Getty Publications 1 Fall 2017 Giovanni bellini LANDSCAPES OF FAITH IN RENAISSANCE VENICE edited by davide gasparotto Giovanni Bellini Landscapes of Faith in Renaissance Venice Edited by Davide Gasparotto Praised by Albrecht Dürer as being “the best in painting,” Giovanni Bellini (ca. 1430– 1516) is unquestionably the supreme Venetian painter of the quattrocento and one of Connect with Us DAVIDE GASPAROTTO is senior curator in the Department the greatest Italian artists of all time. His landscapes assume a prominence unseen in of Paintings at the J. Paul Getty Western art since classical antiquity. Drawing from a selection of masterpieces that ® Find us on Facebook Museum. span Bellini's long and successful career, this exhibition catalogue focuses on the main www.facebook.com/GettyPublications function of landscape in his oeuvre: to enhance the meditational nature of paintings EXHIBITION intended for the private devotion of intellectually sophisticated, elite patrons. The sub- The J. Paul Getty Museum Follow us on Twitter tle doctrinal content of Bellini’s work—the isolated crucifix in a landscape, the “sacred GettyPublications The Getty Center conversation,” the image of Saint Jerome in the wilderness—is always infused with his @GettyPubs Los Angeles, CA instinct for natural representation, resulting in extremely personal interpretations of The J. Paul Getty Museum October 10, 2017, to religious subjects immersed in landscapes where the real and the symbolic are inextri- Getty Research Institute January 14, 2018 Follow us on Tumblr cably intertwined. Getty Conservation Institute www.gettypubs.tumblr.com This volume includes a biography of the artist, essays by leading authorities in the Getty Foundation field explicating the themes of the J. Paul Getty Museum’s exhibition, and detailed discussions and glorious reproductions of the twelve works in the show, including their To order E-Newsletter history and provenance, function, iconography, chronology, and style. INDIVIDUALS BOOKSTORES For information about Getty J. PAUL GETTY MUSEUM Publications and future titles, 148 pages, 9 × 11 inches Visit your local bookstore or call: 800 621-2736 (U.S. and Canada) sign up for Art Bound, our 65 color and 1 b/w illustrations 800 223-3431 (North America) (44) 020 7079 4900 (U.K. and Europe) monthly electronic newsletter at ISBN 978-1-60606-531-0, hardcover 310 440-7059 (International) https://community.getty.edu US $35.00 X [UK £20.00] www.getty.edu/publications [email protected] OCTOBER Art History Cover image: TK. Inside front cover: Giovanni Bellini (Venice, ca. 1430–1516), Transfiguration (detail), ca. 1478–79. Panel, 116 × 154 cm (455⁄8 × 605⁄8 in.). Naples, Galleria Nazionale di Capodimonte. Scala / Ministero per i Beni e le Attività culturali / Art Resource, NY. Page 2, clockwise from top: Octopus Frontlet, AD 300–600, Moche, Museo de la Nación, Ministry of Culture–Peru. Plaque, AD 700–800 Maya; Mexico, Campeche, Jaina Island, Shell (Strombus gigas), 7.94 × 9.53 × 0.7 cm (31⁄8 × 3¾ × ¼ in.), Washington, DC, Dumbarton Oaks Research Library and Collection, PC.B.543. Belt Ornament with Head of an Ancestor, AD 675–725 Maya; Mexico, Yucatan, Chichen Itza, Sacred Cenote, Jadeite. 8 × 5.8 × 5.2 cm (31⁄8 × 25⁄16 × 21⁄16 in.) Cambridge, Peabody Museum of Archaeology and Ethnology, Harvard University, 10-70-20/C6100. Pair of Ear Ornaments, Winged Runners AD 400–700 Moche; Peru, Gold, turquoise, sodalite, shell Diam.: 8 cm (3 3⁄16 in.) New York, The Metropolitan Museum of Art, Gift and Bequest of Alice K. Bache, 1966, 1977 (66.196.40–66.196.41). 2 Getty Publications Getty Publications 3 Fall 2017 Fall 2017 GoldenFPO Kingdoms Luxury Arts in the Ancient Americas Golden Kingdoms Luxury Arts in the Ancient Americas Highly valued works made of jade, gold, and delicate shell Edited by Joanne Pillsbury, Timothy Potts, and Kim N. Richter traveled great distances across space and time, revealing JOANNE PILLSBURY is the This volume accompanies a major international loan exhibition featuring more than connections between regions and challenging our sense of Andrall E. Pearson Curator in the three hundred works of art many rarely or never before seen in the United States. It Department of the Arts of Africa, traces the development of gold working and other luxury arts in the Americas from Oceania, and the Americas bounded traditions. at the Metropolitan Museum antiquity until the arrival of Europeans in the early sixteenth century. Presenting of Art. spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, TIMOTHY POTTS is director Guatemala, and Mexico, this exhibition focuses on specific places and times—cruci- of the J. Paul Getty Museum. bles of innovation—where artistic exchange, rivalry, and creativity led to the produc- tion of some of the greatest works of art known from the ancient Americas. The book KIM N. RICHTER is senior research specialist in the and exhibition explore not only artistic practices but also the historical, cultural, social, Director’s Office at the Getty and political conditions in which luxury arts were produced and circulated, alongside Research Institute. their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a EXHIBITION thematic exploration of indigenous ideas of value and luxury. Central to the book is the The J. Paul Getty Museum idea of the exchange of materials and ideas across regions and across time: works of The Getty Center great value would often be transported over long distances, or passed down over gen- Los Angeles, CA erations, in both cases attracting new audiences and inspiring new artists. The idea of September 16, 2017, to exchange is at the intellectual heart of this volume, researched and written by twenty January 28, 2018 scholars based in the United States and Latin America. The Metropolitan Museum of Art New York, NY J. PAUL GETTY MUSEUM February 26 to May 28, 2018 GETTY RESEARCH INSTITUTE 5 328 pages, 9 ⁄8 × 11¾ inches 428 color illustrations, 4 maps ISBN 978-1-60606-548-8, hardcover US $59.95 X [UK £40.00] SEPTEMBER Art History 4 Getty Publications Getty Publications 5 Fall 2017 Fall 2017 Photography in Argentina Making Art Concrete Contradiction and Continuity Works from Argentina and Brazil in the Edited by Idurre Alonso and Judith Keller Colección Patricia Phelps de Cisneros IDURRE ALONSO is associate From its independence in 1810 until the economic crisis of 2001, Argentina has been Pia Gottschaller and Aleca Le Blanc curator of Latin American seen, in the national and international collective imaginary, as a modern country with Edited by Pia Gottschaller, Aleca Le Blanc, Zanna Gilbert, Tom Learner, Collections at the Getty Research and Andrew Perchuk Institute. a powerful economic system, a massive European immigrant population, an especially strong middle class, and an almost nonexistent indigenous culture. In some ways, the JUDITH KELLER is senior PIA GOTTSCHALLER is a In the years after World War II, artists in Argentina and Brazil experimented with geo- early history of Argentina strongly resembles that of the United States, with its march curator in the Department of senior research specialist at the metric abstraction and engaged in lively debates about the role of the artwork in soci- to the prairies and frontier ideology, the image of the cowboy as a national symbol Getty Conservation Institute. Photographs at the J. Paul Getty ety. Some of these artists used novel synthetic materials, creating objects that offered Museum. Among her many (equivalent to the Argentine gaucho), the importance of the immigrant population, ALECA LE BLANC is assistant publications are Walker Evans an alternative to established traditions in painting—proposing that these objects and the advanced and liberal ideas of the founding fathers. But did Argentine history professor of art history at Cuba (Getty Publications, 2001), become part of everyday, concrete reality. Combining art historical and scientific truly follow a linear path toward modernization? How did photography help shape or the University of California, Graciela Iturbide: Juchitán (Getty analysis, experts from the Getty Conservation Institute and Getty Research Institute deconstruct notions associated with Argentina? Riverside. Publications, 2007), and Japan’s are collaborating with the Colección Patricia Phelps de Cisneros, a world-renowned Modern Divide: The Photographs of Photography in Argentina examines the complexities of this country’s history, ZANNA GILBERT is a research collection of Latin American art, to research the formal strategies and material deci- Hiroshi Hamaya and Kansuke stressing the heterogeneity of its realities, and especially the power of constructed pho- specialist at the Getty Research sions of these artists working in the concrete and neo-concrete vein. Yamamoto (Getty Publications, tographic images—that is, the practice of altering reality for artistic expression, an Institute. 2013). Making Art Concrete presents works by Lygia Clark, Willys de Castro, Judith important vein in Argentine photography. TOM LEARNER is head of Lauand, Raúl Lozza, Hélio Oiticica, and Rhod Rothfuss, among others, with spectacu- Influential specialists from Argentina have contributed essays on various topics, science at the Getty Conser- vation Institute. lar new photography. The photographs, along with information about the now-invisible EXHIBITION such as the shaping of national myths, the adaptation of gesture as related to the The J. Paul Getty Museum processes that determine the appearance of these works, are key to interpreting the “disappeared” during the dictatorship period, the role of contemporary photography ANDREW PERCHUK is deputy The Getty Center director of the Getty Research artists’ technical choices as well as the objects themselves. Indeed, this volume sheds in the context of recent sociopolitical events, and the reinterpreting of traditional Los Angeles, CA Institute. further light on the social, political, and cultural underpinnings of the artists’ proposi- September 15, 2017, to notions of documentary photography in Argentina and the rest of Latin America.