distance. The reduced palette Look Bold hatching (parallel lines) Subtle gradations of tone render Broad shading lines and hatching sketching. in the middle ground and background contrasts and cross-hatching define musculature and movement. suggest three-dimensionality. musculature. with Beuckelaer’s use of vibrant, saturated color to • Be succinct, with clear directives. activate clusters of people in the foreground. The Try • Focus on the hip and waist • Select a view of the sculpture • Study the abdominal muscles blurred background and contrasting colors create of the sculpture. that shows movement. of the sculpture. • Divide information into short paragraphs for a sense of distance, while the fisherwoman in the • Draw the musculature with • Use the edge of the Art Stix • Use broad shading strokes over lower left looks out, inviting the viewer to partake curved parallel lines, following for broad contour lines. delicate hatching (parallel lines) easy comprehension. in the lively scene. the slope of each muscle. to convey a sculptural quality. • Vary the relative lightness • To create precise lines, and darkness by changing • Layer these techniques to • Caption/tombstone order: Title/object name, use theEast pointAIR Sketching of Gallery the Art Stix the pressure as you draw. create a sense of volume. East AIR Gallery Materials Gallery Labels FINAL FINAL date, maker, nationality and life dates, media, 100%and scale apply more3.28.07 pressure. 71.PB.59 dimensions, courtesy/credit, accession/loan/ 208 Patrick Fredrickson, Andrew Pribuss Page 2 of 8 J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 Wall labels For more drawing activities, visit the Sketching Gallery (East Pavilion, Upper Level). exhibition number (Abbreviated caption: THE sKETCHING GALLERY: ACTIVITY LAbEL title, date, maker) dRAWinG tHe cLAssicAL FiGURe, DECEmbER 23, 2008–mARCH 8, 2009 PLEASE TOUCH! SPECIFICATIONS • Word count: The statue at the end of this walkway represents Venus, Roman Dependent on page or panel size and goddess of love, caught by surprise while bathing. It is a marble application copy of a sculpture by Antonio Canova (Italian, 1757–1822), who was inspired by a famous ancient sculpture. Displayed in a niche and • Measurements: Portrait of Pope Paul V Borghese (above and framed by a small-scale temple facade, this statue has been selected detail), about 1622–23, Gian Lorenzo Bernini Dependent on educational concept and by the Museum to offer the opportunity to learn through touch. application You are invited to use your hands to explore the statue and its setting. More information is available adjacent to the work. • Typeface: Most texts set in Minion Pro, Univers,

The statue at the end of this or LT Syntax. walkway represents Venus, the Roman goddess of love, shown as if caught by surprise while bathing. It is a marble copy of a sculpture by Antonio Canova (Italian, Use old-style numerals and ﬁ , ﬂ , and ff 1757–1822), who was inspired by a famous ancient sculpture. Displayed in a ligatures, when available. niche and framed by a small- scale temple facade, this statue has been selected by the Museum to offer beRnini And tHe biRtH oF bARoQUe PoRtRAit scULPtURe, the opportunity to learn • Fabrication: through touch. AuGusT 5–OCTObER 26, 2008 You are invited to use your hands to explore the statue Photocopy print or offset printing and its setting. More information is available to the right of the work.

Important Please do not touch other works of art in the Museum.

OuTDOOR PANEL, PLEAsE TOuCH PROJECT FOR sIGHT ImPAIRED FINAL sIZE: 25” W X 32” H complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements supplementArY mAteriAls Pg 24 of 41 *items depicted not to scAle FRONT F. SUPPLEMENTARY MATERIALS GALLERY CARDS Looking at Photographs Tapestry: Manufacture and Use

Daguerreotypes Salted paper prints Albumen silver prints Platinum prints 1839–about 1860 1840s–about 1860 1855–90s 1880s–1920s; 1970s–present The Art of Choice EDITORIAL TIPS What is tapestry? A photograph is the result of a unique • Mirrorlike surface • Matte surface with visible • Glossy surface • Matte surface, sometimes Fibers used set of choices made by the artist. In • Rich, black tones paper texture • Depending on condition, with prominent paper tex- in weaving addition to determining the subject, What to • Sharp, positive image • Warm color range, from colors range from warm ture that can soften image the photographer considers: look for • Fine, lifelike reddish brown to purplish reddish brown to purplish • Wide tonal range, from Tapestry is the textile produced through a speciﬁc detail suited to gray brown to purple rich, neutral blacks to fine, weaving technique in which colored threads, called • What type of camera to use portraiture • Soft shadows • Sharp detail silvery grays • Try to achieve at least a 50-50 ratio of images wefts, are interlaced with support threads, called warps. Wool from • Where to position the camera animals • How to arrange the composition Daguerreotypes are named The prints are often made on The paper is coated with Platinum prints fell out of for their French inven- high-quality writing paper albumen (egg whites) favor during World War I as a to text. The wefts are typically of wool or silk, while the warps • How much and what kind of light Did you tor, Louis Jacques Mandé using sodium chloride (table and the image is result of the increasing cost of to use are usually of undyed wool. The wefts are woven at right know? Daguerre. The images are salt) and silver nitrate. created using a platinum, but they enjoyed a formed directly on silver-plated solution of silver revival in the 1970s. copper and sealed behind glass. salts. angles to the warps and eventually cover them completely. The Importance of Medium Cultures around the world—from Asia and the Near One of the most important decisions the • Each element should have its own headline. photographer makes is what materials (or silk from East to Europe and the Americas—developed and used mediums) to use when printing. Photogra- silkworms phers employ different kinds of surfaces— tapestry weaving techniques as early as 1500 b.c. The metal, paper, glass, and flexible film—that are treated with light-sensitive chemicals tapestries in the Museum’s galleries, however, are French to record images. These affect surface tex- Looking at Photographs ture, sharpness of detail, color, and tone. • Use as a vehicle to offer technical informa- and date from about 1690 to 1780. Note that even a black-and-white print displays subtle suggestions of color. tion that comes up repeatedly in object labels Cotton or linen Portrait of Edgar Allan Poe, late May–early Mrs. Elizabeth (Johnstone) Hall, about 1846, Lincoln on the Battlefield of Antietam, Maryland, No. 1, 1925, Tina Modotti Gelatin silver prints Three-color carbro printsOctober 2, 1862, Alexander DyeGardner transfer prints Chromogenic prints from plants June 1849, unknown photographer David Octavius Hill and Robert Adamson Photography Today Warp 1890s–present 1920s–50s 1930s–present 1935–present speciﬁ c to a gallery installation. how are tapestries made? Photographs West Pavilion SEE OTHER SIDE Over the years, photographic materials have evolved to reflect changes in taste and • Matte or glossy surface • Matte surface • Matte surface • Surface ranges advances in technology. Since the 1980s with fine detail • Saturated color range • Rich color that resists fading from matte to Even today, tapestries are made on a loom by hand. digital cameras have become increasingly • Colors range from bluish • Uses three pigmented tissues • Uses three dyes (cyan, glossy What to popular. As computer chips are made light look for gray to black (red, green, and blue) applied magenta, and yellow), • Naturalistic The warps are stretched parallel to one another and sensitive and images are created in pixels, silver and at once transferred one at a time colors that can • Provide additional perspectives on artists, his- silver-gilt wire are held tightly in place by the loom’s two beams, or shift over time thereby outmoding the film negative, pho- Weft tographers are faced with even more choices. wrapped around rollers. The weaver passes the colored weft threads over torical period, technique, or subject matter. a fiber core This medium dis- The name carbro comes Artists favor this multistep Until recently, this technique and under the warps to create the design. In complicated placed albumen by from carbon and bromide. process for color control and was used by everyone from Did you 1895, when most photographers The first commercial color permanence. Its origins date drugstore developers to fine The display of the Museum’s photographs patterns, a single weft thread does not carry from one know? stopped preparing their own printing process, it from the 1870s, but by the art photographers. The word changes every few months to limit their Right: Bacchus and Ariadne paper and turned to newly was often used 1930s it had evolved into the chromogenic is from the Greek, exposure to light; therefore, only some (detail) from the Loves of the end of the tapestry to the other. Weavers, who are highly available commercial products. for advertising. method used today. meaning “color forming.” examples of the mediums listed on this • Strive for long-term value of information to Weaver seated at a loom. Gods tapestry series. Woven skilled craftsmen, intricately bind the wefts where two card are included in the current exhibition. Illustration from L’Ency- by the Beauvais manufactory, our visitors. clopédie (Encyclopedia), colors meet. They could be called “painters in thread.” about 1748–70, after a 1747–48 Flatirons for Shoe Manufacture The medium is About 1926 edited by Denis Diderot cartoon painted by François Albert Renger-Patzsch Look carefully at one of the tapestries in this gallery and always listed on German, 1897–1966 the object labels Gelatin silver print and Jean Le Rond Boucher (French, 1703–1770). Favoring structure, form, and texture as they are that accompany embodied in material objects, this still life of iron note the number of colors you can see in a four-inch square. lasts (tools used to form shoes) faithfully records d’Alembert; France the shiny, hard metal and the textured wood Wool and silk. the J. Paul the photographs. handles. The arrangement is mysterious and a bit menacing, endowing these instruments of production with lyrical power. In portraying (Paris), 1762 Getty Museum these utilitarian objects, Renger-Patzsch skillfully recorded the strength of these shapes while allud- ing to the ideal of productivity. Gelatin silver print

84.XM.138.1 Gift Gift of Bruce and Nancy Berman. Alex © Harris © Man Ray Trust ARS-ADAGP Trust © Man Ray © Albert Renger-Patzsch Archiv/Ann u. Jurgen Wilde, Köln/Artists u. Archiv/Ann Jurgen © Albert Renger-Patzsch York Rights Society (ARS), New Trust Gift of Caldecot Chubb. © Artistic Eggleston

French Decorative Arts Gallery s 102 Flatirons for Shoe Manufacture, about 1926, Butterflies, 1935, Man Ray Memphis, about 1971, William Eggleston Abelino’s Mother’s House, Las Vegas, New Mexico, sEE othER sIDE Albert Renger-Patzsch negative, 1984; print, 1993. Alex Harris SPECIFICATIONS Photographs West Pavilion PLEASE RETURN CARD

Details of a proposal for a tap- Minion Pro: 42/40.5; Semibold • Measurements: estry (left) and the final tapestry Tapestry: Manufacture and Use (below), showing craftsmen at the Gobelins manufactory tapestry facts 17” W x 11” H in 1667. the charcoal proposal Headline: drawing, by Charles Le Brun (French, 1619–1690), is now how were tapestries used? Univers: 16/20; 65 Bold in the Louvre Museum; the tap- Depending on the com- • Typeface: estry is at Versailles. plexity of the design, one weaver produced about During the 1600s and 1700s, tapestries three square yards per were highly prized as expensive wall Subhead: GALLERY CARD sPOT COLOR PALETTE Minion Pro, in combination with year during the 1700s. coverings that provided insulation Univers: 12/14; 65 Bold Univers 65 Bold In major workshops, and decoration in a formal interior. craftsmen specialized in They were either nailed wall-to-wall PAINTINGS DRAWINGS PHOTOGRAPHS weaving specific components of the design, (even turning the corners of a room) Body: such as flowers, drapery, Use old-style numerals and fi , fl , and ff © RMN for an overall effect, or they were set animals, human figures, into wooden frames. Some tapestries Minion Pro: 16/20; Regular architecture, or landscape. ligatures, when available. they were paid according were specifically intended to hang in to the difficulty of their front of doorways. Called portières subject. Artists who wove Caption: faces and hands earned (from porte, the French word for © Photo RMN—Jean/Schormans the most. door), these could be pulled aside Univers: 8/14; 65 Bold PMS DS: PMS DS: PMS DS: • Fabrication: like curtains on rods. Others were 133-1 C 26-2 C 219-3 C Styrene print with rounded corners the colorful dyes used used as table covers or seat uphol- in tapestries fade when exposed to light. to pre- stery. Tapestries were also hung in Credit: Long lead time serve their color inten- churches for ceremonies and from Univers: 5/12; 55 Roman SCULPTURE/ MANUSCRIPTS sity, the tapestries in the how were tapestries designed? Museum’s galleries rotate outdoor balconies to temporarily DEC ARTS on and off display, and decorate parade routes. An artist initially created a small-scale proposal, the light level is kept low. Footer: called the model. This was then worked into a full-size painting on paper or canvas, called Univers: 12/14; 65 Bold a cartoon. The weaver followed the cartoon, matching the painter’s palette with the dyed Right: these French tapestries weft threads. The repeated use of a cartoon was and seat covers were made from 1763 to 1771 by the Gobelins PMS DS: PMS DS: destructive, and few survive. The images above manufactory for Croome Court, 261-4 C 197-3 C show the artist’s proposal and the tapestry an English stately home (now demolished). this gallery is in the woven after it. The cartoon still exists, but it Metropolitan Museum of Art. is in poor condition and is not shown here.

All rights reserved, The Metropolitan Museum of Art, Gift the Samuel H. Kress Foundation, 1958 *Selected department color to be used as main color tint throughout design. Tints of this color may be used for French Decorative Arts Gallery s 102 PLEAsE REtuRn CARD illustrative diagrams and or supplemental imagery.

FINAL sIZE: 17” W X 11” H *NOTE ROuNDED CORNERs

section 3 complete Guide to Adult Audience interpretive mAteriAls © 2011 J. Paul Getty Trust interpretive elements supplementArY mAteriAls Pg 25 of 41 *items depicted not to scAle F. SUPPLEMENTARY MATERIALS LABELS FOR IN-GALLERY VIDEO, INTERACTIVE MEDIA, AND LISTENING STATIONS

EDITORIAL TIPS

• Use straightforward directives and simple instructions, as necessary.

SPECIFICATIONS

• Varies, usually silk-screen (vinyl not as long-lived)

URbAn PAnoRAMAs: oPie, LiAo, KiM, FEbRuARY 2–JuNE 6, 2010

Touch the screen to view more pages from the manuscript in the adjacent case.

stoRies to WAtcH: nARRAtive in MedievAL MAnUscRiPts, FEbRuARY 22–mAY 15, 2011

FINAL sIZE: 13” W X 3” H

Appendix Pg 27

Interpretive Materials Development Process Pg 28–33

Editorial/Design Request Form and Process Pg 34–35

Label Tags (GettyGuide, Recent Acquisitions, etc.) Pg 36

Object Not on View Pg 37 Museum Policy on Second-Language Didactics

for Exhibitions Pg 38