J. Paul Getty Museum Essays

Museums create online collections of their objects to allow the public access for research or entertainment, and numerous museums have at least part of their collections online in some format, but many limit access due to copyright and other restrictions. However, as more and more museums allow this access other museums and cultural institutions feel the pressure to allow access to their collections as well. In this digital age, there is a presumption that everything is and should be accessible to

Purchased at price tag of $9 million, the museum made sure to verify that the statute was indeed legitimate. Overtime, as experts would initially observe and examine the statue, they would grow skeptical of its authenticity, a perspective held primarily by paleontologists whom would observe it first

Furthermore, compostition which is the arrangement and placement of the objects in art in order to create a meaning for the art piece. The way most of Morandi’s still life art pieces are either drawn from the perspective of looking from above or from the front. But the Natura Morta 1953 is drawn from the front and a little of the above perspective, which also enables us to see the shade on the objects from the top and tell which of the objects has a lid and which one doesn’t. Like the sup/bowl and

awards. Museums have had an enormous presence in these sites and have even been winners of these awards. The Webby awards were established by the International Academy of Digital Arts and Science in 1996. Is the oldest organization in reward the best on Internet, it focuses on several categories such as art, best web practices, mobile sites and apps, etc. In 2015 the Metropolitan Museum of Art won the best photography and graphics on social media, Instagram. In 2016 Los Angeles County Museum of Art

their decisions. Especially when it comes to quick judgments. The introduction is titled The Statue That Didn’t Look Right, and it recalls the time in 1983, when the J. Paul Getty Museum purchased a statue that turned out to be forged. It began when an art dealer who claimed to have a Greek statue for sale approached the Getty. The museum ran multiple experiments on the statue and in 1986 when it was finally approved as authentic,

the material (it often was marble). However, Greek and Roman gravestones showed many differences in the design. It could be authors’ preferences or the way people wanted descendants to remember and commemorate them. Two gravestones from the J. Paul Getty Museum show this different points of view; they are the grave stele of Theognis and the tomb altar of Caltilius & Caltilia. The first work was created around 360 B. C. The relief shows a group of three people. According to the sign, they are Nikomache

situations and studies into Blink (2005) in order to describe the accuracy of the snap judgements people tend to make without realizing it. Gladwell begins with a story about a kouros, or a statue of a posed naked man. While analysis at the J. Paul Getty Museum seemed to prove its legitimacy, many trained archaeologists had a feeling that the statue was a fake. As it turned out, the kouros was a fraud. Gladwell draws the reader in with this interesting introduction and sets a baseline for the format

The most striking factor about both Raphael's painting ‘Transfiguration' and Bill Viola's video piece ‘Five Angels for the Millennium' is the strong presence of an all mighty figure. Whilst Raphael's piece was incredibly obvious of this, Viola's work has subtle hints that sway towards a religious atmosphere. With a title containing ‘Five Angels' is a step towards a religious aspect but there is his idea that there is more than one surface to the world. There is a still from this piece that I feel

purpose of the paper is to describe, analyze, interpret, and judge a representational painting. For this paper I have selected the painting named “A Musical Group on a Balcony” by Gerrit van Honthorst. This work of art is located at the J. Paul Getty Museum (The Getty Center) on the ceiling of the entrance to the Barroque Art exhibition, surrounded by olive green walls. This Dutch painting was created in 1622 with Oil on panel. It is very important to look at the context of the image, meaning to say

mortal man Adonis. Tiziano or Titian depicted a scene where the woman tried to talk her beloved man out of hunting. But her attempts were useless; Adonis went hunting and was killed by a wild boar, according to the description given by the J. Paul Getty Museum. The man is a central figure of the painting; Adonis’s face is the first thing most viewers mention when they see the work. His figure is highlighted by the red outfit. Adonis’s eyes shift viewers’ attention to Venus; the naked woman, who tries

Why Byzantium? Byzantium is ‘an undertheorised field as well as an understudied one’ (Cameron, 2014, p. 6). As a result there are several interpretations around it, which give rise to ambiguity. This ambiguity mainly derives from diverse and mutually different explanations of (a) the origin(s) of Byzantine culture and art and (b) Byzantium’s contribution to the formation of Europe (including its contribution to the formation of modern European nations and boarders and also, its influences to the

Gladwell Number of Pages: 311 Brief Summary and “Arrangement” of the Book: Introduction: Gladwell introduces the book with an intriguing thought experiment. He describes a statue that the J. Paul Getty Museum bought after over a year of background research into the statue's authenticity. The Getty eventually purchased it and put it on display, but then many experts who came to see the famous statue instantly recognized that either something was "off" about the statue, or that it was an outright

Contemporary art is a style of art that originated around the mid-late 20th century. The J. Paul Getty Museum website defines contemporary artists as “. . .like many artists that preceded them, may acknowledge and find inspiration in artworks from previous time periods in both subject matter and formal elements” (About Contemporary Art, par. 4). This comment on contemporary artists reveals that they are not creating art inspired by just one style movement or area of the world, rather they gather

Nancy H., and Andrew Ramage. Roman Art: Romulus to Constantine. Fifth Edition. New Jersey: Prentice Hall, Inc., 2008. 6. Stewart, Peter. The Social History of Roman Art. New York: Cambridge University Press, 2008. 7. Zanker, Paul. Roman Art. Los Angeles: J. Paul Getty Museum, 2010. 8. Jeffrey A. Becker and Nicola Terrenato. eds. Roman Republican Villas: Architecture, Context, and Ideology (Ann Arbor: University of Michigan Press, 2012). 9. Lisa C. Nevett, Domestic space in Classical Antiquity (New

urge to acquire and own art is a time-honoured one. From the grand patronage of Renaissance popes and princes (not to mention de Medici), to eighteenth-century British aristocrats, or the bulk buying of Europe’s cultural heritage by America’s J. Paul Getty, over the centuries art has been amassed for purposes of propaganda, prestige, intellectual enlightenment and sheer pleasure. Few activities run the gamut of human impulses more comprehensively than the acquisition of art. Yet, however lofty or