FOR IMMEDIATE RELEASE
Quarterly News Bulletin and Exhibition Schedule - Spring 2002
- New Exhibitions Opening Spring 2002
- Continuing Exhibitions and Installations at the Getty Center
- Future Exhibitions through June 2003
- Performances, Readings, Films and Events
- Lectures, Conferences, and Panel Discussions
News Around the Getty
NOTE: All information printed here is accurate at time of printing, but subject to change. Please contact the Getty Communications Department (telephone 310-440-7360; fax 310-440-7722; email email@example.com) to confirm before publishing.
EXHIBITIONS AT THE GETTY CENTER
All exhibitions located in the J. Paul Getty Museum unless otherwise indicated.
New Exhibitions Opening Spring 2002
March 5-June 23, 2002
By the 1830s, the railroad lines were spreading throughout Britain, Europe, and North America. This revolutionary mode of transportation was soon followed by the discovery, in 1839, of photography, a revolutionary way to make pictures. Through the talents and desires of key individuals, photography and the railroads together embarked on a journey that would span the world’s continents. From the beginning, art and industry seemed bound together and into the 20th century railroads remained a popular subject for photographers. From Édouard Baldus’ images of the new French lines in the 1850s to O. Winston Link’s nighttime views of the last steam-powered trains in 1950s America, the exhibition will explore the relationship of photography and railroads through a diverse and engaging selection of photographs. Press Release
A Treasury of 15th-Century Manuscript Illumination
March 26-July 7, 2002
The 1400s marked a transition for the thousand-year-old tradition of manuscript illumination. The century was also a seminal era for the development of independent painting in the new oil technique on wooden panels. The mid century saw the introduction of the printed book, the product of a new technology whose efficiency and cost-effectiveness posed an immediate threat to the culture of the handwritten book. Despite these new developments, the illuminated manuscript enjoyed a golden era. This exhibition celebrates the art of illumination in the 15th century through 26 manuscript books and leaves and cuttings from manuscripts in the Museum’s permanent collection, including the work of Jean Fouquet, Lieven van Lathem, Simon Marmion, Taddeo Crivelli, and Girolamo da Cremona.
The Sacred Spaces of Pieter Saenredam
April 16-July 7, 2002
Pieter Saenredam (1597-1665) was one of the most remarkable painters of the Dutch Golden Age. He spent his career immortalizing the churches of Holland in drawings and paintings. The study of his numerous preparatory drawings in conjunction with the finished paintings conveys the process by which he created his sacred spaces. The Getty Museum is the only American venue to present the most comprehensive exhibition of Saenredam’s work in the past 40 years. It brings together drawings and paintings depicting the venerable churches of Utrecht. The exhibition was originally organized by the Centraal Museum, Utrecht. Press Release
The Geometry of Seeing: Perspective and the Dawn of Virtual Space
April 16-July 7, 2002
At the Getty Research Institute Exhibition Gallery
Through illustrated treatises, drawings, and prints from the collections of the Getty Research Institute and the J. Paul Getty Museum, The Geometry of Seeing explores perspectival illusionism in its fascinating complexity over a period of four centuries. Perspective is usually associated with a single technique developed during the Italian Renaissance for the representation of architectural space on a two-dimensional surface. The exhibition confronts this enduring misconception by acquainting the public with an extraordinary range of perspective theories and rendering techniques used by Leon Battista Alberti, Albrecht Dürer, Sebastiano Serlio, Canaletto, and many others, including Elie-Honoré Montagny, a pupil of Jacques-Louis David. The Geometry of Seeing relates directly to the Getty Research Institute’s 2001-2002 Scholar Year theme, "Frames of Viewing: Perception, Experience, Judgment." It also coincides with an exhibition at the Museum on the work of 17th-century Dutch painter Pieter Saenredam, whose depictions of interiors reflect his era’s interest in perspective as a tool for artistic description.
Dutch Drawings of the Golden Age
May 28-August 25, 2002
During the 1600s, the art of drawing flourished in Holland as never before. Artists from Rembrandt to Jacob van Ruisdael and Jan van Goyen turned perceptive eyes to the pageant of Dutch life during the country’s so-called "Golden Age." Country fairs, winter sports on frozen canals, landscapes, flora and fauna--virtually every aspect of life was recorded in pen or chalk. This installation celebrates the great age of Dutch drawing through examples chosen from the Getty’s permanent collection. A number of new acquisitions will also be highlighted.
Continuing Exhibitions and Installations at the Getty Center
A Royal Menagerie: Porcelain Animals from Dresden
Through March 3, 2002
As part of an ongoing and mutually beneficial partnership between the Getty and the State Art Collections of Dresden, Germany, the Dresden Porcelain Collection has lent 14 large Meissen porcelain animals that were crafted between 1730 and 1735 for Frederick-Augustus I, elector of Saxony, known as "Augustus the Strong" (1679-1733). The commission for these large porcelain sculptures was highly important for the young Meissen porcelain manufactory. The size of the figures presented great difficulties in making and firing the porcelain, and their mere completion in most cases was extraordinary. These were the creations of two men with remarkably distinct artistic personalities, the court sculptor Johann Gottlieb Kirchner and Johann Joachim Kaendler. Rarely has such a large group of these figures been loaned outside Germany.
Other loans from Dresden include two important landscape paintings by Bernardo Bellotto, part of a series of 33 large-format landscapes of Dresden and nearby Pirna and Königstein; these works are now on view. Lent by Dresden’s Old Masters Gallery (Gemäldegalerie Alte Meister), these urban landscapes were intended to promote 18th-century Dresden as a center of culture by commemorating its architecture and the beauty of its countryside. One of the leading painters of urban views, Bellotto’s work was commissioned and collected by patrons throughout Europe. Also on loan are two paintings from Dresden’s New Masters Gallery (Gemäldegalerie Neue Meister) by German Romantic artists Ernst Ferdinand Oehme, and Carl Gustav Carus. These haunting landscapes enrich the Museum’s representation of the German Romantic spirit. The Oehme and Carus, as well as the Bellottos, are on view through fall 2002. Press Release
Artful Reading in Medieval and Renaissance Europe
Through March 10, 2002
In the Middle Ages, as now, reading opened worlds of information, entertainment, and inspiration. The concept of books, the texts that were read, and the conditions for reading them, however, were vastly different. This exhibition turns to 15 Western European manuscripts from the Museum’s collection that date from the 11th to the 16th century, as well as a papyrus roll, three early printed books, and a photograph by Walker Evans, to explore the importance of the written word, learning and literacy, and the practice of reading aloud before religious communities and princely courts. In addition to examining both the symbolism of books and reading in the Middle Ages, this exhibition charts the major technological changes that have influenced the way the written word has been communicated over time. Press Release
Naples and Vesuvius on the Grand Tour
Through March 24, 2002
At the Getty Research Institute Gallery
This exhibition explores Naples as a tourist destination during the period that Sir William Hamilton was the British ambassador to Naples, 1764 to 1800. A passionate collector of art and antiquities, Hamilton was equally drawn to natural wonders and archaeological discoveries. He played a distinctive role as a knowledgeable guide and genteel host to visitors on the Grand Tour. For 18th-century travelers, Naples was a mythic place dominated by the powerful presence of Mount Vesuvius. The volcano and ruins made Naples a different exotic locale after visits to Rome, typically the main destination. Hamilton’s writings and commissions to artists contributed to a group of innovative publications designed for travelers and collectors. He also commissioned prints and maps, and published illustrated volumes on vase collections and the volcanic landscape of Naples, all of which are owned by the Getty. A number of rare books and prints on Naples, Herculaneum, and Pompeii will also be shown. Naples and Vesuvius on the Grand Tour is presented as part of a suite of related Getty exhibitions: Rome on the Grand Tour, which focuses on aristocratic travelers in 18th-century Rome, and Drawing Italy in the Age of the Grand Tour, which examines Italian landscape views. Press Release
Drawing Italy in the Age of the Grand Tour
Through May 12, 2002
Throughout the 1700s, travelers flocked to Italy in search of inspiration, enlightenment, discovery, and adventure. They encouraged the production of portable visual records of the country in the form of drawn, printed or painted landscapes and cityscapes. The veduta, or expansive view, reached its peak as a genre in Italy at this time, and became a signature element of the age of the Grand Tour. Ancestors of the modern-day postcard, vedute, topographical in conception, were also vehicles for the artist’s creative and illusionistic vision of nature and architecture. This exhibition encompasses a range of images by the most sought-after view painters, including an exploratory drawing of a Venetian square by Canaletto, the portrayal of a theatrical performance by Francesco Guardi, and Giovanni Battista Piranesi’s interpretation of an imaginary antique port. Italy is also witnessed here through the eyes of foreign artists such as Jean Honoré Fragonard and Claude-Joseph Vernet. Like Grand Tourists themselves, they traversed the country’s ever-changing lands. Drawing Italy in the Age of the Grand Tour is presented as part of a suite of related exhibitions at the Museum and the Getty Research Institute respectively: Rome on the Grand Tour, which focuses on aristocratic travelers in 18th-century Rome, and Naples and Vesuvius on the Grand Tour, which explores Naples as a tourist destination during the period that Sir William Hamilton served as British ambassador to Naples. Press Release
Rome on the Grand Tour
Through August 11, 2002
In the 18th century the Grand Tour--a journey across Northern Europe to Italy and the center of the classical past--formed an important way for eminent, young British travelers to acquire a canon of taste, noble ideas, and moral virtue. Featuring new acquisitions by the Getty Museum and Research Institute, Rome on the Grand Tour presents the Eternal City as a preeminent destination for the British aristocrat. Gathering together paintings, pastels, drawings, sculpture, artists’ sketchbooks, antiquities, books, and prints, this exhibition captures the diversity of the Grand Tour experience and portrays the preparation, engagement, and memory intrinsic to the journey. Presenting both high art and cultural memorabilia, it includes printed materials that promoted and guided the journey, portraits, souvenir city views, and sculptural reproductions. It also features objects reflecting the serious study of antiques, which ultimately transcended the age of the Grand Tour and gave birth to Neoclassicism. Rome On The Grand Tour is presented as part of a suite of related exhibitions at the Museum and the Getty Research Institute Gallery respectively: Drawing Italy in the Age of the Grand Tour, which examines Italian landscape views, and Naples and Vesuvius on the Grand Tour, which explores Naples as a tourist destination during the period that Sir William Hamilton served as British ambassador to Naples. Press Release
Statue of an Emperor: A Conservation Partnership
This exhibition features the conservation of a statue of the Roman emperor Marcus Aurelius, who ruled the Roman Empire from A.D. 161 to 180. The statue belongs to the Pergamon Museum in Berlin, and the conservation was a collaboration between the Pergamon and the Getty Museum. Composed of approximately 40 fragments of four different types of marble, some original, others carved during different restoration campaigns of the 18th and 19th centuries, the statue was in danger of collapsing because the joints between the fragments had loosened over time. The conservators took the statue completely apart and reassembled it. Video segments show this process as it took place in the conservation laboratories of the Getty Museum. The exhibition highlights changes in restoration and conservation practices that have occurred between the 18th and 21st centuries.
Ancient Art from the Permanent Collection
Featuring works dating from 2500 B.C. to the 6th century A.D., this installation highlights Greek and Roman antiquities from the Museum’s collection. Included are a 5th-century B.C. limestone-and-marble statue of a goddess believed to be Aphrodite; a rare, early Cycladic harpist dating to 2500 B.C; and the Lansdowne Herakles, which was one of J. Paul Getty’s favorite works. The exhibition also features numerous works from the Fleischman collection acquired by the Museum in 1996, including a magnificent bronze cauldron with a grinning satyr and a spectacular ensemble of jewelry worn by a Greek woman more than 2,000 years ago.
Future Exhibitions through June 2003
Gustave Le Gray, Photographer (1820-1884) (working title)
July 9-September 29, 2002
Gustave Le Gray (1820-1884) is widely acknowledged as the most important French photographer of the 19th century because of his technical innovations in the medium, his role as the teacher of other noted photographers, and the extraordinary imagination he brought to picture-making. The scope of his subject material ranged from early architectural studies of French Romanesque architecture to portraiture of the imperial family, from landscapes closely related to the work of the Barbizon school of painters to the stunning seascapes and cloud studies that made him famous. As well as photographing French troops on summer field maneuvers and making views of the city of Paris, he created images of the monuments of Egypt, where he spent the last 24 years of his colorful life. This exhibition, which will cover the full range of his work, was selected from an exhaustive survey of his work created by and to be shown at the Bibliothèque nationale in Paris in the spring of 2002.
Songs of Praise: Illuminated Choir Books
July 23-October 13, 2002
Christian choir books number among the most impressive illuminated manuscripts of the high Middle Ages and the Renaissance. Because they were often displayed on a lectern in the sanctuary where they served as part of the adornment of the church, they were embellished with large painted initials and often extensive border decoration. This exhibition presents the various types of choir books and their characteristic illumination, and also includes a section on historical music notation. It features nine choir books and 13 leaves and cuttings from choir books, all from the Museum’s permanent collection. The objects date from the 12th to the 16th centuries and come from throughout Western Europe (Italy, Spain, Germany, and France).
Danube Exodus: The Rippling Currents of a River
August 17-September 29, 2002
At the Getty Research Institute Exhibition Gallery and Lecture Hall
In The Danube Exodus, Hungarian artist Péter Forgács combines his own film-based work with materials from the collections of the Getty Research Institute and other lenders to create a multi-media interactive installation that inserts visitors within a stream of historical moments and personal memories. The exhibition incorporates the amateur film footage of Captain Nándor Andrásovits, who ferried Eastern European Jewish refugees along the Danube River from Slovakia to the Black Sea (and eventually Palestine) in 1939. This narrative is paralleled by a "reverse" exodus that took place one year later, when Bessarabian Germans fled to the Third Reich because of the Soviet annexation of Bessarabia. Through sound, moving images, large-scale projections, touch-screen maps, and archival materials that include postcards, photo albums, and a three-volume illustrated survey of the Danube published in 1726, visitors will be immersed in stories of displacement narrated from a range of perspectives. This exhibition is organized in collaboration with the Labyrinth Research Initiative on Interactive Narrative at the University of Southern California’s Annenberg Center for Communication, with additional support from the Rockefeller Foundation for a related DVD. Forgács developed the interactive component in collaboration with the Labyrinth Project creative team and the C3 Cultural and Communication Center Budapest Danube Web site, with support from the Hungarian Cultural Foundation.
Greuze the Draftsman
September 10-December 1, 2002
Dedicated exclusively to the drawings of Jean-Baptiste Greuze (1725-1805), this exhibition demonstrates his undisputed status as one of France’s greatest draftsmen and presents drawings in all media that explore a range of subjects. The exhibition highlights two of Greuze’s favorite subjects: human expression and the drama of family life. The Museum’s Head of an Old Man and The Father’s Curse: The Ungrateful Son are joined by 68 other Greuze drawings borrowed from both U.S. and European collections, including 10 drawings from the Hermitage Museum, St. Petersburg, that were purchased directly from the artist in 1769. Co-organized by The Frick Collection and the J. Paul Getty Museum, this exhibition comes to Los Angeles after first being shown at The Frick Collection, New York, May 14-August 4, 2002.
Greuze the Painter: Los Angeles Works in Context
September 10-December 1, 2002
Complementing Greuze the Draftsman, this exhibition gathers all the paintings by Greuze in Los Angeles museum collections, and presents them with national and international loans. The works on view span Greuze’s career and illustrate main developments in his approach to painting. Highlights of the exhibition include: Greuze’s genre subjects such as the Huntington Art Collection’s delightful Knitter Asleep and its pendant, the Young Schoolboy Asleep (Musée Fabre); dramatic oil sketches like the Getty Museum’s Cimon and Pero (Roman Charity) and the study of the Head of a Woman (Metropolitan Museum of Art); and the flamboyant Portrait of a Lady in Turkish Fancy Dress from the Los Angeles County Museum of Art (LACMA).
French Drawings in the Age of Greuze
September 10-December 1, 2002
The 18th century was France’s golden age of draftsmanship, with more artists achieving great technical ability in drawing than at any other time. This exhibition of about 30 drawings complements the loan exhibition Greuze the Draftsman by presenting a survey of 18th-century French drawings from the Museum’s collection. In addition to featuring drawings by some of the century’s greatest painters such as François Boucher and Jean-Honoré Fragonard, the exhibition introduces drawings by some of the petit maîtres--18th-century French artists who concentrated on drawing rather than painting. The installation surveys the entire century that opened with the Rococo fêtes galantes of Antoine Watteau and closed with the dramatic Neoclassical subjects of Jacques-Louis David.
About Life: The Photographs of Dorothea Lange (working title)
October 15, 2002-February 9, 2003
Dorothea Lange (1895-1965) grew up in New York, but established herself as a photographer in California in 1919. She was first a studio portraitist in San Francisco. During the Great Depression, when the unemployed were on the streets and the migrant workers were on the road, she left her studio to document the new realities of American life. The photographs she made for the state and federal government during the 1930s have become universally recognized symbols of that difficult era. This exhibition will not only present some of the best of her work for the Farm Security Administration, but will include earlier work made on the pueblos of New Mexico, post-World War II pictures made for Life magazine in Utah’s Mormon communities, images from her later travels in Egypt and the Far East, and photographs of her family made at home in Berkeley. This show of approximately 75 prints, ranging across Lange’s career from the 1920s to the 1960s, is selected primarily from the Getty’s permanent collection.
The Grapes of Wrath: Horace Bristol’s California Photographs (working title)
October 15, 2002-February 9, 2003
Born and raised in California, Horace Bristol (1908-1997) began his career as a freelance photographer in San Francisco in the late 1920s. By the mid-1940s, he had established himself as a leading documentary photographer for magazines such as Life, Fortune, and Time. Influenced by the social documentary work of Dorothea Lange, Bristol proposed a picture story for Life in 1937 on Dust Bowl migrants and their daily struggles in California’s Central Valley. This exhibition features the series he later called The Grapes of Wrath. Drawn mainly from the Getty’s holdings, the show will include approximately 35 pictures.
The Medieval Bestseller: Illuminated Books of Hours
October 29, 2002-January 19, 2003
Manuscript books of hours, private devotional books containing prayers addressed to the Virgin Mary, were the "bestsellers" of the late Middle Ages, and their pages were illuminated by some of the most accomplished artists of the period. This exhibition explores the illuminated book of hours and its precursors through 22 manuscripts from France, Italy, Flanders, and Holland dating from the 12th to the 16th centuries, all drawn from the Museum’s permanent collection. Among the artists represented are Jean Fouquet, Jean Bourdichon, and Taddeo Crivelli.
Landscapes of Myth
November 5, 2002-February 2, 2003
At the Getty Research Institute Exhibition Gallery
This exhibition focuses on 15th- to 19th-century illustrations of sites that are legendary settings in Greek mythology. Travelers often used classical literature as a guide to rediscovering the remains of ancient Greece. Others set out to observe the actual place, its geography, climate, and customs, in order to experience more immediately the poetry of the ancient texts. Through paintings, drawings, watercolors, prints, maps, and photographs from Getty collections, the exhibition pairs familiar stories of Greek deities and mortals with lesser known images of the places where they were believed to have occurred, including Athens, Ithaka, Eleusis, Argos, Mycenae, Sparta, Delphi, and other landscapes of myth.
Bill Viola: The Passions Series and Five Angels (working title)
January 28-April 27, 2003
In The Passions, the celebrated video artist Bill Viola explores how changing facial expression and body language express emotional states using flat-screen monitors of various sizes, some resembling portable altarpieces of the late Middle Ages and Renaissance. After filming the actors at very high speeds, Viola replays the action in extreme slow motion, with riveting results. The artist participated in the 1997-1998 scholar year at the Getty Research Institute focusing on representation of the human passions. Five Angels is a recent video/sound installation of the kind that made Viola famous; it has tremendous symbolic and emotional power.
17th-Century French Drawings (working title)
March 25-June 29, 2003
The visual arts flourished in France during the reigns of Louis XIII (1610-1643) and Louis XIV (1643-1710). Encouraged and supported by these kings and their courts, artists not only cr