Subject Access to Art Works: Issues and the CONA Example

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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 k Subject 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 Contents Issues for recording subject Subject in General Do repositories record subject? Subject in CONA is compliant with CCO/CDWA What is CONA? What is CONA? General subject vs. Specific subject Subjects from ULAN Subjects from TGN Subjects from AAT Subjects from CONA Iconography Authority Subjects are another art work in CONA Subjects from other sources Subjects from other sources How many terms are required? For non-narrative works What 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.

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.

Transcript of Subject Access to Art Works: Issues and the CONA Example

Page 1: Subject Access to Art Works: Issues and the CONA Example

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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)

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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.

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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

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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

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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

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Works in art libraries & special collections often have subject accessIn this example, subject access is through the group, not item-level

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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

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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)

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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

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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”)

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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

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• 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

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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

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General Subject

• General depicted subject chosen from controlled list in CONA

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General Subject

• May also list Indexing Type and Subject Extent, if applicable and supported by incoming data

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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

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* 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)

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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

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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

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CONA creator controlled by ULAN

ULAN record for artist

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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

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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

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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

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• 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)

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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

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• Includes basic searching capabilities

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unique ID of recordtypedescriptive notedate for subject

namesmultiple languagesqualifierunique ID of namelanguagessource

links to sourcesto AAT, TGN, ULAN, CONA IA

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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)

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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

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• 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

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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)

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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)

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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)

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• 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

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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.

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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.

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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

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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.

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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.

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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

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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

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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

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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.

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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

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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

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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.

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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

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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.

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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

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• 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

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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.

Page 40: Subject Access to Art Works: Issues and the CONA Example

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.