30. April.

2016
John Mac Alpine
Honors Museum Excursion

The Getty Center, Los Angles

On 28. April, I had the privilege to tour the Getty Center in Los
Angles, with the Timken Museum educational tour. The Timken
arranged a full schedule that would not have been possible
independently. It was completely well organized and thoughtfully
provided for in terms of tours, free time and refreshments.
The main exhibit and object of the excursion was the Louis XIV
tapestries. http://www.getty.edu/art/exhibitions/french_tapestries/
This royal indulgence was cultivated by the Sun King as a
demonstration of his sophisticated and cultured interest in the
arts. He is said to have accumulated some 2,300 individual
tapestries, beginning with several inherited from his grandfather,
King Henry IV. His courtiers collected on his behalf many through
out Europe, representing the finest works of the 15th century.

The weavers used generous quantities of gold and silver wrapped

thread to produce highlights that made the woven works highly
reflective. The docent discussed the technique of wrapping the
threads with finely worked wire that was pounded flat and then
wrapped around wool thread to be woven into the weft of the
designs. Dyeing techniques and materials were discussed as
market conditions introduced new and more brilliant dyes from
world trade. The docent also pointed to new world innovations of
flora and fauna that were incorporated into designs.
The exhibit of 12 monumental tapestries (an average size of 20 x
30 feet) from the French National Collection, Mobilier National, is
representative of the 600 existent works to survive the French
revolution. The Directory, pressed for cash mined the collection
for the precious metals to finance the hysteria of their rule. Today
the works from the Mobilier National decorate the Elysee Palace
and French embassies around the world.
Accompanying the tapestries was an example of the design
process. The original compositions on paper, subsequent
engravings, and the prototype painting, known as a cartoon,
which was sliced vertically and inserted below the warp in the
loom, for the weaver to follow. The seems for stitching the
painting back together were visible. One tapestry made directly
for the king was copied in a narrower (more economical) format
with out the royal insignia for a lesser noblemans manor.
The Getty Center is an overwhelming complex of harmonious
architecture and design. The campus is larger than the
SDCC/ECC/SDHS area on an elevated hilltop overlooking west LA
and Santa Monica. The grounds are integrated as art through an
artificial stream, fountains and a widely displaced sculpture
collection. Each exhibit is housed in a separate pavilion: Paintings,
3 dimensional works, photography are all individually housed in
the complex. The associated Conservancy and Research Institutes
are separate entities that also operate on the property.

Kristina Rosenberg and Ligia Jacques of the Timken Education

Department arranged the most interesting behind the scenes tour
of the conservation and restoration departments. As a world
leader in the field, all resources of technology are available in
house: X-ray, electron microscope, spectrographic analysis and a
wide collection of research material. It was very informative to
tour the conservation workshop and take notice of the materials

and tool they use to restore old paintings and the analysis of
pigments used throughout history.
Particularly interesting was the ethical issues explained by the
restoration staff person. One particular 17 th century bureau was
previously restored and actually striped to the primer (by
spectrographic analysis as chalk and egg white).

Another nearly identical piece was located in a Scottish castle and

analyzed as the original finish. Using an electron microscope and
spectrographic analysis he was able to detect the various layers
of finishes and their components.
The restorer then researched painters recipes from dairies and
trade manuals over the centuries in three languages to identify
techniques to make a bronze finish. Then through a process of
trial and error was able to recreate what was most probably, the
original process; the footnote to which stated the finish had a life
of 10 years before darkening to black.
So, over the course of two years of research, he was able to
identify original techniques and materials only to learn that the
process only had a life expectancy of 10 years. Now, what to do
with a major piece of furniture on exhibit that does not conform to

its original finish? A question he left unanswered as the Getty is

in a very public position and subject to criticism regardless of
what they do or dont do.

In all I was most impressed the harmony of the architecture and

grounds. The campus is beautifully planned and so multi-

dimensional. The sculpture is so dispersed that it is almost like a

game of hide and seek being played out. There are so many
more venues and displays to see there, I look forward to
returning.