Museum Home Research and Conservation Antiquity in the Twentieth Century: Modern Art and the Classical Vision

Date: Friday, November 4, 2011
Time: 10:30 a.m.–5:00 p.m. with reception to follow
Location: Getty Villa, Auditorium

An extraordinary episode in the history of European modernism is the alliance between the avant-garde and the antique. The international loan exhibition Modern Antiquity: Picasso, de Chirico, Léger, and Picabia in the Presence of the Antique (on view at the Getty Villa from November 2, 2011 through January 16, 2012) looks at how four eminent artists reinvented and transformed antiquity between 1906 and 1936. Juxtaposing ancient art with modern painting, it also draws attention to the ways in which these artists shaped our contemporary experience of antiquity.

This one-day scholarly symposium is presented in conjunction with the exhibition and in a unique setting at the Getty Villa–itself a reconstruction of an ancient Roman house and a "modern antique" in its own right. Experts discuss the role "modern classicism" has played in the understanding of both modernism and the classical past. Confirmed participants include:

  • Jean-Louis Andral, Picasso Museum, Antibes
  • Elizabeth Cowling, University of Edinburgh
  • Jens Daehner, J. Paul Getty Museum, Los Angeles
  • Whitney Davis, University of California, Berkeley
  • Lisa Florman, The Ohio State University, Columbus
  • Christopher Green, Courtauld Institute of Art, London
  • Silvia Loreti, University of Manchester
  • Sheldon Nodelman, University of California, San Diego
  • Kenneth Silver, New York University


PDF

Downloadable schedule (22 KB)

Please email any questions to villaprograms@getty.edu.

Related Event
Picasso's Classic Realisms: Negotiating the Terms of a Relationship
(public lecture)
Date: Thursday, November 3, 2011
Time: 7:30 p.m.
Location: Getty Villa, Auditorium

Modern art historian Christopher Green examines Pablo Picasso's negotiation of several overlaid relationships: between Cubism and his so-called neoclassicism, between himself as artist and his subjects, and between "classic" Picasso and "realist" Picasso.



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