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The Getty Research Journal is an open-access publication presenting peer-reviewed articles on the visual arts of all cultures, regions, and time periods. The journal will be published through Getty’s Quire software beginning with this issue and made available free of charge in Web, PDF, and e-book formats. Topics relate to Getty collections, initiatives, and broad research interests. The journal welcomes a diversity of perspectives and methodological approaches, and seeks to include work that expands narratives on global cultures.

This issue features essays on a fragmentary Kufic Qurʼan of Early Abbasid style produced in Central Iran; cuttings from a twelfth-century Bible written in southeastern France for a Carthusian monastery in the orbit of the Grande Chartreuse; French archaeologist Jane Dieulafoy’s nineteenth-century documentation of Ilkhanid monuments, particularly the Emamzadeh Yahya, one of Iran’s most plundered tombs; the wartime encounter between Polish painters stationed in Baghdad and Iraqi artists during the British military reoccupation of Iraq in 1941–45; and the integration of photography and poetry in East German samizdat artists’ books of the 1980s. Shorter texts include a notice on a large folding panorama of the city of Salvador in the state of Bahia, taken around 1880 by Brazilian photographer Rodolpho Lindemann.

The free online edition of this open-access publication is at www.getty.edu/publications/grj/19/ and includes zoomable illustrations. Free PDF and EPUB downloads of the book are also available.

The Getty Research Journal presents peer-reviewed articles on the visual arts of all cultures, regions, and time periods. Topics often relate to Getty collections, initiatives, and broad research interests. The journal welcomes a diversity of perspectives and methodological approaches, and seeks to include work that expands narratives on global culture.

This issue features essays on the remembering and remaking of Second Empire table centerpieces by French fine metalworking firm Christofle et Cie during the Third Republic; satirical photomontages by Soviet artist trio Brigade KGK in 1934 for an illustrated edition of Joseph Stalin’s speech; a forgotten but important example of New Deal–era painting by little-known US American artist Bennett Buck mistakenly attributed to Mexican muralist José Clemente Orozco; poet David Antin’s turn to talking in the 1970s as oral art criticism; the marketing of a limited-edition portfolio published in 1976 by dealer Harry Lunn featuring prints by Gerd Sander of photographer Lisette Model’s work from the 1930s and ’40s; and the material culture and interpretive program at Eastern State Penitentiary Historic Site in Philadelphia shaping the public conversation about justice in the criminal legal system. Shorter texts include a notice on a sketchbook shared between French artist Rosa Bonheur and her father and teacher, Raymond Bonheur, during the 1840s and ’50s. This issue also includes a conversation between scholar Laura G. Gutiérrez and visual artist Felipe Baeza about art making, migration, legibility, and belonging in the context of his project, Unruly Forms.

The free online edition of this open-access publication is available at www.getty.edu/publications/getty-research-journal/20/. Also available are free PDF and EPUB downloads of the book.

The Getty Research Journal presents peer-reviewed articles on the visual arts of all cultures, regions, and time periods. Topics often relate to Getty collections, initiatives, and broad research interests. The journal welcomes a diversity of perspectives and methodological approaches, and seeks to include work that expands narratives on global culture.

This issue features essays on a technical examination of a peacock fresco fragment formerly thought to be an ancient Roman artifact; a necrology of French Jesuit artist Jean-Denis Attiret, court painter to the Qianlong emperor in China; the afterlives of bronze zodiac animal head sculptures from the looted Qing-era Yuanmingyuan; the commissioning of a sepulchral monument in Santiago, Chile, for the late archbishop at the end of the nineteenth century; the effect of non finito in the early twentieth-century work of Swiss painter Ferdinand Hodler; a series of performances in laundromats across Los Angeles in 1977 by the feminist art collective Mother Art; and photographer Jeanne Moutoussamy-Ashe's book from 1986 narrating the history of Black women photographers.

Shorter texts include notices on the placement and subsequent censorship of the two riflemen in David Alfaro Siqueiros’s Los Angeles mural América tropical of 1932, and material traces of performance in the archive of Simone Forti that offer glimpses of the interdisciplinary artist's activities between 1970 and 1972.

The issue also includes a conversation between the curators of the exhibition Lumen: The Art and Science of Light, held at the Getty Museum in 2024.

The free online edition of this open-access publication is available at getty.edu/publications/getty-research-journal/21/ and includes zoomable illustrations. Also available are free PDF and EPUB downloads of the book.