The J. Paul Getty Museum Journal 8 is a compendium of articles and
notes pertaining to the Museum's permanent collections of antiquities, paintings,
and sculpture and works of art. This volume includes an Editorial Statement by
the Journal’s editors: Burton B.
Fredericksen, Curator of Paintings, Jiří Frel, Curator of Antiquities, and
Gillian Wilson, Curator of Decorative Arts. Conservation problems will be
discussed along with the articles written by Gillian Wilson, George
Goldner, Susan Page, Mauro Natale, Malcolm Waddingham, Daniel Lettieri, Jiří
Frel, Patricia Tuttle, Helayna Iwaniw Thickpenny, Phyllis Williams Lehmann, K.
Patricia Erhart, Guntram Koch, Klaus Parlasca, Larissa Bonfante, Andrew Oliver,
Jr., Brigitta Strelka, Faya Causey Frel, Jeanne Peppers, Roy Kotansky, Lawrence
J. Bilquez, Jane M. Cody, Marit Jentoft-Nilsen, and Stephen Bailey.
The book is based, not only on extensive research but on personal observation of nearly all the works mentioned, in Constantinople, Greece, Crete, Italy, and Spain. It is an important and exciting addition to the history of European Art and establishes, scientifically, theories which only existed in conjecture before its publication. The book includes 94 black and white plates.
In the years between 1984 and 1997, photographer Joe Deal
recorded the transformation of a chaparral-covered mountaintop to the
travertine-covered complex of the Getty Center.
Expanding his work chronicling the changing Southern
California landscape, Deal embarked on a campaign to document the construction
of a major piece of architecture and interpret its relationship to the natural
environment. He completed the assignment in two phases: The photographs made
during the first phase (April 1984–March 1989) capture the natural ruggedness
of the terrain and establish its relationship to the developed neighboring
enclaves. Those made during the second phase (April 1992–August 1997) not only
record the actual construction process but also reveal Deal’s personal
perspective on the qualities of light and the creation of form. Represented in
this book is a selection from the resulting portfolio, Topos, a Greek word meaning place, site, position, and
occasion—Deal’s artistic legacy to the Getty Center.
Mark Johnstone has written an
essay in which he provides both a key to understanding Joe Deal’s unique vision
as well as commentaries on the thematic groups and individual photographs