Getty Villa Architecture I
TripSavvy / Christian Hundley
The Getty Center and Getty Villa are as much about the architecture as the art collection. Like much art, they are better appreciated with an understanding of their creators intentions. Knowing the architects’ concept of re-imagining the site as an archaeological dig, puts otherwise incongruous details in context. Oddly placed walls in the Entry Pavilion overlooking the Villa to one side and a concrete courtyard below re-create the sense of looking down into the dig pit – if you know that’s what it’s supposed to represent.
Stairs from the garage through the Entry Pavilion and the Path to Museum bring you to the top of the Outdoor Theater, from where you can look down to the Villa Entrance. This, again, gives the impression of looking down into the site. But if you don’t feel like ascending all those stairs just to climb back down through the theater, the archway to the right as you come up the stairs will take you through the Herb Garden to the Museum entrance. There are also elevators.
Beyond the Villa and Outdoor Theater, between the Auditorium and the Museum Store, a flat, square pool of Chinese black marble collects water seeping from between layers of travertine, bronze, red porphyry stone and board-formed concrete to add to the archaeological concept. The different textures represent the strata of volcanic deposits that covered the Villa dei Papiri when Vesuvius erupted in A.D. 79.An Orientation Tour gives architectural highlights.
Ancient And Modern History Meet
Several newly reinstalled galleries on the first floor of the Getty Villa feature objects that speak to both their ancient and modern histories. Gallery 105, known as the Hall of Colored Marbles, is dominated by a marble statue of Venus. Getty readily admitted that he enjoyed the company of women, and when the Villa first opened in 1974 an entire gallery was devoted to images of the goddess of love.
When planning the new display we therefore decided that the first of two built-in vitrines in this gallery would focus on representations of Venus in various media: terracotta, marble, and bronze. The smallest object in the case, a finely worked bronze head of the goddess, once attached to a larger figure, is remarkable for the preservation of a golden earring with a single pearl. Pearls were highly prized in antiquity, as they are today, and fetched vast prices.
Statuette of a Woman Reclining on a Couch with Cupids, 187590, probably made in Greece. Terracotta, pigment, and gold, 7 5/16 × 10 5/8 × 4 5/16 in. The J. Paul Getty Museum, 78.AK.38. Digital image courtesy of the Gettys Open Content Program
Detail of J. Paul Gettys personal copy of the Sothebys auction catalogue of items from Cam House, London. The Getty Research Institute
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Pronunciation Of The Name
The English pronunciation of the name of the city has varied. A 1953 article in the of the asserts that the pronunciation was established following the 1850 incorporation of the city and that since the 1880s the pronunciation emerged out of a trend in California to give places Spanish, or Spanish-sounding, names and pronunciations. In 1908, librarian , who argued for the pronunciation with , reported that there were at least 12 pronunciation variants. In the early 1900s, the advocated for pronouncing it Loce AHNG-hayl-ais , approximating Spanish , by printing the under its masthead for several years. This did not find favor.
Since the 1930s, has been most common. In 1934, the decreed that this pronunciation be used. This was also endorsed in 1952 by a “jury” appointed by Mayor to devise an official pronunciation.
How The J Paul Getty Museum Works
Outside, you face a jaw-dropping mountaintop view of the one of the world’s great urban landscapes. Inside, you can gaze on Van Gogh’s famous oil painting, “Irises,” among numerous other art pieces and ancient artifacts.
Welcome to the J. Paul Getty Museum, a major cultural institution of Los Angeles and one of the most accessible and informative art museums in the world. Featuring unique architecture, intricate and ever-changing gardens, and a huge collection of paintings, manuscripts and photographs, the Getty has plenty to offer its visitors.
Its roots can be traced back to when oilman J. Paul Getty took a big risk by investing in oil fields in the Arabian Peninsula after World War II, but his bet paid off in a big way. By 1957, he was named the richest man in America .
Getty was a longtime lover of art and wanted to share his passion with the world. In 1954, he opened a museum connected to his home in Malibu . Twenty years later, he had the collection transferred to a replica of a Roman Villa that he’d had built nearby. The Villa now houses the Getty Museum’s extensive collection of antiquities. Although Getty spent the last decades of his life in England, and died without getting to see the completed Villa museum, his vision went even further.
Read on to find out why this wealthy art museum can also be a bargain for visitors.
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From A Ranch House To An Ancient Villa
Getty bought the 64-acre ranchonce part of the Rancho Boca de Santa Monica, an early-nineteenth-century 6,656-acre Mexican land grantjust after the end of World War II, intending it as a weekend retreat where his fifth wife Theodora could ride horses and he could display his growing art collection.
The Ranch House prior to renovation, between 1920 and 1945. The Getty Research Institute, Institutional Archives
He knew the area well, for he already owned a small house on the beach in nearby Santa Monica, just steps from the sprawling complex his friend and rival collector William Randolph Hearst had built for the actress Marion Davies.
After buying the property, Getty remodeled the low-slung Ranch House, adding a second story and several Spanish-style features. Although Getty left the United States permanently in 1951, leaving Teddy and their son Timmy behind, he continued to fill the Ranch House with works of art, and in 1954 it opened it to the public as the J. Paul Getty Museum.
Large antiquities gallery in the Getty Ranch House between 1957 and 1974. At the far end of the gallery stands the Lansdowne Hercules. The Getty Research Institute, Institutional Archives
Joint Ownership Of The Mapplethorpe Collection: Best Practices In Learning How To Share
In 2011, the J. Paul Getty Museum and the Los Angeles County Museum of Art jointly acquired a collection of over 2,000 works by Robert Mapplethorpe from the Robert Mapplethorpe Foundation . This historic acquisition is unique in many ways: not only is this one of the largest single artist gifts of the last decade, but the joint ownership of an entire collection by two institutions is unusual. The Getty and LACMA, both Gallery Systems clients, use The Museum System for their collections management. By using TMS, they found a way to share and access digital records, assign object numbers and locations for both museums, and properly track insurance and copyright for each individual object.
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The J Paul Getty Museum
Currently Open
J. Paul Getty Museum or just The Getty is one of the most famous art museums in California. The museum is located on two campuses called The Getty Center and The Getty Villa in Los Angeles. The main museum is of the J. Paul Getty Center in the Brentwood neighborhood. This museum has a vast collection of artworks from the Middle Ages to the present. While another museum which is located in the Getty Villa in Malibu neighborhood showcases brilliant art pieces from Greece and Italy. The museum witnesses over 2 million visitors every year and has been featured in the New York Times as well. You can purchase the Getty Museum tickets online or at their office.
The Getty Center
The Getty Center is one of the two campuses of the Getty Museum located on 1200 Getty Center Drive in Los Angeles, California. The center has a huge collection of the European and American Art from the medieval period to the present. It also organizes exhibitions on photography, pastel portraits, Renaissance art and more. The 134,000-square-foot central garden is also a point of attraction at the Getty Center.
The Getty Villa
The Getty Museum Collection
After The Bath Woman Drying Her Back By Edgar Degas
After the Bath, Woman Drying Her Back by Edgar Degas is a print of a female bather kneeling on a chair covered with towels as she arches her back over the backrest of the chair as if to pick something up with her right hand.
This print is part of a series of photographs, prints, drawings, preliminary sketches in pastels and oils by Degas from this period that depicts women during the bathing process.
Degas often used sketches and photography as a preliminary step to study the light and the composition for his paintings. This work is part of a series that depict women, as in this example, in awkward and unnatural positions.
Degas said he intended to create a feeling in the viewer as if you looked through a keyhole.
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The J Paul Getty Museum At The Getty Villa
TripSavvy / Christian Hundley
Oil magnate J. Paul Getty used some of his vast wealth to amass an incredible art and antiquities collection, first displayed in his ranch house on a bluff overlooking the Pacific. In the early 70s, he had a Romanesque villa constructed next to his house to be a permanent museum for his collection. The Malibu Villa, modeled after the partially excavated Villa dei Papiri in Italy, became the home of the J. Paul Getty Museum in 1974. In 1997, the Getty Villa was closed and the collection was relocated to the hilltop Getty Center in Brentwood .
Address: 17985 Pacific Coast Highway , Pacific Palisades, Los AngelesHours: Wednesday – Monday 10 am – 5 pm. Closed Tuesday and on January 1, July 4, Thanksgiving, and December 25.Cost: Admission is FREE, but advance timed tickets are required for every person over 5 years old. Each adult tickets may bring up to 3 children 15 and under in the same car.
Getting There:By Car: The Getty Villa is located at 17985 Pacific Coast Highway in Pacific Palisades , just north of the intersection with Sunset Boulevard. The Villa can only be accessed from the northbound side of PCH. Metro Bus 434 stops in front.
The Grand Canal In Venice From Palazzo Flangini To Campo San Marcuola By Canaletto
The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola by Canaletto was painted in 1738.
This composition is called a veduta , meaning a highly detailed, usually large-scale painting of a cityscape or some other vista.
This vendute painting depicts the upper reaches of the Grand Canal in Venice, Italy, near the entrance to the Cannaregio Canal. Venduta paintings were popular with the wealthy tourists to Venice in the mid-1700s.
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Modern Rome Campo Vaccino By Jmw Turner
Modern Rome Campo Vaccino by J.M.W. Turner is a landscape vision of the unexcavated Roman Forum, still called the Campo Vaccino meaning Cow Pasture, shimmering in the hazy light.
Ten years after his final journey to Rome, Turner envisioned Rome from his memory. Churches and ancient monuments in and around the Roman Forum are dissolving in bright colors.
The light from the moon is rising on the left. The sun is setting behind the Capitoline Hill at the right.
Irises By Vincent Van Gogh
Irises is one of several paintings of Irises by Vincent van Gogh and one of a series of paintings he painted at the asylum in Saint-Rémy, France, in the last year before his death.
In 1889 after several episodes of self-mutilation and hospitalization, Van Gogh chose to enter an asylum. There, in the last year before his death, he created over 120 paintings.
Shortly after entering the asylum, Van Gogh started Irises, working from nature in the asylums garden. He called painting the lightning conductor for my illness because he felt that he could keep himself from going insane by continuing to paint.
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Combining Different Media And Techniques
These magazines show how vibrant and experimental artmaking was in the 1980s GDR. They included poems, prints, drawings, photographs, and found material there were no limits. Stephan submitted not only gelatin silver photographic prints of her silk performance but also various other works to the magazine Der Schaden, which was an essential communication and exhibition platform for artists working in East Berlin. Copies of Der Schadenmeaning damageare housed in the GRIs Special Collections.
Stephans works included in Der Schaden also provide insights into the artists evolution. As a young woman, she had worked as a seamstress on the assembly line in a state-owned clothing factory. There she learned to sew, but she also experienced the difficulties women faced in industrial textile production. In her art, she processed her very personal experiences as a working single mother and female artist and dealt with the perception and representation of the female body.
Later, her studio in Erfurt became a venue for collaborative nude drawing sessions. There she began to experiment using the sewing needle as a drawing tool, producing various sewn graphics of nude female bodies.
Stephans artworks are just some examples from Gettys vast GDR collections that experiment with unconventional materials and techniques. They offer a glimpse into the highly productive and experimental art scene of the 1980s GDR.
The Villa J Paul Getty Built But Never Saw
Ancient and modern history intertwine at the Getty Villa
Kenneth Lapatin | April 10, 2018 | 4 min read
Ironically, J. Paul Getty never saw the Getty Villa. He died two years after his museum opened to the public in January 1974 in a new building modeled on an ancient Roman luxury home. It was not until after Gettys death in June 1976 that he returned from his estate in England to his ranch on the Pacific Coast: he is buried there at the edge of the property on a private plot overlooking the ocean, alongside his eldest and youngest sons, George and Timothy, both of whom predeceased him.
Following a renovation and reinstallation of the galleries, the Getty Villa opens a new chapter in its history. Although Getty never set eyes on his creation, the story of how he built the Villa and assembled his collection pervades the galleries even today. A suite of revamped roomsGalleries 105 to 108share this history. Featuring ancient works of art Getty bought himself along with archival documents, the new displays place the objects in their cultural contexts and shed light on Gettys personal relationship to his museum and final resting place.
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Wheatstacks Snow Effect Morning By Claude Monet
Wheatstacks, Snow Effect, Morning by Claude Monet is part of a series of stacks of harvested wheat. The series consists of twenty-five canvas, which Monet began near the end of the summer of 1890, and though Monet also produced earlier paintings using this same stack subject.
The impressionist series is famous for how Monet repeated the same theme to show the different light and atmosphere at different times of day, across the seasons, and in many types of weather.
Monets Haystacks series is one of his earliest to rely on repetition of a subject to illustrate a subtle difference in color perception across variations of times of day, seasons, and weather.
Movies And The Performing Arts
The city’s has become recognized as the center of the and the Los Angeles area is also associated as being the center of the . The city is home to major film studios as well as major record labels. Los Angeles plays host to the annual , the , the as well as many other entertainment industry awards shows. Los Angeles is the site of the , the oldest in the United States.
The performing arts play a major role in Los Angeles’s cultural identity. According to the USC Stevens Institute for Innovation, “there are more than 1,100 annual theatrical productions and 21 openings every week.” The is “one of the three largest performing arts centers in the nation”, with more than 1.3 million visitors per year. The , centerpiece of the Music Center, is home to the prestigious . Notable organizations such as , the , and the are also resident companies of the Music Center. Talent is locally cultivated at premier institutions such as the and the .
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Spring By Douard Manet
Spring by Édouard Manet depicts the Parisian actress Jeanne DeMarsy in a floral dress with parasol and bonnet against a background of lush foliage and blue sky, as the embodiment of Spring.
She is portrayed poised and looking straight ahead, a picture of detachment even though she seems fully aware of our gaze.
This painting was the first of a planned quartet of allegorical works using chic Parisian women to depict the four seasons. The idea was to produce a series of seasons personified by contemporary ideals of women, fashion, and beauty.
The series was never finished, and Manet died a year after completing only the second of the series, Autumn.
