{"title":"Holiday 2026 - Journeys Through Time","description":"\u003cp\u003eCelebrate the season with books, replicas, and accessories that explore ancient civilizations, classical art, and historical storytelling.\u003c\/p\u003e","products":[{"product_id":"corinthian-owl-as-aryballos","title":"Corinthian Owl Sculpture","description":"\u003cp\u003eThis colorful owl statue is a reproduction of a Corinthian-style Aryballos, an oil or perfume flask. \u003cbr\u003e\u003cbr\u003e- Painted Resin\u003cbr\u003e- Dimensions: 2 inches H x 2.5 inches W x 1.5 inches D\u003cbr\u003e- Item #: GRE03\u003cbr\u003e\u003cbr\u003eDuring the 7th century (650-625 BCE), Corinth developed its own style for the manufacture of pottery. The two preceding centuries had been dominated by Athen’s imposed, geometric style. Due to the resurgence of trade with areas to the east of Greece, an orientalized decor developed, characterized by the use of plant and animal motifs. During the Late Proto-Corinthian era, potters and decorators specialized in the manufacture of small Aryballos or flasks for oil or perfume, which were easy to export. The basic shape of the owl, emblem of the Goddess Pallas Athena, was created using a mold. The stylized decoration reveals great professionalism and a sense of expression. A string can be run through the hole in the owl’s foot enabling the flask to be hung up. This also allowed it to be carried around its owner’s wrist at the bathhouse.\u003c\/p\u003e","brand":"PARASTONE bv","offers":[{"title":"Default Title","offer_id":45266285385,"sku":"GRE03","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/gre03.jpg?v=1594750796"},{"product_id":"george-minnie-adolescent-i-sculpture-reproduction","title":"Adolescent I by George Minne - Sculpture Reproduction","description":"Sculpture reproduction of a young boy who defiantly exposes his nude, lean body while simultaneously crossing his arms protectively, his hidden face betraying anguish and despair. The rendering of his tensed muscles and taut flesh, precariously resting on his very thin legs, makes this a stunning achievement in marble carving. The symmetrical composition gives this small-scale statue a monumental effect. \u003cbr\u003e\u003cbr\u003e- Material: Resin \u003cbr\u003e- Dimensions: 10.6 Inches H \u003cbr\u003e- Item #:  MIN02\n\u003cbr\u003e\u003cbr\u003e\nSource Object:\u003cbr\u003e\nTitle: Adolescent I\u003cbr\u003e\n\nArtist\/Maker: George Minne (Belgian, 1866 - 1941)\u003cbr\u003e\n\nCulture:Belgian\u003cbr\u003e\n\nPlace: Belgium (Place Created)\u003cbr\u003e\n\nDate: about 1891\u003cbr\u003e\n\nMedium: Marble\u003cbr\u003e\nObject Number: 97.SA.6\u003cbr\u003e\n\nDimensions: 43 × 33.5 × 14.3 cm (16 15\/16 × 13 3\/16 × 5 5\/8 in.)","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":32239470673997,"sku":"MIN02","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/MIN02_web.jpg?v=1753123956"},{"product_id":"primaticcio-double-head-sculpture-reproduction","title":"Primaticcio Double Head Sculpture Reproduction","description":"\u003cp\u003eReproduction of Francesco Primaticcio's exquisite \u003cem\u003eDouble Head\u003c\/em\u003e sculpture on black marble base. \u003cbr\u003e\u003cbr\u003e- Dimensions: 3.7 inches H x 1.5 inches L x 1.5 inches D \u003cbr\u003e- Materials: Brass with bronze color finish, hand-painted gold accents, and black marble \u003cbr\u003e- Includes gift box \u003cbr\u003e- Made in Italy \u003cbr\u003e- Item #: ST923OTANT \u003cbr\u003e\u003cbr\u003eMade exclusively for the Getty by Walking Sticks, an artisan company that creates luxury accessories and objects for several uses, and leader in the production of walking sticks. With the passing of time, it has become a byword for quality thanks to the care for small particulars, elegance, and tradition, communicating taste and originality of the Made in Italy artisan products.\u003c\/p\u003e\n\u003cem\u003eInformation on the referenced art object:\u003c\/em\u003e\u003cbr\u003e\n\u003cp\u003eThis intriguing sculpture was cast from the female head of the ancient marble statue Cesi Juno (Rome, Capitoline Museum), which Michelangelo described as the most beautiful object in Rome. It may be one of the bronze casts after antique Roman statues that the French king Francis I commissioned from Primaticcio, his court artist, for the chateau at Fontainebleau, outside Paris; Double Head is depicted in a print of about 1650 above the entrance to a garden at Fontainebleau. It then passed to several famous collectors, including the 18th-century connoisseur Pierre Crozat and the 20th-century designer Yves Saint Laurent.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDouble Head\u003c\/em\u003e, about 1543. \u003cbr\u003eAttributed to Francesco Primaticcio (Italian, 1504-1570) \u003cbr\u003eBronze, 56 x 35 x 20 cm (\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e15 3\/16 × 13 3\/4 × 7 7\/8 in.\u003c\/span\u003e) \u003cbr\u003eThe J. Paul Getty Museum, 2011.45\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":37984968507584,"sku":"ST923OTANT","price":165.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/ST923OTANT3Q_a_caf5b7ba-d26e-44e4-a6dd-840dbc848eb0.jpg?v=1753296921"},{"product_id":"la-folie-des-grandeurs-by-rene-magritte-sculpture-reproduction","title":"La Folie Des Grandeurs by Rene Magritte - Sculpture Reproduction","description":"\u003cp\u003eSculpture reproduction of Rene Magritte's \u003cem\u003eLa Folie Des Grandeurs (Delusions of Grandeur)\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003e- Material: Resin \u003cbr\u003e- Dimensions: 7 in H x 3.75 in W x 5.25 in L \u003cbr\u003e- Includes gift box \u003cbr\u003e- Care Instructions: Clean with damp cloth; no solvents \u003cbr\u003e- Made in China \u003cbr\u003e- Item #: SCLPTMAG \u003cbr\u003e\u003cbr\u003eThis sculpture is composed of three hollow female forms one inside another - like a Russian nesting doll made of bronze. A pair of robust thighs serves as an elegant base. From inside this form rises a taller and more slender lower torso. Finally, an almost full-length torso rests within the first two pieces. Because the work is made of extremely thin bronze, the viewer can actually peek inside these forms. Throughout his career, René Magritte often revisited and revised his own imagery. This sculpture's motif is taken from a painting of the same title he created in 1962. Best known as a painter, Magritte's decision to produce sculpture toward the end of his life grew out of a conversation with his dealer Alexandre Iolas. Iolas suggested that Magritte produce a suite of sculpture based on his vast catalogue of paintings. Magritte selected images from eight paintings to be recreated as three-dimensional objects. For each sculpture, Magritte made a series of careful sketches that became the basis for wax casts. Though he died before the sculptures were cast in bronze, Magritte made several significant adjustments to the wax models and signed them when he visited the foundry in Verona, Italy. \u003cbr\u003e\u003cbr\u003eSource Object:\u003cbr\u003e Title: \u003cem\u003eLa Folie Des Grandeurs (Delusion of Grandeur)\u003c\/em\u003e\u003cbr\u003e Artist\/Maker: René Magritte (Belgian, 1898 - 1967) \u003cbr\u003eCulture: Belgian \u003cbr\u003eDate: 1967 \u003cbr\u003eMedium: Bronze \u003cbr\u003eObject Number: 2005.112 \u003cbr\u003eDimensions: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e152.4 × 121.9 × 83.8 cm, 242.6744 kg (60 × 48 × 33 in., 535 lb.) \u003cbr\u003e© C. Herscovici, London \/ Artists Rights Society (ARS), New York \u003cbr\u003eGift of Fran and Ray Stark \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":38012566601920,"sku":"SCLPTMAG","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/SCLPTMAG_a.jpg?v=1612981209"},{"product_id":"athenian-owl-ornament","title":"Athenian Owl Ornament","description":"\u003cp\u003eThis resin ornament featuring an Athenian owl framed by olive branches was inspired by a Greek vessel in the Getty Museum's collection.\u003cbr\u003e\u003cbr\u003e- Dimensions: 3 inches L x 3 inches W \u003cbr\u003e- Material: Resin \u003cbr\u003e- Includes gift packaging \u003cbr\u003e- Made in China \u003cbr\u003e- Item #: ORNVSL1 \u003cbr\u003e\u003cbr\u003eThe owl was the symbol of the city of Athens. On this red-figure kalpis, an owl stands framed by olive branches, each bearing one fruit. This decoration is unusual for a kalpis, yet the image would have been familiar to any Athenian because the owl, shown with one olive branch, had been on the obverse, or front side, of Athenian coins since the late 600s BCE The owl between olive branches subsequently became a popular motif on skyphoi or cups in Athens in the period around 475 to 425 BCE  Greeks used the kalpis, a variant form of hydria, for carrying water. The three handles of a hydria were designed to facilitate pouring and lifting. Most vase-painters working in the red-figure technique preferred the rounded form of the kalpis.\u003cbr\u003e\u003cbr\u003eGroup of the Floral Nolans (Greek (Attic), active about 470 BCE)\u003cbr\u003eRed-Figure Kalpis, 480 - 470 BCE, Terracotta\u003cbr\u003eThe J. Paul Getty Museum, Los Angeles\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":41170120573120,"sku":"ORNVSL1","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/ORNVSL1_a.jpg?v=1694809328"},{"product_id":"codice-maya-de-mexico-understanding-the-oldest-surviving-book-of-the-americas-978-1606067888","title":"Códice Maya de México: Understanding the Oldest Surviving Book of the Americas","description":"\u003cp\u003e\u003cstrong\u003eEdited by Andrew D. Turner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn in-depth exploration of the history, authentication, and modern relevance of Códice Maya de México, the oldest surviving book of the Americas.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAncient Maya scribes recorded prophecies and astronomical observations on the pages of painted books. Although most were lost to decay or destruction, three pre-Hispanic Maya codices were known to have survived, when, in the 1960s, a fourth book that differed from the others appeared in Mexico under mysterious circumstances. After fifty years of debate over its authenticity, recent investigations using cutting-edge scientific and art historical analyses determined that Códice Maya de México (formerly known as Grolier Codex) is in fact the oldest surviving book of the Americas, predating all others by at least two hundred years. \u003c\/p\u003e\n\u003cp\u003eThis volume provides a multifaceted introduction to the creation, discovery, interpretation, and scientific authentication of Códice Maya de México. In addition, a full-color facsimile and a page-by-page guide to the iconography make the codex accessible to a wide audience. Additional topics include the uses and importance of sacred books in Mesoamerica, the role of astronomy in ancient Maya societies, and the codex’s continued relevance to contemporary Maya communities.\u003c\/p\u003e\n\u003cp\u003eThis volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 18, 2022, to January 15, 2023.  \u003c\/p\u003e\n\u003cp\u003eAndrew D. Turner is a senior research specialist at the Getty Research Institute. \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eOne of \u003ci\u003eThe New York Times\u003c\/i\u003e Best Art Books of 2022\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e“This short but impressive text succeeds in numerous ways, but most importantly, it manages to be an insightful, smart text that fills a scholarly lacuna in the field.”\u003cbr\u003e—Amara Solari, \u003ci\u003eRenaissance Quarterly \u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e“[A] compact, handsomely illustrated book.”\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e—Mallory E. Matsumoto, \u003ci\u003eManuscript Studies\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e“Wonderfully done.”\u003cbr\u003e—Rob Ixer, \u003cem\u003eFortean Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Andrew Turner and contributors provide a fascinating analysis of this science and the book’s supernatural content—predictions based on Venus’s movements—with a vivid facsimile.”\u003cbr\u003e\u003c\/span\u003e—Andrew Robinson, \u003cem\u003eNature\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Reads like an adventure story. . . . The Códice Maya de México, an illustrated book in the form of a paper scroll painted by an unknown Mayan artist around 1100 A.D., remains mysterious in its precise meanings, celestial and earthly. Historians writing in the Getty catalog offer fascinating theories on both. And thanks to a foldout insert, we get to peruse the Codex itself, which is as visually inventive as any graphic novel you’ll ever see.”\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e—Holland Cotter, \u003ci\u003eThe New York Times\u003cbr\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“\u003c\/span\u003e\u003ci\u003eCódice Maya de México: Understanding the Oldest Surviving Book of the Americas\u003c\/i\u003e\u003cspan\u003e is a welcome synthesis of past and recent studies of this important but controversial pre-Hispanic book. Combining historical, iconographic, and scientific research, as well as the Indigenous perspective on ancient Maya writing and beliefs, the authors convincingly demonstrate the authenticity of the manuscript. An annotated, full-color reproduction of the codex is included.”\u003cbr\u003e—Virginia E. Miller, Associate Professor Emerita of Pre-Columbian and Native American Art, University of Illinois, Chicago\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"x_MsoNormal\"\u003e\u003cspan\u003e“\u003ci\u003eCódice Maya de México\u003c\/i\u003e\u003cb\u003e \u003c\/b\u003epromises ‘understanding’ in its title and delivers to the highest degree, with all the lucidity and scholarship to be expected from the Getty Research Institute.  After decades of see-sawing disputes—some favoring the authenticity of this document, others not— Andrew Turner and his colleagues have landed at where we should have been at the start, when the book first came to our attention in the 1960s. Arising in a time of cultural interplay, Códice Maya de México shows itself to be the earliest, largely complete tome from Indigenous America. Looking to the heavens, and to Venus in particular, this screenfold (or leporello) indicates how predictable planetary movements were linked in Maya minds to cyclic conflicts between gods. And it does so by muting language and highlighting lists of days unencumbered by more elaborate text. Códice Maya\u003ci\u003e \u003c\/i\u003ethus served as a supple hybrid. Crosscutting societies, it ‘lived’ between different languages and rituals yet still retained its Maya identity. Códice Maya, a special treasure of the Estados Unidos Mexicanos, has now fulfilled its own manifest destiny by traveling to Los Angeles, a city founded by the precursor of the Mexican republic and a global example today of the benefits of cultural contact. This study and the welcome visit of the codex to the J. Paul Getty Museum provide unrivaled pleasures to all who care about the power of books and what happens when societies collide, mesh, and—as a direct result—strengthen.”\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e—Stephen Houston, editor of \u003ca href=\"https:\/\/shop.getty.edu\/products\/a-maya-universe-in-stone-978-1606067444\" title=\"A Maya Universe in Stone\" target=\"_blank\"\u003e\u003ci\u003eA Maya Universe In Stone\u003c\/i\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"x_MsoNormal\"\u003e\u003cspan\u003e“What a great story: a rare Mesoamerican document, once thought to be a fake and featuring nuanced innovations in the arrangement of its complex astronomical content from a long-regarded archetype, is confirmed half a century later to be the archetype’s historical predecessor. You can't make this stuff up. In this tidy, accessible package, Andrew Turner brings together the story of the physical analysis, historical background, and decipherment of Códice Maya de México—the oldest book in the world of the Maya.”\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e—Anthony Aveni, Russell Colgate Distinguished University Professor of Astronomy, Anthropology, and Native American Studies Emeritus at Colgate University\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“These interconnected essays explore astronomical knowledge, bookmaking practices, artistic and scribal conventions, and belief systems at a significant juncture in Mesoamerican history through analysis of the recently authenticated Códice Maya de México. What I found especially compelling were the complementary methodologies and perspectives employed to contextualize this early codex, framing it not only within the cultural context of its eleventh- or twelfth-century creators but also in terms of its significance to contemporary descendant populations working to reclaim their intellectual heritage.”\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e—Gabrielle Vail, Research Collaborator, Department of Anthropology, University of North Carolina, Chapel Hill\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e96 pages\u003cbr\u003e6 x 9 inches\u003cbr\u003e45 color and 7 b\/w illustrations, 1 map\u003cbr\u003eISBN 978-1-60606-788-8\u003cbr\u003epaperback\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: Getty Research Institute\/J. Paul Getty Museum\u003cbr\u003e\u003cbr\u003e2022\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":42920703131840,"sku":"9781606067888","price":26.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/9781606067888.jpg?v=1655844286"},{"product_id":"chalcidian-helmet-sculpture-reproduction","title":"Chalcidian Helmet - Reproduction","description":"\u003cp\u003eThe ancient bronze helmet that inspired this reproduction, with its unusually elaborate decoration, is a variation of the Chalcidian type made in southern Italy. Chalcidian helmets were lighter and less cumbersome than other Greek helmets and are distinguished by the hinged cheekpieces. \u003cbr\u003e\u003cbr\u003eOn the peak of the helmet is a griffin’s head flanked by wings above the ears. Spring-like coils just inside the wings originally would have held tall feather plumes. Engraved on the brow of the helmet are a diadem and the locks of hair surrounding it. Although damaged, the cheekpieces depict strands of a beard and an animal, perhaps a goat. \u003cbr\u003e\u003cbr\u003eDating from 300–350 BCE, richly ornamented helmets such as this were probably not worn in battle; instead, they may have served a ceremonial function as parade armor. \u003cbr\u003e\u003cbr\u003e- Material: Resin with metal coils\u003cbr\u003e- Dimensions: H: 4 1\/2 x W: 2 1\/2 x D: 4 inches \u003cbr\u003e- Gift box included \u003cbr\u003e- Item #: MRHELM \u003cbr\u003e\u003cbr\u003eSource Object \u003cbr\u003eTitle: Helmet of Chalcidian \u003cbr\u003eArtist\/Maker: Unknown \u003cbr\u003eCulture: Greek (South Italian) \u003cbr\u003eDate: 250-300 BCE \u003cbr\u003eMedium: Bronze \u003cbr\u003eObject Number: 93.AC.27 \u003cbr\u003eDimensions: \u003cspan data-mce-fragment=\"1\"\u003e27.9 × 20 × 66.4 cm (11 × 7 7\/8 × 26 1\/8 inches)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43410856902848,"sku":"MRHELM","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/MRHELM_a.jpg?v=1674596752"},{"product_id":"hercules-sculpture-reproduction-1","title":"Hercules - Reproduction","description":"\u003cp\u003eThis reproduction is based on the Lansdowne Hercules, a Roman statue that depicts the hero carrying a club over his left shoulder and holding a lion skin in his right hand. These objects help identify him, since Hercules was often portrayed with a club and the pelt of the Nemean Lion, which he killed in the first of his legendary twelve labors. The youthful figure is shown nude, representing the ideal form of beauty in the Classical world. Carved about CE 125, the image was inspired by a lost Greek statue of Hercules dating around the mid 300s BCE. \u003cbr\u003e\u003cbr\u003eFound in 1790 near the ruins of the Villa of Hadrian at Tivoli outside Rome, this statue was one of numerous copies of Greek sculpture commissioned by the Roman emperor, who admired Greek culture. Shortly after its discovery, the sculptor Carlo Albacini (active 1780–1807) restored the fragmentary figure, replacing the missing lower left leg and parts of both arms. The statue is named for Lord Lansdowne, who purchased it in 1792 for his antiquities collection in London. The Lansdowne Hercules was one of J. Paul Getty’s most prized acquisitions. \u003cbr\u003e\u003cbr\u003e- Material: Bonded Marble\u003cbr\u003e- Dimensions: H: 7 x W: 3 x D: 2 inches \u003cbr\u003e- Gift box included \u003cbr\u003e- Item #: MRHERC \u003cbr\u003e\u003cbr\u003eSource Object: \u003cbr\u003eTitle: Statue of Hercules (Lansdowne Herakles) \u003cbr\u003eArtist\/Maker: Unknown \u003cbr\u003eCulture: Roman \u003cbr\u003ePlace: Roman Empire \u003cbr\u003eDate: about 125 CE \u003cbr\u003eMedium: Marble \u003cbr\u003eObject Number: 70.AA.109 \u003cbr\u003eDimensions: \u003cspan data-mce-fragment=\"1\"\u003e193.5 × 77.5 × 73 cm, 385.5575 kg (76 3\/16 × 30 1\/2 × 28 3\/4 inches)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43410856968384,"sku":"MRHERC","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/MRHERC_a.jpg?v=1753121794"},{"product_id":"seated-lion-sculpture-reproduction","title":"Seated Lion - Reproduction","description":"\u003cp\u003eThis 1:1 resin reproduction was cast from a mold of an original Greek sculpture in the Antiquities Collection at the Getty Villa dated from about 550 BCE.\u003cbr\u003e\u003cbr\u003eSitting calmly with is head turned to the side and his mouth closed, this lion looks less than ferocious. Certain stylistic features indicate it was made in Lakonia, the area controlled by the city of Sparta: The S-shaped curve of the tail; the fat, round head; the mane consisting of an upright ruff of fur standing out in a circle around his face; and the incised flame-like locks on his neck and the back of his head. \u003cbr\u003e\u003cbr\u003e- Material: Resin\u003cbr\u003e- Dimensions: H: 3 1\/2 x W: 4 5\/8 x D: 1 1\/4 inches \u003cbr\u003e- Gift box included \u003cbr\u003e- Item #: MRLION\u003cbr\u003e\u003cbr\u003eSource Object: \u003cbr\u003eTitle: Statuette of a Seated Lion \u003cbr\u003eArtist\/Maker: Unknown \u003cbr\u003eCulture: Greek \u003cbr\u003ePlace: Greece \u003cbr\u003eDate: about 550 BCE\u003cbr\u003eMedium: Bronze \u003cbr\u003eObject Number: 96.AB.76 \u003cbr\u003eDimensions: 9.3 × 5 × 13.3 cm (3 11\/16 × 1 15\/16 × 5 1\/4 inches)\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43410857001152,"sku":"MRLION","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/MRLION_a.jpg?v=1674597036"},{"product_id":"torso-of-a-cuirassed-statue-sculpture-reproduction","title":"Torso of a Cuirassed Statue - Reproduction","description":"\u003cp\u003eOnly the torso and one arm survive of the over life-size portrait statue of a man wearing full military parade armor that inspired this reproduction. Such cuirassed statues were a popular form of sculpture used to honor emperors, their male relatives, victorious generals, and military heroes. On most cuirassed statues, the breastplate is very elaborate with symbolic and allegorical relief decoration, which emphasized the emperor’s power. This example is unusual because the breastplate is a basic rendition of the human musculature and is not decorated. This lack of ornament probably indicates that the statue did not represent the emperor or his family but a general. The pteryges, or tabs on the bottom of the breastplate, however, are decorated. They show a number of motifs, including palmettes, rosettes, gorgon heads, lion and lynx heads, ram heads, and most significantly, an eagle clutching the underbelly of a hare. The use of this hare motif, as well as the general pose and style of the carving of the statue, indicate that it dates to the Flavian dynasty, specifically in the early rule of the emperor Domitian. \u003cbr\u003e\u003cbr\u003e- Material: Bonded Marble with faux finish\u003cbr\u003e- Dimensions: 7 1\/2 x 4 x 4 inches (L x W x H) \u003cbr\u003e- Gift box included \u003cbr\u003e- Item #: MRTORSO\u003cbr\u003e\u003cbr\u003eSource Object: \u003cbr\u003eTitle: Torso of a Cuirassed Statue \u003cbr\u003eArtist\/Maker: Unknown \u003cbr\u003eCulture: Roman \u003cbr\u003ePlace: Italy (Place Created) \u003cbr\u003eDate: about CE 81-96\u003cbr\u003eMedium: Marble \u003cbr\u003eObject Number: 71.AA.436 \u003cbr\u003eDimensions: \u003cspan data-mce-fragment=\"1\"\u003e107.5 × 78.7 × 34.3 cm (42 5\/16 × 31 × 13 1\/2 inches)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43410857033920,"sku":"MRTORSO","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/MRTORSO_a.jpg?v=1674597002"},{"product_id":"venus-sculpture-reproduction-1","title":"Venus - Reproduction","description":"\u003cp\u003eThe 2nd-century CE statue that inspired this reproduction portrays Venus enfolding herself in drapery that modestly covers yet also sensuously reveals her nudity. At her feet, a dolphin supports the figure and alludes to the goddess of love’s birth from the sea. This depiction of Venus ultimately derived from an extremely popular cult statue known as the Aphrodite of Knidos, which was created by the sculptor Praxiteles about 350 BCE. Indeed, Praxiteles’s innovative work was so renowned that, beginning around 100 BCE, many artists produced variations on his theme of the naked Venus. \u003cbr\u003e\u003cbr\u003eThe Getty’s sculpture is a Roman interpretation of one of those Hellenistic variants. It was discovered in Rome around 1510, where it contributed to the Renaissance revival of the Classical tradition. Scholars once believed that it was owned by Cardi-nal Mazarin, advisor to Louis XIV, king of France. Although that anecdote is unlikely, the statue is still known to many as the Mazarin Venus. \u003cbr\u003e\u003cbr\u003e- Material: Bonded Marble\u003cbr\u003e- Dimensions: H: 7 x W: 2 1\/2 x D: 2 inches\u003cbr\u003e- Gift box included \u003cbr\u003e- Item #: MRVENUS \u003cbr\u003e\u003cbr\u003eSource Object: \u003cbr\u003eTitle Statue of Venus (the Mazarin Venus) \u003cbr\u003eArtist\/Maker: Unknown \u003cbr\u003eCulture: Roman \u003cbr\u003ePlace: Roman Empire \u003cbr\u003eDate: 2nd century CE \u003cbr\u003eMedium: Marble \u003cbr\u003eObject Number: 54.AA.11 \u003cbr\u003eDimensions: \u003cspan data-mce-fragment=\"1\"\u003e184 cm (72 7\/16 inches)\u003c\/span\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43410857099456,"sku":"MRVENUS","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/MRVENUS_a.jpg?v=1753121705"},{"product_id":"pegasus-vessel-ornament","title":"Pegasus Vessel Ornament","description":"\u003cp\u003eThis resin ornament featuring Pegasus was inspired by a Greek neck-amphora vessel in the Getty Villa collection. \u003cbr\u003e\u003cbr\u003e- Dimensions: 3.25 x 2 in.\u003cbr\u003e- Material: Resin\u003cbr\u003e- Includes gift packaging \u003cbr\u003e- Made in China\u003cbr\u003e- Item #: ORNVSL2 \u003cbr\u003e\u003cbr\u003eAn unusual scene decorates the neck amphora that inspired the adaptation for this ornament: on one side a winged horse, perhaps Pegasus, is shown in profile to the left, with its wings spread as if ascending or landing. On the reverse is a nude youth holding a morsel of food for a long-tailed cat leaping up with its forelegs extended to snatch the tempting treat. \u003cbr\u003e\u003cbr\u003eDepictions of cheetahs and cats as domestic pets occur relatively frequently in Etruscan art, although scenes of cat-teasing are rare and more typical in Greek art. \u003cbr\u003e\u003cbr\u003eNeck-Amphora, about 490 BCE\u003cbr\u003eClose to the Painter of the Dancing Satyrs (Etruscan, active 500-475 BCE)\u003cbr\u003eTerracotta\u003cbr\u003e34.6 x 21.5 cm (13 5\/8 x 8 7\/16 in.)\u003cbr\u003eJ. Paul Getty Museum, 68.AE.17\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43476319469760,"sku":"ORNVSL2","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/ORNVSL2SoonaWeb_a.jpg?v=1753122530"},{"product_id":"lion-kylix-vessel-ornament","title":"Lion Kylix Vessel Ornament","description":"\u003cp\u003eResin ornament featuring a detail of a lion found on a Greek black-figure Kylix vessel in the Getty Museum's antiquities collection. \u003cbr\u003e\u003cbr\u003e- Dimensions: 2.5 x 1.25 in. \u003cbr\u003e- Material: Resin \u003cbr\u003e- Includes gift packaging \u003cbr\u003e- Made in China\u003cbr\u003e- Item #: ORNVSL3\u003cbr\u003e\u003cbr\u003eThe snarling lion that inspired the design for this ornament decorates the interior of the Lakonian black-figure kylix or cup shown above from the Getty Museum's antiquities collection. The placement of the lion's body, with its head turned back and its paw raised, serves to animate the creature and also represents the painter's attempt to find a creative way to fill the cup's circular interior. Simple rays, banding, and palmettes at the handles decorate the cup's exterior. \u003cbr\u003e\u003cbr\u003eHunt Painter ( Greek, 565-530 BCE)\u003cbr\u003eBlack Figure Kylix\u003cbr\u003e540 BCE\u003cbr\u003eTerracotta Vessel\u003cbr\u003e8.8 x 17 x 11.7 cm (3 7\/16 x 6 11\/16 x 4 5\/8 in.) J. Paul Getty Museum, Los Angeles\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43476319502528,"sku":"ORNVSL3","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/ORNVSL3_2SoonaWeb_a.jpg?v=1753122441"},{"product_id":"hittites-lost-civilizations","title":"The Hittites: Lost Civilizations","description":"\u003cp\u003eAn accessible introduction to the Bronze Age culture in Asia Minor. \u003cbr\u003e\u003cbr\u003eFamed for their warriors, the Hittites flourished in the region of modern Turkey from the seventeenth to thirteenth centuries BCE. In this book, archaeologist Damien Stone explores the rich history of the Hittite civilization beyond their skill in battle, from religious reverence for the sun and storms to eclectic rock carvings which survive to this day. Stone describes the colorful succession of Hittite rulers, complete with assassinations, intrigue, and an evil stepmother, but he also parses the development of the Hittite language and considers the Hittites' legacy in religion, art, and culture today. In short, \u003ci\u003eThe Hittites\u003c\/i\u003e is a wide-ranging, accessible introduction to this vibrant ancient culture. \u003cbr\u003e\u003cbr\u003e- Damien Stone \u003cbr\u003e- 192 pages\u003cbr\u003e- 5.5 inches W x 8.5 inches L \u003cbr\u003e- Hardcover\u003cbr\u003e- Reaktion Books\u003cbr\u003e- 2023\u003cbr\u003e- History\u003cbr\u003e- Item #: 978-1789146844\u003c\/p\u003e","brand":"UNIV CHICAGO PRESS","offers":[{"title":"Default Title","offer_id":43546053542080,"sku":"9781789146844","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/978-1789146844_a.jpg?v=1679435647"},{"product_id":"ancient-rome-the-definitive-visual-history","title":"Ancient Rome: The Definitive Visual History","description":"A definitive history of ancient Rome that tells the story of its dramatic rise and fall in rich visual detail.\u003cbr\u003e\u003cbr\u003e Immerse yourself in the history of ancient Rome—from its origins as a small settlement on the Palatine Hill to its peak as an empire reigning over 90 million people and its tumultuous decline.\u003cbr\u003e\u003cbr\u003e Covering more than 1,000 years of history, \u003ci\u003eAncient Rome\u003c\/i\u003e reveals in vivid detail all the key political, cultural, and military events that shaped the Roman Empire and explores what it was like to live in a society that laid the foundations for our modern world. \u003cbr\u003e\u003cbr\u003eSumptuous photography and authoritative, engaging text cover every facet of life in ancient Rome, from art, philosophy, and entertainment to engineering, medicine, and war, while detailed maps trace the rise of the mighty Roman Empire.\u003cbr\u003e\u003cbr\u003e Featuring in-depth biographies of Rome's greatest emperors, from Augustus to Constantine, as well as key figures such as generals, philosophers, and writers, \u003ci\u003eAncient Rome\u003c\/i\u003e also delves into the fascinating stories of gladiators, bakers, and enslaved people. The streets and buildings of Rome are brought to life with specially commissioned CGI recreations, while momentous events such as the destruction of Pompeii are told with the help of illustrations, artifacts, and eyewitness accounts. \u003cbr\u003e\u003cbr\u003eBeautifully illustrated and unparalleled in scope, \u003ci\u003eAncient Rome\u003c\/i\u003e is the perfect book for anyone who is interested in this defining period of world history.\u003cbr\u003e\u003cbr\u003e - 400 pages \u003cbr\u003e- 9.6 inches W x 11.4 inches L\u003cbr\u003e - Hardcover\u003cbr\u003e - DK \u003cbr\u003e- 2023 \u003cbr\u003e- History\u003cbr\u003e - Item #: 978-0744069822","brand":"PENGUIN RANDOM HOUSE","offers":[{"title":"Default Title","offer_id":43606468264128,"sku":"9780744069822","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/978-0744069822_a.jpg?v=1681841346"},{"product_id":"inside-pompeii-978-1606068908","title":"Inside Pompeii","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLuigi Spina\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA visually stunning, intimate photographic tour of Pompeii’s spaces, including many that have never been seen by the public. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePompeii, one of the most astonishing and well-preserved sites of classical antiquity, is also one of the world’s most visited architectural locations. Produced in partnership with the Archeological Park of Pompeii, this lavish volume takes readers on a tour of Pompeii through an array of visually compelling and original photographs by Italian artist Luigi Spina.\u003c\/p\u003e\n\u003cp\u003ePompeii’s architecture is a central feature of Spina's pictures, which were shot at all times of day, in all seasons, and in natural light. Lacy peristyles and rows of ruined columns give way to intimate, atmospheric interior spaces. Mosaic floors and beautiful wall paintings are reproduced with stunning fidelity and sensitivity. The volume also includes an essay by Gabriel Zuchtriegel, director of the Archeological Park of Pompeii, and several meditations on the history, architecture, and natural beauty of the city.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eInside Pompeii\u003c\/em\u003e provides the wondrous experience of wandering through this remarkable site without ever leaving home. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003eLuigi Spina is an Italian photographer. He has published more than twenty books and has created photographic campaigns for institutions and museums throughout Europe.\u003c\/p\u003e\n\u003cp\u003e“A series of still lives taken by the celebrated photographer of antiquities Luigi Spina takes as its focus the interiors of the houses belonging to the upper classes. Here there are no carbonised bodies, crouched and curled in fear and pain. Instead there are empty rooms, gorgeously decorated, with polychrome marble details, geometric black and white floor mosaics, elaborate mythical wall paintings, as well as wall paintings of gardens lush with birds and fruits, botanical motifs, garlands.”\u003cbr\u003e—Gavanndra Hodge, \u003cem\u003eThe Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Spina’s magnificent color photographs of Pompeiian details and wider views, often unexpected, invite careful examination.”\u003cbr\u003e—C. C. Mattusch, \u003cem\u003eChoice\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“A recently released book, sure to spark wanderlust, is now providing a behind-the-scenes look at the once vibrant metropolis.”\u003cbr\u003e—Adam Schrader, \u003cem\u003eartnet\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Visual feast.”\u003cbr\u003e—\u003cem\u003eFinancial Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“The next best thing to being on-site in Pompeii in person . . . an armchair traveler’s dream.”\u003cbr\u003e—\u003cem\u003eMidwest Book Review\u003c\/em\u003e\u003c\/p\u003e\n480 pages\u003cbr\u003e9 1\/2 x 12 1\/2 inches\u003cbr\u003e274 color illustrations\u003cbr\u003eISBN 978-1-60606-890-8\u003cbr\u003ehardcover\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: J. Paul Getty Museum\u003cbr\u003e\u003cbr\u003e2023","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43667298975936,"sku":"9781606068908","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/9781606068908.jpg?v=1690930985"},{"product_id":"artists-things-rediscovering-lost-property-from-eighteenth-century-france-978-160606863-2","title":"Artists' Things: Rediscovering Lost Property from Eighteenth-Century France","description":"\u003cp\u003e\u003cstrong\u003eKatie Scott and Hannah Williams\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistories of artists’ personal possessions shed new light on the lives of their owners.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArtists are makers of things. Yet it is a measure of the disembodied manner in which we generally think about artists that we rarely consider the everyday items they own. This innovative book looks at objects that once belonged to artists, revealing not only the fabric of the eighteenth-century art world in France but also unfamiliar—and sometimes unexpected—insights into the individuals who populated it, including Jean-Antoine Watteau, François Boucher, Jean-Baptiste Greuze, and Elisabeth Vigée-LeBrun.\u003c\/p\u003e\n\u003cp\u003eFrom the curious to the mundane, from the useful to the symbolic, these items have one thing in common: they have all been eclipsed from historical view. Some of the objects still exist, like Jean-Honoré Fragonard’s color box and Jacques-Louis David’s table. Others survive only in paintings, such as Jean-Siméon Chardin’s cistern in his \u003cem\u003eCopper Drinking Fountain\u003c\/em\u003e, or in documents, like François Lemoyne’s sword, the instrument of his suicide. Several were literally lost, including pastelist Jean-Baptiste Perronneau’s pencil case. In this fascinating book, the authors engage with fundamental historical debates about production, consumption, and sociability through the lens of material goods owned by artists. \u003c\/p\u003e\n\u003cp\u003eThe free online edition of this open-access publication is available at \u003ca href=\"https:\/\/www.getty.edu\/publications\/artists-things\/\" target=\"_blank\"\u003ewww.getty.edu\/publications\/artists-things\/\u003c\/a\u003e and includes zoomable illustrations. Free PDF and EPUB downloads of the book are also available.  \u003c\/p\u003e\n\u003cp\u003eKatie Scott is professor of the history of art at the Courtauld Institute of Art. Hannah Williams is s\u003cspan\u003eenior lecturer in the history of art\u003c\/span\u003e at Queen Mary University of London. \u003c\/p\u003e\n\u003cp\u003e“Engaging and erudite.”\u003cbr\u003e—Colin B. Bailey, \u003ci\u003eThe Burlington Magazine\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e“\u003ci\u003eArtists’ Things\u003c\/i\u003e will delight non-specialists, scholars and students alike. Jargon-free, it engages with fundamental historical debates about production, consumption and sociability, and learns from disciplines including anthropology and economics, bringing a vast range of cultural contexts to bear.”\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e—Juliet Carey, \u003ci\u003eThe Art Newspaper \u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e“We can raise our glass of wine to Scott and Williams for compiling an extraordinary and novel account of the artists’ lives, a new take on the traditional \u003ci\u003eVite\u003c\/i\u003e mixed with the enlightened \u003ci\u003eEncyclopédie\u003c\/i\u003e.”\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e—Dani Ezor, \u003ci\u003ecaa.reviews\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e“This is a fascinating book, that wrangles the debates of production, consumption and social place across time, through the lens of material goods owned by artists.”\u003cbr\u003e—Gina Fairley, \u003cem\u003eARTShub\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Gives new life to the quotidian.”\u003cbr\u003e—Lakshmi Rivera Amin, \u003cem\u003eHyperallergic\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e374 pages\u003cbr\u003e7 x 10 inches\u003cbr\u003e140 color and 50 b\/w illustrations\u003cbr\u003eISBN 978-1-60606-863-2\u003cbr\u003epaperback\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: Getty Research Institute\u003cbr\u003e\u003cbr\u003e2024 \u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43667307495616,"sku":"9781606068632","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/9781606068632_83628a88-b2a5-4ff5-8bfc-8f44258db58f.jpg?v=1715794671"},{"product_id":"art-history-and-anthropology-modern-encounters-1870-1970-978-1606068793","title":"Art History and Anthropology: Modern Encounters, 1870-1970","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEdited by Peter Probst and Joseph Imorde\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAn in-depth and nuanced look at the complex relationship between two dynamic fields of study.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a skeptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It examines the roles of a range of figures, including the art historian-anthropologist Aby Warburg, the modernist artist Tarsila do Amaral, the curator-impresario Leo Frobenius, and museum directors such as Alfred Barr and René d’Harnoncourt. Entering the current debates on decolonizing the past, this collection of essays prompts reflection on future relations between these two fields.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePeter Probst is professor of art history and anthropology at Tufts University in Boston. Joseph Imorde is professor of art history at the Kunsthochschule Weissensee, Berlin.\u003c\/p\u003e\n272 pages\u003cbr\u003e7 x 10 inches\u003cbr\u003e51 color and 31 b\/w illustrations\u003cbr\u003e ISBN 978-1-60606-879-3\u003cbr\u003epaperback\u003cbr\u003e\u003cbr\u003e Getty Publications\u003cbr\u003e Imprint: Getty Research Institute\u003cbr\u003eSeries: Issues \u0026amp; Debates\u003cbr\u003e\u003cbr\u003e 2023","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43667361398976,"sku":"9781606068793","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/9781606068793.jpg?v=1684960540"},{"product_id":"pagans-the-visual-culture-of-pagan-myths-legends-rituals","title":"Pagans: The Visual Culture of Pagan Myths, Legends \u0026 Rituals","description":"A fascinating, clear, and detailed historical analysis of the eclectic and beautiful visual and material culture of paganism. \u003cbr\u003e\u003cbr\u003eFocusing on a curated selection of pagan art and artifacts, this book explains the iconography and mystic power of pagan ritual objects from around the world. Ethan Doyle White identifies three critical elements of paganism from classical antiquity to today: polytheism, affiliation with nature, and witchcraft and divination. Fundamental symbols are identified and examined closely, and central myths and allegories are clarified to provide new insights into the philosophies and beliefs of pagans. \u003cbr\u003e\u003cbr\u003e\u003ci\u003ePagans\u003c\/i\u003e begins with an introduction that clarifies what we mean by \"pagan.\" It traces the pre-Christian origins of paganism, the development of the different aspects of pagan belief over centuries, and how materials from the pre-Christian religions of Europe, North Africa, and West Asia are built into the practices of today's Pagans.\u003cbr\u003e\u003cbr\u003e The book is organized into three broad sections―\"Ancient Ways,\" \"Ritual,\" and \"Community\"―each containing three themed chapters. For each chapter, illustrated text is interspersed with double-page presentations of the key figures, stories, and iconography relevant to each theme. Readers will not only come to understand the many symbols that define pagan religions and practices but will also discover the beliefs and philosophies of pagans from around the world, from polytheism to pantheism and from magic and ritual to ideas about the afterlife. \u003cbr\u003e\u003cbr\u003eThis is the second in a series of books on the material and visual culture of global religions and spiritual traditions, highlighting the iconography and mystic power of ritual objects and images. \u003cbr\u003e\u003cbr\u003e- Ethan Doyle White \u003cbr\u003e- 256 pages\u003cbr\u003e - 7 inches W x 9.6 inches L\u003cbr\u003e - Hardcover\u003cbr\u003e - Thames \u0026amp; Hudson\u003cbr\u003e - 2023 \u003cbr\u003e- History \u003cbr\u003e- Item #: 978-0500025741","brand":"W.W. NORTON\/THAMES \u0026 HUDSON","offers":[{"title":"Default Title","offer_id":43668892614848,"sku":"9780500025741","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/978-0500025741_a.jpg?v=1685121777"},{"product_id":"red-figure-scene-porcelain-mug","title":"Red Figure Scene Porcelain Mug","description":"\u003cp\u003eThis elegant 10 oz porcelain mug features a detail from a Lucanian Red-Figure Volute-Krater in the J. Paul Getty Museum's collection.\u003cbr\u003e\u003cbr\u003e- 10 oz porcelain mug\u003cbr\u003e- Dishwasher and microwave-safe\u003cbr\u003e- Made in Germany\u003cbr\u003e- Item #: MUGFRV\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eA gathering of deities decorates the front of this red-figure volute-krater (mixing bowl), made in a Greek colony in the region of Lucania in southern Italy. The twin gods Apollo and Artemis occupy the center of the scene. Apollo holds a kithara, denoting his role as god of music, and Artemis, the goddess of the hunt, is accompanied by her sacred deer. Their mother Leto stands at the right. On the left, the god Hermes leans on a pillar inscribed with his name. Two pairs of youths stand conversing on the back of the vase. \u003cbr\u003e\u003cbr\u003eThe volute-krater was a large serving vessel used to mix wine and water at a symposium or drinking party. Large figure-decorated symposium vessels like this one began to be produced in Southern Italy from the late fifth century BCE \u003cbr\u003e\u003cbr\u003eAttributed to the Palermo Painter (Greek, (South Italian, Lucanian), active about 430 - about 400 BCE)\u003cbr\u003eJ. Paul Getty Museum 85.AE.101\u003cbr\u003eCopyright 2023 J. 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The book takes a global approach, considering Egyptian and Greek papyri, ancient Chinese bamboo scripts, South American pulp prints, and Japanese demon encyclopedias, among other examples. \u003cbr\u003e\u003cbr\u003eThis book will enchant readers interested in the history of magic and science, as well as in book and manuscript history.\u003cbr\u003e\u003cbr\u003e - Owen Davies\u003cbr\u003e - 256 pages\u003cbr\u003e - 7.5 inches W x 9.8 inches L \u003cbr\u003e- Hardcover \u003cbr\u003e- Yale University Press\u003cbr\u003e - 2023\u003cbr\u003e - Art History \u003cbr\u003e- Item #: 978-0300272017","brand":"YALE UNIV PRESS","offers":[{"title":"Default Title","offer_id":43859364544704,"sku":"9780300272017","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/978-0300272017_a.jpg?v=1696006449"},{"product_id":"cycladic-harpist-sculpture","title":"Cycladic Harpist Sculpture","description":"\n\u003cp\u003eFine replica of a figure playing a musical instrument, lyre or harp.\u003c\/p\u003e\n\u003cp\u003eThe ancient Cycladic culture flourished on the islands of the Aegean Sea from c. 3300 to 1100 BCE. The best-known art of this period are the marble figures, highly stylized representations of the human form, typically having a flat, geometric quality that influenced some 20th-century modern art.\u003c\/p\u003e\n- Measures: 9 x 4.5 x 6.5 inches\u003cbr\u003e\n- Made in Greece\u003cbr\u003e\n- Item #: 801\n","brand":"LIOULIAS MUSEUM REPLICAS","offers":[{"title":"Default Title","offer_id":44196990255296,"sku":"801","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/801_3_Stacy_A.jpg?v=1720558568"},{"product_id":"roman-miniature-skeleton-reproduction","title":"Roman Miniature Skeleton - Reproduction","description":"\u003cp\u003eReproduction of a Roman miniature bronze skeleton in the collection of the Getty Villa Museum.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMade of bronze, this 1st century Roman articulated skeleton in the collection of the Getty Museum features round eye sockets and a wide, grinning mouth with large upper teeth. Its arms now missing and only the upper part of one leg remaining, the skeleton, referred to by the Romans as larva convivalis, meaning banquet ghost, was once made to jump and dance and was a reminder of the brevity of human life, and necessity of profiting from the short time which remained. In Petronius’ satirical novel, \u003cem\u003eThe Satyricon\u003c\/em\u003e (CE 60s), Trimalchio, the crass, nouveau-rich host of a dinner party, brings out a small skeleton between courses. With its flexible joints, Trimalchio poses the skeleton in various ways, and recites a poem to the affect that life is short and should be enjoyed before becoming a skeleton like the one on display. He declares “Alas for us poor mortals. Thus we shall be, after Hades takes us away. Therefore, let us live while it goes well with us.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn total, there are ten similar skeletons that are known to exist, one in silver, one in wood, and the remaining in bronze. All of the skeletons have much in common stylistically. The unanatomical rendering of the bones, a feature shared by all the skeletons, reveals the artists’ and craftsperson’s lack of scientific accuracy. It was perhaps more important that the bony specters were lively; hence; their articulation and resulting fluid and dancing movements were emphasized.\u003c\/p\u003e\n\u003cp\u003e- Dimensions: 3.5 in. H x 1 in. L x 0.75 in. 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O’Neil\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis abundantly illustrated volume is the first to explore the painted pottery of the ancient Greek, Moche, and Maya cultures side by side.\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eSatyrs and sphinxes, violent legumes, and a dancing maize deity figure in the stories painted on the pottery produced by the ancient Greek, Moche, and Maya cultures, respectively. \u003cem\u003ePicture Worlds\u003c\/em\u003e is the first book to examine the elaborately decorated terracotta vessels of these three distinct civilizations. Although the cultures were separated by space and time, they all employed pottery as a way to tell stories, explain the world, and illustrate core myths and beliefs. Each of these painted pots is a picture world. But why did these communities reach for pottery as a primary method of visual communication? How were the vessels produced and used? In this book, experts offer introductions to the civilizations, exploring these foundational questions and examining the painted imagery. Readers will be rewarded with a better understanding of each of these ancient societies, fascinating insights into their cultural commonalities and differences, and fresh perspectives on image making and storytelling, practices that remain vibrant to this day. \u003cbr\u003e\u003cbr\u003eThis volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Villa from April 10 to July 29, 2024, and at the Michael C. Carlos Museum at Emory University from September 14 to December 15, 2024.\u003cbr\u003e \u003cbr\u003eDavid Saunders is associate curator of antiquities at the J. Paul Getty Museum. Megan E. O’Neil is assistant professor of art history at Emory University.\u003c\/p\u003e\n\u003cp\u003e\"Fascinating and thought-provoking.”\u003cbr\u003e—Marion Uckelmann, \u003ci\u003eAntiquity\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e“Long-awaited and fascinating comparison of the painted and sculpted pottery of three disparate cultures widely separated in time, geography, and worldview.”\u003cbr\u003e—Diana Krumholz McDonald, \u003ci\u003eAmerican Journal of Archaeology\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e“Especially and unreservedly recommended.”\u003cbr\u003e—\u003ci\u003eMidwest Book Review\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003ePicture Worlds\u003c\/em\u003e is a brilliantly innovative project, bringing together three diverse ceramic traditions—Greek, Moche, and Maya—that shared a love for dynamic scenes of gods, heroes, and monsters. While each pot is fascinating in its own right, the ceramics gain immeasurably from being juxtaposed and analyzed in terms of form, composition, and narrative strategies.”\u003cbr\u003e—Alan Shapiro, W. H. Collins Vickers Professor of Archaeology, Emeritus, Johns Hopkins University\u003c\/p\u003e\n\u003cp\u003e“In ­\u003cem\u003ePicture Worlds\u003c\/em\u003e, Saunders and O’Neil have assembled leading scholarly voices on ancient Greek, Moche, and Maya painted pottery to explore the shared human practice of infusing eating and drinking vessels with sacred histories through elaborate image-making traditions. In presenting deep dives into these disparate case studies together for the first time, they raise larger questions about the role of communities of artistic practice in creating supernatural beings and congealing mythological narratives on tangible things, thus bolstering human rulers’ claims to divinity as they celebrated in life or as they entered the afterlife.”\u003cbr\u003e—James Doyle, Director of the Matson Museum of Anthropology at Penn State, and co-editor of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLives of the Gods: Divinity in Maya Art\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e208 pages\u003cbr\u003e9 x 10 inches\u003cbr\u003e121 color and 27 b\/w illustrations, 3 maps\u003cbr\u003eISBN 978-1-60606-905-9\u003cbr\u003epaperback\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: J. 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Auguste Rodin titled this piece \u003cem\u003eChrist and Mary Magdalene\u003c\/em\u003e, but he also called it \u003cem\u003ePrometheus and the Oceanid\u003c\/em\u003e and \u003cem\u003eThe Genius and Pity\u003c\/em\u003e, opening up the composition to multiple biblical, mythical, and secular associations. 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.\u003cbr\u003e\u003cbr\u003eThe compelling strength of this work results from the stark contrast between the highly polished surfaces of the naked flesh and the surrounding rough-hewn marble. Rodin admired Michelangelo's sculptures during his visit to Florence in 1876 and the artist's influence on Rodin can be seen not only in the unfinished parts of the piece but also in the dramatically contorted female body.\u003c\/p\u003e\n\u003cp\u003eIn order to keep up with the high demand for his work, Rodin routinely appointed talented marble carvers to realize his compositions in stone. This sculpture was entrusted to Rodin's primary marble carver Victor Peter, a well-regarded artist himself, though Rodin oversaw the process, even drawing on photographs to indicate how he wanted details altered.\u003c\/p\u003e\n\u003cp\u003eUnlike most of Rodin's works, this sculpture was never cast in bronze and only one other marble version exists.\u003cbr\u003e\u003cbr\u003eSource Object:\u003cbr\u003eTitle: \u003cem\u003eChrist and Mary Magdalene\u003c\/em\u003e\u003cbr\u003eArtist\/Maker: Auguste Rodin (French, 1840 - 1917)\u003cbr\u003eDate: 1908\u003cbr\u003eMedium: Marble\u003cbr\u003eObject Number: 2014.32\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eObject: 109.2 × 85.1 × 78.8 cm, 635 kg (43 × 33 1\/2 × 31 in., 1399.921 lb.)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":45430715842752,"sku":"RO29","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/RO29_a_e4d6d261-3876-42f6-af8c-40b4b110357e.jpg?v=1723578739"},{"product_id":"minoan-amphora-on-a-bronze-tripod","title":"Minoan Amphora on a Bronze Tripod","description":"Enhance your collection with this exquisite replica of a Greek Minoan amphora, elegantly displayed on a bronze tripod. 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Each chapter opens with a lively vignette by a medieval narrator—including a parchment maker, scribe, and illuminator—introducing various aspects of manuscript production. Sara J. Charles poses the question “What actually is a scriptorium?” and explores the development of the medieval scriptorium from its early Christian beginnings through to its eventual decline and the growth of the printing press.\u003cbr\u003e\u003cbr\u003eWith the written word at the very heart of the Christian monastic movement, we see the immense amount of labor, planning, and networks needed to produce each manuscript. By tapping into these processes and procedures, \u003ci\u003eThe Medieval Scriptorium\u003c\/i\u003e helps us to experience medieval life through the lens of a manuscript maker. \u003cbr\u003e\u003cbr\u003e- Sara J. 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The origins of the Olympic flame date back to ancient Olympia, where the Games were first held in 776 B.C. to honor Zeus, king of the gods. According to legend, a flame burned perpetually on an ancient shrine, erected by the ancient Greeks to honor Hera, and nestled within the cypress-shaded sanctuary of Olympia, symbolizing the eternal spirit of the Games and the enduring pursuit of excellence.\u003cbr\u003e\u003cbr\u003eThe modern Olympic torch relay pays homage to its Greek roots, tracing a path from Olympia to the host city of the Games, passing through historic landmarks and ancient ruins along the way. \u003cbr\u003e\u003cbr\u003eThis exquisite sculpture is hand-crafted from pure bronze, ensuring durability and a timeless aesthetic. 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