J. Paul Getty Museum


The J. Paul Getty Museum’s collection includes Greek, Etruscan, and Roman antiquities; European paintings, drawings, sculpture, and decorative arts from the Middle Ages to the end of the 19th century; medieval and Renaissance illuminated manuscripts; and photographs from the 19th century to the present.

Acquisitions made between July 1, 2013 and June 30, 2014


  • Charles Angrand (French, 1854–1926)
    A Clearing, ca. 1893—96
    Conté crayon; 36.9 x 26 cm (14 1/2 x 10 1/4 in.)
    Purchased with funds provided by the Disegno Group
  • Rodolphe Bresdin (French, 1825–1885)
    Fishing Port, 1864
    Black printer's ink and traces of orange colored pencil on prepared paper; 14 x 9.8 cm (5 1/2 x 3 7/8 in.)
    Purchased in part with funds provided by the Disegno Group
  • Edgar Degas (French, 1834–1917)
    Woman in the Bath Drying her Arm, ca. 1890s
    Charcoal; 40.6 x 29.8 cm (16 x 11 3/4 in.)
    Gift of Dr. William and Mrs. Lili Weingarten
  • Jean-Baptiste Huet (French, 1745–1811)
    Shepherd and Shepherdess in a Bucolic Landscape, 1770
    Black and white chalk, ink framing line; 42.6 x 30.4 cm (16 3/4 x 11 15/16 in.)
    Gift of SARL Marty de Cambiaire
  • Albert Lebourg (French, 1849–1928)
    La mère et la femme de l’artiste à la lumière d’une lampe (‘The mother and wife of the artist sewing by lamplight’), 1880
    Charcoal and white gouache heightening; 28 x 42.5 cm (11 x 16 3/4 in.)
    Purchased with funds provided by the Disegno Group
  • Fernand Léger (French, 1881–1955)
    Two drawings, 1953
    Gift of Dr. William and Mrs. Lili Weingarten
  • Édouard Manet (French, 1832–1883)
    Portrait of Julien de la Rochenoire, 1882
    Pastel on canvas; 55.2 x 35 cm (21 3/4 x 13 3/4 in.)
    During his final years when he was largely confined to his studio, the great Impressionist painter, famous for his oil paintings, took up the more intimate scale and genres of still life painting and pastel portraits, mostly of friends. One of the liveliest of these is the portrait of his friend, the animal and landscape painter De la Rochenoire. The pastel is striking for its virtuosity and spontaneity of technique. Manet applied the pastel sticks in dashing strokes of color, one on top of another, with the multi-layered colors retaining their vibrancy and never going muddy. Especially dynamic is the patterned wallpaper that swirls around la Rochenoire's head, lending the figure psychic energy.
  • Pablo Picasso (Spanish, 1881–1973)
    Picador Smoking and Woman, June 6, 1960
    Black ink and wash; 22.9 x 43.2 cm (9 x 17 in.)
    Gift of Dr. William and Mrs. Lili Weingarten
  • Friedrich Preller (German, 1804–1878)
    Portrait of Painter Jan Antoon Verschaeren (recto); Landscape (verso), 1829
    Graphite; 18.4 x 17.6 cm (7 1/4 x 6 15/16 in.)
    Gift of Thomas and Gianna Le Claire
  • Philipp Otto Runge (German, 1777–1810)
    Poppy, ca. 1800–03
    Cut-out silhouette on white paper affixed to blue-gray paper; 25 x 10 cm (9 13/16 x 3 15/16 in.)
    Purchased with funds provided by the Disegno Group and Alex Bouzari
  • Georges Seurat (French, 1859–1891)
    An Indian Man, ca. 1878–79
    Graphite; 48.4 x 28.5 cm (19 1/16 x 11 1/4 in.)
    Seurat made this extraordinary life drawing of an aged Indian holy man when he was around twenty years old and a student at the conservative Ecole des Beaux Arts, where the male models were normally muscular heroic types that would be employed in paintings that ennobled historical and biblical events. Seurat's drawing marks a departure from this academic style both in subject matter and style. The sagging, emaciated body of the Indian man forms an antipode to academic heroic muscularity, and the soft, abstracting shadows of the back of his head with its topknot presage the Modernism that would emerge around 1900. The soft light shining upon the front of the holy man lends the subject an ethereal spirituality.
  • Geogius Jacobus Johannes van Os (Dutch, 1782–1861)
    Bouquet of Flowers in a Vase, ca. 1802–1850s
    Watercolor, gouache, charcoal, and graphite; 61.8 x 46.7 cm (24 5/16 x 18 3/8 in.)
    Purchased with funds provided by the Disegno Group


  • Matthew Brandt (American, b. 1982)
    00036082–3 “Mathers Department Store, Pasadena, 1971,” 2013
    Gum bichromate print; 110.5 x 143.5 cm (43 1/2 x 56 1/2 in.)
    Gift of the artist and M+B
  • Matthew Brandt (American, b. 1982)
    Six photographs of Rainbow Lake, WY, negative 2012, prints 2013
    Chromogenic prints, soaked in Rainbow lake water, each ca. 30 x 40 in.
    Purchased with funds provided by the Photographs Council
    In his ongoing “Lakes and Reservoirs” series, begun in 2008, Matthew Brandt documents bodies of water in the western United States in the tradition of nineteenth-century landscape photographers. Once he has properly developed and fixed the images as chromogenic prints, however, he submerges the prints in water he has collected from those locations. After days or weeks of soaking, the sediments and bacteria in the water begin to erode the chemical structure of the paper, introducing painterly passages of color and sculptural undulations. Physical elements from the subject are used not to create the image, but to alter it.

    The six prints acquired with the assistance of the Getty Museum Photographs Council were all made from the same negative, but each was soaked for a different length of time in water collected from the lake. Among these unique variant prints is one that serves almost as a control, clearly delineating the double scallop of hills on the opposite bank. Other prints appear to be rendered with Impressionist strokes, with the pall of impending doom denoted by a blood-red sky, or as if drained of all color aside from a few passages of magenta and cyan. All play off the name Rainbow Lake, which inspired Brandt to tease out a rich and varied palette of hues.
  • Marco Breuer (German, b. 1966)
    Approx (C-937), 2009
    Chromogenic print; 46 x 35.5 cm (18 1/8 x 14 in.)
    Gift of Marco Breuer
  • Marco Breuer (German, b. 1966)
    Ten photographs, 1996–2013
    Purchased with funds provided by the Photographs Council
  • Chargesheimer (German, 1924–1971)
    Two photographs, 1949–61
  • John Chiara (American, b. 1971)
    Four photographs, 2012
    Purchased with funds provided by the Photographs Council
  • Alvin Langdon Coburn (British, b. America, 1882–1966)
    Grand Canal, Venice, 1908
    Platinum and palladium print; 40.8 x 21.3 cm (16 1/16 x 8 3/8 in.)
  • Pierre Cordier (Belgian, b. 1933)
    Three photographs, 1976
  • Bruce Davidson (American, b. 1933)
    Seventeen photographs, 1958–late 1970s
    Gift of Nina and Leo Pircher
  • Baron Alexis de la Grange (French, 1825–1917)
    Photographies de l’Inde Anglaise, 1849–1951
    Albumen silver print; 32 x 36.5 x 3.1 cm (12 5/8 x 14 3/8 x 1 ¼ in.)
  • Baron Adolf De Meyer (American, b. France, 1868–1946)
    The Cup, ca. 1910
    Gum bichromate print; 43.7 x 34.1 cm (17 3/16 x 13 7/16 in.)
    Gift of Raymond E. Kassar, The Raymond E. Kassar Collection
  • Christina Fernandez (American, b. 1965)
    Eight photographs, 1995–96
    Six photographs, one map, and one disc
  • Trude Fleischmann (American, b. Austria, 1895–1990)
    Mady Christians, ca. 1920s–30s
    Gelatin silver print; 12.7 x 8.6 cm (5 x 3 3/8 in.)
    Gift of Edward Weisberger
  • Betty Hahn (American, b. 1940)
    Five photographs, 1971
    Gift of Betty Hahn
  • Hiroshi Hamaya (Japanese, 1915–1999)
    Two photographs, 1940s
    Gift of Hiroshi Hamaya Estate
  • Hy Hirsh (American, 1911–1961)
    Untitled, ca. 1950
    Chromogenic print; 20 x 25.1 cm (7 7/8 x 9 7/8 in.)
    Gift of Deborah Bell
  • Sandra Kantanen (Finnish, b. 1974)
    Untitled (Lake 2, Fishpond), 2009
    Inkjet print; 128 x 108 cm (50 3/8 x 42 1/2 in.)
    Gift of Sir Mark Fehrs Haukohl, generously arranged by Purdy Hicks Gallery and the Artist
  • Gertrude Käsebier (American, 1852–1934)
    Voulangis, 1901
    Gum bichromate print; 23.8 x 17.1 cm (9 3/8 x 6 3/4 in.)
  • Barbara Kasten (American, b. 1936)
    Two photographs, 1980
  • Chris Killip (British, b. 1946)
    Thirty-seven photographs, 1974–85
    Purchased in part with funds provided by Alison Bryan Crowell, Trish and Jan de Bont, Manfred Heiting, Willard and Gloria Huyck, Lyle S. and Lisi Rona Poncher, Daniel Greenberg and Susan Steinhauser
  • Chris Killip (British, b. 1946)
    Twelve photographs, 1980–87
    Purchased with funds provided by the Photographs Council
  • Josef Koudelka (Czech, naturalized French, born 1938)
    Nine photographs, 1963–69
  • Heinrich Kühn (Austrian, b. Germany, 1866–1944)
    Six photographs, 1898–ca. 1910
  • William Leavitt (American, b. 1941)
    Two photographic works, 1977–ca. 2008
  • Henri Le Secq (French, 1818–1882)
    Three photographs, ca. 1851–70s
  • George Platt Lynes (American, 1907–1955)
    Genia (Nadia Petrova), ca. 1934
    Gelatin silver print; 24.1 x 19.4 cm (9 1/2 x 7 5/8 in.)
    Gift of Paul Martineau
  • Marketa Luskacova (Czech, b. 1944)
    Four photographs, 1975–80
    Purchased with funds provided by the Photographs Council
  • Roger Mayne (British, 1929–2014)
    Four photographs, 1956–61
    Purchased with funds provided by the Photographs Council
  • Chris McCaw (American, b. 1971)
    Poly-optic #22, 2013
    Gelatin silver print; 49.8 x 59.7 cm (19 5/8 x 23 ½ in.)
    Gift of Chris McCaw, courtesy of Stephen Wirtz Gallery
  • Chris McCaw (American, b. 1971)
    Sunburned GSP #609 (San Francisco Bay), 2012
  • Daniel Naudé (South African, b. 1984)
    Three photographs, 2008–10
  • Lisa Oppenheim (American, b. 1975)
    Two suites of photographs, 2011
  • Herb Ritts (American, 1952–2002)
    Three photographs, 1993
    Gift of Kenneth & Randee Klein Devlin
  • Alison Rossiter (American, b. 1953)
    Five photographs, 2010–13
    Purchased with funds provided by the Photographs Council
  • Mark Ruwedel (American/Canadian, b. 1954)
    Fifteen photographs, 2011–12
    Purchased in part with funds provided by Daniel Greenberg and Susan Steinhauser
  • George H. Seeley (American, 1880–1955)
    Two photographs, 1910
  • Fazal Sheikh (American, b. 1964)
    Four photographs, 2008–11
    Purchased with funds provided by Joseph Cohen
  • Teikoh Shiotani (Japanese, 1899–1988)
    Seven photographs, 1925–41
  • Aaron Siskind (American, 1903–1991)
    Gloucester, 1944–45
    Gelatin silver print; 19.7 x 24.4 cm (7 3/4 x 9 5/8 in.)
    Gift of Leslie, Judith and Gabrielle Schreyer
  • Edward Steichen (American, 1879–1973)
    La Cigale, negative 1901, print 1908
    Waxed gum bichromate over platinum print; 31.4 x 27 cm (12 3/8 x 10 5/8 in.)
    Originally a painter, Edward Steichen came to photography through Pictorialism, a movement that celebrated the photography medium’s artistic potential by creating self-consciously handcrafted works of art. The Pictorialists responded to the Symbolists, their contemporaries in painting, and specifically, to their use of Greek mythology and medieval tales to create mysterious dream worlds. In this case, the somewhat awkward position of the nude is reflected in its title, La Cigale, French for “the grasshopper,” a reference to an Aesop fable that was a frequent motif in painting. The image depicts the moment when the grasshopper, unprepared for winter, laments her summertime indolence after she is refused warmth and food by the industrious ant. To achieve the atmospheric moodiness, Steichen experimented with layering a blue-green pigmented gum bichromate print over a base print in platinum before burnishing the work in wax. This exquisite print is one of thirteen that were acquired through purchase and gift from the Raymond Kassar collection of Pictorialist photographs, several of which were included in the exhibition Palette of Light: Handcrafted Photographs, 1898 to 1914, organized at the Getty Villa in 1994.
  • Hiroshi Sugimoto (Japanese, b. 1948)
    Eighteen photographs, 2008–10
    Gift of the Artist
  • Shomei Tomatsu (Japanese, 1930–2012)
    Three photographs, 1959–80
  • Arthur Tress (American, b. 1940)
    Sixty-six photographs, 1968–77
  • Andy Warhol (American, 1928–1987)
    The Little Red Book, 1971
    Dye diffusion prints: each page 10.8 x 8.6 cm (4 1/4 x 3 3/8 in.)
    Gift of the Andy Warhol Foundation for the Visual Arts, Inc.
  • William Wegman (American, b. 1943)
    Bomb, 1971
    Gelatin silver print; 26.7 x 26.7 cm (10 1/2 x 10 1/2 in.)
    Gift of Marc Selwyn Fine Art
  • Clarence H. White (American, 1871–1925)
    Nude with Mirror, 1909
    Waxed platinum print; 24.2 x 19.3 cm (9 1/2 x 7 5/8 in.)
  • Minor White (American, 1908–1976)
    Abstraction: The Bird with the Misplaced Heart, 1948
    Gelatin silver print; 9.2 x 11.7 cm (3 5/8 x 4 5/8 in.)
    Purchased with funds provided by Debbie and Mark Attanasio
  • Kansuke Yamamoto (Japanese, 1914–1987)
    Two photographs, ca. 1935–49
    Gift of Toshio Yamamoto

Sculpture & Decorative Arts

  • Attributed to Pietro Tacca (Italian, 1577–1640)
    Antinous, ca. 1630
    Bronze; H: 64.8 cm (25 1/2 in.)
    The composition of this bronze derives from the ancient Roman marble statue known as the Belvedere Antinous. That marble, acquired by Pope Paul III in 1543, was considered by artists and collectors to be one of the most beautiful surviving statues from antiquity. Figures of alluring male youths were often thought to represent the Greek Antinous (about A.D. 110–before 130), renowned for his beauty, who was the beloved favorite of the Roman emperor Hadrian (ruled AD 117–138).

    This work by Pietro Tacca, the leading sculptor in Florence at the time, once belonged to King Louis XIV (ruled 1643–1715). Louis XIV acquired the bronze from the estate of courtier and collector Louis Hesselin, who most likely purchased it during one of his trips to Italy in the 1630s. After inheriting the studio of his master Giambologna (Italo-Flemish, 1529–1608), Tacca played a critical role in maintaining the preeminence of Florence as the center for bronze casting in Europe.
  • Auguste Rodin (French, 1840–1917)
    Christ and Mary Magdalene, 1908
    Marble; H: 109.2 x W: 85.1 x D: 78.8 cm, 635 kg (43 x 33 1/2 x 31 in.)
    Nailed to a rocky cross, a dying bearded man is mourned by a naked woman kneeling in front of him. Rodin called this group Christ and Mary Magdalene but also The Genius and Pity and Prometheus and the Oceanid. These themes, mixing the sacred and the profane, relate to Rodin’s conception of the creative life, which in his view inevitably involved suffering and martyrdom. The compelling strength of this composition results from the stark contrast between the highly polished surfaces of the naked flesh and the surrounding rough-hewn marble. This ingenious use of the non finito (unfinished) reflects the critical impact that the sculptures of Michelangelo (Italian, 1475–1564) had on Rodin during his trip to Italy in 1876. Karl Wittgenstein (German, 1847–1913; father of the famous philosopher Ludwig and pianist Paul) commissioned this marble for his private collection in Vienna. One of the richest industrialists of his time, Wittgenstein was a significant patron of the arts and also owned paintings by Gustav Klimt.