Getty Art + Ideas

At the Salon of 1882, just one year before his death, Édouard Manet exhibited a painting depicting the actress and model Jeanne Demarsy. This portrait of a chic young woman holding a parasol against a background of lush foliage is viewed as a testament to Manet’s command of color and brushwork, and was one of the few resounding public and critical successes of his career. Scott Allan, associate curator of paintings at the J. Paul Getty Museum, takes us to the Getty’s galleries where the painting is on view and explores the significance of this extraordinary work.

At the Salon of 1882, just one year before his death, Édouard Manet exhibited a painting depicting the actress and model Jeanne Demarsy. This portrait of a chic young woman holding a parasol against a background of lush foliage is viewed as a testament to Manet’s command of color and brushwork, and was one of the few resounding public and critical successes of his career. Scott Allan, associate curator of paintings at the J. Paul Getty Museum, takes us to the Getty’s galleries where the painting is on view and explores the significance of this extraordinary work.

The Roman Empire’s rich and multifaceted visual culture is a manifestation of the sprawling geography of its provinces. In 2011 through the Getty Foundation’s Connecting Art Histories initiative, a group of twenty international scholars began a multi-year research seminar to study, discuss, and ponder the nature and development of art and archaeology in the Roman provinces. Their compelling research resulted in a book titled “Beyond Boundaries: Connecting Visual Cultures in the Provinces of Ancient Rome.”

Susan Alcock, editor of “Beyond Boundaries” and professor of classical archaeology and classics at the University of Michigan, Jeffrey Spier, senior curator of antiquities, and Ken Lapatin, curator of antiquities, both at the J. Paul Getty Museum, discuss the impact of the seminar and various essays from the resulting publication.

The Roman Empire’s rich and multifaceted visual culture is a manifestation of the sprawling geography of its provinces. In 2011 through the Getty Foundation’s Connecting Art Histories initiative, a group of twenty international scholars began a multi-year research seminar to study, discuss, and ponder the nature and development of art and archaeology in the Roman provinces. Their compelling research resulted in a book titled "Beyond Boundaries: Connecting Visual Cultures in the Provinces of Ancient Rome." Susan Alcock, editor of "Beyond Boundaries" and professor of classical archaeology and classics at the University of Michigan, Jeffrey Spier, senior curator of antiquities, and Ken Lapatin, curator of antiquities, both at the J. Paul Getty Museum, discuss the impact of the seminar and various essays from the resulting publication.

In a four-part series, we’ll explore architect Frank Gehry’s Los Angeles and how his practice has evolved during his seventy years as an Angeleno.

In this last conversation of the series, Gehry talks about projects, past and present, in three cities: Berlin, New York, and Los Angeles. We learn about his inspiration for the Walt Disney Concert Hall and for a forthcoming performance space in Berlin named after Pierre Boulez. He also recounts the trials and tribulations he encountered while working on projects in New York. And finally, Gehry shares his plans for the redevelopment of a block on the infamous Sunset Strip and the much anticipated L.A. River project.

In a four-part series, we’ll explore architect Frank Gehry’s Los Angeles and how his practice has evolved during his seventy years as an Angeleno. In this last conversation of the series, Gehry talks about projects, past and present, in three cities: Berlin, New York, and Los Angeles. We learn about his inspiration for the Walt Disney Concert Hall and for a forthcoming performance space in Berlin named after Pierre Boulez. He also recounts the trials and tribulations he encountered while working on projects in New York. And finally, Gehry shares his plans for the redevelopment of a block on the infamous Sunset Strip and the much anticipated L.A. River project.

In 1427 Renaissance manuscript illuminator and panel painter Giovanni di Paolo completed one of his most important commissions: an altarpiece for the Branchini family chapel in the church of San Domenico in Siena, Italy. The polyptych was disbanded, likely in the fifteenth century. The Getty exhibition "The Shimmer of Gold: Giovanni di Paolo in Renaissance Siena" unites several panels of the remarkable altarpiece for the first time since its dispersal. In this episode, we visit the galleries with Yvonne Szafran, senior painting conservator, Davide Gasparotto, senior curator of paintings, and Bryan Keene, assistant curator of manuscripts, at the J. Paul Getty Museum, who discuss what is depicted in the panels as well as di Paolo’s painting techniques. We also learn about the exciting technical analysis being undertaken that may eventually help to identify other missing panels.

In 1427 Renaissance manuscript illuminator and panel painter Giovanni di Paolo completed one of his most important commissions: an altarpiece for the Branchini family chapel in the church of San Domenico in Siena, Italy. The polyptych was disbanded, likely in the fifteenth century. The Getty exhibition “The Shimmer of Gold: Giovanni di Paolo in Renaissance Siena” unites several panels of the remarkable altarpiece for the first time since its dispersal.

In this episode, we visit the galleries with Yvonne Szafran, senior painting conservator, Davide Gasparotto, senior curator of paintings, and Bryan Keene, assistant curator of manuscripts, at the J. Paul Getty Museum, who discuss what is depicted in the panels as well as di Paolo’s painting techniques. We also learn about the exciting technical analysis being undertaken that may eventually help to identify other missing panels.

André Malraux, the French novelist, minister of cultural affairs, and art theorist, published his seminal book "Le Musée imaginaire" in the early 1950s. In "The Book on the Floor: André Malraux and the Imaginary Museum," art historian Walter Grasskamp takes Malraux’s work as a launching point to explore Malraux and his contemporary André Vigneau, the early history of the illustrated art book, and how Malraux’s vision for a “museum without walls” anticipated a new approach to art history that was comparative and global in scope. Thomas Gaehtgens, director of the Getty Research Institute, joins the conversation.

André Malraux, the French novelist, minister of cultural affairs, and art theorist, published his seminal book “Le Musée imaginaire” in the early 1950s. In “The Book on the Floor: André Malraux and the Imaginary Museum,” art historian Walter Grasskamp takes Malraux’s work as a launching point to explore Malraux and his contemporary André Vigneau, the early history of the illustrated art book, and how Malraux’s vision for a “museum without walls” anticipated a new approach to art history that was comparative and global in scope. Thomas Gaehtgens, director of the Getty Research Institute, joins the conversation.