Peter Scholz

Elizabeth Morrison

Barbara Wolf

Andrea Bayer

Freyda Spira

Larry Silver

Stefan Krause

Pierre Terjanian

Adam B. Brandow

Lisa Demets

Chassica Kirchhoff

Guido Messling

Alison Manges Nogueira

Matthias Pfaffenbichler

Veronika Sandbichler

Delia Scheffer

Roland Sila

Robert Wlattnig

Christina Zenz

Maximilian I (1459–1519) skillfully crafted a public persona and personal mythology that eventually earned him the romantic sobriquet “Last Knight.” From the time he became duke of Burgundy at the age of eighteen until his death, his passion for the trappings and ideals of knighthood served his worldly ambitions, imaginative strategies, and resolute efforts to forge a legacy. A master of self-promotion, he ordered exceptional armor from the most celebrated armorers in Europe, as well as heroic autobiographical epics and lavish designs for prints. Indeed, Maximilian’s quest to secure his memory and expand his sphere of influence, despite chronic shortages of funds that left many of his most ambitious projects unfinished, was indomitable. Coinciding with the 500th anniversary of Maximilian’s death, this catalogue is the first to examine the masterworks that he commissioned, revealing how art and armor contributed to the construction of Maximilian’s identity and aspirations, and to the politics of Europe at the dawn of the Renaissance. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

The Art, Armor, and Ambition of Maximilian I

The Last Knight

"This publication is issued on the occasion of the exhibition Book of Beasts: The Bestiary in the Medieval World, on view at the J. Paul Getty Museum at the Getty Center, Los Angeles, from May 14 to August 18, 2019."

The Bestiary in the Medieval World

Book of Beasts

Factual & Fantastic

Beasts

Stephen Perkinson

Naomi Speakman

Katherine Baker

Emma Solberg

A fascinating exploration of the visual culture of mortality in Renaissance Europe We often imagine the Renaissance as an age of exceptional human progress and artistic achievement. But, intriguingly, macabre images proliferated in precisely this period: unsettling depictions of Death personified, of decaying bodies, of young lovers struck down in their prime. These morbid themes run riot in the remarkable array of artworks featured in The Ivory Mirror. Nearly 200 illustrated artworks--from ivory prayer beads to gem-encrusted jewelry to exquisitely carved small sculptures--present us with an aspect of this era that is at once darker and more familiar than we might have expected. Focused on the challenge of making choices in an increasingly complex and uncertain world, Renaissance artists turned to poignant, often macabre imagery to address the critical human concern of acknowledging death, while striving to create a personal legacy that might outlast it. The essays gathered here discuss the development and significance of this transformative art of the past, while exploring themes that are still relevant today: how does one navigate the implicit tension between mortality and morality and seek to balance individual pleasure with the pursuit of a greater good?

The Art of Mortality in Renaissance Europe

The Ivory Mirror

The quality of your written English is your passport to both academic and career success. Whether you’re a native speaker or learning English as a second language, it’s very easy to get confused and make mistakes. This book is your essential guide to mastering the subtleties and becoming an expert communicator. Divided into three sections, 'The Right Word' first examines homophones, those tricky words that sound the same but are spelled differently. Entries are organised alphabetically, with meanings and examples (including colloquial ones) being given to facilitate correct use. The book then looks at words that often confuse — childish vs. childlike, incredible vs. incredulous, for example — before providing a list of the most commonly misspelled words. Keep this book by your desk as a ready reference providing instant access to superb English!

Making Sense of the Words That Confuse

The Right Word

J. Paul Getty Museum

Anne Dawson Hedeman

This exquisite volume beautifully reproduces and insightfully examines the most important illuminations found in French history manuscripts.

History in Manuscript Painting, 1250-1500

Imagining the Past in France

Zrinka Stahuljak

One of the finest works from the golden era of Flemish manuscript illumination, the Getty’s copy of the Romance of Gillion de Trazegnies tells of the adventures of a medieval nobleman. Part travelogue, part romance, and part epic, the text traces the exciting exploits of Gillion as he journeys to Jerusalem on pilgrimage, is imprisoned in Egypt and rises to the command of the Sultan’s armies, mistakenly becomes a bigamist first with a Christian and then a Muslim wife, and dies in battle as a glorious hero. The tale encompasses the most thrilling elements of the Western romance genre — love, villainy, loyalty, and war — set against the backdrop of the East. This lavishly illustrated volume reveals for the first time the complexity of this illuminated romance. A complete reproduction of the book’s illustrations and a partial translation of the text appear along with essays that explore the manuscript’s vibrant cultural, historical, and artistic contexts. The innovative illuminations, by the renowned artist Lieven van Lathem, juxtapose the reality of medieval Europe with an idealized vision of the East. This unusual pairing, found in the text and illustrations, is the source of a rich discussion of the fifteenth-century political situation in the West and the Crusades in the East.

Chivalry and Romance in the Middle East

The Adventures of Gillion de Trazegnies

Thomas Kren

A companion to the Getty’s prize-winning exhibition catalogue Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, this volume contains thirteen selected papers presented at two conferences held in conjunction with that exhibition. The first was organized by the Getty Museum, and the second was held at the Courtauld Institute of Art under the sponsorship of the Courtauld Institute and the Royal Academy of Arts. Added here is an essay by Margaret Scott on the role of dress during the reign of Charles the Bold. Texts include Lorne Campbell’s research into Rogier van der Weyden’s work as an illuminator, Nancy Turner’s investigation of materials and methods of painting in Flemish manuscripts, and trenchant commentary by Jonathan Alexander and James Marrow on the state of current research on Flemish illumination. A recurring theme is the structure of collaboration in manuscript production. The essays also reveal an important new patron of manuscript illumination and address the role of illuminated manuscripts at the Burgundian court. A series of biographies of Burgundian scribes is featured.

Recent Research

Flemish Manuscript Painting in Context

Elizabeth Morrison

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