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The Getty Villa, which will be home to the museum's antiquities collection when it reopens.

An Odyssey in Antiquities Ends in Questions at the Getty Museum
It was a major coup for the museum, and the crowning glory of a curator's career. After years of courting a wealthy New York couple, the J. Paul Getty Museum had outmaneuvered the Metropolitan Museum of Art and other top institutions to capture one of the world's finest private collections of ancient art.

Marion True, the former Getty antiquities curator who faces charges in Italy of conspiring with two art dealers to acquire looted antiquities.

That 1996 acquisition, encompassing more than 300 masterworks of Greek, Roman and Etruscan art collected by Lawrence and Barbara Fleischman, was envisioned as the anchor of a lavish new center for classical art and archaeology planned at the Getty Villa in Malibu, Calif. As Marion True, the antiquities curator, later described it, the collection was the center's "greatest opportunity."
mais in NYTimes



Draftsman Vincent van Gogh's pen-and-ink self-portraits, done in 1887.

Art Review Vincent van Gogh
The Evolution of a Master Who Dreamed on Paper
By MICHAEL KIMMELMAN
Published: October 14, 2005
SHORTLY after he landed in Provence in February 1888, Vincent van Gogh wrote to his brother, Theo, about a beautiful sight. He had spotted "a ruined abbey on a hill covered with holly, pines and gray olives." It was the old abbey on Montmajour, a crumbling fortress and tower atop a rugged outcropping with an immense vista of vineyards and wheat fields. By July, van Gogh climbed the hill. The mistral, the strong seasonal wind, had kicked up, making it impossible for him to plant an easel and paint without his canvas shaking uncontrollably, not to mention the mosquitoes that the wind swept in.
But van Gogh boasted to Theo that while "not everyone would have the patience," he could draw. Made with a scratchy reed pen on large sheets of Whatman paper, his Montmajour drawings come about two-thirds of the way through the survey of van Gogh's drawings now at the Metropolitan Museum of Art.
They translate sky, rocks and plains into a swarm of swirls, dots, jabs and scratches. Foaming, cable-knit patterns imply the heaving gusts of wind rustling olive branches and bending gnarled olive trunks; whispery, microscopic speckles, endless numbers of them, mimic the quality of dull light on receding fields as they evaporate into the horizon. You can even sense color - the dark brown of the earth, the yellow and lilac fields and gray-blue sky - in van Gogh's black and white.
mais in NYTimes