BGuthrie Photos: CA -- Los Angeles -- Getty Center -- Paintings

CA -- Los Angeles -- Getty Center -- Paintings:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. GCENP1_150707_001.JPG: Cupid and Pan, about 1600 Attributed to Federico Zuccaro
2. GCENP1_150707_009.JPG: Dionysius the Areopagite Converting the Pagan Philosophers, 1570s Antoine Caron
3. GCENP1_150707_016.JPG: The Birth of Bacchus, about 1530s Giulio Pippi, called Giulio Romano, and Workshop
4. GCENP1_150707_026.JPG: Portrait of Barbara Kressin, 1544 Netherlandish Master
5. GCENP1_150707_030.JPG: A Hare in the Forest, about 1585 Hans Hoffmann
6. GCENP1_150707_036.JPG: Portrait of a Halberdier (probably Francesco Guardi), 1528-30 Pontormo (Jacopo Carucci)
7. GCENP1_150707_041.JPG: Portrait of a Woman with a Book of Music, about 1540-45 Bacchiacca (Francesco Ubertini)
8. GCENP1_150707_045.JPG: Hunting on the Lagoon, about 1490-95 Vittore Carpaccio
9. GCENP1_150707_050.JPG: Portrait of a Man, about 1576-78 Veronese (Paolo Caliari)
10. GCENP1_150707_059.JPG: Venus and Adonis, about 1555-60 Titian (Tiziano Vecellio)
11. GCENP1_150707_072.JPG: An Allegory of Fortune, about 1530 Dosso Dossi (Giavanni di Niccolo de Lutero)
12. GCENP1_150707_076.JPG: Portrait of Alfonso d'Avalos, Marquis of Vasto, in Armor with a Page, probably Jan-Feb 1533 Titian (Tiziano Vecellio)
13. GCENP1_150707_083.JPG: Portrait of a Bearded Man, about 1550 Jacopo Bassano (Jacopo da Ponte)
14. GCENP1_150707_087.JPG: Italian Paintings 1500-1600 By the late 1400s, Venice had become the leading maritime power in Europe and one of the major artistic centers in Italy. Venetian painting acquired its distinctive features -- sumptuous colors, expressive brushwork, and a theatrical quality -- from artists such as Titian and Veronese, whose works are on display in this gallery. These characteristics, which distinguished Venetian art from that of Florence and Rome, influenced other painters active in northern Italy, like Dosso and Savoldo, as can be seen in the pictures hanging here.
15. GCENP1_150707_089.JPG: Mythological Scene, about 1524 Dosso Dossi (Giavanni di Niccolo de Lutero)
16. GCENP1_150707_093.JPG: Portrait of a Halberdier (probably Francesco Guardi), 1528-30 Pontormo (Jacopo Carucci)
17. GCENP1_150707_100.JPG: A Faun and His Family with a Slain Lion, about 1526 Lucas Cranach the Elder
18. GCENP1_150707_106.JPG: An Allegory of Fortune, about 1658-59 Salvator Rosa
19. GCENP1_150707_109.JPG: Portrait of a Man with a Sheet of Music, about 1620 Domenico Fetti
20. GCENP1_150707_116.JPG: Portrait of Agostino Pallavicini, about 1621 Anthony van Dyck
21. GCENP1_150707_120.JPG: Euclid, about 1630-37 Jusepe de Ribera
22. GCENP1_150707_125.JPG: David with the Head of Goliath, about 1645-50 Guido Cagnacci
23. GCENP1_150707_131.JPG: Coast View with the Abduction of Europa, about 1645 Claude Lorrain (Claude Gellee)
24. GCENP1_150707_136.JPG: Marine Gods Paying Homage to Love, about 1636-38 Eustache Le Sueur
25. GCENP1_150707_140.JPG: The Calydonian Boar Hunt, about 1611-12 Peter Paul Rubens
26. GCENP1_150707_152.JPG: The Virgin as the Woman of the Apocalypse, about 1623024 Peter Paul Rubens
27. GCENP1_150707_156.JPG: Head of a Woman, about 1654 Michael Sweerts
28. GCENP1_150707_161.JPG: The Meeting of King Ferdinand of Hungary and the Cardinal-Infante Ferdinand of Spain at Dordlingen, 1635 Peter Paul Rubens
29. GCENP1_150707_166.JPG: Portrait of Antoine Singlin, about 1646 Philippe de Champaigne
30. GCENP1_150707_169.JPG: Landscape with a Calm, 1650-51 Nicolas Poussin
31. GCENP1_150707_174.JPG: Diana and Her Nymphs in a Landscape, 1644 Laurent de La Hyre
32. GCENP1_150707_179.JPG: The Musicians' Brawl, about 1625 Georges de La Tour
33. GCENP1_150707_191.JPG: The Return from War: Mars Disarmed by Venus, 1610-12 Peter Paul Rubens Jan Brueghel the Elder
34. GCENP1_150707_202.JPG: The Entry of the Animals into Noah's Ark, 1613 Jan Brueghel the Elder
35. GCENP1_150707_210.JPG: Portrait of Thomas Howard, Second Early of Arundel, about 1620-21 Anthony van Dyck
36. GCENP1_150707_215.JPG: European Paintings: 1600-1700 About 1600, artists in Rome and Bologna returned to the study of antique and Renaissance art. This renewed interest in classical idealization coincided with a trend -- led by the painter Caraviggio (1573-1610) -- toward blunt naturalism, dramatic lighting, and the use of unidealized, live models. These elements became the basis of the new Baroque style. The paintings in this gallery illustrate the range of Baroque art, from the classicizing to the naturalistic. The works share an emphasis on overt human emotion, a hallmark of the Baroque.
37. GCENP1_150707_220.JPG: Bathsheba after the Bath, about 1665-70 Jan Steen
38. GCENP1_150707_223.JPG: Interior with Soldiers and Women, about 1650 Jacob Duck
39. GCENP1_150707_228.JPG: An Italianate Landscape with Travelers on a Path, 1645-50 Jan Both
40. GCENP1_150707_236.JPG: Shipping in a Calm at Flushing with a States General Yacht Firing a Salute, 1649 Jan van de Cappelle
41. GCENP1_150707_247.JPG: Bacchante with an Ape, 1627 Hendrick Ter Brugghen
42. GCENP1_150707_249.JPG: The Interior of the Church of Saint Bavo, Haarlem, 1628 Pieter Jansz. Saenredam
43. GCENP1_150707_258.JPG: Heron Hunt, about 1650 Philips Wouwerman
44. GCENP1_150707_266.JPG: Portrait of a Man with a Ruff, about 1630 Artist unknown (Dutch school)
45. GCENP1_150707_268.JPG: Pictura (Allegory of Painting), 1661 Frans van Mieris the Elder
46. GCENP1_150707_272.JPG: A "Jeu de Paume" before a Country Palace, 1614 Adriaen van de Venne
47. GCENP1_150707_277.JPG: Merry Company in an Arbor, 1615 Adriaen van de Venne
48. GCENP1_150707_285.JPG: The "Piebald" Horse, about 1650-54 Paulus Potter
49. GCENP1_150707_288.JPG: Vase of Flowers, 1722 Jan van Huysum
50. GCENP1_150707_292.JPG: Horse Pond near a Boundary Stone, about 1650 Philips Wouwerman
51. GCENP1_150707_300.JPG: Moonlit Landscape with a View of the New Amstel River and Castle Kostverloren, 1647 Aert van der Neer
52. GCENP1_150707_307.JPG: The Drawing Lesson, about 1665 Jan Steen
53. GCENP1_150707_311.JPG: The Alchemist, 1663 Cornelis Bega
54. GCENP1_150707_317.JPG: An Elegant Lady Writing at Her Desk with a Dog beside Her, about 1665 Gabriel Metsu
55. GCENP1_150707_320.JPG: The Doctor's Visit, 1667 Frans van Mieris the Elder
56. GCENP1_150707_323.JPG: A Panoramic Landscape, 1665 Philips Koninck
57. GCENP1_150707_328.JPG: Horse Stable, about 1654 Gerard ter Borch
58. GCENP1_150707_333.JPG: A Woman Preparing Bread and Butter for a Boy, about 1660-63 Pieter de Hooch
59. GCENP1_150707_339.JPG: A Maid Miking a Cow in a Barn, about 1652-54 Gerard ter Borch
60. GCENP1_150707_343.JPG: View of Duurstede Castle, 1649 Jan van Goyen
61. GCENP1_150707_347.JPG: Portrait of Conradus Vietor, 1644 Frans Hals
62. GCENP1_150707_351.JPG: Portrait of a Young Man, 1650 Bartholomeus van der Helst
63. GCENP1_150707_355.JPG: A Wooded Landscape with Travelers on a Path through a Hamlet, about 1665 Meindert Hobbema
64. GCENP1_150707_366.JPG: The Music Lesson, about 1668 Gerard ter Borch
65. GCENP1_150707_370.JPG: Bridge with a Sluice, about 1648-49 Jacob van Ruisdael
66. GCENP1_150707_375.JPG: A Young Man Reading, early 1650s Jacob van Loo
67. GCENP1_150707_382.JPG: Two Water Mills and an Open Sluice, 1653 Jacob van Ruisdael
68. GCENP1_150707_386.JPG: A View of the Maas at Dordrecht, about 1645-46 Aelbert Cuyp
69. GCENP1_150707_392.JPG: The Return from the Hunt, 1660s Nicolaes Berchem
70. GCENP1_150707_401.JPG: The Abduction of Europa, 1632 Rembrandt Harmensz. van Rijn
71. GCENP1_150707_411.JPG: Rembrandt Laughing, about 1628 Rembrandt Harmensz. van Rijn
72. GCENP1_150707_415.JPG: An Old Man in Military Costume, about 1630-31 Rembrandt Harmensz. van Rijn
73. GCENP1_150707_420.JPG: Prince Charles Louis of the Palatinate with His Tutor Wolrad von Plessen in Historical Dress, 1631 Jan Lievens
74. GCENP1_150707_431.JPG: Portrait of a Girl Wearing a Gold-Trimmed Cloak, 1632 Rembrandt Harmensz. van Rijn
75. GCENP1_150707_435.JPG: Daniel, Cyrus before the Idol Bel, 1633 Rembrandt Harmensz. van Rijn
76. GCENP1_150707_442.JPG: Solon before Croesus, about 1650-52 Nikolaus Knupfer
77. GCENP1_150707_451.JPG: The Annunciation, about 1660-65 Godfried Schalcken
78. GCENP1_150707_454.JPG: A Portrait of a Rabbi, about 1640-45 Rembrandt Harmensz. van Rijn
79. GCENP1_150707_459.JPG: Still Life with Book and Purse, 1647 Gerrit Dou
80. GCENP1_150707_468.JPG: Astronomer by Candlelight, late 1650s Gerrit Dou
81. GCENP1_150707_479.JPG: Louis XIV at the Getty "There is nothing that indicates more clearly the magnificence of great princes than their superb palaces and their precious furniture." -- Louis XIV, 1663 The King: Louis XIV (1638-1715) was one of France's most important kings. He ruled from 1643 to 1715, the longest reign of any French monarch, and was known as the Sun King. He wielded absolute power, waged many wars to increase his glory, and greatly encouraged the arts and sciences. In this portrait, Louis is shown at sixty-two years old, then at the pinnacle of his power as the ru;ler of the most populous and influential country in Western Europe with the grandest and most sumptuous court. The Portrait: The over life-size portrait of Louis XIV hanging nearby is after a famous painting by the French artist Hyacinthe Rigaud (1659-1743). The original work, completed in 1701, was installed above the mantel in the throne room at the palace of Versailles. It is a masterpiece of royal portraiture and was so popular that Rigaud was asked to repeat the composition a number of times. Versions of its were also made by other artists later during the eighteenth century; one of which, the present example, was acquired by J. Paul Getty in 1938. The Arts: Louix XIV was obsessed with every detail of government and art, pushing administrators and artists to produce the finest examples of their craft to glorify and enrich the kingdom. In addition to spectacular royal commissions such as the buildings and furnishings of Versailles, significant cultural institutions were founded during his rule. France became the leading producer of the luxury arts in Europe, and the decorative arts collection at the J. Paul Getty Museum is particularly strong in works associated with the reign of this pivotal monarch. The two following galleries are devoted to works of French art from this period.
82. GCENP1_150707_482.JPG: Portrait of Louis XIV, 1700s After Hyacinthe Rigaud
83. GCENP1_150707_486.JPG: The Death of Cleopatra, about 1700-1710 Gerard Hoet
84. GCENP1_150707_496.JPG: The Banquet of Cleopatra, about 1700-1710 Gerard Hoet
85. GCENP1_150707_501.JPG: Dido and Aenaes, early 1700s Nicolas Verkolye
86. GCENP1_150707_507.JPG: Mediterranean Harbor Scene, about 1763 Pierre-Jacques Volaire
87. GCENP1_150707_512.JPG: Chinoiserie: By the late 1600s, commercial and cultural exchange between Europe and the Far East had produced a great passion in France for Chinese and Japanese imports. Porcelain, lacquer, silk, and other materials exotic to Europe became fundamental in the furnishing of fashionable interiors. European craftsmen produced their own interpretations of Chinese and Japanese wars, called chinoiserie. European decoration based on a mixture of Far Eastern sources was embedded in a vague and distorted view of geography and was employed for imaginative and decorative ends. Fascination with these idealized and unfamiliar lands resulted in a great demand for this fanciful type of decoration. Marchands-merciers, Parisian dealers in luxury furnishings, played a crucial role in the development of chinoiserie, both as importers of goods from China and Japan and as originators of inventive chinoiserie designs, which they commissioned from French craftsmen and sold in their shops.
88. GCENP1_150707_514.JPG: King Louis XV in Armor before Tournae Cathedral, 1745 Maurice-Quentin de La Tour
89. GCENP1_150707_521.JPG: Allegorical Portrait of a Van Risamburgh Family, 1790 Joseph Chinard
90. GCENP1_150707_527.JPG: Portrait of the Marquise de Miramon, nee Therese Feullant, 1866 James Tissot
91. GCENP1_150707_531.JPG: Autumn (Dejanira), 1872-73 Gustave Moreau
92. GCENP1_150707_537.JPG: Young Adults Admiring Japanese Objects, 1869 James Tissot
93. GCENP1_150707_543.JPG: Man with a Hoe, 1860-62 Jean-Francois Millet
94. GCENP1_150707_550.JPG: Portrait of Louise-Antoinette Feuardent, 1841 Jean-Francois Millet
95. GCENP1_150707_556.JPG: Forest of Fountainebleau, Cluster of Tall Trees Overlooking the Plain of Clair-Bois at the Edge of Bas-Breau, about 1849-55 Theodore Rousseau
96. GCENP1_150707_560.JPG: The Studio, about 1870 Honore Daumier
97. GCENP1_150707_565.JPG: The Convalescent about 1872-January 1887 Edgar Degas
98. GCENP1_150707_570.JPG: Self-Portrait, about 1857-58 Edgar Degas
99. GCENP1_150707_574.JPG: Houses at Bougival (Autumn), 1870 Camille Pissarro
100. GCENP1_150707_582.JPG: The Grotto of Sarrazine near Nans-sous-Sainte-Anne, about 1864 Gustave Courbet
101. GCENP1_150707_586.JPG: Promenade, early 1880s Jean-Francois Raffaelli
102. GCENP1_150707_592.JPG: The Milliners, about 1882-before 1905 Edgar Degas
103. GCENP1_150707_596.JPG: Still Life with Apples, about 1893-94 Paul Cezanne
104. GCENP1_150707_603.JPG: La Promenade, 1870 Pierre-Auguste Renoir
105. GCENP1_150707_612.JPG: Spring (Jeanne Demarsy), 1881 Edouard Manet
106. GCENP1_150707_620.JPG: Portrait of Albert Cahen d'Anvers, 1881 Pierre-Auguste Renoir
107. GCENP1_150707_624.JPG: Irises, 1889 Vincent van Gogh
108. GCENP1_150707_633.JPG: Arii Matamoe (The Royal End), 1892 Paul Gauguin
109. GCENP1_150707_637.JPG: Portrait of Madame Brunet, about 1861-63, reworked by 1867 Edouard Manet
110. GCENP1_150707_642.JPG: Portrait of Anthony Valabregue, about 1869-71 Paul Cezanne
111. GCENP1_150707_646.JPG: Young Italian Woman at a Table, about 1895-1900 Paul Cezanne
112. GCENP1_150707_654.JPG: The Road from Versailles to Saint-Germain, 1875 Alfred Sisley
113. GCENP1_150707_660.JPG: Wheatstacks, Snow Effect, Morning, 1891 Claude Monet
114. GCENP1_150707_665.JPG: After the Bath, about 1895 Edgar Degas
115. GCENP1_150707_669.JPG: The Portal of Rouen Cathedral in Morning Light, 1894 Claude Monet
116. GCENP1_150707_674.JPG: Sunrise, 1873 Claude Monet
117. GCENP1_150707_678.JPG: Still Life with Flowers and Fruit, 1869 Claude Monet
118. GCENP1_150707_683.JPG: The Eternal Feminine, about 1877 Paul Cezanne
119. GCENP1_150707_687.JPG: The Centennial of Independence, 1892 Henri Rousseau (La Douanier)
120. GCENP1_150707_692.JPG: Portrait of Jeanne Kefer, 1885 Fernand Khnopff
121. GCENP1_150707_697.JPG: Starry Night, 1893 Edvard Munch
122. GCENP1_150707_701.JPG: Spring in a Narrow Gorge, 1881 Arnold Bocklin
123. GCENP1_150707_708.JPG: The Rue Mosnier with Flags, 1878 Edouard Manet
124. GCENP1_150707_713.JPG: An Old Woman with a Cat, 1878 Max Liebermann
125. GCENP1_150707_719.JPG: Spring, 1894 Lawrence Alma-Tadema
126. GCENP1_150707_733.JPG: Waiting for the Verdict, 1859 Abraham Solomon
127. GCENP1_150707_738.JPG: Mischief and Repose, 1895 John William Godward
128. GCENP1_150707_744.JPG: Portrait of Princess Leonilla of Sayn-Wittgenstein-Sayn, 1843 Franz Xaver Winterhalter
129. GCENP1_150707_753.JPG: Not Guilty, 1859 Abraham Solomon
130. GCENP1_150707_759.JPG: The Ransom, 1860-62 John Everett Millais
131. GCENP1_150707_764.JPG: Portrait of Therese, Countess Clary Aldringen, 1896 John Singer Sargent
132. GCENP1_150707_769.JPG: Von Tromp, Going about to Please His Masters, Ships a Sea, Getting a Good Wetting, 1844 Joseph Mallord William Turner
133. GCENP1_150707_777.JPG: A Young Girl Defending Herself against Eros, about 1880 William Adolphe Bouguereau
134. GCENP1_150707_784.JPG: Italian Landscape, about 1835 Jean-Baptiste Camille Corot
135. GCENP1_150707_788.JPG: The Race of the Riderless Horses, 1817 Theodore Gericault
136. GCENP1_150707_792.JPG: Moroccan Horseman Crossing a Ford, about 1850 Eugene Delacroix
137. GCENP1_150707_797.JPG: Landscape with Lake and Boatman, 1839 Jean-Baptiste-Camille Corot
138. GCENP1_150707_808.JPG: Study of a Model, about 1818-19 Theodore Gericault
139. GCENP1_150707_812.JPG: Three Lovers, about 1817-20 Theodore Gericault
140. GCENP1_150707_818.JPG: Justice and Divine Vengeance Pursing Crime, 1805-06 Pierre-Paul Prud'hon
141. GCENP1_150707_823.JPG: Study of Clouds with a Sunset near Rome, 1786-1801 Simon Denis
142. GCENP1_150707_827.JPG: Houses near Orleans, about 1830 Jean-Baptiste-Camille Corot
143. GCENP1_150707_831.JPG: Civita Castellana -- High Rocks, about 1826-27 Jean-Baptiste-Camille Corot
144. GCENP1_150707_835.JPG: Mountain Landscape with the Road to Naples, about 1820 Jean-Charles-Joseph Remond
145. GCENP1_150707_842.JPG: Portrait of the Marquesa de Santiago, 1804 Francisco Jose de Goya y Lucientes
146. GCENP1_150707_846.JPG: View in the Ile-de-France, about 1810-13 Jean-Victor Bertin
147. GCENP1_150707_851.JPG: Bullfight, Suerte de Varas, 1824 Francisco Jose de Goya y Lucientes
148. GCENP2_150707_001.JPG: Miss Lala at the Fernando Circus, 1879 Edgar Degas
149. GCENP2_150707_004.JPG: At the Circus: Entering the Ring, 1899 Henri de Toulouse-Lautrec
150. GCENP2_150707_007.JPG: Le Moulin Rouge, 1891 Pierre Bonnard
151. GCENP2_150707_011.JPG: Roche Pastels and Degas: Degas purchased pastels from the Parisan manufacturer Henri Roche, whose shop was established int he early eighteenth century and is still in business today in the hands of family descendants. A wooden box embossed with the Roche emblem, just like the one on display here, was found in Degas' studio after his death full of pastel fragments. Roche pastels were known especially for the luminosity and range of their colors (by 1887, more than five hundred hues were available), their remarkable soft texture, and the ease with which they adhered to paper. The paper composition of pastels includes pulverized color pigment, a base of white chalk, and a glutinous binder. Mixed together, these materials form a paste, which is then rolled into cylinders and fried for several weeks. Degas drew with these dry sticks, though he also often moistened and crushed them into a powder that would mix easily with gouache, distemper, watercolor, printing ink, and even oil paint. The results were complex mixed-media works of variegated textures and brilliantly pigmented colors.
152. GCENP2_150707_013.JPG: Degas -- Radical Pastelist: Degas produced nearly seven hundred pastels during his lifetime. He took up the medium tentatively in the mid-1860s, used it with increasing frequency in the 1870s, and in the 1880s began to prefer it almost exclusively to painting in oil. His most daring works in pastel are the late ones -- made between 1890 and 1910 -- in which he pushed the medium to achieve extraordinarily novel textures, effects, and hues. These works, including masterpieces such as Russian Dancers, were built up in layers of explosive color drawn in swift, wide strokes, often made with the broadside of a whole pastel stick. On top of each strata of pastel, Degas often applied a coating of fixative to prevent blending and smudging and to create a gritty surface to which successive applications of fresh pastel readily adhered. By superimposing colors and using fixative in this way -- emphasizing its role as a creative vehicle as well as a stabilizing process -- Degas realized multilayered, tapestry-like images, in which the boundary between material and image is radically blurred.
153. GCENP2_150707_016.JPG: Dancer Taking a Bow (The Star), about 1877 Edgar Degas
154. GCENP2_150707_024.JPG: Waiting, about 1882 Edgar Degas
155. GCENP2_150707_030.JPG: View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo, about 1743 Bernardo Belloto
156. GCENP2_150707_045.JPG: Portrait of John Talbot, Later First Earl Talbot, 1773 Pompeo Batoni
157. GCENP2_150707_050.JPG: The Bucintoro Departing from the Bacino di San Marco, 1710 Luca Carlevarijs
158. GCENP2_150707_059.JPG: The Sacrifice of Polyxena, about 1733-34 Giovanni Battista Pittoni
159. GCENP2_150707_062.JPG: Hercules and Omphale, about 1700-1710 Luigi Garzi
160. GCENP2_150707_066.JPG: The Miracle of the Holy House of Loreto, 1743 Giambattista Tiepolo
161. GCENP2_150707_070.JPG: A Regatta on the Grand Canal in Honor of Frederick IV, King of Denmark, 1711 Luca Carlevarijs
162. GCENP2_150707_081.JPG: Portrait of a Boy in Fancy Dress, about 1710-14 Nicolas de Largilliere
163. GCENP2_150707_086.JPG: A Storm on a Mediterranean Coast, 1767 Claude-Joseph Vernet
164. GCENP2_150707_088.JPG: Portrait of James Christie, 1778 Thomas Gainsborough
165. GCENP2_150707_092.JPG: Diana and Her Nymphs Bathing, 1722-24 Jean-Francois de Troy
166. GCENP2_150707_103.JPG: Mars and Venus, an Allegory of Peace, 1770 Louis-Jean-Francois Lagrenee
167. GCENP2_150707_105.JPG: Before the Ball, 1735 Jean-Francois de Troy
168. GCENP2_150707_109.JPG: Pan and Syrinx, 1722-24 Jean-Francois de Troy
169. GCENP2_150707_115.JPG: The Country Dance, about 1760-62 Gabriel de Saint-Aubin
170. GCENP2_150707_119.JPG: The Laundress, 1761 Jean-Baptiste Greuze
171. GCENP2_150707_124.JPG: Cimon and Pero: Roman Charity, about 1767 Jean-Baptiste Greuze
172. GCENP2_150707_127.JPG: A Hermit Praying in the Ruins of a Roman Temple, about 1760 Hubert Robert
173. GCENP2_150707_143.JPG: The Fountain of Love, about 1785 Jean-Honore Fragonard
174. GCENP2_150707_149.JPG: Portrait of Marc de Villiers, Secretaire du Roi, 1747 Jacques-Andre-Joseph Aved
175. GCENP2_150707_153.JPG: A Calm at the Mediterranean Port, 1770 Claude-Joseph Vernet
176. GCENP2_150707_162.JPG: Portrait of Anne, Countess of Chesterfield, 1777-78 Thomas Gainsborough
177. GCENP2_150707_165.JPG: John, Fourteenth Lord Willoughby de Broke, and His Family in the Breakfast Room at Compton Verney, about 1766 Johann Zoffany
178. GCENP2_150707_168.JPG: Portrait of Charles-Francois Pinceloup de la Grange, 1747 Jean-Baptiste Perrnonneau
179. GCENP2_150707_172.JPG: The Italian Comedians, about 1720 Jean-Antoine Watteau
180. GCENP2_150707_178.JPG: Portrait of Magdaleine Pinceloup de la Grange, 1747 Jean-Baptiste Perronneau
181. GCENP2_150707_182.JPG: As a cat person, you eventually notice just how few cats are depicted in paintings.
182. GCENP2_150707_187.JPG: Dance before a Fountain, by 1724 Nicolas Lancret
183. GCENP2_150707_192.JPG: Rinaldo and the Mirror-Shield, about 1650-55 Francesco Maffei
184. GCENP2_150707_195.JPG: The Fall of the Rebel Angels, about 1715-25 Southern German or Austrian
185. GCENP2_150707_199.JPG: The Glorification of the Union of the Houses of Hapsburg and Lorraine, 1775 Franz Anton Maulbertsch
186. GCENP2_150707_204.JPG: Jacob and Rachel at the Well of Haran, about 1710 Sebastiano Conca
187. GCENP2_150707_207.JPG: Rebecca and Eliezer at the Well of Nahor, about 1710 Sebastiano Conca
188. GCENP2_150707_211.JPG: Still Life with Grapes and Other Fruit, 1630s Luca Forte
189. GCENP2_150707_215.JPG: Perseus Confronting Phineus with the Head of Medusa, about 1705-10 Sebastiano Ricci
190. GCENP2_150707_220.JPG: The Painter in His Studio, about 1741-44 Pietro Longhi
191. GCENP2_150707_224.JPG: Villa Loredan at Paese, about 1778-82 Francesco Guardi
192. GCENP2_150707_229.JPG: The Blessed Bernardo Tolomei Visiting Victims of the Plague, about 1735 Giuseppe Maria Crespi
193. GCENP2_150707_234.JPG: The Grand Canal in Venice with Palazzo Bembo, about 1768 Francesco Guardi
194. GCENP2_150707_239.JPG: Building a Palace in Slices: Both of these paintings depicts the same stretch of the Grand Canal in Venice at the mouth of the Cannaregio Canal. Canaletto's view looks east and Guardi's west, with several buildings appearing in both. Palazzo Flangini (at left in the Canaletto) is seen in the Guardi on the right side of the canal in the middle distance, identifiable by its darkened facade. The original plans for the palace had envisaged three additional bays on the left. Remaining incomplete and asymmetrical, the building was left with an off-center doorway. A similar strategy of building in stages was pursued, with more success, by the owners of the Palazzo Bembo (seen at left in the Guardi). The dark park of the palace dates from the Renaissance, while the sparklingly clean addition, restoring symmetry to the facade, had been completed not long before the painting. In the Canaletto, the same palace stands at right, marked by an awning and its corner projecting forward into the sunlight.
195. GCENP2_150707_255.JPG: Alexander the Great and Campaspe in the Studio of Apelles, about 1740 Giambattista Tiepolo
196. GCENP2_150707_261.JPG: Classical Landscape with Figures and Sculpture, 1788 Pierre-Henri de Valenciennes
197. GCENP2_150707_267.JPG: Demolition of the Chateau of Meudon, 106 Hubert Robert
198. GCENP2_150707_274.JPG: View of the Bridge and Part of the Town of Cava, Kingdom of Naples, about 1785-90 Jean Joseph-Xavier Bidauld
199. GCENP2_150707_278.JPG: Belisarius, 1797 Baron Francois-Pascal-Simon Gerard
200. GCENP2_150707_285.JPG: Entrance to the Jardin Turc, 1812 Louis-Leopold Boilly
201. GCENP2_150707_291.JPG: The Farewell of Telemachus and Eucharis, 1818 Jacques-Louis David
202. GCENP2_150707_296.JPG: Portrait of Suzanne Le Peletier de Saint-Fargeau, 1804 Jacques-Louis David
203. GCENP2_150707_301.JPG: Portrait of the Sisters Zenaide and Charlotte Bonaparte, 1821 Jacques-Louis David
204. GCENP2_150707_305.JPG: Aurora and Cephalus, 1769 Francois Boucher
205. GCENP2_150707_309.JPG: Venus on the Waves, 1769 Francois Boucher
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
Wikipedia Description: Getty Center
From Wikipedia, the free encyclopedia

The Getty Center, in Brentwood, Los Angeles, California, is one of two locations of the J. Paul Getty Museum. The museum's permanent collection includes "pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; and 19th- and 20th-century American and European photographs". Among the works on display is the painting Irises by Vincent van Gogh.

The Center, which opened on December 16, 1997, is also well known for its architecture, gardens, and views (overlooking Los Angeles). Besides the Museum, the Center's buildings house the Getty Research Institute, the Getty Conservation Institute, the Getty Foundation, and the administrative offices of the J. Paul Getty Trust, which owns and operates the Center.

Location and history:

The purchase of the land upon which the Center is located -- a campus of 24 acres (97,000 m2) on a 110-acre (0.45 km2) site in the Santa Monica Mountains above Interstate 405, surrounded by 600 acres (2.4 km2) kept in a natural state -- was announced in 1983. The top of the hill is 900 feet (270 m) above I-405, high enough that on a clear day it is possible to see not only the Los Angeles skyline but also the San Bernardino Mountains to the east as well as the Pacific Ocean to the west.

In 1984, Richard Meier was chosen to be the architect of the Center. After an extensive conditional-use permit process, construction began in August 1989.

The construction was significantly delayed, with the planned completion date moved from 1988 to 1995 (as of 1990). By 1995, however, the campus was described as only "more than halfway complete".

The Center finally opened to the public on December 16, 1997. Although the total project cost was estimated to be $350 million as of 1990, it was later estimated to be $1.3 billion.

Architecture:

Richard Meier has exploited the two naturally occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the galleries and along the other axis lie the administrative buildings. The primary grid structure is a 30-inch (760 mm) square; most wall and floor elements are 30-inch (760 mm) squares or some derivative thereof.

The buildings at the Getty Center are made from concrete and steel with either travertine or aluminium cladding.

Throughout the campus, numerous fountains provide white noise as a background. The initial design has remained intact, however benches and fences have been installed around the plaza fountains to discourage visitors from wading into the pools. Some additional revisions have been made in deference to the Americans with Disabilities Act.

The north promontory is anchored by a circular grass area which serves as a heliport in case of emergencies, and the south promontory is anchored by a succulent plant and cactus garden.

The museum has a seven-story deep underground parking garage with over 1,200 parking spaces. An automated three-car, cable-pulled tram takes passengers to and from the museum.

Museum:

The collection of the J. Paul Getty Museum on display at the Getty Center includes "pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; and 19th- and 20th-century American and European photographs". The paintings include:

* Arii Matamoe (The Royal End) by Paul Gauguin (1892). The Museum's director, Michael Brand, stated that the purchase of the painting was “one of the key moments in the history of our collection”. The literal translation of the Tahitian words of the title are "noble" and "sleeping eyes," which implies "death".
* Irises by Vincent Van Gogh (1889). The Museum purchased the painting in 1990; it had sold for $53.9 million in 1987.
* Portrait of a Halberdier by Pontormo (1528-1530). When the Museum bought the painting for $35.2 million at an auction in 1989, "the price more than tripled the previous record at auction for an Old Master painting".
* A copy of Portrait of Louis XIV, which measures 114 x 62-5/8 inches, by the workshop of Hyacinthe Rigaud (after 1701).

The five museum buildings, called pavilions, are North, East, South, West and the Exhibitions Pavilion. The Exhibitions Pavilion acts as the temporary residence for traveling art collections and the Foundation's artwork for which the permanent pavilions have no room. The permanent collection is displayed throughout the other four pavilions chronologically: the North houses the oldest art while the West houses the newest. The first-floor galleries house light-sensitive art, such as illuminated manuscripts, furniture, or photography. Computer-controlled skylights on the second floor galleries allow paintings to be displayed in natural light. The second floors are connected by a series of glass-enclosed bridges and open terraces, both of which offer views of the surrounding hillsides and central plaza.

Central Garden:

The 134,000-square-foot (12,400 m2) Central Garden at the Getty Center is the work of artist Robert Irwin. Planning for the garden began in 1992, construction started in 1996, and the garden was completed in December 1997.

Irwin was quoted as saying that the Central Garden "is a sculpture in the form of a garden, which aims to be art". A tree-lined walkway descends to a plaza, while water in a stream criss-crosses the walkway, continues through the plaza, and goes over a stone waterfall into a round pool. A maze of azaleas floats in the pool, around which is a series of specialty gardens. More than 500 varieties of plant material are used for the Central Garden, but the selection is "always changing, never twice the same".

Getty Research Institute (GRI):

The Getty Research Institute (GRI) is "dedicated to furthering knowledge and advancing understanding of the visual arts". Among other holdings, GRI's research library contains over 900,000 volumes of books, periodicals, and auction catalogs; special collections; and two million photographs of art and architecture. GRI's other activities include exhibitions, publications, and a residential scholars program. At the Getty Center, GRI is located to the west of the museum.

Getty Conservation Institute (GCI):

The Getty Conservation Institute (GCI), which is headquartered at the Getty Center but also has facilities at the Getty Villa, commenced operation in 1985. It "serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field" and "adheres to the principles that guide the work of the Getty Trust: service, philanthropy, teaching, and access". GCI has activities in both art conservation and architectural conservation. Its offices are north of the museum.

Getty Foundation:

The Getty Foundation awards grants for "the understanding and preservation of the visual arts". In addition, it runs the Getty Leadership Institute for "current and future museum leaders". Its offices are north of the museum.

J. Paul Getty Trust:

The J. Paul Getty Trust oversees the Getty Conservation Institute, Getty Foundation, Getty Research Institute, and J. Paul Getty Museum. Its offices are north of the museum.

Preparation for natural disasters:

Earthquakes:

Although the Center's site was thought to have little motion during earthquakes which are frequent in the Los Angeles area, in 1994, as the Center was being constructed, the Northridge earthquake struck. It caused "disturbing hairline cracks... in the welds and plated joints of the steel framework". As a result, the steelwork through the site was retrofitted. The Center's buildings are thought to be able to survive an earthquake of 7.5 magnitude on the Richter scale.

Fires:

A number of measures were or are taken to help prevent fires at the Center, including:

* In the 16 electrical transformers at the Center, silicone fluid is used as a coolant "with less risk of ignition" than hydrocarbon coolant.
* The native flammable chaparral was removed and fire-resistant poverty weed was added to the slopes around the Center.
* Each year, a herd of goats is rented to clear brush on the surrounding hills.

A number of other measures help to suppress any fires that might occur or to prevent damage from them, including:

* At the north end of the Center, a tank with a million gallons of water, together with a grass-covered helipad, allow helicopters to collect water.
* The access ramp from the entry plaza to the museum was constructed to allow a fire truck to pass over it.
* Inside the museum, the sprinkler system is designed to balance "between the potential damage of a fire and the risk of water damage to valuable artwork"/
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