Download Over 300+ Free Art Books From the Getty Museum

in Art, e-books, Museums | January 22nd, 2014

cézanne

Yes­ter­day, we wrote about the Well­come Library’s open­ing up of its dig­i­tal archives and mak­ing over 100,000 med­ical images freely avail­able online. If you’ve already made your way through this choice selec­tion (or if the prospect of view­ing a 19th cen­tu­ry leg ampu­ta­tion doesn’t quite pique your curios­i­ty) have no fear. Get­ty Pub­li­ca­tions just announced the launch of its Vir­tu­al Library, where read­ers can freely browse and down­load over 250 art books from the publisher’s back­list cat­a­logue.

The Vir­tu­al Library con­sists of texts asso­ci­at­ed with sev­er­al Get­ty insti­tu­tions. Read­ers can view exten­sive­ly researched exhi­bi­tion cat­a­logues from the J. Paul Get­ty Muse­um, includ­ing Paul Cézan­ne’s late-life water­colours, when the painter raised the still life to a high art (Cézanne in the Stu­dio: Still Life in Water­col­ors, 2004), as well as the woe­ful­ly under­ap­pre­ci­at­ed Flem­ish illus­tra­tions of the 15th and 16th cen­turies (Illu­mi­nat­ing the Renais­sance: The Tri­umph of Flem­ish Man­u­script, 2003).  The col­lec­tion also con­tains detailed trea­tis­es on art con­ser­va­tion from the Get­ty Con­ser­va­tion Insti­tute, and schol­ar­ly works from the Get­ty Research Insti­tute, both of which include a mul­ti­tude of books on spe­cial­ized top­ics. Fan­cy read­ing about the rela­tion­ship between Peter Paul Rubens and Jan Brueghel the Elder, the two leg­endary 17th cen­tu­ry painters who lived in the Nether­lands’ city of Antwerp? There’s a book on that. Intrigued by all the pros­ti­tutes in French impres­sion­ism? Try Paint­ed Love: Pros­ti­tu­tion in French Art of the Impres­sion­ist Era (2003). Per­haps you’re par­tial to ancient vas­es, and have already read The Col­ors of Clay (2006), Pots & Plays (2007), and Greek Vas­es (1983)? Don’t wor­ry, the Getty’s vir­tu­al library has at least 8 more vase-ori­ent­ed books.

All of the Getty’s vir­tu­al library vol­umes are avail­able in PDF for­mat, and can be added to your Google Books library. If you’re look­ing for more free art books, don’t miss our post from last year: The Met­ro­pol­i­tan Muse­um of Art and the Guggen­heim Offer 474 Free Art Books Online.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

The British Library Puts 1,000,000 Images into the Pub­lic Domain, Mak­ing Them Free to Reuse & Remix

The Get­ty Puts 4600 Art Images Into the Pub­lic Domain (and There’s More to Come)

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

Read 700 Free eBooks Made Avail­able by the Uni­ver­si­ty of Cal­i­for­nia Press

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Download 100,000+ Images From The History of Medicine, All Free Courtesy of The Wellcome Library

in Art, Biology, History, Science | January 21st, 2014

L0043496 Ambroise Pare: prosthetics, mechanical hand

The Well­come Library, in Lon­don, spe­cial­izes in the his­to­ry of med­i­cine. While the insti­tu­tion has long offered a good dig­i­tal col­lec­tion for brows­ing, the library announced yes­ter­day that they are mak­ing more than 100,000 his­tor­i­cal images free to down­load under a Cre­ative Com­mons CC-BY license. (Users can dis­trib­ute, edit, or remix at will; the license even allows for com­mer­cial use, with attri­bu­tion.)

The Wellcome’s hold­ings rep­re­sent the institution’s long-term inter­est in col­lect­ing art relat­ed to med­i­cine, the body, pub­lic health, and med­ical sci­ence. The drop-down menu labeled “Tech­nique” in the stan­dard search box returns a stag­ger­ing array of types of visu­al cul­ture, from aquatint to carv­ing to fres­co to X‑ray. The library reports that the ear­li­est image avail­able is from 400 AD: a frag­ment of papyrus from an illus­trat­ed herbal man­u­script, fea­tur­ing a fad­ed col­or draw­ing of a plant.

L0031627 Mastectomy, attributed to a Dutch artist, 17th century

Some images in the col­lec­tion are, per­haps unsur­pris­ing­ly, squirm-induc­ing (an 1851 Japan­ese wood­cut show­ing an ampu­ta­tion of the low­er leg; a Dutch etch­ing depict­ing a 17th-c mas­tec­to­my; a Ger­man illus­tra­tion show­ing 17th-cen­tu­ry monks per­form­ing eye surgery). But there is plen­ty of beau­ty here, as well. I loved an a 19th-c wood­cut of a sumo match, and a Tibetan illus­trat­ed man­u­script used in the pro­duc­tion of med­i­cines.

L0038345 Tibetan plant manuscript Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org Illustrations of Tibetan materia medica, plant and animal, used in the production of medicine. Title: 'A Selection of Substances used for the Production of Medicine based on the Teaching of the four (medical) Tantras' This anonymous manuscript is written in the 'Trungpa' ('khrungs dpe) genre of Tibetan medical literature. Entitled, 'Sman bla'i dgongs rgyan rgud bzhi'i nang gi 'khrungs dpe re zhig', it deals with various material medica, plant and animal, used in the production of medicine. The book comprises unbound sheets of thick (perhaps Russian?) paper held together by two boards and wrapped in a piece of cloth. The medical illustrations are finished in colour. The manuscript is very rare and obviously very expensive. Its owner made a significant effort to obtain illustrations for every medicine mentioned, including plants, stones and animals. There are several suggestions about the origin of the manuscript. It might well be a copy from Sangye Gyatso's 'tankas', possibly written by a painter or doctor who travelled from Mongolia to Lhasa. It could have been transcribed in Tibet and subsequently sold to Mongolia. There is a similarity between the images of material medica in this manuscript and those found in the 19th century Tibetan xylographs of medical works, like the 'Mdzes mtshar mig rgyan', which circulated in the territory of Mongolia in the nineteenth century. 18th century Sman bla'i dgongs rgyan rgud bzhi'i nang gi 'khrungs dpe re zhig 'A Selection of Substances used for the Production of Medicine based on the Teaching of the four (medical) Tantras Published: - Copyrighted work available under Creative Commons Attribution only licence CC BY 4.0 http://creativecommons.org/licenses/by/4.0/

Browsers inter­est­ed in dip­ping a toe into the stream of images may try out the gal­leries list­ed on the Images home­page. The “Olympic Sports” gallery offers an 1829 engrav­ing of the famous con­joined twins Chang and Eng hold­ing bad­minton rack­ets, and an 1870 illus­tra­tion of rec­om­mend­ed ring exer­cis­es for lady gym­nasts. The “Witch­craft” col­lec­tion (under the “Favourites” tab) con­tains many illus­tra­tions from his­tor­i­cal books cov­er­ing witch­craft in Europe and the Amer­i­can colonies, along with a more sur­pris­ing 19th-cen­tu­ry Malayan black-mag­ic charm.

Rights-man­aged images are marked as such in the thumb­nail results that appear after a search. Although the archive requires you to enter a CAPTCHA to access the free images, you can select sev­er­al thumb­nails on the search-results page in order to bulk-down­load files for many images at the same time. The sam­ple files I request­ed arrived on my desk­top at 300 dpi.

The image above is an illus­tra­tion of a mechan­i­cal hand from 1564.

h/t @kirstinbutler

Rebec­ca Onion is a writer and aca­d­e­m­ic liv­ing in Philadel­phia. She runs Slate.com’s his­to­ry blog, The Vault. Fol­low her on Twit­ter: @rebeccaonion. 

Relat­ed Con­tent:

The British Library Puts 1,000,000 Images into the Pub­lic Domain, Mak­ing Them Free to Reuse & Remix

The Get­ty Puts 4600 Art Images Into the Pub­lic Domain (and There’s More to Come)

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

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Federico Fellini, Born 94 Years Ago Today, Writes a Gushing Letter to Legendary Cartoonist, Moebius

in Art, Film | January 20th, 2014

FelliniGiraud

If you believe that artis­tic col­lab­o­ra­tions occur in the after­life, few could sound more intrigu­ing than one between the cre­ators pic­tured, in life, above: Fed­eri­co Felli­ni, born 94 years ago today and gone for the past twen­ty, and Jean Giraud, who passed in 2012. The Ital­ian direc­tor Felli­ni, we need hard­ly explain, made such haunt­ing­ly flam­boy­ant films as La Dolce Vita, 8½, and Satyri­con. The Fran­co-Bel­gian com­ic artist Giraud, bet­ter known as Mœbius, took his form to its high­est aes­thet­ic lev­el with works like Arzach, The Air­tight Garage of Jer­ry Cor­nelius, The Incal, and, under his alter­nate pseu­do­nym Gir, the uncon­ven­tion­al Wild-West series Blue­ber­ry. (You can learn more by watch­ing the doc­u­men­tary In Search of Mœbius, pre­vi­ous­ly fea­tured here.) Reflect, for a moment, on what bizarre, fan­tas­ti­cal, yet psy­cho­log­i­cal­ly con­crete visions these two imag­i­na­tions could togeth­er real­ize.

MoebiusFellini
Click for larg­er image

Felli­ni quite admired Giraud, con­sid­er­ing him at the lev­el of Picas­so and Matisse. On Ital­ian tele­vi­sion, he once called him “a unique tal­ent endowed with an extra­or­di­nary vision­ary imag­i­na­tion that’s con­stant­ly renewed and nev­er vul­gar” who “dis­turbs and con­soles” and pos­sess­es “the abil­i­ty to trans­port us into unknown worlds where we encounter unset­tling char­ac­ters.” The 1979 let­ter above, which Felli­ni wrote while shoot­ing City of Women, con­tin­ues this line of praise in a direct man­ner. “Every­thing you do pleas­es me,” he says. “Even your name pleas­es me.” He describes the qual­i­ties of Mœbius’ work that con­tin­ue to win him admir­ers, from “the joy and enthu­si­asm your draw­ings exude” (which “demand of me a great pre­ci­sion”) to “the light­ing tech­nique you use” to feel­ing “sus­pend­ed weight­less­ly in one of your oblique uni­vers­es.” But above all the oth­er lines, one aside in par­tic­u­lar gets my own imag­i­na­tion run­ning: “What a great film direc­tor you would make! Have you ever thought about it?”

Relat­ed Con­tent:

The Inscrutable Imag­i­na­tion of the Late Com­ic Artist Mœbius

Fed­eri­co Felli­ni Intro­duces Him­self to Amer­i­ca in Exper­i­men­tal 1969 Doc­u­men­tary

Fellini’s Fan­tas­tic TV Com­mer­cials

Felli­ni + Abrams = Super 8½

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

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An Undertaking: Woodworker Honors His Grandma with a Custom-Made Coffin

in Art, Life | January 19th, 2014

Good thing Austin-based design­er Michael Yates stud­ied abroad. Three months spent in the vicin­i­ty of Kyoto as a Texas A&M elec­tri­cal engi­neer­ing stu­dent ulti­mate­ly inspired him to aban­don the pro­fes­sion for which he had trained, in order to pur­sue wood­work­ing. “…the sacred­ness of the process and atten­tion to detail res­onat­ed with me in a way that noth­ing had before,” he recalls in an Apart­ment Ther­a­py pro­file. “I’ve since learned in prac­tice what I saw evi­dence of in the temples—that com­plete­ly focus­ing on where you are will get you the best prod­uct at the end. Every step of the process is pre­cious.”

Had he not changed hors­es in mid­stream, his grand­moth­er would have like­ly stuck to the plan too, depart­ing for the after­life in a stan­dard-issue cof­fin or urn, rather than ask­ing Yates to build her some­thing spe­cial. In his mind, it was a col­lab­o­ra­tion, a process doc­u­ment­ed above, at the behest of Whole Foods’ online mag­a­zine, Dark Rye.  (Indi­cat­ing, per­haps, that arti­sanal, upcy­cled coffins will soon be avail­able for pur­chase beside bam­boo cut­ting boards and local­ly sourced, grass-fed, beef jerky?)

Yate’s grand­ma placed her request pre-need, in the indus­try lin­go, a move that afford­ed him plen­ty of time to study—and reject—the over­ly ornate ves­sels that have become a cul­tur­al norm. Lux­u­ri­ous details have no place, he feels, when the user can derive no enjoy­ment from them. (Guess he and Grand­ma weren’t con­sid­er­ing going with the off-the-wall Ghana approach.)

The cof­fin is the most mean­ing­ful piece he’s ever cre­at­ed, even before it could be beta test­ed. It caused him to think deeply about our rela­tion­ship with death and each oth­er. The sound­track hints that some­thing very sad is about to hap­pen, as do the pho­tos of his grand­moth­er as a vibrant, younger woman. (Such shots have become de rigeur for any­one mourn­ing an old­er rel­a­tive on Face­book.) Yates men­tions that his grand­moth­er, healthy when she hatched this scheme, has been diag­nosed with can­cer. I think we can assume where this is going, right?

At the risk of  a spoil­er, I’d like to com­mend the film­mak­ers for allow­ing some key scenes to occur off-cam­era. Yates remarks that after all that went into mak­ing the cof­fin, it would be “a ter­ri­ble miss” if his grand­moth­er did not get a chance to see it. He’s filmed load­ing it into his truck, but view­ers are not privy to its deliv­ery. Some things, it would seem, are still per­son­al.

Michael-Yates-Body-Woodworker-25

Relat­ed Con­tent:

Carl Gus­tav Jung Pon­ders Death

Find Yale’s Course Death  in our col­lec­tion of 825 Free Online Cours­es

Leonard Cohen Nar­rates Film on The Tibetan Book of the Dead, Fea­tur­ing the Dalai Lama (1994)

Ayun Hal­l­i­day oper­ates in the shad­ow of the South Brook­lyn Cas­ket Com­pa­ny. @AyunHalliday

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Fyodor Dostoevsky Draws Elaborate Doodles In His Manuscripts

in Art, Literature | January 17th, 2014

Few would argue against the claim that Fyo­dor Dos­to­evsky, author of such bywords for lit­er­ary weight­i­ness as Crime and Pun­ish­ment, The Idiot, and The Broth­ers Kara­ma­zov, mas­tered the nov­el, even by the for­mi­da­ble stan­dards of 19th-cen­tu­ry Rus­sia. But if you look into his papers, you’ll find that he also had an intrigu­ing way with pen and ink out­side the realm of let­ters — or, if you like, deep inside the realm of let­ters, since to see draw­ings by Dos­to­evsky, you actu­al­ly have to look with­in the man­u­scripts of his nov­els.

Above, we have a page from Crime and Pun­ish­ment into which a pair of solemn faces (not that their mood will sur­prise enthu­si­asts of Russ­ian lit­er­a­ture) found their way. Just below, you’ll find exam­ples from the same man­u­script of his pen turn­ing toward the orna­men­tal and archi­tec­tur­al while he “cre­at­ed his fic­tion step by step as he lived, read, remem­bered, reprocessed and wrote,” as the exhi­bi­tion of “Dos­toyevsky’s Doo­dles” at Colum­bia Uni­ver­si­ty’s Har­ri­man Insti­tute of Russ­ian, Eurasian, and East Euro­pean Stud­ies put it.

Accord­ing to the exhi­bi­tion descrip­tion, Dos­to­evsky’s notes to him­self “rep­re­sent that key moment when the accu­mu­lat­ed pro­to-nov­el crys­tal­lized into a text. Like many of us, Dos­to­evsky doo­dled hard­est when the words came slow­est.” Some of Dos­to­evsky’s char­ac­ter descrip­tions, argues schol­ar Kon­stan­tin Barsht, “are actu­al­ly the descrip­tions of doo­dled por­traits he kept rework­ing until they were right.” He did­n’t just do so dur­ing the writ­ing of Crime and Pun­ish­ment, either; below we have a page of The Dev­ils that com­bines the human, the archi­tec­tur­al, and the cal­li­graph­ic, appar­ent­ly the three main avenues through which Dos­to­evsky pur­sued the doo­dler’s art.

Even if you would per­son­al­ly argue against his claim to great­ness (and thus side with his coun­try­man, col­league in lit­er­a­ture, and fel­low part-time artist Vladimir Nabokov, who found him a “mediocre” writer giv­en to “waste­lands of lit­er­ary plat­i­tudes”), sure­ly you can enjoy the charge of pure cre­ation you feel from wit­ness­ing his tex­tu­al mind inter­act with his visu­al one. Works by Dos­to­evsky can be found in our Free Audio Books and Free eBooks col­lec­tions.

Relat­ed Con­tent:

Vir­ginia Woolf Loved Dos­to­evsky, Oscar Wilde Some­times Despised Dick­ens & Oth­er Gos­sip from The Read­ing Expe­ri­ence Data­base

Albert Camus Talks About Adapt­ing Dos­toyevsky for the The­atre, 1959

Crime and Pun­ish­ment by Fyo­dor Dos­toyevsky Told in a Beau­ti­ful­ly Ani­mat­ed Film by Piotr Dumala

Nabokov Makes Edi­to­r­i­al Improve­ments to Kafka’s “The Meta­mor­pho­sis”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

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Paintings by Caravaggio, Vermeer, & Other Great Masters Come to Life in a New Animated Video

in Art | January 16th, 2014

With his short video “Beau­ty,” the Ital­ian direc­tor Rino Ste­fano Tagli­afier­ro takes “a series of well select­ed images from the tra­di­tion of pic­to­r­i­al beau­ty” and uses the “fire of dig­i­tal inven­tion” to ani­mate sen­ti­ments lost on immo­bile can­vass­es. In the video above, you will see works by Car­avag­gio, Ver­meer, Rubens and oth­ers put into dig­i­tal motion. A com­plete list of the paint­ings includ­ed in the video can be found here. Plus there’s a tum­blr with ani­mat­ed GIFs of the paint­ings.  Find more infor­ma­tion, includ­ing a man­i­festo for the video (in Ital­ian), on Tagli­afier­ro’s web site. An Eng­lish trans­la­tion of the man­i­festo appears below the jump.

via Digg

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send cul­tur­al curiosi­ties your way, every day. 

Relat­ed Con­tent:

Watch an Ani­mat­ed Ver­sion of Rid­ley Scott’s Blade Run­ner Made of 12,597 Water­col­or Paint­ings

Michelangelo’s Hand­writ­ten 16th-Cen­tu­ry Gro­cery List

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

Free: The Met­ro­pol­i­tan Muse­um of Art and the Guggen­heim Offer 474 Free Art Books Online

(more…)

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In 1968, Artist Imagines What John, Paul, George & Ringo Will Look Like When They’re 64

in Art, Music | January 15th, 2014

beatles64

When I get old­er los­ing my hair,
Many years from now,
Will you still be send­ing me a valen­tine
Birth­day greet­ings bot­tle of wine?

Paul McCart­ney’s wist­ful song “When I’m Six­ty-Four” was released on the Bea­t­les’ 1967 album Sgt. Pep­per’s Lone­ly Hearts Club Band. The next year, an artist named Michael Leonard tried to imag­ine what the young musi­cians might look like four decades lat­er — on their 64th birth­days. We nev­er got a chance to fig­ure out whether he sized up Lennon and Har­ri­son cor­rect­ly. But we know that Paul, even at 71 today, nev­er got jow­ly. And Ringo nev­er went the suit route. You can see for your­self when the two per­form at the Gram­mys on Jan­u­ary 26.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send cul­tur­al curiosi­ties your way, every day. 

Relat­ed con­tent 

Flash­mob Per­forms The Bea­t­les’ ‘Here Comes the Sun’ in Madrid Unem­ploy­ment Office

Eric Clapton’s Iso­lat­ed Gui­tar Track From the Clas­sic Bea­t­les Song, ‘While My Gui­tar Gen­tly Weeps’ (1968)

The Bea­t­les: Unplugged Col­lects Acoustic Demos of White Album Songs (1968)

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How Hunter S. Thompson — and Psilocybin — Influenced the Art of Ralph Steadman, Creating the “Gonzo” Style

in Art, Literature | January 14th, 2014

Though the two men only occa­sion­al­ly col­lab­o­rat­ed over their long friend­ship, the work of Ken­tucky-born “gonzo” jour­nal­ist Hunter S. Thomp­son and that of British illus­tra­tor Ralph Stead­man enjoy a cul­tur­al sym­bio­sis: Thomp­son’s style of writ­ing puts you in the mind of Stead­man’s style of draw­ing, and vice ver­sa even more so. At this point, I have a hard time imag­in­ing any suit­able visu­al accom­pa­ni­ment to the simul­ta­ne­ous­ly clear- and wild-eyed sen­si­bil­i­ty of Thomp­son­ian prose — “I hate to advo­cate drugs, alco­hol, vio­lence, or insan­i­ty to any­one,” he famous­ly said, “but they’ve always worked for me” — oth­er than the bold strokes and vio­lent blotch­es with which Stead­man ren­ders visions of high­ly con­trolled mad­ness. The clip above, from Alex Gib­ney’s doc­u­men­tary Gonzo: The Life and Work of Dr. Hunter S. Thomp­son, explores the ori­gins of their aes­thet­ic and psy­cho­log­i­cal part­ner­ship.

“I think what he saw in this con­nec­tion was some­body that some­how saw the thing in pic­tures as he saw it in life,” says Stead­man. “Our chem­istry there made gonzo pos­si­ble.” We then see the rel­a­tive­ly tame, con­ven­tion­al style in which he drew before Thomp­son roared into his life, bear­ing a hand­ful of psilo­cy­bin. Their paths had con­verged at the Ken­tucky Der­by, which Scan­lan’s mag­a­zine had assigned them to cov­er, and the drugs made the already grotesque scene even more vivid­ly trou­bling. “I was a qui­et boy,” Stead­man remem­bers. “Decent. An inno­cent abroad. So I guess it was attrac­tive, that kind of raci­ness. I think the birth of gonzo hap­pened when the evil came out of me in the draw­ings.” You can read the ground­break­ing fruit of their hal­lu­cino­geni­cal­ly enhanced labors, “The Ken­tucky Der­by is Deca­dent and Depraved,” at our col­lec­tion of Hunter Thomp­son arti­cles online. For more on Stead­man’s tech­nique and career, which con­tin­ues today, watch the Econ­o­mist’s vis­it to the “sav­age satirist’s” stu­dio just above.

You can find a fair­ly com­pre­hen­sive com­pendi­um of Stead­man’s art in the 1998 book Gonzo: The Art, which fea­tures an intro­duc­tion by Thomp­son him­self.

Relat­ed Con­tent:

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Fear and Loathing on the Road to Hol­ly­wood: The BBC’s 1978 Por­trait of Hunter S. Thomp­son

The Crazy Nev­er Die: Hunter S. Thomp­son in Rare 1988 Doc­u­men­tary (NSFW)

Hunter S. Thompson’s Har­row­ing, Chem­i­cal-Filled Dai­ly Rou­tine

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

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