Upload
visual-resources-association
View
924
Download
1
Embed Size (px)
DESCRIPTION
Patricia Harpring presentation for "More Than Meets the Eye? Retrieving Art Images by Subject" session at VRA + ARLIS/NA 2nd joint conference in Minneapolis, MN.
Citation preview
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 1 © 2011 J. Paul Getty Trust
S bj A A W kSubject Access to Art Works:Issues and the CONA Example
Patricia Harpring Managing Editor, Getty Vocabulary Program
27 March 2011
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Table of ContentsIssues for recording subject
Subject in GeneralDo repositories record subject?
Subject in CONA is compliant with CCO/CDWAWhat is CONA?What is CONA?General subject vs. Specific subjectSubjects from ULANSubjects from TGNSubjects from AATSubjects from CONA Iconography AuthoritySubjects are another art work in CONASubjects from other sourcesSubjects from other sourcesHow many terms are required?For non-narrative worksWhat if subject is unknown or uncertain?How to index subject of the work at hand (vs. subject as represented in authority)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 2 © 2011 J. Paul Getty Trust
What is Subject?
The subject matter of a work ofIn CCO and CDWA it is broadly defined“Core” informationFor all objects, even those that have no “subject” in the
The subject matter of a work of art (sometimes referred to as its content) is the narrative, iconic, or non-objective meaning conveyed by a figurative or an abstract composition. It i h t i d i t d i d b subject in the
traditional senseIt is what is depicted in and by a work of art. It also covers the function of an object or architecture that otherwise has no narrative content.
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
What is Subject?
The subject matter of a work ofUsing fields specifically dedicated to subject assures that subject matter is consistently recorded and indexed in the same place using the
The subject matter of a work of art (sometimes referred to as its content) is the narrative, iconic, or non-objective meaning conveyed by a figurative or an abstract composition. It i h t i d i t d i d b the same place using the
same conventions for every object represented in the database
It is what is depicted in and by a work of art. It also covers the function of an object or architecture that otherwise has no narrative content.
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 3 © 2011 J. Paul Getty Trust
R i l i
What is Subject? Quick overview
You are probably Representational, narrative
Tells a storyRepresentational, not a story
Portraits, landscapes, still lifes, genre scenes, architectural drawings, allegories
accustomed to thinking of subject in these ways:
N t ti lB t th NonrepresentationalAbstractDecorationFunctionImplied themes or attributes
But these may also be “subject”:
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Do repositories record subject?
Issue: One of the primary ways by which users want to retrieve information and images of art is by subject contentHowever, few repositories of art or of images record subject terms
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
How does the community overcome this problem? We all recognize the problem; but there is no easy solution
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 4 © 2011 J. Paul Getty Trust
Do repositories record subject?Repositories of objects would be best source of current data for best source of current data for objects; but do they index subject content?OCLC study in 2009Cataloging data from 9 art museums was analyzed for compatibility to CCO and CDWASee D-Lib Magazine for article on the See D-Lib Magazine for article on the project
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
15. Subject Term
Results of analysis show the percentages of records that have correctly included data for core CCO/CDWA fieldsMost museums generally are compliant with most of the core fieldsSome are missing data due to incorrect parsing (e.g., work type, role creator, which can be extrapolated and inserted globally in export)Exception: Only one of the nine museums had subject indexing
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 5 © 2011 J. Paul Getty Trust
However, subject may often be found in title or work typebut how to index it as subject?jAutomated parsing (matched against controlled subject lists) or entered by hand as subject?Combination of Combination of auto parsing and human editing would be best solution
Title: Modern Rome–Campo VaccinoJoseph Mallord William Turner (English, 1775–1851)1839oil on canvas36 1/8 x 48 1/4 in. (unframed), 48 1/4 x 60 3/8 x 4 3/8 (framed)J. Paul Getty Museum (Los Angeles, California); 2011.6
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Using organizational categories for online data to extrapolate that subject = “cityscape”
Example from Getty museum Web site; JPGM is a contributor to CONAWe will try to map this category label to the controlled CCO/CDWA/CONAgeneral subject terms to provide minimum subject access
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 6 © 2011 J. Paul Getty Trust
Works in art libraries & special collections often have subject accessIn this example, subject access is through the group, not item-level
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Portrait of Li Hongzhang in Tianjin, 1878, Liang Shitai (also known as See Tay) (Chinese, active in Hong Kong, Shanghai, and Tianjin, 1870s–1880s), albumen silver print. The Getty Research Institute, 2006.R.1.4
Subjects in CONA:What is CONA?
New vocabulary in development:Basic structure is the same as other three Getty vocabularies, AAT, ULAN, and TGN (ISO compliant for controlled vocabularies)
Also compliant with CDWA and CCOContains information about built works and movable works (e.g., paintings, drawings, sculptures, prints, furniture, etc.)
Contributions will be accepted in late 2011 or 2012Editorial manuals, fields are available onlineNOTE: All system screen shots in this presentation are from the CONA internal editorial system, NOT available to the public, not published
™
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 7 © 2011 J. Paul Getty Trust
work typepainting
Elements of a CONA record date1889
style
creatorVincent van Gogh (Dutch, 1853-1890)
titles/namesIrisesLes IrisPiante di irisDi I i
work800123
yPost Impressionist subject
botanicalnatureirisesregenerationsoil
Die IrisseIrysyIrissen
notesThis work was painted when the artist was recuperating
materialsoil on canvas, applied with brush and palette knife measurements71 x 93 cm (28 x 36 5/8
image: c. j. paul getty museum
p gfrom a severe attack of mental illness; it depicts the garden at the asylum at Saint Rémy...
current locationPaul Getty Museum (Los Angeles, California, United States)creation locationSaint Rémy de Provence (Provence Alpes Côte d'Azur, France)
sourcesJ. Paul Getty Museum. Handbook of the Collections. Los Angeles: J. Paul Getty Museum, 1991.
(inches)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
simplified Entity Relationship Diagram for Getty VocabulariesSUBJECT
MAIN TABLEbasic record information,
unique ID, parent_key, record type,descriptive/scope note, flags
••Equivalence Equivalence relationships relationships between between terms/names that terms/names that are linked to the are linked to the same concept IDsame concept ID
ISO-compliant thesaurus
NAMES / TERMSmultiple
names, one is flagged preferred; dates for names
LanguageContributors
••HierarchicalHierarchicalrelationships relationships between different between different concept IDs; each concept IDs; each record is linked to record is linked to its immediate its immediate parentparent
ASSOCIATIVE RELATIONSHIPS
links between subjects, dates
Sources ••AssociativeAssociativerelationships relationships between different between different concept IDs; are concept IDs; are reciprocalreciprocal
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 8 © 2011 J. Paul Getty Trust
simplified Entity Relationship Diagram for Getty VocabulariesSource
controlledSUBJECT
MAIN TABLEbasic record information,
unique ID, parent_key, record type,descriptive/scope note, flags Relationship Relationship
Types Types controlledcontrolled
NAMES / TERMSmultiple
names, one is flagged preferred; dates for names
PLACE TYPES/ROLES
LanguageContributors Events
event, dates
Coordinates
Biography display bio, birth/death
dates, places
Revision History
editor name, action, date of
action
Language Language controlledcontrolled
Nationality Nationality controlledcontrolled
Contributor Contributor controlledcontrolled
••Controlled Controlled values identified values identified by IDs; by IDs; other shorter other shorter controlled lists in the controlled lists in the DB simply list DB simply list terminology (e.g., terminology (e.g., “ f d ” ““ f d ” “TYPES/ROLES
multiple place types or roles, one is
flagged preferred, dates
ASSOCIATIVE RELATIONSHIPS
links between subjects, dates Place Type / Place Type / Role Role controlledcontrolled
Sources
Location Location controlledcontrolled
Events Events controlledcontrolledNationality
“preferred,” “non“preferred,” “non--preferred”)preferred”)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Physical Character-
isticsStyle
Depicted Subject
Creator
Location
• CONA complies with entity relationship diagram for an art work and authorities
Personal and Corporate Name
AuthorityImage
Records
Populated by Getty Vocabularies
Concept Authority
Geographic Place Authority
Work RecordsSource Records
from CCO and CDWA
Subject Authority
• CONA uses this same model; no full image records (only links to images)
• Authorities are linked to Work and Image
• Authorities are linked to each other
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 9 © 2011 J. Paul Getty Trust
• CONA complies with entity relationship diagram for CCO/CDWA
• Is the first Getty vocabulary to be actually linked to the others (others have controlled lists based on another vocabulary, e.g., “roles” in ULAN)ULAN
Linked to Getty Vocabularies
AAT
TGN
Work RecordsSource Records
IconographyAuthority
• Subject fields are in the CONA work record• The subject authorities that control values in
the fields come from controlled lists and from the ULAN, TGN, AAT, and Iconography Authority
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
General subject vs. Specific subject
General subject is drawn from a controlled listGeneral subject is drawn from a controlled list suggested in CDWA and CCOSpecific subject is controlled by authorities: ULAN, AAT, TGN, Iconography AuthorityMinimum requirement for CONA is one general subject term, although a default “undetermined” issubject term, although a default undetermined is available if absolutely necessaryObviously more subject terms would allow better retrieval on subject
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 10 © 2011 J. Paul Getty Trust
General Subject
advertising & commercial allegory animalapparel architecture botanicalcartographic ceremonial object cityscapecartographic j cityscapedidactic & propaganda funerary art genrehistory & legend human figure interior architecturelandscape literary theme machinemilitary mixed motif nonrepresentational art
object (utilitarian) performance portraitli i d th l till lif
• Choose appropriate general subjects• In addition, add terms to describe
subject as specifically as possible
religion and mythology seascape still life
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
General Subject
• General depicted subject chosen from controlled list in CONA
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 11 © 2011 J. Paul Getty Trust
General Subject
• May also list Indexing Type and Subject Extent, if applicable and supported by incoming data
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Analyzing the subjectThree levels of analysis (“indexing type” in CONA)
Objective descriptionIdentification of named subject
Interpretation of the meaning or theme
Of-ness
About-ness
Loosely based on method prescribed by Erwin Panofsky
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 12 © 2011 J. Paul Getty Trust
* Subjecthuman figures
Description IdentificationInterpretation Indexing type may be used as a systematic method for analysis, even if
women nudes fruit mask AfricanIberian
the three levels are not labeled
Class Paintings * Work Type painting * Title* Les Demoiselles d’Avignon* Creator Display Pablo Picasso (Spanish, 1881-1973)* Creation Date 1907* Subject
human figuresfemales nudes fruit African mask Iberian art Avignon (Provence, France)tribal art brothel prostitution
Style: Cubist
Carrer d'Avinyó (Barcelona, Spain)
brothel prostitution
Image © Museum of Modern Art, 2011
y* Measurements 243.84 x 236.22 cm (8 feet x 7 feet 8
inches)* Materials and Techniques oil on canvasDescription In this epoch-making work, which prefigured
Cubism, Picasso amalgamated the simplified iconic forms with Cézanne's reduction of the underlying structure of natural forms. The artist modeled several faces on African masks and iconic Iberian forms.
* Current Location Museum of Modern Art (New York, New York, USA)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Description IdentificationInterpretation
Issue: But if you do not label indexing type, identification and interpretation, cannot distinguish a portrayal of the “Resurrection” from thisResurrection from this allegory for the “Resurrection”?
Subject:animalreligion and mythologyliterary themeallegorypelicanpelicanbloodfeedingHugh of Fouilloy, De AvibusPsalm 102:6Holy EucharistResurrection of Christ
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 13 © 2011 J. Paul Getty Trust
Subjects from ULAN
ULAN is used to record artist andULAN is used to record artist and repository of the CONA objectBut is also linked to Depicted Subject, in order to control names of any person or corporate body that is a subject of the work
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
CONA creator controlled by ULAN
ULAN record for artist
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 14 © 2011 J. Paul Getty Trust
Bust of Jacob van ReygersbergRombout Verhulst; 1671; marble; height: 24 3/4 inches; J. Paul Getty Museum (Los Angeles, California); 84.SA.743
• Subjects that are historical l ( fi ti l) people (vs. fictional) are
controlled by ULAN
• Issue: Scope of ULAN is artists, architectural firms, repositories• Facet for non-artists has been added in ULAN, to record patrons and
sitters, etc.; had already included many patrons, rulers, etc.© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subjects from TGN
TGN is used to record the geographicTGN is used to record the geographic location of a work in CONABut is also linked to Depicted Subject, to control names of any existing or historical place depicted in the work
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 15 © 2011 J. Paul Getty Trust
Boy Viewing Mount FujiKatsushika Hokusai, (Japanese, 1760-1849); 1839, Edo period; ink and color on silk; height: 127.0 width: 69.2 cm; Freer Sackler Museums, Smithsonian Institution; Washington (DC); Gift of Charles Lang Freer; F1898.110
• Physical features (e.g., mountains) and administrative places (e.g., cities, empires) are controlled by TGN
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subjects from AAT
AAT is used to record the work typeAAT is used to record the work type, materials, style, etc. of a work in CONABut is also linked to Depicted Subject, to control generic terms describing the subjectAAT and all of the Getty vocabularies are ythesauri; the variant terms and hierarchical links may be used in retrieval of the works
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 16 © 2011 J. Paul Getty Trust
Thesaurus: A semantic network of unique concepts represented by terms – not headings
Thesauri may be monolingual or multilingual
Thesauri may have the following three relationships:
Equivalence Relationships
© J. Paul Getty Trust; Patricia Harpring 2011
Thesaurus: A semantic network of unique concepts represented by terms – not headings
Equivalence RelationshipsHierarchical RelationshipsAssociative Relationships
Felis domesticus (preferred, species name)•domestic cat (preferred, common name)•Felis catus •house cat
Animal Kingdom .......Vertebrates (phylum)............Mammalia (class)................ Carnivora (order)..................... Felidae (family)....................... Felis (genus).....................
Felis silvestris (preferred, species name)•wild cat (preferred, common name)
hierarchical
equivalence
associative
Jean-Baptiste Perroneau, Portrait of Magdaleine Pinceloup, © J. Paul Getty Museum; Chat Noir, Theophile-Alexandre Steinlen, © Sta. Barbara Museum of Art. Egyptian Cat, © Metropolitan Museum. Cat and Kittens, © National Gallery of Art. Maneki Neko, Japanese, © private collection.© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
• Terms in other AAT recordlanguages and hierarchy of “Nature” in the AAT may be used to retrieve van Gogh’s Irises in CONA
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 17 © 2011 J. Paul Getty Trust
• Issue: Are required generic subject terms (i.e., non-proper names) within scope of AAT?
• Yes. The scope of AAT allows generic terms for
bj t subject access• For example, physical
activities
• This is an example of how adding works to CONA requires adding new terms/names to AAT, TGN, and ULAN as well as to the CONA IA
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
ULAN, as well as to the CONA IA• Getty programmer is creating load
mechanism allowing interim records to be loaded while awaiting verification against controlled terminology (controlled lists, and also AAT, TGN, ULAN, and IA)
Subjects from the CONA Iconography Authority
The CONA Iconography Authority (IA), contains g p y y ( ),names/terms and other information for iconography and other subject terminology not contained in the other linked vocabulariesThe IA includes proper names for events, religion/mythology, fictional characters, named animals, themes from literature, and fictional placesp
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
E.g., mythological and fictional places and characters (e.g., Zeus), the names of specific events, (e.g., the American Civil War), or iconographic themes (e.g., the Adoration of the Magi)
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 18 © 2011 J. Paul Getty Trust
Named Events (1000001)American history (1000029)
Battle of Bull Run (1000098Plains Wars (1000068)
American Civil War (1000030)
• CONA Iconography Authority is a thesaurus in structure
Ancient Greek history (1000067)Battle of Salamis (1000068)
Vietnam War(1000043)Battle of Little Bighorn (1000
is a thesaurus in structure• Includes equivalence,
hierarchical, and associative relationships
• Links to AAT, ULAN, TGN, other CONA IA records
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
• Includes basic searching capabilities
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 19 © 2011 J. Paul Getty Trust
unique ID of recordtypedescriptive notedate for subject
namesmultiple languagesqualifierunique ID of namelanguagessource
links to sourcesto AAT, TGN, ULAN, CONA IA
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subjects from other sources
CONA allows references to other sources ofCONA allows references to other sources of subject, such as Iconclass or LC subject headingsFor contributors who are already using these sources for subject indexingThese references are in the Depicted Subject of the Work record (not in the CONA IA)Work record (not in the CONA IA)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 20 © 2011 J. Paul Getty Trust
Iconclass
LC subject headings
• Issue: Where to place subjects that conceptually could
Subjects in which authority?
p j p ybelong to multiple vocabularies/authorities? Examples:
• What if a place is known in literature, but exact location is unknown?
• TGN = “lost settlement”• but a mythical place is in CONA Iconography Authority
• What if a person is probably historical, but a large legend and iconography surrounds the person?
• John the Baptist in CONA IA “Christian iconography”• but Herod Antipas in ULAN non-artists as a ruler
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 21 © 2011 J. Paul Getty Trust
• CCO/CDWA say that a subject could go in multiple authorities;
Herod Antipas in ULAN is linked to John the Baptist in CONA IA
could go in multiple authorities; but in practice, it is easier to establish rules and enter in only one authority
• In CONA, IA is linked to ULAN, etc., better allowing us to enter each subject only once
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subject may be another art work in CONA
CONA depicted subject fields link to other CONACONA depicted subject fields link to other CONA records(separately from Associative Relationships, which are also links between CONA records)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 22 © 2011 J. Paul Getty Trust
Work Record:Record Type [cont.]Record Type [cont.]: : item Class [Class [cont.cont.::photograph*Work Type [link]*Work Type [link]: : Albumen print*Title/Name*Title/Name: : The Eiffel Tower: State of the Construction*Creator Display*Creator Display: : photographer: Louis-Emile Durandelle (French,
1832-1923)*Role [cont.] *Role [cont.] :: photographer [link]: [link]: Durandelle, Louis-Emile *Creation Date *Creation Date *:*: photographed 23 November 1888**Subject : Subject : architecture Eiffel TowerRelated Works [link to work record]: Related Works [link to work record]:
Relationship Type: Relationship Type: depicts[link to work record]: [link to work record]: Eiffel Tower
*Current Location [link]:*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA); 87.XM.121.16 *Measurements: *Measurements: 17 x 13 3/4 inches
[[controlled]controlled] ValueValue: 17 UnitUnit: in TypeType: height
• Subject for this photograph of the Eiffel Tower under
i i h b il k ValueValue: 13.75 UnitUnit: in TypeType: width*Materials and Techniques [link to Concept Authority]: *Materials and Techniques [link to Concept Authority]: albumin
printStyleStyle [link]:[link]: Belle ÉpoqueDescription: Description: This view was made about four months short of the
tower's completion. Louis-Émile Durandelle photographed the tower from a low vantage point to emphasize its monumentality. The massive building barely visible in the far distance is dwarfed under the tower's arches...
Source:Source: Getty Museum, Collections [online] (2000-)
construction is the built work, Eiffel Tower
construction (assembling), <(assembling (additive 300054608
Eiffel Tower (built work)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
CONA built work record
• Variant names for the built work can now be used to retrieve the record for the photograph through the link
CONA movable work record for the photograph
construction (assembling), <(assembling (additive 300054608
Eiffel Tower (built work)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 23 © 2011 J. Paul Getty Trust
• Combine a link to the CONA record with links to AAT and other vocabularies for thorough indexing of subject
• Use Subject to record method of representation and purpose for architectural drawings
Class: prints and drawingsObject Type: record drawingTitle: Plan and Elevation of the left side of the façade of San Lorenzo, and various other detailsCreator: Aristotile da Sangallo (Italian) after Michelangelo[link] Sangallo, Aristotile da Role: draftsmanDate: late 15th centurySubject*:
architecture San Lorenzo (Florence, Italy)churchfaçade
architectural drawings
Subject*:architecture San Lorenzo (Florence,
image frrom Millon, Henry & Craig Hugh Smyth Michelangelo Architetto, Milan: Olivetti, 1988
façadeelevationplan
Measurements: 32.0 x 21.5 cm (12 1/2 x 8 3/8 inches)Material and Technique: pen and sepia inkInscription: Upper center: chiosi grande achoperatione; el tondo tanto grande che / vengha al pari de nichi; Descriptive Note: This is a copy of a design by Michelangelo for the façade.Current Location: Staatliche Graphische Sammlung, Munich, Germany; #33258
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Italy) (built work)churchfaçadeelevationplan
Issue: This façade was never constructed. Link to built work?Issue: As a design drawing, link also as an Associative Relationship to the actual
Subject*:architecture San Lorenzo (Florence,
Class: prints and drawingsObject Type: record drawingTitle: Plan and Elevation of the left side of the façade of San Lorenzo, and various other detailsCreator: Aristotile da Sangallo (Italian) after Michelangelo[link] Sangallo, Aristotile da Role: draftsmanDate: late 15th centurySubject*:
architecture San Lorenzo (Florence, Italy)churchfaçade
Relationship to the actual built work?
image frrom Millon, Henry & Craig Hugh Smyth Michelangelo Architetto, Milan: Olivetti, 1988
Italy) (built work)churchfaçadeelevationplan
façadeelevationplan
Measurements: 32.0 x 21.5 cm (12 1/2 x 8 3/8 inches)Material and Technique: pen and sepia inkInscription: Upper center: chiosi grande achoperatione; el tondo tanto grande che / vengha al pari de nichi; Descriptive Note: This is a copy of a design by Michelangelo for the façade.Current Location: Staatliche Graphische Sammlung, Munich, Germany; #33258
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 24 © 2011 J. Paul Getty Trust
In this case, the painting is probably not the Subject of the drawing. The Subject of both is Madame Moitessier
Linked as
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
study for
Linked as Related Works
(Associative Rel.)
Jean-Auguste-Dominique Ingres; Study for the Dress and the Hands of Madame Moitessier; 1851; graphite on tracing paper, squared in black chalk; 13 15/16 x 6 5/8 inches; J. Paul Getty Museum (Los Angeles, California); 91.GG.79
Jean-Auguste-Dominique Ingres; Madame Moitessier; 1851; Samuel H. Kress Collection, National Gallery of Art (Washington, DC); 1946.7.18
y
study is
For non-narrative works
Works without narrative subject content shouldWorks without narrative subject content should also have subject termGeneral subject term could be, for example, “architecture” or “object (utilitarian),” extrapolated from object type
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 25 © 2011 J. Paul Getty Trust
for Case Study House 21, architect: Pierre Koenig
•General subject may be “architecture”
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
for Hagia Sophia
• Dedication of a church or temple may be indexed in Subject
•E.g., “Sophia” = holy wisdom
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 26 © 2011 J. Paul Getty Trust
Subject for furniture and decorative artsfunction of musical instruments, textiles, ceramics, furniture, numismatics stained
Is there a subject?
Subjectbj t ( tilit i )
numismatics, stained glass, tools, artifactswhat is it “of” or “about”
Record Type [controlled]: item Class [link]: decorative arts furniture scientific instruments European art*Work Type [link]: globe *Title: Terrestrial Globe*Creator Display: globe made by Jean-Antoine Nollet (French, 1700-1770); map engraved by Louis Borde (French, active 1730s-1740s); wood stand painted with vernis Martin (possibly applied by the Martin brothers’ studio)Extent [cont]: globe * Role [link]: creator [link]: Nollet , Jean-Antoine Extent [cont]: map * Role [link]: engraver [link]: Borde, LouisExtent [cont]: stand Qualifier: possibly by * Role [link]: painters [link]: Martin brothers *Creation Date: 1728 [controlled]: Start: 1728 End: 1728*Subjects:
object (utilitarian)Earth geography cartography
Culture [link]: French*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA) ID:86.DH.705.1*Measurements: 109.9 (height) x 44.5 (diameter of globe) x 31.8 cm (depth of the stand) (43 1/4 x 17 1/2 x 12 1/2 inches) [controlled] Value: 109.9 Unit: cm Type: height | Value: 44.5 Unit: cm Type: diameter | Value: 31.8 Unit: cm Type: depth*Materials and Techniques: papier mâché, printed paper, and gilt bronze on a wooden (poplar, spruce, and alder) stand painted with vernis Martinobject (utilitarian)
Earth geography cartography
Material [links]: papier mâché paper bronze poplar spruce alder Technique [link]: vernis Martin Inscriptions: dedication to duchesse du Maine, wife of Louis XIV’s first illegitimate childDescription: The globe and its pendant were designed by the popular scientist who taught physics to the royal children. Owning a globe was very fashionable in the 18th century, and globes were considered essential for the libraries of the aristocracy.Description Source [link]: J. Paul Getty Museum online. www.getty.edu (accessed 10 February 2004)Related Work:Relationship type [controlled]: pendant of[link to Work Record]: Celestial Globe, Nicolas Bailleul le jeune (French, active 1740-1750); 1730; J. Paul Getty Museum (Los Angeles, California, USA); ID:86.DH.705.2
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subject for furniture and decorative artsfunction of musical instruments, textiles, ceramics, furniture, numismatics stained
Subjectobject (utilitarian)
*Work Type [link]: viola da gambaRecord Type [controlled]: item Class [controlled]: decorative arts musical instruments European art*Title: Viola da Gamba*Creator Display: Richard Meares (English, 17th century)* Role [link]: creator [link]: Meares, Richard*Creation Date: ca. 1680 [controlled]: Start: 1675 End: 1685*Subject
object (utilitarian)music
Culture [link]: English*Current Location [link]: Metropolitan Museum of Art (New York, New York, USA) ID: 1982.324Creation Location [link]: London (England)*Measurements: length of body: 65.3 cm (25 3/4 inches)[controlled]: Value: 65.3 Unit: cm Type: length *Materials and Techniques: wood Material [links]: woodInscriptions: marks, printed label: Richardus Meares / Instrument.Music.Fabric.in area / Boreali.D. Pauli apud LondinatesDescription: Viols, the most esteemed bowed instruments of the late Renaissance, were only gradually displaced by the violin family. Viols differ from violins chiefly in
shape, in number of strings and tuning, and in having fretted necks. All viols are played in an upright position between the knees or on the legs ("gamba" means "leg"), and the bow is held palm upward. Their sound is less brilliant and quieter than that of violin's. Chamber music for a consort of four to six viols was composed during the Renaissance and Baroque eras, and solo works for the bass viol were being played until nearly the end of the eighteenth century.
Description Source [link]: Metropolitan Museum of Art online. www.metmuseum.org (accessed 10 February 2004)
numismatics, stained glass, tools, artifactswhat is it “of” or “about”
object (utilitarian)music
2011 ©© Metropolitan Museum of Art© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 27 © 2011 J. Paul Getty Trust
Is there a subject?
Subject for furniture and decorative artsfunction of musical instruments, textiles, ceramics, furniture, numismatics stained
Subject apparel
Record Type [controlled]: item Class [controlled]: sculpture costume African art *Work Type [link]: mask*Title: Mask*Creator Display: unknown Chokwe* Role [link]: artist [link]: unknown Chokwe*Creation Date: 20th century [controlled]: Start: 1900 End: 1999*Subject: apparel religion and mythology human figure face ceremonial object Style [link]: Muzamba styleCulture [link]: Chokwe*Current Location [link]: National Museum of African Art, Smithsonian Institution (Washington, DC, USA) ID: 85-15-20
numismatics, stained glass, tools, artifactswhat is it “of” or “about”
apparel religion and mythology ceremonial object human figure(s) face
Discovery Location [link]: Democratic Republic of the CongoCreation Location [link]: Angola*Measurements: 39.1 cm (height) (15 3/8 inches)[controlled]: Value: 39.1 Unit: cm Type: height *Materials and Techniques: wood, raffia, metal, and kaolinMaterial [links]: wood raffia metal kaolinDescription: Collected in Democratic Republic of the Congo; probably from Angola. In Chokwe villages masks are worn by men in dances to invoke ancestral spirits, to represent spirits found in nature, or to represent men and women or wild animals in a narrative story.
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subject may include design elements, symbols of the patron
Is there a subject?
Class*: textiles Work Type*: carpetTitle*: Carpet
Subject: object (utilitarian)sunflowercarpetacanthus leafscrollsfruitChinese porcelain
Creator/Role*: Savonnerie Manufactory[link] Savonnerie Manufactory Role: makerCreation-Date*: about 1666Creation-Place: Paris (France)Subject*:
object (utilitarian)sunflowercarpetacanthus leafscrollsfruitChinese porcelain flowers Sun King bowlsLouis XIV (French king, 1638-1715, reigned 1643-1715)
Measurements*: L: 21 ft. 4/5 in.; W: 14 ft. 4/5 in.Materials and Techniques*: wool and linenDescriptive Note: Strewn with flowers, vessels filled with fruit and flowers, and large acanthus leaf scrolls, the design of
this large carpet centers around a prominent sunflower, the symbol of the Sun King Louis XIV. Images of Chinese blue-and-white porcelain bowls decorate the border; imported in large quantities to France through European trading companies, Asian porcelain was avidly collected by the French king and his court...
Current Location*: J. Paul Getty Museum, Los Angeles; 70.DC.63
Chinese porcelain flowers Sun King bowlsLouis XIV (French king, 1638-1715,
reigned 1643-1715)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 28 © 2011 J. Paul Getty Trust
Is there a subject?
Subject should be included even if there is no figurative or narrative contentNonrepresentational art
Subject:nonrepresentational art
image: copyright MoMA, NYC© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subject: •botanical•literary theme•herbal (reference source)•De medicina ex animalibus bySextus Placitus of Papyra (active
370 CE)
Sloane 1975 f. 10v. Unknown N. England or N. France; from Medical and herbal collection, including Pseudo-Apuleius, Herbarius; Pseudo-Dioscorides, De herbisfemininis; Sextus Placitus, De medicina ex animalibus; last quarter of the 12th century. British Library
ca. 370 CE)•Stachys (genus)•remedy
Inscriptions: Discussion of the plant betony (vetonica, genus Stachys), which, according to the text, has a wide variety of uses, including curing nightmares, sore eyes, toothaches, t h h bl d d ti tistomachaches, nosebleeds, and constipation.
• Subject may include the content of the text in addition to the visual subject content
• Transcribe or describe the text in the Inscriptions field
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 29 © 2011 J. Paul Getty Trust
Is there a subject?• Performance art also
has Subject• Objects, props, people, function as well as the
*Subject:performancemen
This example is for educational
actually represent a scene from
function, as well as the meaning or symbolism of the performance
Record Type [controlled]: item Class [controlled]: performance and installation art Modern art *Work Type [link]: performance art*Titl A l //A ilmen
Vietnam War death remorse
http://www2.arts.gla.ac.uk/tfts/NrlaWeb/multiple/89_ReevesKilcoyne.html
purposes and may not
m the w
ork cited
*Title: Angels//Anvils*Creator Display: Sean Kilcoyne (American, contemporary) and Daniel Reeves (American, born 1948)* Role [link]: performance artist [link]: Kilcoyne, Sean* Role [link]: performance artist [link]: Reeves, Daniel*Subject: performance human males Vietnam War death remorse *Creation Date: 1989 [controlled]: Start: 1989 End: 1989*Current Location [link]: not applicable Creation Location [link]: unavailable*Measurements: 90 minute installation / performance[controlled]: Value: 90 Unit: minutes Type: performance time *Materials and Techniques: multimedia installation/performanceMaterial [links]: multimedia work Technique [links]: installation performance artDescription: A collage of video and film projections are the background for four performers who move around the stage carrying out movement sequences. Images of nature give way to images of war, including helicopters, troops marching and in combat. Creator-Statement:[…] Who holds the patent on the black disposable bags worn home by some of your closest friends that year? Who named Napalm?
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
How many terms are required?
CCO / CDWA recommend local rules beCCO / CDWA recommend local rules be established to guide cataloger in number of termsFor CONA, one subject term is required, a general subject designation
although it is strongly encouraged to include specific subject terms toospecific subject terms too
As a last resort, “undetermined” may be sometimes allowed in if no subject can be extrapolated by contributor
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 30 © 2011 J. Paul Getty Trust
Refers to the precision and quantity of terms applied to a particular element Specificity refers to the degree of precision or granularity
What are they?Refers to the precision and quantity of terms applied to a particular element Specificity refers to the degree of precision or granularity
Specificity and Exhaustivity
Specificity refers to the degree of precision or granularity used in description (e.g., campanile rather tower)Exhaustivity refers to the degree of depth and breadth that the cataloger uses in description, often expressed by using a larger number of index terms or a more detailed description
The greater the level of specificity and exhaustivity in catalog records, the more valuable the records will be for
Specificity refers to the degree of precision or granularity used (e.g., campanile rather tower)
The greater the level of specificity and exhaustivity in catalog records, the more valuable the records will be
Exhaustivity refers to the degree of depth and breadth that the cataloger uses, often expressed by using a larger number of index terms or a more detailed description
catalog records, the more valuable the records will be for researchers; however, practical considerations often limit the ability of cataloging institutions to meet this goalCataloging institutions should establish local rules and guidelines regarding the level of specificity applied by catalogers for each element
g ,however, practical considerations often limit this
Cataloging institutions should establish local rules and guidelines regarding the levels of specificity and exhaustivityIssue: Is it useful to index every item in the scene? If not, where do you draw the limit?
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Specificity and Exhaustivity
Cater your approach
Subject: •apparel •animals•squirrels (animals) •tree •branches •cages • Usgwinni mor • nature
• to the characteristics of the collection
• available human resources, time, available technology
Kuni Mola; unknown Kuni; ca. 1922; National Museum of the American Indian (New York, NY) 19/8402; 52 x 69 cm; cotton appliqué; image from ; ttp://www.conexus.si.edu/index4.htm
•cages • Usgwinni mor • nature •dreams • creation myth •Tree of Life (Baluwala legend, Kuna culture iconography) •Olouaipipilele • Sun-God •tree • cutting down (felling)
• and the needs of end-users in retrievalaccommodate expert and non-expert alike
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 31 © 2011 J. Paul Getty Trust
Establish rules regarding the number of terms to assign and method of analyzing
Specificity and Exhaustivity
analyzing
• description –identification –interpretation
• major elements to minor ones etc
Subject: •apparel •animal•squirrels (animals) •tree •branches •cages • Usgwinni mor • natureminor ones, etc.
• foreground to background, top to bottom
Kuni Mola; unknown Kuni; ca. 1922; National Museum of the American Indian (New York, NY) 19/8402; 52 x 69 cm; cotton appliqué; image from ; ttp://www.conexus.si.edu/index4.htm
•cages • Usgwinni mor • nature •dreams • creation myth •Tree of Life (Baluwala legend, Kuna culture iconography) •Olouaipipilele • Sun-God •tree • cutting down (felling)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Subject: architectureviews Paris (France) International Exposition of 1889 (Paris France) Versailles Palace
Subject of a Group
(Paris, France) Versailles Palace (Versailles, France) Parc de Saint-Cloud (Paris, France) Parc du Champ de Mars (Paris, France) travel
For a collection or groupEither record subjects of ll h all or the most important
works in the groupOr record general subjects, with individual works indexed in separate item-level Work records
Work RecordRecord Type [controlled]: collection Class [controlled]: photographs European art
*Work Type [link]: albumen prints *Title: Views of Paris and Environs and the Exposition Universelle*Subject: architecture views Paris (France) International Exposition of 1889 (Paris, France) Versailles Palace (Versailles, France) Parc de Saint-Cloud (Paris, France) Parc du
Champ de Mars (Paris, France) travel *Creator Display: Neurdein Frères (French, active late 19th-early 20th centuries)
* Role [link]: photographers [link]: Neurdein Frères *Creation Date: 1888-1894 (inclusive dates) [controlled]: Qualifier: inclusive Start: 1888 End: 1894
*Current Location [link]: Getty Research Institute, Research Library, Special Collections (Los Angeles, California, USA) ID: 93-F101*Materials and Techniques: albumen prints
Technique [links]: albumen prints* Measurements: 37 photographic prints; images 13 x 19 cm (5 1/8 x 7 1/2 inches), on sheets 19 x 25 cm (7 1/2 x 9 7/8 inches)
[controlled] Extent items Value: 37 Type: count || Extent: image Value: 13 Unit: cm Type: height | Value: 19 Unit: cm Type: width || Extent: sheet Value: 19 Unit: cm Type: height | Value: 25 Unit: cm Type: width
Inscriptions: captions in French, printed on mount above and below image.Description Note: Mounted souvenir views of Paris and environs issued by Neurdein Frères for visitors to the 1889 Exposition universelle. Collection includes panoramas of Paris and
views of its main avenues and monuments as well as views of Versailles and the Parc de Saint-Cloud. These images were probably printed from existing ones in the NeurdeinFrères inventory. Six views of the Exposition universelle include a panoramic view taken from the Trocadero, a view of the Parc du Champ de Mars, and an exterior view of the Algerian pavilion.
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 32 © 2011 J. Paul Getty Trust
May distinguish Extent of multiple subjects on one work
Extent: overall *Subject religion and mythology object
Multiple Subjects
Subject e g o a d yt o ogy object(utilitarian) ceremonial object human figure(s)
Extent: side A *Subject Athena Promachos (Greek iconography) women men
Panathenaic Prize Amphora and Lid (terracotta), 363/362 BCE. Attributed to the Painter of the Wedding Procession (as painter); signed by Nikodemos (as potter) ; artist: unknown Athenian;
terracotta; J. Paul Getty Museum (Los Angeles, California), 93.AE.55.
iconography) women men
Extent: side B *Subject Nike victor competition women prize
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
What if subject is unknown or uncertain?
As with all indexing better to be accurateAs with all indexing, better to be accurate and broad than incorrect and specificMay index multiple subjects if scholarly opinion is dividedIf authoritative opinion on the subject p jcontent has changed over time, list current and historical to allow retrieval
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 33 © 2011 J. Paul Getty Trust
Record Type: itemClass: prints and drawingsWork Type: printTitle: Pomegranate with Blue Morpho ButterfliesCreator: Maria Sibylla MerianCreation Date: ca. 1705Materials: watercolor and gum arabic over partial transfer print on vellumDimensions: 14 5.8 x 11 7/8 inches (37.2 x 30.2 cm)Subject:animalbotanicalpomegranate (Punica granatum)Blue Morpho (Morpho menelaus)Banded Sphinx Moth (Eumorph fasciatus)Description: Pomegranate with Blue Morpho Butterflies and Banded Sphinx Moth Caterpillar (Punica granatum with Morpho menelaus and Eumorphfasciatus). Relationship Type: part ofRelated Work: The Insects of Suriname (plate 0)Current Location: The Royal Collection (London, England), copyright 2011 Her Majesty Queen Elizabeth II
Do not guessBroad and accurate is better than specific but pincorrecte.g., “butterfly” is better than incorrectly labeling it “Blue Morpho”
Subject:Subject:animalbotanicalpomegranate (Punica granatum)Blue Morpho (Morpho menelaus)Banded Sphinx Moth (Eumorph fasciatus)
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Uncertain Subjects Subject:
religion and mythologyhuman figure(s)bodhisattvaAvalokiteshvaraMaitreyaMaitreyacompassion
• Where subject is uncertain due to scholarly debate, list multiple possibilities
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Bodhisattva, probably Avalokiteshvara (Guanyin),
Northern Qi dynasty (550-577), ca. 550–560. Shanxi Province, China. sandstone with pigments ; height 13 3/4 ft. (419.1
cm); Metropolitan Museum of Art (New York); The Sackler Fund, 1965 (65.29.4).
(Avalokiteshvara or Maitreya)
• Use Descriptive Note field to explain the controversy
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 34 © 2011 J. Paul Getty Trust
Subject:
Former Subjects
A work may have former subject designationsIndex all
Subject:portraitFrancesco Guardi (Italian
nobleman, born 1514)
Cosimo I de‘Medici (Grand duke of Tuscany and patron of the
Record Type [controlled]: item Class [controlled]: paintings European art *Work Type [link]: painting*Title: Portrait of a Halberdier (Francesco Guardi?)
Title: Portrait of Cosimo I de’Medici Title Type: former*Creator Display: Pontormo (Italian, 1494-1557)* Role [link]: painter [link]: Pontormo*Creation Date: ca. 1528/1530 Start: 1523 End: 1535*Subject:
portrait Francesco Guardi (Italian nobleman, born 1514) Cosimo I de‘Medici (Grand duke of Tuscany and patron of the arts, 1519-1574) halberdier nobleman
Culture [link]: Italian*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA) ID:89.PA.49*Measurements: 123 x 161 cm (36 1/4 x 28 3/8 inches)[controlled]: Value: 123 Unit: cm Type: height | Value: 161 Unit: cm Type: width *Materials and Techniques: oil or oil and tempera on panel transferred to canvasM t i l [li k ] il i t t l ( d)
arts, 1519-1574)
halberdier nobleman
Material [links]: oil paint tempera panel (wood) canvasDescription: Pontormo’s elongated, oval forms and refined play of color is prototypical of Mannerist portraiture.Description Source [link]: J. Paul Getty Museum. Handbook of the Collections. 6th edition. Los Angeles: Christopher Hudson, 2001.
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Cater your approach to the knowledge of the cataloger or available authoritative informationinformationDo not include information, such as “interpretation” of the subject if you are uncertain
Subject: •still life •allegoryfl d lli d th bi d t
Signed by Aubert-Henri-Joseph Parent; Allegory of the Constitution of 1791. 1791; Limewood; H: 1 ft. 11 1/8 in.; W: 1 ft. 3 5/8 in.; D: 2 1/4 in.; 84.SD.194. J. Paul Getty Museum (Los Angeles, California)
•flowers •medallion •death •bird •nest •eggs •Constitution of 1791 • French Revolution • French monarchy •French National Assembly • Roman Senate •Hadrian • Louis XVI (French king) •failure •ending
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 35 © 2011 J. Paul Getty Trust
How to index subject of the work at handSubject of the work at hand (vs. subject as a topic
t d i th I h A th it )as represented in the Iconography Authority)
Issue: In the Work record, do you need to include specific topics related to the subject, if those specific topics are already part of the authority record?
R d ti Y F th k t h dRecommendation: Yes. For the work at hand, index those aspects of the subject that are apparent or importantParticularly where those terms represent aspects of the subject that are unusual or particular for the work at hand
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
• Issue: Not all aspects of a subject topic are necessarily portrayed in every work having that subjectE Ad ti f th • E.g., Adoration of the Magi, cast of characters, animals, allegorical themes
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 36 © 2011 J. Paul Getty Trust
• Are the three ages of man portrayed in this work?
• Are the three races of man portrayed?
Yes
No
Other important iconography: * Jerusalem = Siena; * Journey of the Magi* kings = astrologers with Phrygian caps;Phrygian caps; * unbeliever rustic groom contrasted with believers Magi and retinue
Bartolo di Fredi, ca. 1395, Pinatoceca Nazionale, Siena
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
• This later painting has both• This later painting has both three ages of man and the three races of man
Benvenuto di Giovanni; Sienese, 1436 - before 1517; The Adoration of the Magi, c. 1470/1475; tempera on panel, 182 x 137 cm (71 5/8 x 53 15/16 in.) ; Andrew W. Mellon Collection; 1937.1.10© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 37 © 2011 J. Paul Getty Trust
• This one also has both three ages of man and the three races of man
• Structure of the stable (new Church) built upon ancient ruins (the old order, Pagans)
Peter Paul Rubens. Adoration of the Magi. 1624. Oil on panel. Koninklijk Royal Museum of Fine Arts, Antwerp, elgium© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
• This one also has both three ages of man and the three races of man
• Notably no animals, no other elements ofno other elements of the story other than the figures
• Close-up view is mimicking a Roman relief
Mantegna; Italian; Adoration of the Magi; 1495-1505; Distemper on linen; Sight size: 19 1/8 x 25 7/8 in.; J. Paul Getty Museum, Los Angeles. 85.PA.417
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 38 © 2011 J. Paul Getty Trust
• This one has Adoration and Journey of Magi
• Animals not just ox, ass, horses, and camels, but a peacock (symbol of eternal life via incorruptable flesh)life via incorruptable flesh)
Fra Angelico and Fra Filippo Lippi; he Adoration of the Magi, c. 1440/1460 ; amuel H. Kress Collection; 1952.2.2 © 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Balthazar, Gaspar, Melchior are characters in Western art, but not in all art
Syrian Christians’ names for the Magi are Larvandad, Gushnasaph, and HormisdasHormisdas
In brief:If you know it, include ityBut do not index subject data unless you have authoritative sources for the infoBetter to be general and correct than specific and incorrect
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 39 © 2011 J. Paul Getty Trust
• Issue: Image subject may be different than subject of the work
• Index image in View S bj
Subject of the Image (Visual Surrogate)
Krishna Subduing Kaliya, the Snake Demon: Page from a Dispersed Bhagavata Purana(Ancient Stories of Lord Vishnu); Unknown Indian (Himachal Pradesh, Garwhal); Painting; ca. 1785; ink and opaque watercolor on paper; 8 x 10 1/2 inches (20.3 x 26.7 cm); Metropolitan Museum of Art (New York, New York); Rogers Fund, 1927; 27 37
Subject
Subject: •religion and mythology •human figure(s) •Krishna Subduing Kaliya•lake •snake demon 27.37.snake demon •Krishna•Kaliya•Nagapatnis•Vrndavana•Bhagavata Purana•salvation
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
Image subject may be different than subject of the work Index image in View SubjectIs Image record link d t W k linked to Work record? This may influence indexing of image subject
Subject: •religion and mythology•human figure(s)•Balarama•despair •Vrndavana
Detail of Krishna Subduing Kaliya
© 2011 © 2011 J. Paul G•etty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.
For educational purposes only. Do not distribute.
Patricia Harpring, March 2011 Subject Access for Art Works: CONA page 40 © 2011 J. Paul Getty Trust
Patricia HarpringVocabulary ProgramManaging Editor
Getty Research Institute1200 Getty Center DriveLos Angeles, CA 90049
[email protected]://www.getty.edu/research/institute/vocabulary
© 2011 © 2011 J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. For educational purposes only.