The two Gettys are pretty much my home away from home these days. Each time I visit I tell myself I have been so many times this year I don't need to go for a while, and then I find myself returning to either the Center or the Villa, so I give up. Of all the cultural venues in the LA area (probably hundreds, possibly thousands?), the Gettys are the ones I visit the most. I let my MOCA membership lapse because I found myself intrigued by an exhibit maybe once a year. I do believe in supporting the arts in LA, even the ones I don't necessarily enjoy that much, but my dollars only go so far these days. I remain a member of LACMA because its diversity of genres holds my interest, even though I don't go there as often as I used to, mainly because I keep getting sucked in by the must-see exhibits at the Gettys!
My most recent visit to the Getty Center was on Saturday. I started out in the morning at the Getty Research Institute library to research an archaeology project I am interested in. The time went by too quickly and I realized I had to meet a friend for lunch and then to see the Bernini exhibit which was ending (I had seen it previously but decided as I was there anyway, it was worth a second look). I generally don't like going at the weekends as the crowds are too much for me. On the one hand I think it's wonderful that the Getty Center has retained such a high public interest. On the other hand, too many people can spoil the ambiance for me, so I was glad I had seen Bernini under quieter circumstances.
But my primary reason for writing this particular blog is to mention the Getty's recent acquisition of Gauguin's "Arii Matamoe (The Royal End)."
Before leaving for the day I had to take another peak at this painting. Naturally, I have read all the discussions about it. (You can read about it here so I won't repeat any of it.) I recognize all the influences, etc. but I have developed a personal relationship with the painting. When I walk into the room filled with paintings by other favorite artists such as Monet and Van Gogh, this is the one that attracts my attention. I find everything about it to be perfect. (Just a note: I saw the online photo of the painting before seeing the painting in person and was not impresed by it at all. Seeing it "in the flesh," as with all paintings, is a totally different experience.)The subject matter could be thought of as grisly and abhorrent. Gauguin could, indeed, have chosen to show all the blood and guts associated with it. But I don't believe that was his intention. Instead, the scene comes across to me as serene and harmonious. I feel very much at peace when viewing it, even though, intellectually, I think I should not. The reactions of the people in the background are temporary, and life will go on. The head is surrounded by vibrant colors, exquisite designs and exotic scenery. It is not at all somber. Perhaps that is the message I am getting here: death and destruction are a part of us, but at the same time we must find the beauty all around us in order to move forward.
(Paul Gauguin French, Tahiti, 1892 Oil on coarse fabric 18 7/8 x 29 1/2 in. 2008.5
The J. Paul Getty Trust
© J. Paul Getty Trust)
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