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"It is indeed true that art is omnipresent in nature, and the true artist is he who can bring it out." —Albrecht Dürer 

INDULGING IN SOME FORBIDDEN FRUIT...

Imagine if your ex was a spirit photographer...

If this 1908 photograph reminds you of a certain Dutch painter...you’re right! Photographer Guido Rey was inspired by Vermeer’s 1600s compositions.

Colombia and Brazil in the 1860s.

German Photographer Albert Frisch spent years exploring and documenting the native inhabitants, flora, and fauna of Brazil and Colombia before ultimately publishing a collection of prints in an album titled “Photographs from Amazonia” in 1867. All 27 photographs are included in the Getty Museum’s Open Content Collection, available to download and use for any purpose.

One painting, front, back, and in different light.

Notice the glossy parts? This was painted with two types of house paint that have different levels of gloss. Artists in Brazil in the 1950's took advantage of fast-drying industrial paints new on the market. Concrete artists in Buenos Aires like Hermelindo Fiaminghi (work above) were interested in experimenting with paint types and application techniques. The combination of these factors made some works look more like industrially produced objects, however, paint was applied and manipulated by the artist's hand. Hermelindo Fiaminghi is one of the Concrete artists on view currently in Making Art Concrete, on view until February 11. A show that asks, "What is the role of art in society?" Artists after WW2 in Argentina and Brazil were grappling with this question and rejected traditional painting to create artwork so precise in conception and execution that it formed its own material, or "concrete," reality. These "Concrete artists" were interested in experimenting with format, shape, construction, paint and material—art was to be a part of everyday life. Making Art Concrete is one of four #PSTLALA exhibitions currently on view at the Getty Center that spotlight Latin American art and Latino/a artists in relationship to Los Angeles.

Seccionado no. 1/ Sectioned No.1, 1958, Hermelindo Fiaminghi, alkyd on hardboard. Colección Patricia Phelps de Cisneros. © Estate of Hermelindo Fiaminghi

A Brief History of Moving Obelisks

One of the many questions about ancient obelisks is a logistical one: how did the Egyptians, and then the Romans, manage to transport and erect such massive monuments without the aid of modern technology? 

While the specifics of obelisk transportation in ancient Egypt—as well as the movement of other large stone sculptures and blocks—remain somewhat of a mystery, the archaeological record presents us with some clues.

In Ancient Egypt, raising the obelisk upright and situating it in place probably involved the use of ramps and ropes, but we do not know the exact techniques employed.

In 1585, the "Vatican obelisk" was to be moved 275 feet to the square in front of Saint Peter's Basilica. Architect Domenico Fontana designed a wooden tower that would be constructed around the obelisk, connected to a system of ropes and pulleys.

In 2017, the Museo del Sannio obelisk traveled from Italy to the Getty Villa in Los Angeles, California. Custom crates were built to safely pack the obelisk and base, which together weigh 5,400 pounds. The obelisk arrived in a horizontal position and needed to be erected on site.

Getty Villa experts used a gantry to lift the horizontal obelisk out of the crate. Then they used straps and chains to gently hoist the 3,800-pound stone upright. Once it was raised, it was lifted vertically so the base could be positioned correctly beneath it using a pallet jack.

Full post on the Getty Iris blog that takes look at the manpower and engineering needed to move obelisks in ancient Egypt, Rome, and today.

Image credits:

Pliny the Elder’s description of the ships that transported obelisks to Rome, From Athanasius Kircher, Obeliscus Pamphilius… (Rome: Grigniani, 1650). The Getty Research Institute, PJ1093 .K57

Plate related to the erection of St. Peter’s obelisk in the Piazza san Pietro in Rome, 1586, Natale Bonifacio. Etching and engraving, 49 x 121.2 cm. The Getty Research Institute, 2012.PR.35

Obelisk, Roman, AD 88/89. Granite, 351.5 cm high. Collection: Benevento, Museo del Sannio, inv. 1916

Detail from the Moon Represented as a Woman on Horseback, made shortly after 1464.

The squad gathers to analyze that parcel that just came in from your betrothed.

It’s Capricorn season!

The “sea goats” born in Capricorn are often described as responsible, organized, and ambitious, but also pessimistic, unforgiving, insatiable, and bossy. 

Does that describe you? Tell the truth!

Links to more info on these medieval illustrations: 1, 2, 3, 4, 5

Morocco in the 1960s

A photographer and practicing architect, Wim Swaan illustrated eighteen books on the art and architecture of cultures around the world. About 860 digitized images from the Wim Swaan photograph collection were added to the Open Content Program, available to download and use for any purpose.

The back of this stereograph made between 1865-1870 reads:

No. 190 Monument Series—The Sentinel. The Monument region is gaining a world-wide reputation as among the greatest geological wonders and curiosities on the Continent. They belong to the cretaceous group of rocks. They consist of columns of soft white chalk conglomerate, capped with a hard feruguneous one. The action of the elements for the countless ages of the past has carved out these monuments, towers and ruins for the wonders of the present day. Some of them are a hundred feet in height.