Getty Research Journal最新文献

{"title":"Updating Records of Nazi Art Looting from an Art Dealer’s Archive: A Case Study from Gustav Cramer’s Archive at the Getty","authors":"Isabella Zuralski-Yeager","doi":"10.1086/702754","DOIUrl":"https://doi.org/10.1086/702754","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"197 - 212"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702754","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46489924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Harald Szeemann and the Road Back to the Museum","authors":"Max Rosenberg","doi":"10.1086/702750","DOIUrl":"https://doi.org/10.1086/702750","url":null,"abstract":"107 The Event Form Early indications of what the public could expect at documenta 5 were revealed on the cover of the May/June 1970 issue of Informationen (fig. 1), a seasonal brochure on local culture in and around the city of Kassel, Germany, where the famed quinquennial contemporary art exhibition was established in 1955. In a brief schematic outline, Harald Szeemann (fig. 2), the newly appointed general secretary of documenta 5, along with a few collaborators whom he had selected to help with the organization of the show, gave a brief explanation of the approach to the next Kassel mega-exhibition. Their documenta, as the brochure makes abundantly clear, would distinguish itself from its predecessors by embracing an “event structure” (Ereignisstruktur). More than the proposal itself, a graphic featured above the text illustrated this ambition. In a large black field, “documenta IV” appeared in big white letters, but the “IV” was struck through and a “V” was printed above it. Beneath this, “Museum der 100 Tage” (100-day museum), the traditional length of the exhibition and its de facto tagline, was printed, but only “100 Tage” remained; “Museum der” was struck through and “Ereignis” (event) was added next to and slightly above the previous motto. From “Museum der 100 Tage,” the “100 Tage Ereignis” (100-day event) was born. By depicting the first conceptual proposal for the exhibition in this way, Szeemann and his coorganizers signaled that documenta 5 would constitute an assertive departure from the format and structure of the past exhibitions. Specifically, Szeemann wished to break down the traditional media distinctions and the privileging of painting and sculpture that the previous documentas had maintained. This intention also stemmed from a desire to move away from abstract painting, metonymy for modern art itself in much of the capitalist West (especially West Germany). Documenta had been a primary conduit through which abstraction had achieved broad cultural supremacy. At the first several documentas, the art historian and coorganizer of the shows Werner Haftmann had popularized the idea of abstraction as a “world language” (Weltsprache), a concept that the exhibition’s founder, the local Kassel artist and curator Arnold Bode, had also embraced.1 At the same time, as aggressive as the striking through of the motto of the past documentas appeared, Szeemann did not outright discard it; rather, he reformatted it into a new Harald Szeemann and the Road Back to the Museum","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"107 - 132"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702750","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45901009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra","authors":"Alicia Maria Houtrouw","doi":"10.1086/702752","DOIUrl":"https://doi.org/10.1086/702752","url":null,"abstract":"161 The following coauthored indigenous tale about two lovers—an Inca ñusta (princess), Chuquillanto, and a humble shepherd, Acoytapra—was recorded around the turn of the seventeenth century in colonial Peru. The story’s meaning is layered, having been written and illustrated by two people of vastly different backgrounds: the drawings by a native Andean man and the writing by a Spanish friar. Although the images complement the text by illuminating events in the written tale, the artist applies his knowledge of the native Andean belief system and Inca visual culture by inserting additional meanings into the illustrations and communicating visually what the Spanish author cannot. Even though both authors eventually arrive at the same conclusion—that Acoytapra and Chuquillanto’s relationship is impossible—each values this outcome for distinct reasons. Their diverging interpretations of the legend help us to see how each author engaged with the story to further his own ideology and mission. Furthermore, the illustrator’s role in the retelling of this myth shows how an indigenous artist and author negotiated his relationship with Spanish authorities and asserted his indigenous knowledge in a colonial context. Below is a summary of the tale Ficción y suçesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol (Legend and account of a famous shepherd named the great Acoytapra with the beautiful and discreet Chuquillanto, princess, daughter of the sun).1 ——— One day, as the shepherd Acoytapra was tending his herd, he was unexpectedly approached by two daughters of the sun. The eldest, Chuquillanto, was drawn to the shepherd, who wore on his forehead a canipu (silver pendant) with an image of two aradores (plowers)2 eating a heart. He told Chuquillanto it was called an utusi, which the narrator explains may be slang for the genital member, an old word invented by lovers. She was intrigued by his strange ornament and talked to her sister about the shepherd until arriving back at the palace. That night, Chuquillanto had no appetite and thought incessantly about the shepherd. When she finally fell asleep she dreamt that a nightingale flew to her lap and spoke to her. Chuquillanto explained to the bird that she could only be cured of what ailed her if she pursued her love for the shepherd, but that her father would kill her if she did. Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"161 - 184"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702752","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45565261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937","authors":"Elke Seibert","doi":"10.1086/702747","DOIUrl":"https://doi.org/10.1086/702747","url":null,"abstract":"Artists: Three Yearbooks (1938, 1939, 1946), unpaginated. 25. Irving Sandler, Abstract Expressionism: The Triumph of American Painting (London: Pall Mall,","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"17 - 38"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702747","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44288234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rethinking Provenance Research","authors":"C. Fuhrmeister, Meike Hopp","doi":"10.1086/702755","DOIUrl":"https://doi.org/10.1086/702755","url":null,"abstract":"213 What, in Germany in 2018, is the state of research into the provenance of expropriated cultural property within the context of National Socialist (Nazi) persecution? How have we arrived at this situation? What remains to be done? These three questions determine the structure of this essay, which looks exclusively at public institutions; that is, to the greatest possible extent it steers clear of the realm of private collectors and the art trade, including auction houses and art dealers. The focus here is primarily on the German Bund (the national government), Länder (states), and Kommunen (local authorities), and our thesis concludes that we need to reflect more intensively on the premises, structures, and procedures in these areas. Do we—as art historians and provenance researchers—have at our disposal the research infrastructure that is necessary for us to meet the current and forthcoming challenges? Are we capable of dealing effectively with the contexts of injustice relating to acquisition and translocation processes? Let us begin the discussion with a review of the developments that have—and have not—taken place up to now.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"213 - 231"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702755","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42657100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Palazzo Foscarini in Venice and the Celebration Honoring the Dukes of Modena (1749) in a Getty Research Institute Manuscript","authors":"Linda Borean","doi":"10.1086/702746","DOIUrl":"https://doi.org/10.1086/702746","url":null,"abstract":"Getty Research Journal, no. 11 (2019): 1–16 © 2019 Linda Borean. English translation © 2019 The J. Paul Getty Trust On 3 August 1749, on the occasion of the departure from Venice of Francesco III d’Este, Duke of Modena (1698–1780), a sumptuous ball was organized at the palazzo Foscarini ai Carmini. This imposing edifice, while now unembellished (fig. 1), still dominates its surroundings; it sits across from the homonymous bridge and is well known for having hosted various significant figures in European history, beginning with Henry III, King of France, when he visited Venice in 1574 (fig. 2).1 An expression of the Republic of Venice’s long-standing tradition of hospitality to foreigners, private receptions were part of a broader context of a political and cultural society that, over the centuries, was unique by virtue of the precise and measured staging of civic rituals, such as the procession marking the election of the doge and religious celebrations with an unavoidable political tone: all moments necessary for solidifying, in both the patrician and the plebeian classes, loyalty and a sense of belonging to the state.2 Over the course of the Enlightenment era, Venice witnessed an increase in solemn ceremonies and performances organized by the government to pay homage to visiting sovereigns and princes and to officially welcome foreign ambassadors: from bull hunts to concerts to the regatta, which constituted the “pyramid” of celebrations, being “one of the most joyful entertainments that the Public habitually offers to Foreign Princes.”3 We know about these sorts of public events not only from archival documents but also from visual records, thanks to talented painters such as Luca Carlevariis, Canaletto, and Francesco Guardi, who, through the genre of the documentary vista or reportorial view,4 captured historical and newsworthy moments, giving them a specific narration. The Republic paid for receptions that included entertainments provided by patricians in their palaces; while conceived as another manifestation of the wealth and power of an aristocratic state, in the eighteenth century these receptions became a vehicle for the exhibition of the resources, reputation, and image of the host family as well. The republican mediocritas of the Cinquecento, in fact, was supplanted by a growing desire to demonstrate the prominence of a family name, a phenomenon accompanied by a revolution in residential tastes, with the expansion of clearly defined spaces for entertainment, set aside for social life.5 Performances, concerts, and banquets in homage to illustrious guests constituted a natural corollary to these transformations. The Palazzo Foscarini in Venice and the Celebration Honoring the Dukes of Modena (1749) in a Getty Research Institute Manuscript","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"1 - 16"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41411893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Set of Eight Gurkha Campaign Copperplate Prints","authors":"Niklas Leverenz","doi":"10.1086/702753","DOIUrl":"https://doi.org/10.1086/702753","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"185 - 196"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702753","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43219321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Critic and Catalyst: Pauline Gibling Schindler (1893–1977)","authors":"T. Hines","doi":"10.1086/702748","DOIUrl":"https://doi.org/10.1086/702748","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"39 - 80"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45175911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Alcuni dei miei progetti”: Aldo Rossi and the Editorial Impulse","authors":"Maura Lucking","doi":"10.1086/702751","DOIUrl":"https://doi.org/10.1086/702751","url":null,"abstract":"133 The Italian architect Aldo Rossi’s second book, A Scientific Autobiography (1981), does not make for an easy read. It has no clear exposition or organization, meandering instead through readings of the postwar European landscape, making connections between the works of other artists and scholars and his own childhood memories. A brief preface introduces the project as an impossible effort to track the influence of small experiences on the development of the architect’s craft—a paean to the “disorder of things.”1 It is the type of book that one might open to any number of pages and have a similarly pleasant, if disorienting, reading experience—more like an Oulipo tone poem than an architectural manifesto. When his slippery indefinite articles momentarily bring building, life, and memory into alignment, however, it can be sublime in its associative pursuit of meaning. Some of the most powerful passages revolve around the architect’s recovery from a life-threatening car accident. Confined to his hospital bed, Rossi jotted down the notes that would shape his best-known built project, the stark and cavernous San Cataldo Ceme tery (fig. 1). What follows seems intended to provide insight into that project’s formation. He considers the architectural expression of his condition, including abstractions of prone bodies such as those on the facade of the convent of Santa Clara at Santiago de Compostela in Galicia (fig. 2). The building, he writes, expands on the iconographic tradition of the deposition of Christ; its overscaled, anthropomorphic decoration works to produce an embodied response in viewers. The modeling effects of light on the sculptural facade are then compared, in short order, with the work of the divisionist painter Angelo Morbelli. The artist was best known for his light-filled meditations on the end of life, set in hospitals and retirement centers—much like the one in which Rossi was convalescing (fig. 3). Rossi writes:","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"133 - 159"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702751","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49599996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The New Arts Society: Failed Radicals","authors":"E. Buhe","doi":"10.1086/702749","DOIUrl":"https://doi.org/10.1086/702749","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"81 - 106"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702749","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48647341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}