100,000 digitized art history materials from the Getty

The Getty Research Institute has partnered with the Digital Public Library America, it was announced this week, to make 100,000 records for digital images and texts from its Library and Special Collections available via the DPLA search

This “vast trove of rare and unique materials for the study of visual culture” would “otherwise be findable only through individual institutions’ catalogues and specialized search portals”.

A Rosa Bonheur sketchbook from 1847 with studies of plants, peasants, farm tools, decorative objects, landscapes, and human figures


“As a DPLA content hub, the Getty Research Institute has contributed metadata—information that enables search and retrieval of material—for nearly 100,000 digital images, documentary photograph collections, archives, and books dating from the 1400s to today. We’ve included some of the most frequently requested and significant material from our holdings of more than two million items, including some 5,600 images from the Julius Shulman photography archive, 2,100 images from the Jacobson collection of Orientalist photography, and dozens of art dealers’ stockbooks from the Duveen and Knoedler archives.”

JULIUS SHULMAN: And it was another world. And then all the time that I was gone, the Museum of Modern Art in New York was building up its archives of contemporary architecture. And my archives at that time were consisting of the early work of Neutra and Schindler and the early architects I mentioned before. And as a result, since my wife was home, and she had the negatives–we had a good file system–she kept sending the negatives to a friend who had a darkroom and a full finishing place, and he made the glossy prints. And she would mail the pictures to the Museum of Modern Art in New York, and we’ve gotten an income from those photographs. And while I was in the army, she lived at her mother’s house, and so we had no expenses, so we made money even while I was in the army. Because as a private the first part of my army career, I was getting… What was the army pay for a private? Thirty-two dollars a month, I think.

TAINA RIKALA DE NOREIGA: Pretty slim.

JULIUS SHULMAN: And then I became a sergeant after that. And I think my salary was maybe forty dollars a month, so on. So whatever money I made I sent home. So we made money out of our photography career even in those years. [chuckles]

TAINA RIKALA DE NOREIGA: That’s quite extraordinary.

JULIUS SHULMAN: But you see, the main thing is life was easy. I was always quietly composed in my pursuit, always lived at home, worked at home–as I do now. Nothing is changed. I’m not in a hurry. Never have been. I’ve never pushed. I drive the same way when I’m on a highway or a street. I’m the slowest car on the road. Like when we went to Santa Barbara last Sunday. Took the back road by way of Highway 118, Simi Freeway, to Fillmore, Santa Paula, two-lane, the old-fashioned roads from way back, even though I’m driving a Volvo which is a high-speed powerful car. I was cruising along, the slowest car on the road on the Simi Freeway. I was going sixty miles an hour. Cars were passing me up as if I was standing still.

TAINA RIKALA DE NOREIGA: Oh yes.

JULIUS SHULMAN: But I was enjoying the road, the drive.

TAINA RIKALA DE NOREIGA: Yeah, plus it’s a…

JULIUS SHULMAN: And it’s a beautiful feeling, to be composed in your own life , in your own mind. To be able to set your own pace.

TAINA RIKALA DE NOREIGA: Yes.

JULIUS SHULMAN: No one’s ever pushed me. Deadlines. Never had deadlines.

 

From : transcript of an oral history interview with Julius Shulman 1990 January 12-February 3

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