Enfilade

This exhibition opens the Getty Research Institute’s newly expanded galleries with an exploration of materials related to the 2013–14 scholar year theme Connecting Seas: Cultural and Artistic Exchange. From the exhibition press release (5 November 2013) . . .

Connecting Seas: A Visual History of Discoveries and Encounters
Getty Research Institute, Getty Center, Los Angeles, 7 December 2013 — 13 April 2014

Curated by Peter Bonfitto, David Brafman, Louis Marchesano, Isotta Poggi, Kim Richter, and Frances Terpak

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Since antiquity, people have crossed the seas to explore distant shores and discover other cultures. The introduction of the printing press made it possible for illustrated accounts of travel and exploration to find wide distribution in Europe, and, soon after, other continents. Connecting Seas: A Visual History of Discoveries and Encounters, on view December 7, 2013–April 13, 2014 at the Getty Research Institute, Getty Center, draws on the Getty Research Institute’s extensive special collections to reveal how adventures on other continents and discoveries of other cultures were perceived, represented, and transmitted during past ages of ocean travel.

“This exhibition prompts us to see and consider the long history of cultural encounters, an endeavor we are still pursuing today,” said Thomas W. Gaehtgens, director of the Getty Research Institute. “The Getty Research Institute’s special collections are rich troves of original sources that offer insight into the history of representation spanning five hundred years.”

Featuring rare books, prints, maps, and navigational instruments—from Renaissance prints to Napoleon’s monumental folios on Egypt to panoramic images known as vues d’optique, photographs and children’s games—the exhibition traces the fascinating course of scholarly investigation and comprehension of cultures in Asia, South America, and Africa. These intriguing original works from the sixteenth- to the twenty-first century, mostly from European, but some of Asian and South-American origins, chart diverse narratives of discovery, exploration, commerce, and colonization, and illuminate the multiple and various levels of encounter at the roots of today’s globalization. The exhibition is organized under three themes: “Orienting the World,” “Expeditions and Exploration,” and “Commerce and Colonialism” and was collaboratively curated by six GRI curators: Peter Bonfitto, David Brafman, Louis Marchesano, Isotta Poggi, Kim Richter and Frances Terpak.

Most of the rare material featured in Connecting Seas is of European origin, which reflects the history of the GRI. In the past, the GRI was primarily dedicated to collecting and exploring the Western tradition. Some objects from other parts of the world already signal a recent programmatic change. As the GRI continues to broaden its scope of collecting and research, this more global approach will become a more visible aspect of exhibitions and public programs. Connecting Seas draws heavily from the GRI’s special collections, including prints, photographs, drawings, rare books and ephemera from the 16th to 20th centuries. It also features navigational instruments, a painting on the North Atlantic slave trade and other marine objects generously loaned by the Kelton Foundation that directly complement the GRI’s collections on display. Through deep research in the GRI’s rich holdings of primary sources and historical objects and documentation, the exhibition interprets images from the past to see how they transferred and represented the encounter of cultures. As Gaehtgens states, “by understanding how such encounters were embraced in the past, we can learn to think critically about our contemporary experiences and its challenges.”

“This exhibition invites the viewer to reflect on the complex, long history of exploration and exchange,” added Marcia Reed, Chief Curator, Getty Research Institute. “For every instance of misunderstanding, prejudice or exploitation there are examples of persistent intellectual curiosity, generosity, and empathy.”

Orienting the World

Mapping the world was the first step in discovering new lands. The first section of the exhibition displays the techniques and tools early explorers developed in order to navigate the seas. Knowledge of astronomical orientation and the invention of maritime instruments were necessary to face the challenges of ocean voyages. For example, an Islamic astrolabe from Maghreb helped mariners navigate by charting the stars. As civilization gradually came to understand the Earth as a globe, discoverers created early representations of the continents that combined experience and imagination. A woodcut map from Magdeburg in 1597 depicts the world as a clover leaf with Jerusalem at the center, and the continents of Europe, Asia and Africa emerging from the center.

Expeditions and Exploration

Early travelogues of Europeans who visited Asia and Africa were at times extraordinarily fanciful, and hearsay reports generated strange imaginings and misunderstandings about other lands and cultures. In many cases bizarre legends were passed down over centuries, understood as true. A woodcut in Giovanni Botero’s early seventeenth-century book, Man from the Wilds of Asia, depicts a headless man with a face on his chest. The notion that such people had been seen in Africa and throughout Asia was centuries old at the time and could be traced to al-Qazwini, a thirteenth-century scholar of Baghdad.

This second section of the exhibition explores how early travelers’ tales with such misinformation gradually became replaced by more scholarly studies. Exploration and collecting were followed by study and analysis. Enlightenment values motivated rigorous scholarly approaches to distant continents, but they also often coincided with imperialist ambitions of European rulers. Napoleon invited geographers, archaeologists, and scientists to accompany him on military campaigns in Egypt. After their return to France, this team of experts published precise, firsthand observations and groundbreaking research on the entire Egyptian world. Preoccupation with other cultures became the domain of professionals who valued firsthand knowledge of distant lands and employed systematic and scientific approaches. Among the most remarkable of these was the German explorer and intellectual Alexander von Humboldt, who traveled extensively to many parts of Latin America. He returned to Berlin and Paris with significant specimens and notes and published his research. A German lithograph dating to the mid-1800s on view in the exhibition depicts Humboldt in his study, surrounded by maps, papers and objects from his travels.

Commerce and Colonialism

The third section of the exhibition examines how exploration, colonization, and exploitation characterized the age of modern imperialism, in which European nations competed for control over territories in Africa, Asia, and the Americas. International exhibitions in European and North American cities displayed the products of faraway lands or reproductions. Some children’s games disseminated prejudice—advertisements for the Belgian company Chocolat de Beukelaer from the early-twentieth century featured disturbing cartoon scenes of colonial encounters in Africa—and world’s fairs even displayed human beings who were brought to the European capitals along with (often inaccurate) reconstructions of their original dwellings. Despite the rise in scholarly perspectives on exploration and travel during the nineteenth and twentieth centuries, racial prejudices were often spread by in prints, journals, and photographs as trade among the continents increased.

The Getty Research Institute’s Scholar Program

The exhibition relates closely to the GRI’s Scholar Year theme. Every year scholars from around the world come to the Getty Research Institute to join the highly competitive Scholars Program. This year, forty scholars were chosen out of nearly 600 applicants, the highest total in the program’s 28-year history. The 2013–14 scholar year theme, Connecting Seas: Cultural and Artistic Exchange, will focus on similar subjects as the exhibition, exploring the art-historical impact of maritime transport. The scholars will be in residence at the Getty Center and the Getty Villa through the spring to undertake research projects related to the vital role seas and oceans played in connecting cultures.

New Exhibition Spaces

Connecting Seas will be the first exhibition in the Getty Research Institute’s newly expanded galleries. As part of its ongoing commitment to present engaging exhibitions to the public, the Getty Research Institute has added an additional 2,000 square feet of gallery space. The additional gallery space will bring the total exhibition area to 2,800 square feet, divided between two galleries. This expansion will allow the Research Institute to mount innovative and significant exhibitions drawing principally from the GRI’s Special Collections and responding to advanced research initiatives in art history.

The exhibition object list is available here»

From the exhibition press release (24 October 2013) . . .

Gods and Heroes: European Drawings of Classical Mythology
J. Paul Getty Museum, Getty Center, Los Angeles, 19 November 2013 — 9 February 2014

Curated by Edouard Kopp

Jacques-Louis David, Paris and Helen, 7 x 9 inches, 1786
(Los Angeles: The Getty, 83.GA.192)

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The stories involving the mythical gods and heroes of Greco-Roman antiquity have inspired artists for centuries, testing their abilities to represent complex narratives in visual form. The likes of Venus and Apollo, Hercules and Achilles, have proved to be particularly rich artistic subjects not only because they had extraordinary qualities―such as beauty, creativity, strength and courage―but also for the imperfections that made these characters even more compelling. Involved in love and lust, rivalry and treachery, crime and punishment, they possessed all the passions and flaws of mere mortals, but on a much larger scale. Featuring a selection of close to 40 drawings dating from the Renaissance to the 19th century, Gods and Heroes: European Drawings of Classical Mythology, on view November 19, 2013–February 9, 2014 at the J. Paul Getty Museum, Getty Center, explores the pictorial representation of myths that have been instrumental in the formation of Western culture.

“The Getty’s collection of drawings provides an almost endless supply of images representing figures from classical mythology,” explains Timothy Potts, director of the J. Paul Getty Museum. “Those chosen for this exhibition bring these myths to life for today’s audience in works of outstanding artistic quality. The exhibition also nicely complements the Museum’s collection at the Getty Villa, which is dedicated to the arts and culture of the ancient Mediterranean. Many of the gods and heroes that will be on view at the Getty Center in this exhibition find their counterparts in ancient representations there.”

Rosalba Carriera, A Muse, 12 x 10 inches, mid-1720s
(Los Angeles: The Getty, 2003.17)

Depending on when and where they worked, artists have approached mythical figures very differently, sometimes treating them as pretexts for visual experimentation. Consistently, these subjects have provided artists with the opportunity to demonstrate their ability to render human anatomy. While Agostino Carracci’s Triton Blowing a Conch Shell (1600) was made in preparation for an elaborate frescoed scene on the vault of Palazzo Farnese in Rome, the drawing stands alone as a powerful depiction of the triton’s twisting body, which is depicted with striking illusionism. In a subtle display of skill, Rosalba Carriera’s Muse (mid-1720s) exemplifies the artist’s mastery of the pastel technique, which is most evident in the rendering of the young woman’s ivory skin, flushed cheeks, and rosy lips. By contrast, Gustave Courbet used a tonal medium to represent the Head of a Sleeping Bacchante (1847). His smudged, painterly application of charcoal suggests the heaviness of the subject’s slumber.

Themes of love and lust are common in classical myths, as shown by Agostino Carracci’s drawing of Cupid Overpowering Pan (about 1590). In accord with the Roman poet Virgil’s statement that “love conquers all,” Cupid, symbolic of virtuous love, is shown subduing Pan, the embodiment of carnal desire. Cupid’s crucial role in matters of love is, by comparison, merely hinted at in Jacques-Louis David’s Paris and Helen (1786). According to legend, the Trojan prince Paris abducted the Spartan princess Helen, but she fell in love with him after Cupid shot her with an arrow of desire―events that led to the Trojan War. As for mortals, love was no easy thing for mythological figures; indeed, it often ended in tragedy.

The world of gods and heroes could also be a violent one, and drawings such as those depicting the labors of Hercules, attest to this. Hercules had to perform twelve feats as punishment for having killed his wife and children in a fit of temporary insanity. Giulio Romano’s Hercules Resting after Killing the Hydra (about 1535) shows the hero with an unusually lanky body, exhausted after he has killed the Hydra of Lerna, a multiheaded water serpent that was wreaking havoc. Victorious yet weary, Hercules rests on a large rock, with bits of the slain monster lying around him on the ground. For his part, Gustave Moreau represents another of Hercules’s labors, namely when the hero had to capture the flesh-eating mares of Diomedes, the evil king of Thrace. Hercules, having succeeded in seizing the animals, feeds Diomedes’s body to his own horses. Moreau situated the atrocious episode in a dim setting that offsets the brilliant tones of the delicately executed watercolor―a refined technique that could hardly be in starker contrast with the gory nature of the subject it serves to represent.

“This exhibition showcases a beautiful and highly interesting part of the Getty drawings collection in a meaningful way that invites the viewer to explore the fascinating world of Greco-Roman mythology and its artistic representations,” says Edouard Kopp, associate curator of drawings at the J. Paul Getty Museum and curator of the exhibition.

The illustrated checklist is available as a PDF file here»

Press release (20 November 2013) from The Met:

Cleopatra’s Needle
The Metropolitan Museum of Art, New York, 3 December 2013 — 8 June 2014

Curated by Diana Craig Patch with Dieter Arnol and Janice Kamrin

Since 1881, an ancient Egyptian monument—the obelisk of Pharaoh Thutmose III, popularly known as “Cleopatra’s Needle”—has stood in New York’s Central Park, a gift to the City of New York from the khedives of Egypt. It is the only monumental obelisk from ancient Egypt in the United States. The obelisk can be seen from several vantage points within The Metropolitan Museum of Art, which is located nearby. As the Central Park Conservancy begins to develop a plan to conserve the monument, the Metropolitan Museum will present an exhibition about the construction and evolving symbolism of obelisks from antiquity to the present day.

Cleopatra’s Needle will feature objects from the Museum’s Egyptian Art Department and a selection of prints, textiles, and other works of art from the departments of Drawings and Prints, European Paintings, European Sculpture and Decorative Arts, Photographs, and The American Wing. Nine additional works from the Brooklyn Museum, American Numismatic Society, Chancellor Robert R Livingston Masonic Library of Grand Lodge, Museum of the City of New York, Cooper-Hewitt National Design Museum, and private collections, most of which are seldom on display, will also be included. A highlight of the installation will be a dramatic time-lapse video of the obelisk in Central Park taken during the course of a day.

Obelisks originated in ancient Egypt and—like statues—were intended to house divine powers, even the spirit of a king or god. They were placed at the entrance of temples and tombs, where their presence was believed to radiate protection. The obelisk was a solar symbol and its soaring form connected the earth to the sky. Its tip, often sheathed in gold to suggest the sun, was a pyramidion, a shape sacred to Re, the sun god. The exhibition will include a five-foot-high obelisk from the entrance to an ancient Egyptian mortuary chapel devoted to sacred rams.

The obelisk in Central Park is one of a pair—each of which has come to be called “Cleopatra’s Needle”—originally installed by Thutmose III (r. ca. 1479–1425 B.C.) in front of the sun temple in Heliopolis, the ancient Egyptian city dedicated to the sun god Re. Over time, both obelisks toppled. Discoloration indicates that they may have also been burned in antiquity, and that exposure to the elements eroded some of the hieroglyphs. Augustus Caesar (63 B.C.–14 A.D.) took the two obelisks to Alexandria and installed them at the Caesareum, the temple built by Cleopatra VII to honor the deified Julius Caesar. (This episode may explain how the name of Cleopatra became attached to these two obelisks.) The Romans recognized the solar imagery of obelisks and connected them to their own sun god, Sol. For Augustus, the link may have been personal as well, since Apollo, another Roman sun god, was his patron deity. Included in the exhibition will be a late 16th-century map and a late 17th-century Dutch watercolor, both showing the obelisk standing in Alexandria.

Egypt became a province of Rome under Augustus Caesar, and many artifacts—including numerous obelisks—were taken from Egypt to Rome. Some four centuries later, when Rome was sacked and the Roman Empire fell, all but one of the obelisks toppled, victims of vandalism or earthquakes, and were buried and forgotten.

Giovanni Battista Piranesi, The Piazza della Rotonda, with the Pantheon and Obelisk (Veduta della Piazza della Rotonda), etching,
ca. 1751 (New York: The Metropolitan Museum of Art)

The rediscovery of these objects during the Renaissance renewed popular interest in antiquities. Several popes organized new building projects in Rome around the ancient Egyptian monuments. There, obelisks were often placed at the center of public squares, such as the one in front of St. Peter’s Basilica. Domenico Fontana (1543–1607), an engineer in the service of Pope Sixtus V, raised at least four obelisks in public places. Through this connection with the Vatican, the obelisk became a symbol of eternal papal power. The exhibition will include drawings by Giovanni Battista Piranesi (1720–1778) that show obelisks in the Piazza della Rotonda and Piazza del Popolo.

Workshop of Giuseppe Galli Bibiena, Elevation of a Catafalque: Four Large Obelisks at the Corners with Large one Surmounting the Top, drawing, ca. 1720–40 (New York: Metropolitan Museum of Art)

Obelisks continued to be regarded as powerful symbols of an ancient civilization, and scholars in Europe began to study their inscriptions in the 16th and 17th centuries to understand the secret knowledge they believed obelisks held. The monuments were used in drawings and paintings to indicate a connection to antiquity, establish a harmonious landscape, or communicate the concept of eternity. Not only were obelisks used in landscape scenes—as in the drawings of Rembrandt or Francesco Guardi on view in the exhibition—but also in actual funerary monuments where the connection to eternity was most important. An example is the catafalque designs of the Italian theatrical designer Giuseppe Galli Bibiena (1696–1757).

The association between obelisks and eternity remained widely accepted, and obelisk forms began to be used as tomb markers in the early 18th century in America. A silk painting by a Connecticut schoolgirl shows such a tomb marker. The obelisk form also became a popular for war memorials, as recorded in a photograph of the General William Jenkins Worth Monument located on Fifth Avenue in New York City.

Ferdinando Galli Bibiena, Design for a Stage Set: Semi-Circular Architectural Ruins, Fountains, and an Obelisk, drawing (New York: Metropolitan Museum of Art)

In the late 19th century, after Khedive Ismail offered the United States the obelisk of Thutmose III as a gift, U.S. Navy engineer Lieutenant-Commander Henry Honeychurch Gorringe (1841–1885) was charged with the task of transporting the monument to New York and installing it in Central Park. He studied drawings made of Fontana’s earlier work—one of which will be on display—to learn how the feat had been accomplished in earlier times. Gorringe successfully lowered the obelisk in Alexandria, Egypt and loaded it after some difficulty into the hold of his ship the S.S. Dessoug.

Unloading the monument in New York was no easy task. It took nearly six months to move the obelisk from the dock in Staten Island to the East River at 96th Street, and finally to Central Park. On October 9, 1880, a crowd of 9,000 Freemasons led a parade to Central Park for a cornerstone ceremony for the foundation platform of the obelisk, which had also been brought from Egypt. The baton carried in that parade by the Grand Secretary of the New York Grand Lodge Edward M. L. Ehlers will be on view in the exhibition. On January 22, 1881, after months of effort, the obelisk reached its destination, Greywacke Knoll in Central Park. Gorringe carried out his task perfectly and the obelisk rose into position. He received a gold medal to commemorate his amazing feat.

Exhibition Credits
The exhibition was organized by Diana Craig Patch, Lila Acheson Wallace Curator in Charge, with Dieter Arnold, Curator, and Janice Kamrin, Associate Curator, of the Museum’s Egyptian Art Department. Exhibition design is by Brian Cha, Exhibition Design Associate; graphics are by Constance Norkin, Graphic Design Manager, with James Vetterlein, Associate Graphic Designer; lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of the Museum’s Design Department. The exhibition is made possible by Dorothy and Lewis B. Cullman.