A Few Japanese Woodblock Prints

Posted on November 12, 2023 by admin

About six years ago, when we went an exhibit of early Soviet art at the Art Institute, we also took a look at some Japanese woodblock prints, which were in one of the East Asian galleries. Not Edo-era prints, which I think are better known, but early Showa works.

Such as “Spring Night at Ginza” (1934) by Kasamatsu Shiro.

“Bell Tower in Okayama” (1947) by Kawase Hasui.

“Ginza at Night” (1945 reprint of 1929 design) by Kawakami Sumio.

“Bar Bacchus in Ginza” (1929) by Oda Kazuma, which is actually a color lithograph.

Those two especially would make good postcards.

Ruby City

Posted on October 30, 2023 by admin

I didn’t take many pictures in Austin this time around. But after dinner one night, Tom had to answer a call, and I had a few moments to document a minor example of Austin neon. It’s a good town for neon.

That was the restaurant entrance. The full name of the place is Wu Chow. Good chow, as it happens.

In San Antonio, I was much more attuned to image-making, at least on Saturday, when I was footloose and out to see new things. Such as Ruby City.

Ruby City is a new art museum west of downtown on the not-so-mighty San Pedro Creek. Which is wider at this point than much of the San Antonio River.

“The story of Ruby City — the landmark museum designed by world-renowned architect Sir David Adjaye… — begins with the lucid dream of a dying woman,” Texas Monthly reported just before the museum opened in 2019.

“In the spring of 2007, Linda Pace, at age 62 a legendary patron of contemporary art in San Antonio, understood that her breast cancer, diagnosed a few months earlier, was likely terminal. All the money in the world could not keep the woman born into both the Pearl beer and Pace Foods families alive long enough to see through her final project, a permanent home for her art collection.”

Ideas for the building design came to her in a dream, the magazine reported, and – having skill in drawing and materials ready at her bedside – she drew sketches and provided them to the architect. About a decade after her death, the building was realized. How much the final structure hewed to the dream-images is impossible to know, at least for those of us standing at the base of the concrete walls years later.

I arrived just as the museum opened at 10 in the morning. I’d been encouraged to make an online “appointment” before coming, so I did. Would crowding be an issue at this free museum? Well, no. During my first few minutes there, I was the only visitor. Everyone else worked there, and there weren’t that many of them. It was a little weird being in a gallery in which the employee’s (or volunteer’s) only job is to watch you, except pretend they aren’t really watching you.

Never mind, the entrance asks one and all to “be amazing.” I made a self-portrait.

Be amazing. That’s a tall order. Better to be “interesting” or maybe “remarkable” on a really good day. Much of the artwork inside is at least interesting. A few pieces I’d say were even remarkable, but nothing amazed me much. Maybe I’m jaded.

Actually, this rectangle o’ river rubbish was mildly amazing.

“Riverbank” (2006), by Luz Maria Sanchez of Mexico City. Made from clothing, bags, bottles etc. found in the Rio Grande. Behind it is “Mobile Home II” (2006) by Mona Hatoum, a Lebanese artist living in London. Its items are connected to laundry lines slowly pulled back and forth by small electric motors.

This one I found remarkable. “Ultimate Joy” (2001) by American artist Jim Hodges. A light bulb artist, at least for this work.

“View of Gorge” (1999) by Anne Chu, an American artist (d. 2016).

Outside is a sculpture garden with three pieces – one of which seemed to be removed for now. No matter, one of the remaining ones is an impressive pile: “5000 lbs. of Sonny’s Airplane Parts, Linda’s Place, and 550 lbs. of Tire-Wire” (1997) by Nancy Rubins.

A final comment on the building itself. Maybe not the color I’d have chosen, though it’s an interesting one. Why aren’t more concrete structures one color or another? Is it too expensive compared with plain dirty white? Imagine how many ugly concrete structures would be a little less ugly with a dash of color.

The National Cambodian Heritage Museum and Killing Fields Memorial

Posted on October 15, 2023 by admin

It’s mid-October and in Chicago at least, that means Open House Chicago, which we’ve attended most years over the last decade. We’ve visited churches, synagogues, temples, office space, libraries, factories, theaters, museums and more as part of the event. Open House is a worldwide phenomenon.

Rain fell heavily Friday night, and was forecast to last into Saturday morning – which it did, also obscuring whatever partial eclipse was above the clouds. The weather didn’t stop us from going out, though it did slow us down some, since driving in the city is like driving through glue even in the best conditions. To make things easier, I decided to head into the neighborhoods east from O’Hare – relatively accessible from our suburb – and on to Lakeview near Lake Michigan, as familiar as a neighborhood can be in Chicago, since we used to live there.

Our first stop was west of Lakeview, however, in the much less familiar Lincoln Square. It was still rainy and quite windy when we arrived at the National Cambodian Heritage Museum and Killing Fields Memorial, which I hadn’t known about till I saw it on the Open House List.

The weather discouraged outside photos, but I did manage to capture the mural on the side of the museum building, which faces west on Lawrence Ave.

“Cambodian Color” (2017) by Brandin Hurley and Shayne Renee Taylor.

A detail near the museum entrance, and out of the rain.

It’s a small museum, only a few rooms, but enough to provide some testimony and images about the Cambodian genocide – the evacuation of Phnom Penh, forced collectivization, blunt-instrument murders to save ammunition, Tuol Sleng and other death prisons, the Khmer Rouge turning on itself when an agrarian utopia mysteriously didn’t appear — the whole horrorshow of ideology gone barking mad. A somber place to visit, but that should be an element in one’s wanderings.

One of the docents, a young woman I took to be an American of Cambodian ancestry, asked me if I knew anything about the period. Unfortunately, I do. Not unfortunate that I know, but that there was anything to know. I remember reading reports of mass murders in “Democratic Kampuchea” while the Khmer Rouge was still in power and of course after its overthrow, when much more detail came out. I told her simply yes, that I’d heard of it.

The memorial is in the back room of the museum.

Not really visible unless you look very closely is Khmer script up and down the glass panels. A lot of it, in other words. Names.

“Designed within an environment for quiet contemplation utilizing glass, stone, water, and light effects, the memorial includes the individual names of thousands of relatives lost by Cambodians all over the United States,” the museum web site says.

Downtown Dallas Sculpture, 2013

Posted on September 17, 2023 by admin

Wee rain in the wee hours, which makes waking up to go to the bathroom a pleasure, at least once you settle back into bed. The light rain continued after daybreak, and made a pleasant backdrop for staying in bed to read. I expect the grass to respond by re-greening and unkempt-ing.

Ten years ago this month I was in Texas, including downtown Dallas. I visited the Nasher Sculpture Center then, which has the best sculpture real estate developer Raymond Nasher (d. 2007) could buy, and lots of it. Such as a bug-eyed Picasso (“Tête de femme,” 1931).

“La Nuit” (ca. 1902-09) by Aristide Maillol.

And something a little newer, “Quantum Cloud XX (tornado)” (2000) by Sir Antony Gromley.

The Nasher isn’t the only place in downtown Dallas to spot sculpture. Not far away is “Colts in Motion” (1980) by Anna Debska.

As well as “Bear Mountain Red-A Texas Landscape” (1982) by Alice Maynadier Bateman.

It’s a whopper that has outlasted its original corporate patron. A nearby sign says the work was carved on site from a 12.5-ton block quarried near Fredericksburg, Texas, for the building, then known as the Diamond Shamrock Tower (717 North Harwood St.). The company had moved to Dallas from Cleveland not long before – companies moving to Texas isn’t a new thing – but was eventually swallowed by Valero Energy, which is based in San Antonio.

The Less-Crowded Galleries

Posted on August 28, 2023 by admin

Yuriko went to her intermittent cake class on Saturday, which means I got to drive into the city and hang out there for a few hours. I went to the Art Institute of Chicago, since it had been a while.

The big show at the moment is “Van Gogh and the Avant-Garde: The Modern Landscape,” which closes after Labor Day. The exhibit features not only works by the one-eared Dutchman, but also Georges Seurat, Paul Signac, Emile Bernard and Charles Angrand.

I’m sure it’s a fine collection of works. But as I could see from the exhibit entrance, the galleries were packed (almost) like rush-hour subway cars. That was a deal-breaker for me, so I sought out other artwork, somewhere in the museum I hadn’t spend much time before. This was easy to do, since it is such a large place.

In fact, I didn’t have to go far. Just downstairs a floor from the Van Gogh et al. exhibit are the galleries of the Arts of the Americas. Few people were around, certainly not as many as the floor above. I had an enjoyable ramble, looking here and there at my leisure, not having to navigate other onlookers.

A few details, such as from Frederic Remington’s “The Advance-Guard,” or “The Military Sacrifice (The Ambush)” (1890).

From “Nouvart Dzeron, A Daughter of Armenia” (1912), by an artist I didn’t know: Ralph Elmer Clarkson.

A fireplace (1901) designed by George Washington Maher.

A lock by one Frank L. Koralewsky, illustrating the Grimms’ “Snow White and the Seven Dwarfs.” It won Korwalewsky a gold medal at the Panama-Pacific International Exposition of 1915, and I’d say he deserved it.

The more I looked at its detail, the more amazing it seemed.

This statue caught my attention.

I don’t think I’d seen it before. Soon I discovered it was “The Puritan” (1883-86) by the great sculptor Augustus Saint-Gaudens. Anyone who can design a thing like the $20 Double Eagle gold piece is great in my book, and I was delighted to find one of his works. Even better, there were more on the wall nearby.

“Jules Bastien-Lepage” (1880).

“Violet Sargent” (1890) (sister of the painter).

And “Amor Caritas” (1897).

Van Gogh is well and good — and probably better on a weekday — but Saint-Gaudens is equally worth the trip to the Art Institute. Another example of the limited imagination of crowds, too. I bet that for every 100 people who’ve heard of Van Gogh, maybe a handful know Saint-Gaudens.

The Peshtigo Fire Museum & Fire Cemetery

Posted on August 27, 2023 by admin

You can drive from Sault Ste. Marie to metro Chicago in a day. It would be a long day, maybe eight or nine hours depending on traffic, construction, etc., but you can do it. I decided against such a long day, breaking the trip roughly in half by spending the last night of the drive around Lake Superior – which I was leaving far behind by this point – in Marinette, Wisconsin.

One reason: so I could enjoy a leisurely drive through the UP, including westward on Michigan 28 and then south on National Forest 13 through Hiawatha National Forest.

These are roads unlikely to make it on conventional best-drive lists, except for one that I might compile myself according to idiosyncratic lights, which might also include the Icefields Parkway, Lake Shore Drive, Alamo Heights Blvd., North Carolina 12 on Hatteras and Ocracoke islands, among others that come to mind. That the UP has two such favorite roads says something about the car-commercial driving to be had in the mostly forested UP.

Light enough traffic, at least on National Forest 13, that you can stand on the center line and take pictures at your leisure.

Another thing about NF 13: It took me to Pete’s Lake once upon a few times, and again on August 5, though I didn’t camp this time or experience a thunderstorm or yahoos yelling in the distance. It remains a sentimental favorite spot.

On the morning of August 6, I finally headed home, with one more stop in mind: Peshtigo, Wisconsin, a place that demonstrates, if nothing else, that the human mind is a creature of habit.

That includes me. I only mentioned the town in passing in 2006, when we stopped at the Peshtigo Fire Museum.

The building is a former Congregational church, on the site of a Catholic church that burned down in the firestorm of 1871 – which remains the deadliest wildfire in U.S. history, according to the National Fire Protection Association. Remarkably, the Maui wildfire is, for now, placed at fifth; modernity can’t protect us from everything.

“On the night of October 8, 1871, in Peshtigo, a lumber town about seven miles southwest of the Michigan-Wisconsin border, hundreds of people died: burned by fire, suffocating from smoke, or drowning or succumbing to hypothermia while trying to shelter in the Peshtigo River,” notes USA Today.

“But the fire also raged across Oconto and Marinette counties into Michigan’s Upper Peninsula, while another blaze burned across the bay of Green Bay in Brown, Door, and Kewaunee counties.”

No one knows exactly how many people perished in the Peshtigo fire — I’ve seen varying estimates, all in the low thousands — but it was certainly more than in the Great Chicago Fire, which happened the same day. Which one is mostly remembered? Chicago, of course, thus illustrating a habit of mind. Once a thing enters the tapestry of the popular imagination, it can crowd out similar events.

Peshtigo isn’t a large museum, but it is full of stuff.

The museum includes much information and a few artifacts from the fire, though naturally not much survived. The fire itself is illustrated not by photography, but artwork.

Two volunteer docents were on hand to spread the word about the fire. It’s the only distinction for modern Peshtigo, pop. 3,400 or so. One was a woman about my age, the other a woman about Ann’s age. Again, good to see young’ins up on their local history.

Speaking of that, the museum is actually more local history than the single incident of the fire, as important as that is. As such, there are many artifacts from the entire spectrum of the town’s history (including in the basement).

Next to the museum is the Peshtigo Fire Cemetery.

Including survivors of the fire.

Along with many who did not.

Too grim a note to end on. Not far south of Peshtigo is a roadside plaque I’d seen before, but not photographed.

“The most obsessive of all of 45th Parallel markers are the plaque-on-rocks sponsored by Frank E. Noyes,” says Roadside America. “We know that he sponsored them because he put his name on every one.

“Frank was 82 years old, a faithful Episcopalian and 32nd degree Mason, and president, general manager, and editor of The Daily Eagle, a Wisconsin newspaper founded by his dad. For reasons lost to time, he became fixated on the intangible world of latitude in 1938 and put up plaques around his home town of Marinette to mark the halfway line.”

There are other such signs, of course, not of Frank Noyes origin, such as at the Montana-Wyoming border, as seen in 2005.

Except for bathroom and gas breaks, the Wisconsin 45th parallel proved to be the last stop of the nearly 2,000 miles around the lake.

SS Valley Camp

Posted on August 24, 2023 by admin

Temps hit 100 degrees F. today at O’Hare, reportedly for the first time in more than 12 years. I’d have thought it would have been more recently than that, but no. Still, such heat is transient here in the North: Tomorrow’s forecast calls for only 83 for a high, and Saturday a mere 74.

While atop the 21-story Tower of History, whose only purpose is provide a way to gaze at the scenery below, I spied an ore carrier on the Michigan Sault Ste. Marie riverfront. One of the signs on the tower’s observation deck told me it was SS Valley Camp – a museum ship. The kind of information that raises my eyebrows to an “Oh, really?” posture.

So I paid a visit late on the morning of August 5. Glad I did.

The best views of the ship aren’t from the outside, but on top.

The view from near the bridge, looking back toward the stern, which permanently points toward the St. Mary’s River and Canadian Sault Ste. Marie.

The view toward the bow, pointing toward the Michigan Sault Ste. Marie.

The metal plates – which look like solar panels under the bright sun – are in fact cargo hatches, for the Valley Camp in its nearly 50 years as a working ship carried ore and coal and other bulk goods. Visitors are advised not to go roaming around on the hatches, and I could see why, as they would be first-rate trip ‘n’ fall hazards that would land you on some hard, irregular surfaces.

The bridge complex.

Displays of various quarters.

These days the ship is owned by Sault Historic Sites, the same nonprofit that owns the Tower of History. The ship dates from 1917, built for the Producers Steamship Co. as the Louis W. Hill by the American Ship Building Co. in Lorain, Ohio, on Lake Erie. (And I have to say, in those days, company names were nothing if not descriptive.)

State-of-the-art for 1917, at least according to Lorain newspapermen: “As modern as the genius of man can make her,” the Lorain Times-Herald said at the time. A later owner renamed the ship Valley Camp, in honor of the Valley Camp Coal Co. of West Virginia.

“From 1917 until it’s last voyage in 1966, the 11,500-ton ship logged some 3 million miles and carried in excess of 16 million tons of cargo,” says the museum’s web site. “A length of 550 feet, beam of 58 feet, and depth of 31 feet, the Valley Camp [had] a crew of 32 men. Purchased by Le Sault de Sainte Marie Historical Sites Inc. [now Sault Historic Sites], the ship arrived at Sault Ste. Marie on July 6, 1968, during [the city’s] tri-centennial celebration.”

Topside is pretty cool, but the real museum action is below decks. Much of the interior is given over the displays about the history of the ship, other Great Lakes ships, and the industries they served and continue to serve: photos, models, artifacts and more.

Including a fourth-order, working Fresnel lens.

It wouldn’t be a Great Lakes nautical museum worth its salt — its freshwater — without something from the SS Edmund Fitzgerald. In this case, one of the doomed ship’s battered lifeboats.

You can wander around and see much of the original metal and glass guts of the Valley Camp, too.

Cargo Hold #1, a sign told me, hasn’t been converted into museum space. I didn’t need to be told. The yawning space shows just how large the ship is.

The hold did have an exhibit, which looked temporary, about the sad fate of the SS Carl D. Bradley, which went down in a Lake Michigan storm in 1958, taking 33 of its 35 crewmen with it.

A load of grain or coal typically filled that space on the Valley Camp; denser iron ore or taconite filled it only about a third of the way to the top, the sign said. Impressive.

Fort William Historical Park

Posted on August 15, 2023 by admin

On the last day of July, I stuck up a conversation with a tinsmith. I’d wandered into his shop, a structure he shared with a blacksmith, but the blacksmith wasn’t around, his furnace cool. Tinsmiths don’t need as much heat for their work, so his space was missing a furnace and bellows. The shop was cluttered with tinsmith work, laid out for me or anyone to examine: cups, funnels, pots, candle holders and other items.

“The North West Co. always had tinsmiths working for it,” said the tinsmith, a sandy-bearded and -headed young man in a smock, who went on to share some of his knowledge of tin working with me: the raw tin sheets, actually thin iron sheets with tin coating, the various tools, how the cool shaping was different from shaping hot iron. You only really needed heat for soldering joints, when you’d put an iron soldering rod in a charcoal brazier. This thing he had on hand.

Why made goods here, at a post on the edge of Lake Superior? he asked rhetorically. I guessed the answer before he said it.

“The tinsmiths made trade goods to trade with First Nation peoples for fur pelts,” he said, using a term that is unlikely to have been used 200 years ago.

“Bet they were in high demand,” I said.

“That’s right. Very much so. You know how they heated water before they had tin pots? They’d put heated stones into a leather bag. Tin pots were so much better, but they couldn’t make them themselves.”

Heated stones in leather bags probably hadn’t changed much since the Ojibwa ancestors were new to North America, or more likely well before that.

Then it was my turn to teach the tinsmith something. I asked where the tin came from.

“Cornwall,” he said. “That’s in England, but I’m not quite sure where it is. I’m not too good with geography.”

“You know the peninsula sticking out from the southwest of England? As far southwest as you can go? That’s Cornwall. Devon, then Cornwall, out that way.”

He still looked a little uncertain, but never mind.

“There’s been mining in Cornwall since before the Romans came,” I said. “That’s more than 2,000 years ago. One reason the Romans wanted Britain was for the tin.”

He expressed mild amazement at that.

Not long before our conversation, I’d come to Fort William Historical Park, at the southern edge of modern Thunder Bay, Ontario, where the tinsmith shop and many other buildings stand.

As an open-air museum, Fort William opened a little more than 50 years ago. As an actual North West Co. fur trading post, a major one, its heyday was more than 200 years ago. I understand that the target year the museum is trying to evoke is 1816, not long after the NWC moved here from Grand Portage, and as far as I can tell, it’s spot-on.

The museum and its 42 reconstructed buildings, Ojibwa village and small farm aren’t in the same place as the original. That is several miles (OK, kilometers) away, mostly occupied by a rail yard these days, an interpreter told me. Some, but hardly all of the buildings featured one or more costumed interpreters who were more than happy to talk about their character and his or her times.

The Fort William reconstruction isn’t quite as elaborate as Colonial Williamsburg, but the original settlement wasn’t either, and even so is quite impressive.

Looks empty, but there were a scattering of visitors, along with costumed interpreters, as such the tinsmith, who also happened to be an actual tinsmith. Who better to interpret?

At one moment, another interpreter played his fiddle and yet another one, a woman, led four or five visiting children in a vigorous dance in the main courtyard. Entertainment before electronic gizmos.

Well-stocked interiors, too. Best thing is, you can wander around inside and touch pretty much anything. That’s an advantage of faithful replicas, rather than artifacts.

That last one is the hospital. I also had a chat with the resident early 19th-century doctor, who showed me many horrific medical instruments of the day, such as a bone saw or mechanical leech. Advanced items for such a remote outpost, the doc assured me. Medicines were on hand as well. He discussed several, but the only one I remember now is calamine lotion. Much too expensive to use on itchy bug bites, he said. You just lived with those. Calamine was for serious rashes.

I popped into a large barn-like building to find it stocked with canoes, many hanging from the ceiling, some on the floor, with two interpreters working on building one. A third interpreter, a woman who introduced herself as a member of Ojibwa Fort William First Nation, told me at some length about canoe making as it would have been practiced in 1816. More than I’d ever heard or known before: The raw materials, the sizes and other varieties, how long they lasted (a few seasons), the possible individual markings – figures on the sides.

“This is the most important place in the fort, isn’t it?” I said. She agreed that it was, and the men working on the canoe sounded their approval of the idea (they didn’t talk that much).

You could easily make that case: how could you facilitate pre-modern trade across vast territory connected only by rivers and lakes? No roads, no airplanes, no communication devices. What you had were canoes and muscle power.

More artifacts in more buildings.

Some obsolete currencies I’d never heard of — the Halifax pound and the Halifax livre, for instance.

The reproduction detail is remarkable all around. I don’t think anyone’s buried here.

But I’m sure the original Fort Williams had a small cemetery, its occupants now lost to time.

Old World Wisconsin

Posted on July 25, 2023 by admin

On Canada Day this year, we were in Wisconsin. If we’d been in Canada, our Jasper Johns moment probably wouldn’t have happened.

Back up for a little context.

I looked him up, and remarkably, Jasper Johns is still alive at 93, and doing art as of only a few years ago.

We saw the patched 48-star flag on a clothesline of a re-created farm yard at Old World Wisconsin, our main destination during our early July southern Wisconsin dash (a one-day out, one-day back trip, according to my idiosyncratic definition).

Old World is a large open-air museum near Eagle, Wisconsin and Kettle Moraine State Forest. I’ve known about the place for years, probably since camping at Kettle Moraine in the late ’80s, but had never gotten around to a visit, not even with small children in tow. My Wisconsin completist impulses kicked in during the dash, so Yuriko and I went to Old World.

A unit of the Wisconsin Historical Society, the place is large: about 480 acres, with about 60 antique buildings from across the state, and a new brewpub, which I suppose counts as a welcome revenue stream for the nonprofit. Some are town buildings, others farm structures. Many immigrant styles are represented: Danish, Finnish, German, Norwegian, and Polish, and well as in-nation New England and African-American settlers in Wisconsin.

Among the town buildings is St. Peter’s (1839), the first Catholic church building in Milwaukee.

That wouldn’t be the last prominently placed stove we’d see. These were pre-HVAC buildings, after all. Makes me glad for the luxury of central heating, as much as I complain about winter.

More town structures.

The red one is an 1880s wagon shop from Whitewater, Wisconsin.

An 1880s blacksmith shop, with a smithy re-enactor.

And the band played on.

Among the farm structures, you can find this Norwegian schoolhouse.

With a spelling bee ongoing when we dropped in.

Antidisestablishmentarianism wasn’t a word in the bee, though it really isn’t that hard, come to think of it. Scherenschnitte: now there’s a tough one. Unless you’re German.

More farm structures.

More all-important stoves for those long winters. And cooking.

There were a few farm inhabitants, such as chickens and cows. We were able to sample some wonderful ice cream made from fresh milk. Also, we encountered an animal I called Future Bacon.

Yuriko chided me for that, but I’ve seen her eat bacon.

The Getty Center

Posted on July 11, 2023 by admin

This is the city. Los Angeles, California.

I don’t work there. I’m not a cop. I do visit from time to time, including early June, when found my way to the Getty Center, a complex perched on a high hill in the Santa Monica Mountains that provides some expansive SoCal vistas.

The 1.8 million or so visitors to the Getty Center every year thus experience something oilman John Paul Getty never did: these views, unless he hiked in the area, which from the little I know about him seems out of character. The Getty Center didn’t exist until well after his death (1976), developed by the Getty Trust and not opened until 1997.

The Getty is one of two branches of the J. Paul Getty Museum; the other is the Getty Villa, which impressed me mightily in early 2020. As a design by Richard Meier, the Getty is a triumph of pale blocks.

Water features.

And flora.

One likable feature of the museum is that you can loaf on its lawns.

“The Getty Center… houses European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and photography from its beginnings to the present, gathered internationally,” the museum web site says, in one of four buildings named for compass points: North, South, East, West.

Here’s a museum policy other places would do well to emulate: “The Open Content Program makes high-resolution images of public domain artwork from the Getty collections freely available, without restrictions, to advance the research, teaching, and practice of art and art history.”

I wasn’t particularly systematic as I wandered through the galleries. Go here, look at that; marvel at that other work. Rest on a bench (the Getty has some). Repeat. See things both familiar and strange by artists centuries past their lifespans. Sometimes I’m inspired to take my own pics at an art museum, including not just the art, but museumgoers.