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Getty Museum
The J. Paul Getty Museum seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts.
The J. Paul Getty Museum seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts.
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Christ is depicted in glory surrounded by adoring angels. Looking up at him are four martyr saints: Saints Celsus, Marcionilla, Julian, and Basilissa. Pompeo Batoni made this sketch when he was only twenty-eight, in preparation for his first important commission in Rome.

Carlo Maratti was born #onthisday in 1625.

Christ in Glory with Saints Celsus, Julian, Marcionilla and Basilissa, 1736 - 1737, Pompeo Batoni. Oil on canvas. http://bit.ly/2qjS4OO #art #gettymuseum #painting
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If ever a nation should produce genius sufficient to acquire to us the honorable distinction of an English school, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. —Sir Joshua Reynolds

Thomas Gainsborough probably made this drawing as a study for The Richmond Water-Walk, a painting commissioned by King George III of England that was apparently never executed. The painting was to feature stylish ladies of the day promenading along the banks of the River Thames in London. To prepare for the painting, Gainsborough made sketching trips to St. James's Park near his London home to draw the "high-dressed and fashionable ladies" he saw there.

Thomas Gainsborough was born #onthisday in 1727.

A Lady Walking in a Garden with a Child, about 1785, Thomas Gainsborough. Black chalk with stumping and heightened with white pastel. http://bit.ly/2pyS1j4 #gettymuseum #art
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Gertrude Käsebier's shadowy portrait of a mother and child set against the simple geometry of a stable stall demonstrates her sense of design as well as her reverence for maternity.

The Manger (Ideal Motherhood), 1899, Gertrude Käsebier. Platinum print. http://bit.ly/1Kat398 #MothersDay #Photography #GettyMuseum
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Floating on a throne of clouds, the figures Justice and Faith look down on three putti who hold up an empty scroll. One of the virtues, Justice, sits on the left, holding the scales in one hand as a symbol of her impartiality. On the right sits Faith, with light shining from her head.

Carlo Maratti made the drawing as a preparatory study, in reverse, for the upper left corner of a large map of Rome. When it was published in 1676, the scroll held by the putti contained a dedication to the newly elected Pope Innocent XI.

Faith and Justice Enthroned, about 1676, Carlo Maratti.
Pen and brown ink, brown wash, red chalk, heightened with white gouache on brown paper; cut in an irregular shape. http://bit.ly/2r4xMcV #art #gettymuseum
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The absence of children or other pedestrians leisurely enjoying the park imparts a sense of solitude and loneliness to the image. Atget intended that his photographs be used as source material for artists of all mediums. This empty park would have provided a simple background, like a stage set, for an artist to copy and then enliven with the addition of figures.

Parc de Saint-Cloud, 1904, Eugène Atget. Albumen silver print. http://bit.ly/2pGe6r7 #NationalPublicGardensDay
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A youth stands with his weight on his right leg, crowning himself with a wreath, probably olive. The olive wreath was the prize for a victor in the +Olympic Games and identifies this youth as a victorious athlete.

Statue of a Victorious Youth (detail), 300 - 100 B.C., Greek. Bronze with inlaid copper. http://bit.ly/2q97Nyh #LA2024
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"Eyewitness Views: Making History in Eighteenth-Centruy Europe," opens today at the Getty Center. Explore the exhibition and plan your visit: http://bit.ly/2pL4xKZ

From Paris to Madrid and Vienna to London, from the Doge’s Palace to St. Peter’s Square, Europe’s most iconic cityscapes and monuments have played host to magnificent ceremonies. This first–ever exhibition focusing on views of historic events includes over fifty spectacular paintings–many never seen before in America–from an international array of lenders. Turning the beholder into an eyewitness on the scene, the works bring the spectacle and drama of the past to life.

Gallery view, left to right: The Reception of the French Ambassador, Henri-Charles Arnauld, Abbé de Pomponne, at the Doge’s Palace, about 1706-8, Luca Carlevarijs (Rijksmuseum. On loan from the Cultural Heritage Agency of the Netherlands, Amersfoort); The Courtyard of the Doge’s Palace with the Papal Nuncio Giovanni Francesco Stoppani and Senators in Procession, about 1742, Antonio Joli (National Gallery of Art, Washington, Gift of Mrs. Barbara Hutton, 1945.15.1); King Charles III Visiting Pope Benedict XIV at the Coffee House of the Palazzo del Quirinale, 1746, Giovanni Paolo Panini (Museo Nazionale di Capodimonte, Naples) #art #gettymuseum #painting
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Captivated in his youth by the new technology of photography, Kazumasa Ogawa (1860–1929) became one of the most enterprising and important early photographers, technicians, and printers in Japan.

Ogawa produced a range of illustrated books for the Western market. His work focused on traditional architecture, scenic views, and subjects associated with Japanese culture, such as national festivals, military tableaux, ritual customs, costumed geisha, and flowers

Iris Kæmpferi, 1896, Kazumasa Ogawa. Hand-colored collotype.
http://bit.ly/2qTkcFJ #GettyMuseum #Art #Photography #IrisDay
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The beatific face of the young nurse in her crisp white uniform contrasts with the time-worn features of her aged patient. Placing one hand on his shoulder to comfort him and holding a bowl in her other, the nurse demonstrates her vocation before the photographer's lens, which has envisioned her as a merciful angel.

A Sister of Charity Serving a Patient at the Hospice de Beaune, about 1848, French. Daguerreotype, hand-colored.
http://bit.ly/2pkcd38 #NursesWeek #GettyMuseum #Art #Photography
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