Exhibitions at The GETTY - News from the Getty

_EXHIBITIONS_
at the GETTY
A Look Ahead: 2012–2013
UPDATED APRIL 2012
1/17

COVER IMAGE: Fishblood, 1898. Gustav Klimt (Austrian, 1862‐1918). India ink and pen on brown paper. Private collection, courtesy Galerie St. Etienne, New York.
Featured in: Gustav Klimt: The Magic of Line (July 3–September 23, 2012)
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MEDIA CONTACTS:
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Melissa Abraham, Senior Communications Specialist | 310.440.6861 | mabraham@getty.edu
Desiree Zenowich, Senior Communications Specialist | 310.440.7304 | dzenowich@getty.edu
Amy Hood, Senior Communications Specialist | 310.440.6427 | ahood@getty.edu
Alexandria Sivak, Associate Communications Specialist | 310.440.6473 | asivak@getty.edu
2/17

Exhibitions at The GETTY [UPDATED APRIL 2012]
Gothic Grandeur: Manuscript Illumination, 1200–1350
December 13, 2011–May 13, 2012
Initial D: Saint Jerome with Scenes of the Life of
Christ (detail view), about 1250–1262. Unknown
illuminator. Bologna (probably), Italy. Tempera and
gold leaf on parchment. The J. Paul Getty Museum,
Los Angeles, Ms. 107, Fol. 3v.
The word "Gothic" evokes visions of soaring spires, graceful flying
buttresses, and sparkling stained glass. The term is also applied to
the style of manuscript illumination that reigned in Europe from
around 1200 to 1350. The Gothic illuminated manuscripts in this
exhibition, drawn from the Getty Museum's collections, are
characterized by whimsical marginal decorations, vivid narratives,
and a naturalistic style of painting. The period also saw an
explosion in the variety of illustrated books being produced,
ranging from scholastic university treatises to entertaining
romances. On February 27, the pages of the manuscripts will be
turned to allow visitors to see additional treasures.
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
The Life of Art: Context, Collecting, and Display
February 7, 2012–Ongoing
The Life of Art at the Getty Center (gallery view). In
foreground: Fountain, Jean Le Roy, 1661-63. At
center: Side Chair, French, about 1735-40 (modern
upholstery). The J. Paul Getty Museum, Los Angeles.
From the time an object is made until the day it enters a museum's
collection, it may be displayed, used, and perceived in different
ways. The Life of Art takes selected objects from the Getty
Museum's galleries and encourages visitors to sit down and spend
time with them, offering the opportunity to examine them closely
to understand how they were made and functioned, why they were
collected, and how they have been displayed. Through careful
looking, what may be learned about the maker and previous
owners of a French gilt-bronze wall light, for example, or the
transformation in England of a Chinese porcelain bowl? Close
engagement reveals the full lives of these works and why they
continue to be collected and cherished today.
J. Paul Getty Museum
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
3/17

Renaissance Drawings from Germany
and Switzerland, 1470–1600
March 27–June 17, 2012
Dancing Peasant Couple, 1525. Urs Graf (Swiss, about
1485‐1527). Pen and gray and black ink; pricked for
transfer (recto); Rubbed with black chalk (verso). The
J. Paul Getty Museum, Los Angeles.
The period of 1480–1660 represents one of the high points in
German art, spanning the careers of artists such as Martin
Schongauer, Albrecht Dürer, Lucas Cranach the Elder, and Hans
Holbein the Younger. Because different styles of drawing developed
in the various regions of present-day Germany and Switzerland, this
exhibition of works from the Getty Museum's permanent collection
is organized by region—the Middle and Upper Rhine, Switzerland,
Nuremberg, and Saxony. The exhibition explores the drawings'
wide range of functions and captivating subject matter, including
mercenary soldiers and scenes of courtly love. It also presents
important new scholarship in the field that has been accomplished
during the past decades.
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
Aphrodite and the Gods of Love
March 28–July 9, 2012
From her genesis among earlier deities in the ancient Near East to
her adoption in Roman culture as Venus, this exhibition explores
the realms of Aphrodite, Greek goddess of love. It moves beyond
the familiar aspects of desire, seduction, feminine beauty, and
sexuality to demonstrate the various facets of this complex divinity:
civic protectress, helper to sailors, and manipulator of mortals.
Organized by the Museum of Fine Arts, Boston, in association with
the J. Paul Getty Museum, the exhibition includes objects ranging
from large-scale sculpture to delicate jewelry drawn from both
museums' collections as well as major loans from Italian
institutions.
Head of Aphrodite (The Bartlett Head), Greek, about
330-300 B.C. Unknown artist. Parian marble.
Museum of Fine Arts, Boston. Francis Bartlett
Donation of 1900.
J. Paul Getty Museum
at the Getty Villa
Media Contact
Desiree Zenowich
310.440.7304
dzenowich@getty.edu
4/17

April 2012
Herb Ritts: L.A. Style
April 3–August 26, 2012
Versace Dress, Back View, El Mirage, 1990. Herb
Ritts (American, 1952–2002). Gelatin silver print. The
J. Paul Getty Museum, Los Angeles, Gift of Herb Ritts
Foundation. © Herb Ritts Foundation
J. Paul Getty Museum
at the Getty Center
Media Contact
Desiree Zenowich
310.440.7304
dzenowich@getty.edu
Herb Ritts (American, 1952–2002) was a Los Angeles-based
photographer who established an international reputation for his
distinctive photographs of fashion models, nudes, and pop icons.
From the late 1970s until his untimely death from AIDS in 2002,
Ritts's ability to create photographs that successfully bridged the
gap between art and commerce was not only a testament to the
power of his imagination and technical skill but also marked the
synergy between art, popular culture, and business that followed in
the wake of the Pop Art movement of the 1960s and 1970s. This
exhibition features a selection of Ritts's vintage prints, magazine
covers, Polaroids, and commercial video projects.
ACCOMPANYING VOLUME:
Herb Ritts:L.A. Style
Paul Martineau, with an essay by James Crump
Herb Ritts: L.A. Style traces the life and career of the iconic
photographer through a compelling selection of renowned, as well
as previously unpublished, photographs and two insightful essays.
($59.95, hardcover)
Portraits of Renown:
Photography and the Cult of Celebrity
April 3–August 26, 2012
Andy Warhol, 1966. Marie Cosindas (American, born
1925). Dye color diffusion [Polaroid®] print. The J.
Paul Getty Museum, Los Angeles.
© Marie Cosindas
J. Paul Getty Museum
at the Getty Center
Photography's remarkable propensity to shape visual identities has
made it the leading vehicle for representing the famous. Soon after
photography was invented in the 1830s, it was used to capture the
likenesses and accomplishments of great men and women,
gradually supplanting other forms of commemoration. In the
twentieth century, the proliferation of photography and the
transformative power of fame have helped to accelerate the desire
for photographs of celebrities in magazines, newspapers,
advertisements, and on the Internet. Drawn from the J. Paul Getty
Museum's collection, the exhibition surveys some of the visual
strategies used by photographers to picture the famous from the
1840s to the year 2000.
Media Contact
Desiree Zenowich
310.440.7304
dzenowich@getty.edu
5/17

The Getty Research Institute:
Recent Print Acquisitions
April 7–September 2, 2012
Queen of the Night: Theater-Decorationen (Detail
View), ca. 1823-24. Karl Friedrich Schinkel (German,
1781-1841). Aquatint and etching. The Getty Research
Institute.
Getty Research Institute
at the Getty Center
Representing some of the finest works from the beginning of the
1500s through the late 1900s, this exhibition features recently
acquired masterpieces, including Albrecht Dürer's classically
inspired suite, Life of the Virgin, and his exquisite etching,
Desperate Man. Piranesi's first edition Prisons present the kind of
technical and formal innovations that have captivated print
collectors, writers, and artists for 250 years; the Getty Research
Institute's copy is an exciting discovery in a unique state of
preservation. Besides highlighting collection strengths such as artist
portraits and landscapes, the exhibition also features Karl Friederich
Schinkel's designs for Mozart's operas, and a monumental 12-plate
reproductive print after the Last Judgment by the so-called French
Michelangelo, Jean Cousin.
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
The Sanctuaries of Demeter and Persephone
at Morgantina
April 14, 2012–January 21, 2013
Statue of Persephone, about 300 B.C. Unknown
artist. Greek (Sicilian). Terracotta and pigment.
Museo Archeologico di Aidone.
A cache of votive offerings excavated from the sanctuaries of the
ancient city of Morgantina is on loan from the Museo Archeologico
of Aidone, Sicily. These objects, which date from 400 to 200 B.C.,
were given as gifts by worshippers to Demeter and her daughter
Persephone, goddesses of agricultural fertility. Ranging from
terracotta figures of the deities to bone hair pins and oil lamps used
in nocturnal rituals, the artifacts reveal worship practices and
highlight the vibrancy of local craftsmanship. Several works have
been conserved by the Getty, such as a bust of Persephone, for
which treatment uncovered a painted scene of dancing women on
her garment.
J. Paul Getty Museum
at the Getty Villa
Media Contact
Desiree Zenowich
310.440.7304
dzenowich@getty.edu
6/17

May 2012
In Focus: Picturing Landscape
May 22–October 7, 2012
Aspens and Grass, Elk Mountain Road, New Mexico,
October 3, 1972. Eliot Porter (American, 1901 - 1990).
Dye transfer print. The J. Paul Getty Museum, Los
Angeles, Gift of Daniel Greenberg and Susan
Steinhauser. © 1990 Amon Carter Museum of
American Art, Fort Worth, Texas, Bequest of the
artist.
J. Paul Getty Museum
at the Getty Center
Media Contact
Melissa Abraham
310.440.6861
mabraham@getty.edu
Nature's challenge to photographers is the theme of this second
exhibition on landscape in the Getty Museum's In Focus series.
Comprising approximately twenty works from the permanent
collection, it looks at the various ways that photographers have
responded to the test of depicting the breadth and perspective of a
natural landscape through a camera lens. From the prephotographic
drawings made with the aid of a camera lucida to
more recent advances in digital technology, the exhibition touches
on a range of technical and artistic explorations by figures such as
John Beasly Greene, Imogen Cunningham, Harry Callahan, and
William Garnett.
ACCOMPANYING VOLUME:
Landscape in Photographs
Karen Hellman and Brett Abbott
Changing artistic movements and technical advancements have
provided opportunities for camera artists to approach landscape in
diverse and imaginative ways, as illustrated by the carefully selected
works in Landscape in Photographs. ($24.95, hardcover)
Heaven, Hell, and Dying Well:
Images of Death in the Middle Ages
May 29–August 12, 2012
Lazarus's Soul Carried to Abraham (detail), about
1510‐1520. Master of James IV of Scotland (Flemish,
before 1465‐about 1541). Tempera colors, gold, and
ink on parchment. The J. Paul Getty Museum, Los
Angeles, Ms. Ludwig IX 18, fol. 22.
J. Paul Getty Museum
at the Getty Center
Throughout the Middle Ages, death and the afterlife were stirring
subjects that challenged and inspired the creativity of the artists
who illuminated manuscripts. Delightful and disturbing visions of
heaven and hell fueled the viewers' imaginations. Books adorned
with depictions of God's mercy, saved souls in paradise, and the
rewards of the blessed instilled hope, while morbid and sometimes
horrific illustrations of funerals, demons, and the punishment of the
wicked prompted pious Christians to repent for their sins. At the
core of visual devotion stood images of Christ's Passion and
crucifixion, promising resurrection and eternal life.
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
7/17

June 2012
Drama and Devotion: Heemskerck's
Ecce Homo Altarpiece from Warsaw
June 5, 2012–January 13, 2013
Ecce Homo [center], 1544. Maerten van
Heemskerck (Dutch, 1498-1574). Oil on panel.
Muzeum Narodowe, Warsaw.
J. Paul Getty Museum
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
One of the most admired Netherlandish painters of the sixteenth
century, Maerten van Heemskerck (1498–1574) worked in an
expressive style influenced by his exposure to the work of
contemporary Italian painters, particularly Michelangelo. His
dramatic Ecce Homo (1544) altarpiece from the National Museum
in Warsaw, Poland, on view to the public for the first time
following conservation and study at the Getty Museum, offers a
rare opportunity to experience a complete triptych by this
Renaissance master. The exhibition provides insight into
Heemskerck’s materials and expedient technique and elaborates on
the original location of the altarpiece in Dordrecht. Supported by
the Getty Museum Paintings Conservation Council, this event also
marks the 150th anniversary of the National Museum.
ACCOMPANYING VOLUME:
Drama & Devotion: Heemskerck's Ecce Homo Altarpiece from Warsaw
Anne T. Woollett, Yvonne Szafran, and Alan Phenix
Richly illustrated, the book documents the dramatic process of
revealing the brilliance of a sixteenth-century masterpiece, and it
sheds light on the artist’s technique, iconography, and the role of
the altarpiece in the turbulent history of the era. ($25.00,
paperback)
8/17

July 2012
Gustav Klimt: The Magic of Line
July 3–September 23, 2012
Study of a Woman's Head in Three-Quarter Profile
for 'Impurity' in the 'Beethoven Frieze' (Detail
View), 1901–1902. Gustav Klimt (Austrian, 1862-
1918).Black Chalk. Albertina, Vienna.
J. Paul Getty Museum
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
This retrospective is the first fully dedicated to the drawings of
Gustav Klimt (1862–1918), one of the seminal figures in modern art.
It explores the stylistic evolution of his drawings as well as their
centrality to his artistic enterprise. Indeed, Klimt’s paintings cannot
be understood without careful consideration of his drawings, which
also play a semi-autonomous role in his artistic output. Based upon
assiduous study of the human figure, they are characterized by an
unsurpassed mastery of line during all phases of his artistic
development. This major loan exhibition was organized by the
Albertina Museum, Vienna, in association with the J. Paul Getty
Museum, to mark the 150 th anniversary of Klimt’s birth.
ACCOMPANYING VOLUME:
Gustav Klimt: The Magic of Line
Marian Bisanz-Prakken
This lavishly illustrated publication emphasizes not only the variety
of Klimt’s draftsmanship, but also the centrality of drawing to his
artistic enterprise. ($49.95, hardcover)
Messerschmidt and Modernity
July 24–October 14, 2012
Self-Portrait after Messerschmidt, 2009. Tony
Bevan (British, born 1951). Acrylic and charcoal on
canvas. Courtesy L.A. Louver, Venice, CA and Ben
Brown Fine Arts, London. © Tony Bevan
J. Paul Getty Museum
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
The Vexed Man, acquired by the J. Paul Getty Museum in 2008, is
one of a group of astonishing “Character Heads” produced by Franz
Xaver Messerschmidt (1736–1783), a renowned German sculptor at
the Hapsburg court in Vienna. Messerschmidt and
Modernity examines not only the study of expression and
physiognomy during the eighteenth–century European Enlightenment
but also the impact the heads have had on the work of
modern and contemporary artists in Austria, Great Britain, and the
United States. Artists featured in the exhibition include
contemporary artists Tony Bevan, Tony Cragg, Ken Gonzales-Day,
Bruce Nauman, Pierre Picot, and Cindy Sherman.
ACCOMPANYING VOLUME:
Messerschmidt and Modernity
Antonia Boström
Lavishly illustrated, Messerschmidt and Modernity presents
remarkable works created by and inspired by Messerschmidt, an
artist both of and ahead of his time. ($20.00, paperback)
9/17

August 2012
The Art of Devotion in the Middle Ages
August 28, 2012–January 27, 2013
Inhabited Initial E (detail), 1153. Unknown
illuminator. Montecassino, Italy. Tempera colors,
gold leaf, gold paint, and ink on parchment. The J.
Paul Getty Museum, Los Angeles, Ms. Ludwig IX 1,
fol. 313.
J. Paul Getty Museum
at the Getty Center
Manuscripts and their illuminations played a central role in
fostering and expressing the devotion of Christian faithful during
the Middle Ages. As the word of God, biblical phrases were
introduced by elaborate initial letters; narrative stories about Christ
or the saints were pictured in detailed miniatures; and borders
brimming with fantastic scenes focused attention on important
texts. Drawn entirely from the Getty Museum’s collection, this
exhibition looks at manuscripts that not only helped medieval
viewers celebrate Christian beliefs but also—with their lavish
decoration in precious pigments and gold—served as material
testaments to the piety of their owners.
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
September 2012
The Last Days of Pompeii:
Decadence, Apocalypse, Resurrection
September 12, 2012–January 7, 2013
Mount Vesuvius, 1985. Andy Warhol (American,
1928-1987). Acrylic and silkscreen ink on linen. The
Andy Warhol Museum, Pittsburgh. © 2011 The Andy
Warhol Foundation for the Visual Arts / Artists Rights
Society (ARS), New York.
J. Paul Getty Museum
at the Getty Villa
Media Contact
Desiree Zenowich
310.440.7304
dzenowich@getty.edu
Pompeii and the other ancient cities destroyed and paradoxically
preserved by the eruption of Mount Vesuvius in A.D. 79 are usually
considered the places where one can best and most directly
experience the daily lives of ancient Romans. Rather than
presenting these sites as windows to the past, this exhibition
explores them as a modern obsession. Over the three hundred
years since their discovery in the early 1700s, the Vesuvian sites
have functioned as mirrors of the present, inspiring foremost
artists—from Piranesi, Fragonard, Ingres, and Alma-Tadema to
Duchamp, Dalí, Rothko, and Warhol—to engage with
contemporary concerns in diverse media.
ACCOMPANYING VOLUME:
The Last Days of Pompeii:
Decadence, Apocalypse, Resurrection
Victoria C. Gardner Coates, Kenneth Lapatin, and Jon L. Seydl
This lavishly illustrated volume surveys the legacy of Pompeii in the
modern imagination under the three overarching rubrics of
decadence, apocalypse, and resurrection. ($39.95, hardcover)
10/17

The Photographs of Ray K. Metzker
and the Institute of Design
September 25, 2012–February 24, 2013
City Whispers, Philadelphia, 1983. Ray K. Metzker
(American, born 1931). Gelatin silver print. The J.
Paul Getty Museum, Los Angeles. © Ray K. Metzker
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
Ray K. Metzker (American, born 1931) is one of the most innovative
photographers of the last half-century. Utilizing experimental
techniques such as high-contrast printing, multiple exposure, and
composite images, he creates photographs that strike a unique
balance between formal brilliance, optical innovation, and a deep
human regard for the objective world. A graduate of Chicago’s
Bauhaus-inspired Institute of Design, Metzker studied with
renowned photographers Harry Callahan (American, 1912–1999) and
Aaron Siskind (American, 1903–1991). An introduction to the
climate of intense photographic experimentation fostered by
teachers and emulated by students at the school accompanies this
overview of Metzker’s career. The exhibition, which originated at
the Nelson-Atkins Museum of Art (Kansas City), is supplemented by
selections from the Getty Museum’s permanent collection and
other key loans.
October 2012
Farewell to Surrealism: The Dyn Circle in Mexico
October 2, 2012–February 17, 2013
In the 1940s, an international circle of writers and artists from
Europe, Latin America, and North America came together in
Mexico City and created the unique journal Dyn. Many of them—
including the journal’s founder and primary editor, Wolfgang
Paalen—had been part of Andre Breton’s Parisian surrealist circle in
the 1930s, before taking refuge in Mexico during World War II. This
group shared a passion for the pre-Columbian past of the Americas,
and their immersion in its artifacts transformed their art. Dyn is a
record of their ideas and the art they made, an art that had
ramifications far beyond Mexico City.
Dyn, Nos. 4-5, 1942-1944. Published and edited by
Wolfgang Paalen. Research Library, The Getty
Research Institute, Los Angeles (84-S23).
Getty Research Institute
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
ACCOMPANYING VOLUME:
Farewell to Surrealism: The Dyn Circle in Mexico
Annette Leddy and Donna Conwell
While recent scholarship has treated individual artists in the circle,
this study is the first to examine the new aesthetic found in Dyn
itself. ($20.00, paperback)
11/17

In Focus: Robert Mapplethorpe
October 23, 2012–March 24, 2013
Self Portrait, negative 1980; print 1990. Robert
Mapplethorpe (American, 1946–1989). Gelatin silver print.
Jointly acquired by The J. Paul Getty Trust and the Los
Angeles County Museum of Art. Partial gift of The Robert
Mapplethorpe Foundation; partial purchase with funds from
The J. Paul Getty Trust and the David Geffen Foundation.
© Robert Mapplethorpe Foundation.
A tastemaker and provocateur, Robert Mapplethorpe (American,
1946–1989) ranks as one of the great photographers of the second
half of the twentieth century. His highly stylized explorations of
gender, race, and sexuality became hallmarks of the period and
exerted a powerful influence on his contemporaries. Arranged
chronologically, this one-gallery exhibition will present works—
from his early mixed-media objects to his photographic portraits,
nudes, and still lifes—that were jointly acquired in 2011 by the Getty
Museum and the Los Angeles County Museum of Art from the
Robert Mapplethorpe Foundation, New York City.
J. Paul Getty Museum
at the Getty Center
Media Contact
Melissa Abraham
310.440.6861
mabraham@getty.edu
November 2012
The Virgin Mary with Saints Thomas Aquinas and
Paul (central panel detail), about 1330. Bernardo
Daddi (Italian (Florentine), about 1280-1348).
Tempera and gold leaf on panel. The J. Paul Getty
Museum, Los Angeles.
J. Paul Getty Museum
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
Florence at the Dawn of the Renaissance:
Painting and Illumination, 1300–1350
November 13, 2012–February 10, 2013
From 1300 to 1350, Florence witnessed rapid civic and church
growth and was home to the revolutionary painter Giotto di
Bondone and the iconic literary figure Dante Alighieri. In this 50-
year period, which laid the foundation for the Renaissance,
accomplished and prolific Florentine panel painters and illuminators
developed such genres as devotional art and narrative painting,
disseminating new religious and humanist texts composed in the
city at this time. In a fresh approach to this material, the exhibition
incorporates new findings about artistic techniques and artists’
workshops based on conservation research and scientific analysis.
This major international loan exhibition reveals a more complex and
nuanced picture of the beauty and creativity of artistic production
in Florence at the dawn of the Renaissance. The exhibition is
organized by the J. Paul Getty Museum and the Art Gallery of
Ontario, Toronto.
ACCOMPANYING VOLUME:
Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350
Edited by Christine Sciacca
With more than 200 illustrations, Florence at the Dawn of the
Renaissance reveals the full complexity and enduring beauty of the
art of this period, including panel paintings, illuminated
manuscripts, and stained glass panels. ($65.00, hardcover)
12/17

Disegno: Drawing in Europe, 1520–1600
November 13, 2012–February 3, 2013
Contorted, elongated forms and dramatic, animated compositions
characterized the new artistic style of the late Renaissance period
(about 1520–1600). With an overriding concern for grace and
virtuosity in the depiction of the human figure, it combined
decorative effects with complex—often ambiguous—subject matter,
which particularly thrived in courtly environments. This exhibition
explores the various radical iterations of the style across Europe,
featuring rare Getty Museum drawings by Italian, French, and
Netherlandish artists such as Jacopo Pontormo, Giorgio Vasari,
Toussaint Dubreuil, and Hendrick Goltzius, together with a
selection of works from the Los Angeles County Museum of Art.
Design for the central section of The Mirror of Virtue
(detail), about 1594. Cornelis Ketel (Dutch, 1548-
1616). Pen and brown ink, brown wash, heightened
with white. The J. Paul Getty Museum, Los Angeles.
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
February 2013
Untold Stories: Cutting, Collecting, and Transforming
Medieval Manuscripts
February 12–April 28, 2013
Initial I: A Martyr Saint (detail), third quarter of 14th
century. Lippo Vanni (Italian, active about 1340–
about 1375). Tempera colors, gold leaf, and ink on
parchment. The J. Paul Getty Museum, Los Angeles,
Ms. 53, recto.
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
For hundreds of years, manuscripts have been bought and sold,
hidden and displayed, preserved and rearranged, loved and
forgotten, cut into pieces, hung on the wall, and glued into albums.
At times valued for their beauty, for their religious significance, or
simply for the strength of their parchment pages, the manuscripts in
this exhibition have been transformed again and again to suit the
changing expectations of their various audiences and owners.
Drawn from the Getty’s permanent collection and including several
outside loans, the exhibition reveals the ways in which manuscripts
have been refashioned both conceptually and physically, and
explores the long and eventful history of these books before their
entry into the Museum.
13/17

March 2013
Looking East: Rubens’s Encounter with Asia
March 5–June 9, 2013
Peter Paul Rubens was one of the most talented and successful
artists working in seventeenth-century Europe. During his illustrious
career as a court painter and diplomat, Rubens expressed a
fascination with exotic costumes and headdresses. With his
masterful handling of black chalk and touches of red, Rubens
executed a compelling drawing that featured a figure wearing Asian
costume—a depiction that has lately been identified as Man in
Korean Costume. Now in the collection of the J. Paul Getty
Museum, the drawing is the focal point of an exhibition that
explores for the first time what the Flemish artist could have known
about Asia in general and Korea in particular.
An accompanying volume will be available.
Man in Korean Costume, about 1617–1618. Peter Paul
Rubens (Flemish, 1577-1640). The J. Paul Getty
Museum, Los Angeles.
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
My Thin-aired Room, 1956. Kansuke Yamamoto
(Japanese, 1914-1987). Gelatin Silver print. The J. Paul
Getty Museum, Los Angeles. © Toshio Yamamoto
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
Japan’s Modern Divide: The Photographs of
Hiroshi Hamaya and Kansuke Yamamoto
March 26–August 25, 2013
This exhibition presents the work of two photographers whose
careers spanned much of the twentieth century, or the Showa Era
(1926–1989) as it is known in Japan. Hiroshi Hamaya (1915–1999)
and Kansuke Yamamoto (1914–1987) began as teenagers
to experiment with various formal approaches and techniques in
photography. As their work matured, however, they took very
different paths. Through the display of works from Japanese as well
as U.S. collections, the exhibition examines two important strains in
Japanese photography: the documentary investigation of regional
traditions and social issues, represented in the work of Hamaya;
and the avant-garde movement that developed in the context of
Western surrealism and advanced through the work of Yamamoto.
These two trends not only reflect significant, though rarely shown,
activity in the history of Japanese photography but also reveal the
complexity of modern life in that nation since the Meiji Restoration
An accompanying volume will be available.
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April 2013
Sicily: Between Greece and Rome
April 3–August 19, 2013
Sicily: Between Greece and Rome presents masterpieces of art from
ancient Sicily, an island crossroads that forged a distinctive Hellenic
identity. Occupying a pivotal position in Mediterranean history,
former Greek colonies such as Syracuse, Gela, Akragas, and Selinos
emerged as wealthy city-states, where innovation and
experimentation flourished. This exhibition celebrates Sicilian
culture during the fifth to third centuries B.C., when its art,
architecture, theater, poetry, philosophy and science left an original
and enduring stamp on both mainland Greece and Rome. Over 150
objects bear witness to the military and athletic victories, religious
and civic rituals, opulent lifestyles, and intellectual attainments that
shaped the western Greek world.
Thymiaterion Supported by a Statuette of Nike,
Greek, 500-480 B.C.. Terracotta with polychromy.
The J. Paul Getty Museum, Villa Collection, Malibu.
An accompanying volume will be available.
J. Paul Getty Museum
at the Getty Villa
Media Contact
Desiree Zenowich
310.440.7304
dzenowich@getty.edu
Overdrive: L.A. Constructs the Future, 1940–1990
April 9–July 21, 2013
Malin Residence, "Chemosphere," Los Angeles, 1960.
John Lautner, architect. Photo: Julius Shulman, 1960.
Julius Shulman photography archive. The Getty
Research Institute, 2004.R.10
J. Paul Getty Museum
at the Getty Center
Media Contact
Amy Hood
310.440.6427
ahood@getty.edu
During the period 1940 to 1990, Los Angeles rapidly evolved into
one of the most populous and influential industrial, economic, and
creative capitals in the world. This dynamic exhibition provides an
engaging view of the region’s diverse urban landscape, including its
ambitious freeway network, sleek corporate towers, whimsical
coffee shops, popular shopping malls, refined steel-and-glass
residences, and eclectic cultural institutions. Drawings,
photographs, models, films, animations, oral histories, and
ephemera illustrate the complex dimensions of L.A.’s rich and often
underappreciated built environment, revealing this metropolis’s
global impact as a vibrant laboratory for cutting-edge design.
Organized by the Getty Research Institute and the J. Paul Getty
Museum.
An accompanying volume will be available.
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In Focus: Ed Ruscha
April 9–September 29, 2013
Standard, Amarillo, Texas, 1962. Ed Ruscha
(American, born 1937). Gelatin silver print. The J.
Paul Getty Museum. © Ed Ruscha
J. Paul Getty Museum
at the Getty Center
Media Contact
Melissa Abraham
310.440.6861
mabraham@getty.edu
Photography has played an integral role throughout Ed Ruscha’s
career, most notably in the modest books he began to self-publish
in the early 1960s. In 2011 the Getty Museum acquired a group of
photographs related to several of these books. By featuring both
iconic and previously unpublished images from this acquisition, this
exhibition provides insight into the process by which Ruscha
identified subjects for Twentysix Gasoline Stations (1963) and Some
Los Angeles Apartments (1965), employed a deadpan style to
record examples for each, and made subsequent choices to edit the
resulting images for presentation in book form.
Getty Publications is producing a volume of Ruscha's series of photographs,
Some Los Angeles Apartments.
May 2013
Gardens of the Renaissance
May 21–August 4, 2013
Whether part of a grandiose villa or an extension of a common
kitchen, gardens in the Renaissance were planted and treasured in
all reaches of society. Due to their ephemeral nature, most gardens
have changed or been lost since the Renaissance, but illuminated
manuscripts of the period offer a glimpse into how people at the
time pictured, used, and enjoyed these idyllic green spaces.
Through a wide range of works drawn from the Getty Museum’s
permanent collection, this exhibition explores gardens on many
levels—from the literary Garden of Love and the biblical Garden of
Eden to courtly gardens of the nobility—and reports on the many
activities both reputable and scandalous that took place there.
Bathsheba Bathing, 1498–1499. Jean Bourdichon
(French, 1457-1521). The J. Paul Getty Museum, Los
Angeles, Ms. 79, recto.
J. Paul Getty Museum
at the Getty Center
Media Contact
Alexandria Sivak
310.440.6473
asivak@getty.edu
# # #
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The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that
includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty
Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty
Center in Los Angeles and the Getty Villa in Malibu.
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