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Journal articles on the topic 'J. Paul Getty Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Reed, Marcia. "Blurring the Boundaries: Collaborative Library and Museum Exhibitions in Los Angeles." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (March 1, 2007): 45–50. http://dx.doi.org/10.5860/rbm.8.1.275.

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Is it in the library or the museum? For those of us who work in libraries, archives, or museums where collections occasionally overlap and cross over, this is a frequent question to which one could respond with another question: does it really matter? Rather than trying to answer this question directly, I will instead describe specific objects and exhibition contexts in which library, archival, and museum collections have enjoyed notably positive encounters. Although it is located on the campus of the Getty Center in Los Angeles alongside the J. Paul Getty Museum, the Research Library at the Getty Research Institute . . .

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2

Wilson, Gillian. "Versailles au J. Paul Getty museum." Versalia. Revue de la Société des Amis de Versailles 5, no. 1 (2002): 96–104. http://dx.doi.org/10.3406/versa.2002.1059.

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3

Richardson, John Adkins, Gillian Wilson, and Charissa Bremer-David. "European Clocks in the J. Paul Getty Museum." Journal of Aesthetic Education 32, no. 4 (1998): 112. http://dx.doi.org/10.2307/3333392.

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4

Allen, Susan M. "Toward an international art library: the growth of the Research Library at the Getty Research Institute, 1979-2002." Art Libraries Journal 27, no. 4 (2002): 25–32. http://dx.doi.org/10.1017/s0307472200012827.

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The Getty Research Institute (GRI) is one of four programs of the J. Paul Getty Trust, an international cultural and philanthropic institution devoted to the visual arts, all of which reside at the Getty Center situated high on a beautiful hilltop in Brentwood, California. (The other programs of the Getty Trust are the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Grant Program.) From the beginning it was understood that the GRI would develop a research program in the discipline of art history and more generally the humanities, and that a library would support its work. Since its founding the GRI has, in fact, developed a major library as one of its programs alongside those for scholars, publications, exhibitions and a multitude of lectures, workshops and symposia for scholars, students and the general public. What is now known as the Research Library at the GRI has grown to be a significant resource and this article focuses on its history, the building that houses it, its collections and databases, and access to them all.

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5

Hochner, Nicole, Thomas Kren, Elizabeth Morrison, and Thomas Kren. "French Illuminated Manuscripts in the J. Paul Getty Museum." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 844. http://dx.doi.org/10.2307/20479064.

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6

Tait, Leslie Bussis. "Masterpieces of the J. Paul Getty Museum: Illuminated Manuscripts." Speculum 74, no. 2 (April 1999): 457–59. http://dx.doi.org/10.2307/2887103.

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7

Ogden, Jack M. "Ancient Carved Ambers in the J. Paul Getty Museum." Journal of Gemmology 37, no. 6 (2021): 651–52. http://dx.doi.org/10.15506/jog.2021.37.6.651.

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8

Potts, Timothy. "The J. Paul Getty Museum during the coronavirus crisis." Museum Management and Curatorship 35, no. 3 (May 3, 2020): 217–20. http://dx.doi.org/10.1080/09647775.2020.1762360.

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9

Nosch, Marie-Louise, and Caroline Sauvage. "Ancient Loom Weights at the J. Paul Getty Museum." Getty Research Journal 18 (August 1, 2023): 1–34. http://dx.doi.org/10.1086/726883.

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10

Tracy, Stephen. "An inscribed gold ring from the Argolid: addendum." Journal of Hellenic Studies 107 (November 1987): 193. http://dx.doi.org/10.2307/630088.

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Technicians at the J. Paul Getty Museum have kindly informed me that the ring turns out not to be of solid gold but rather a substantial gold-plate. Analysis has not yet been done, but the metal underneath is most probably bronze.

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11

Walsh, Justin St P. "A Silver Service and a Gold Coin." International Journal of Cultural Property 24, no. 3 (August 2017): 253–94. http://dx.doi.org/10.1017/s0940739117000169.

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Abstract:The published history of a set of silver and gold objects acquired by the J. Paul Getty Museum in 1975 contains an unusual reference to a gold coin, supposedly found with the set but not purchased by the museum. The coin, which is both rare and well dated, ostensibly offers a date and location for the ancient deposition of the silver service. Almost five years of research into the stories of the Getty objects and the coin has revealed important information about these particular items, but it also offers a cautionary example for scholars who might hope to reconstruct the find-spot of antiquities that are likely to have been looted.

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12

Fullerton, Mark D., Jiri Frel, Arthur Houghton, and Marion True. "Ancient Portraits in the J. Paul Getty Museum, Vol. 1." American Journal of Archaeology 93, no. 1 (January 1989): 154. http://dx.doi.org/10.2307/505417.

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13

Kline, T. R. "Finding Marion True and/or the J. Paul Getty Museum." KUR - Kunst und Recht 13, no. 6 (2011): 171. http://dx.doi.org/10.15542/kur/2011/6/2.

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14

Bricault, Laurent. "A Statuette of Hermanubis in the J. Paul Getty Museum." Getty Research Journal 10 (February 2018): 225–31. http://dx.doi.org/10.1086/697392.

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15

Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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16

Brodie, Neil, and Blythe Bowman Proulx. "Museum malpractice as corporate crime? The case of the J. Paul Getty Museum." Journal of Crime and Justice 37, no. 3 (August 7, 2013): 399–421. http://dx.doi.org/10.1080/0735648x.2013.819785.

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17

Van Steensel, Arie. "Knightly heroes in the later Middle Ages." Virtus | Journal of Nobility Studies 26 (December 31, 2019): 189–94. http://dx.doi.org/10.21827/5e021089731e0.

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Review of Elizabeth Morrison, ed., A knight for the ages. Jacques de Lalaing and the art of chivalry (Los Angeles: The J. Paul Getty Museum, 2018, 192 p., ill., index); and Gero Schreier, Ritterhelden. Rittertum, Autonomie und Fürstendienst in niederadligen Lebenszeugnissen des 14. bis 16. Jahrhunderts, Mittelalter-Forschungen, LVIII (Ostfildern: Jan Thorbecke Verlag, 2019, 393 p., index).

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18

Corcoran, Lorelei H. "Mummy Portraits in the J. Paul Getty Museum. David L. Thompson." Journal of Near Eastern Studies 45, no. 4 (October 1986): 301–4. http://dx.doi.org/10.1086/373198.

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19

James, Stuart. "The J. Paul Getty Museum: Handbook of the Collections99163Mollie Holtman. The J. Paul Getty Museum: Handbook of the Collections. Los Angeles: J. Paul Getty Museum 1997. ix + 309 pp, ISBN: 0 89236 483 1 £10.95 UK distribution by Windsor Books International, Oxford." Reference Reviews 13, no. 3 (March 1999): 37–38. http://dx.doi.org/10.1108/rr.1999.13.3.37.163.

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20

Hodos, Tamar. "A So-Called Ostrich-Eggshell Vessel at the J. Paul Getty Museum." Getty Research Journal 16 (August 1, 2022): 1–18. http://dx.doi.org/10.1086/721982.

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21

Ferrari, Gloria, and Mary B. Moore. "Corpus vasorum antiquorum: USA 33: The J. Paul Getty Museum, Malibu 8." American Journal of Archaeology 104, no. 1 (January 2000): 136. http://dx.doi.org/10.2307/506805.

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22

Lyden, Anne. "St Andrews Material in the collections of the J. Paul Getty Museum." History of Photography 25, no. 2 (June 2001): 169–79. http://dx.doi.org/10.1080/03087298.2001.10443453.

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23

Lee, Eon Ju. "A Study on the J. Paul Getty Museum Challenge and Co-Presence." Korean Society of Science & Art 41, no. 4 (September 30, 2023): 415–26. http://dx.doi.org/10.17548/ksaf.2023.09.30.415.

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24

Löfstedt, Leena. "Traces of Saint Thomas Becket in the Getty Gratian (J. Paul Getty Museum, Ms. Ludwig XIV 2)." Getty Research Journal 7 (January 2015): 151–56. http://dx.doi.org/10.1086/680742.

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25

Stevens, Norman D. "A Review Article: Intellectual CastlesThe J. Paul Getty Museum Handbook of the Collections. Mollie HoltmanThe J. Paul Getty Museum and Its Collections: A Museum for the New Century. John Walsh , Deborah Gribbon." Library Quarterly 68, no. 4 (October 1998): 479–85. http://dx.doi.org/10.1086/603004.

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26

Dückers, Rob. "Thomas Kren, Illuminated Manuscripts from Belgium and the Netherlands in the J. Paul Getty Museum. Los Angeles: J. Paul Getty Museum, 2010. Paper. Pp. 128; many color figures. $19.95." Speculum 86, no. 4 (October 2011): 1086–87. http://dx.doi.org/10.1017/s0038713411003526.

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27

Klos, Sheila. "MASTERPIECES OF PAINTING IN THE J. PAUL GETTY MUSEUM, revised ed.Burton B. Fredericksen." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 2 (July 1989): 109. http://dx.doi.org/10.1086/adx.8.2.27948077.

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28

Kelder, Jorrit M., Laurent Bricault, and Rolf M. Schneider. "A Stone Alabastron in the J. Paul Getty Museum and Its Mediterranean Context." Getty Research Journal 10 (February 2018): 1–16. http://dx.doi.org/10.1086/697381.

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29

Roehrenbeck, Carol A. "Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments." International Journal of Legal Information 38, no. 2 (2010): 185–200. http://dx.doi.org/10.1017/s0731126500005722.

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Should cultural property taken by a stronger power or nation remain with that country or should it be returned to the place where it was created? Since the 1990s this question has received growing attention from the press, the public and the international legal community. For example, prestigious institutions such as the J. Paul Getty Museum of Art in Los Angeles and the Metropolitan Museum of Art in New York have agreed to return looted or stolen artwork or antiquities. British smuggler Jonathan Tokeley-Parry was convicted and served three years in prison for his role in removing as many as 2,000 antiquities from Egypt. Getty director Marion True defended herself against charges that she knowingly bought antiquities that had been illegally excavated from Italy and Greece. New books on the issue of repatriation of art and antiquities have captured the attention of the public. A documentary based on one of these books was shown in theaters and aired on public television. The first international academic symposium on the topic was convened in New York City in January 1995.

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30

Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (November 2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.

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31

Thompson, Christine M. "The Golden Graves of Ancient Vani: J. Paul Getty Museum, at the Getty Villa July 16-October 5, 2009." Near Eastern Archaeology 73, no. 4 (December 2010): 238–44. http://dx.doi.org/10.1086/nea41103941.

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32

Anderson, Michael J. "Onesimos and the interpretation of Ilioupersis iconography." Journal of Hellenic Studies 115 (November 1995): 130–35. http://dx.doi.org/10.2307/631648.

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The Ilioupersis cup of Onesimos in the J. Paul Getty Museum offers a unique opportunity for the study of Ilioupersis iconography (PLATES la and lb). The tondo in the cup's interior features the murder of Priam, and the surrounding circular zone contains eight further scenes of the sack in all, nine scenes decorating a single surface. In his recent article on the cup, Dyfri Williams has discussed the iconography of each of these scenes individually. In this paper I hope to complement Williams' acute observations by drawing attention to the visual and thematic interaction among the nine scenes when viewed in combination.

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33

Wolfe, Julie. "Conservator’s Note on the Bust of Ottavio Farnese at the J. Paul Getty Museum." Getty Research Journal 14 (August 1, 2021): 39–44. http://dx.doi.org/10.1086/716579.

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34

Mitton, Mark, and Adrienne Pamp. "Short Communication: Cast Bronze Mounts for Temporary Exhibitions at the J. Paul Getty Museum." Journal of the American Institute for Conservation 51, no. 1 (April 2012): 69–76. http://dx.doi.org/10.1179/019713612804480817.

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35

Twilley, John. "Solid State X-ray Fluorescence Spectrometry at the J Paul Getty Museum 1977-78." Microscopy and Microanalysis 24, S1 (August 2018): 790–91. http://dx.doi.org/10.1017/s1431927618004440.

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36

Pierguidi, Stefano. "Le Portrait de Clément VII par Sebastiano del Piombo du J. Paul Getty Museum." Revue de l'art N° 160, no. 2 (February 1, 2008): 55–59. http://dx.doi.org/10.3917/rda.160.0055.

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37

Marshall, David R. "A DRAWING BY FRANCESCO PATRIZI (1826–1905) OF THE EXCAVATION OF THE TOMB OF THE SEMPRONII IN THE VIGNA CASALI 1871–2." Papers of the British School at Rome 88 (May 11, 2020): 237–58. http://dx.doi.org/10.1017/s0068246220000021.

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This paper discusses a drawing in the Lanciani collection representing the excavations of a tomb at the Vigna Casali in 1871–2. This tomb had a rich collection of antiquities, including important sarcophagi now in the J. Paul Getty Museum, the Nelson-Atkins Museum and the Ny Carlsberg Glyptothek. The drawing, which is wrongly catalogued as depicting the Vigna Casati, has not hitherto been connected with these finds. It was made on site by Francesco Patrizi (1826–1905), a supporter of contemporary painting, amateur artist, and owner of the Villa Patrizi not far away. This article correlates the information contained in the drawing with contemporary descriptions of the excavations and a measured drawing made for the Casali family at the time, in order to understand better what the site contained.

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38

hellman, mimi. "Elusive Temptations." Gastronomica 11, no. 2 (2011): 7–11. http://dx.doi.org/10.1525/gfc.2011.11.2.7.

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This essay discusses the aesthetic, culinary, and social resonances of an eighteenth-century silver tureen in the collections of the J. Paul Getty Museum. Produced in the Paris workshop of Thomas Germain and probably owned by a Portuguese archbishop, the tureen is embellished with crustaceans and vegetables cast in part from nature. By linking the manipulation of silver to the transformative treatment of ingredients in eighteenth-century cuisine, and by reimagining the tureen’s visual effects and conversational potential in the context of a lavish, candle-lit banquet, the essay explores how this artful object would have simultaneously invited and resisted the attention of eighteenth-century diners.

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39

Cobb, J. "KEYNOTE: USING THE GETTY VOCABULARIES TO CONNECT RESOURCES IN A LINKED AND OPEN WORLD: GROWING POTENTIAL THROUGH CONTRIBUTIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 3–4. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-3-2019.

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<p><strong>Abstract.</strong> The J. Paul Getty Trust is a cultural and philanthropic institution dedicated to the presentation, conservation, and interpretation of the world’s artistic legacy.</p><p>Through the collective and individual work of its constituent programs – the Getty Conservation Institute, the Getty Foundation, the J Paul Getty Museum, and the Getty Research Institute – the Getty pursues its mission in Los Angeles and throughout the world, serving both the general interested public and a wide range of professional communities in order to promote a vital civil society through an understanding of the visual arts.</p><p>The Getty Research Institute is dedicated to furthering knowledge and advancing understanding of the visual arts and their various histories through its expertise, active collecting program, public programs, institutional collaborations, exhibitions, publications, digital services, and residential scholars programs. Its Research Library and Special Collections of rare materials and digital resources serve an international community of scholars and the interested public.</p><p>The Institute's activities and scholarly resources guide and sustain each other and together provide a unique environment for research, critical inquiry, and scholarly exchange.</p><p>The Getty Vocabularies have been produced and maintained for decades by the Getty Vocabulary Program, which is part of the Getty Research Institute (GRI).</p><p>They are compliant with ISO and NICO standards for multilingual thesaurus construction and contain terminology and other information about people, places, objects, and art-historical and conservation concepts.</p><p>They are compiled resources and grow through contributions from various Getty projects and from many external institutions.</p><p>Although there are now five vocabularies, this talk will concentrate on the three that have been released as Linked Open Data.</p><p>They are the Art &amp; Architecture Thesaurus (AAT)®, the Union List of Artist Names (ULAN)&reg;, and the Getty Thesaurus of Geographic Names (TGN)&reg;. These three vocabularies were the first to be released because they are used universally in the cultural heritage and library communities and represent best practice.</p><p>The presentation will show examples of how AAT, TGN and ULAN are used and to highlight reasons why they have become such valuable resources. It will provide an overview of some of the major challenges and lessons learned since the vocabularies were made available as LOD. Topics will range from reconciling external resources with the Getty vocabularies to strategies for cultural heritage organizations to contribute new concepts and terminology and the need to easily and quickly provide contributors with the information they need to insert the link into their collection management systems.</p><p>The goal is not only to work with the community to help everyone make the best use of the LOD datasets, but to make sure the datasets themselves continue to grow through contributions.</p>

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40

DEPUYDT, L. "A Leaf from the Coptic Life of St. Samuel at the J. Paul Getty Museum." Le Muséon 105, no. 3 (December 1, 1992): 275–81. http://dx.doi.org/10.2143/mus.105.3.2006051.

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41

Feigenbaum, Gail. ""A likeness in the tomb": Annibale's Self-Portrait Drawing in the J. Paul Getty Museum." Getty Research Journal 2 (January 2010): 19–38. http://dx.doi.org/10.1086/grj.2.23005406.

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42

Turner, Nancy K. "A Romanesque Binding in the J. Paul Getty Museum: Materials, Craft Technology, and Monastic Reform." Journal of Paper Conservation 20, no. 1-4 (October 2, 2019): 213–32. http://dx.doi.org/10.1080/18680860.2019.1763642.

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43

Thoresen, Lisbet, and Karl Schmetzer. "Greek, Etruscan and Roman garnets in the antiquities collection of the J. Paul Getty Museum." Journal of Gemmology 33, no. 7 (2013): 201–22. http://dx.doi.org/10.15506/jog.2013.33.7.201.

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44

Bacchi, Andrea, and Catherine Hess. "A proposed attribution to Alessandro Algardi: Maria Cerri Capranica at the J. Paul Getty Museum." Sculpture Journal 20, no. 2 (January 2011): 117–27. http://dx.doi.org/10.3828/sj.2011.12.

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45

James, Stuart. "William Henry Fox Talbot: Photographs from the J. Paul Getty Museum200339William Henry Fox Talbot: Photographs from the J. Paul Getty Museum. Los Angeles, CA: The J. Paul Getty Museum 2002. 143 pp., ISBN: ISBN 0 89236 660 5 £13.50 UK distribution by Windsor Books International, Oxford (In Focus Series)." Reference Reviews 17, no. 1 (January 2003): 37. http://dx.doi.org/10.1108/09504120310456127.

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46

Manion, Margaret. "NigelMorgan, ed.: Illuminating the End of Time: The Getty Apocalypse. Los Angeles, CA: The J. Paul Getty Museum, 2012; pp. 87. Illus." Journal of Religious History 37, no. 1 (February 26, 2013): 151–52. http://dx.doi.org/10.1111/1467-9809.12017.

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47

James, Stuart. "The J. Paul Getty Museum and Its Collections:98279John Walsh, Deborah Gribbon. The J. Paul Getty Museum and Its Collections: A Museum for the New Century. Los Angeles: The J. Paul Getty Museum 1997. 288 pp, ISBN: 0 89236 475 0 £50 hardback, ISBN: 0 89236 476 9 £30 paperback UK and European distribution by Windsor Books International, Garsington, Oxford." Reference Reviews 12, no. 5 (May 1998): 37–38. http://dx.doi.org/10.1108/rr.1998.12.5.37.279.

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48

Belis, Alexis M., and Henry P. Colburn. "An Urartian Belt in the J. Paul Getty Museum and the Origins of the Parthian Shot." Getty Research Journal 12 (January 2020): 195–204. http://dx.doi.org/10.1086/708319.

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49

James, Stuart. "Masterpieces of the J. Paul Getty Museum:9888Masterpieces of the J. Paul Getty Museum: Illuminated Manuscripts. London: Thames and Hudson 1997. 128 pp, ISBN: 0 500 703 4 £12.95 (paperback), ISBN: 0 500 703 4 £22.50 (hardback)." Reference Reviews 12, no. 2 (February 1998): 30. http://dx.doi.org/10.1108/rr.1998.12.2.30.88.

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50

Palladino, Pia. "Thomas Kren and Kurt Barstow, eds., Italian Illuminated Manuscripts in the J. Paul Getty Museum. 2nd ed. Los Angeles: J. Paul Getty Museum, 2015. Paper. Pp. xx, 91; 96 color figures. $19.95. ISBN: 978-1-60606-436-8." Speculum 91, no. 3 (July 2016): 805–7. http://dx.doi.org/10.1086/686500.

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