IMAGINING THE PAST IN FRANCE HISTORY IN MANUSCRIPT PAINTING 1250-1500 Elizabeth Morrison and Anne D. Hedeman with contributions by Elisabeth Antoine, R. Howard Bloch, Keith Busby, Joyce Coleman, Erin K. Donowan, Gabrielle M. Spiegel, 2010 г.

One of the distinguishing features o f the exhibitio n program at the J. Paul Getty Museum is its ambitious series o f shows devoted to medieval painting and manuscripts. I n recent years the Department of Manuscripts at the Getty has mounte d a number o f enthusiastically received international exhibitions,
includin g Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe (2003),
A Masterpiece Reconstructed: The Hours of Louis XII (2005) y and Holy Space, Hallowed Ground: Icons from Sinai (2006). This exhibition continues that exciting tradition . Imagining the Past in France, i2so-isoo takes its inspiratio n from the fine holdings i n French medieval manuscripts at the Getty, includin g the magnificent copy o f Giovanni Boccaccio’s Des cas des nobles hommes et femmes illuminate d b y the Boucicaut Master i n the first decades o f the fifteenth century. Aroun d this core o f Getty works, the exhibitio n gathers together some o f the finest manu ­scripts o f the period i n order to explore the concept o f history i n the Middl e Ages. Illuminatio n played an integral role i n helping medieval readers form a concept o f history’s meaning and uses. Far from being a dry academic topic, history was a cherished and vita l part o f medieval society. Seeing Alexander the Great come alive o n the pages o f manuscripts inspired kings and warriors, whil e the visual adventures o f Lancelot and his knights provided entertainment and a sense o f mora l wort h to noblemen and women. I n looking at these superb historical manuscripts, we are able to appreciate their sheer beauty and gain insight int o some o f the defining concepts o f medieval culture. This exhibition and catalogue were the result o f an exemplary scholarly collaboration between Elizabeth Morrison , Curator and Actin g Head o f the Department o f Manuscripts, and Anne D. Hedeman, Professor i n the School o f Ar t and Design at the Universit y o f Illinois at Urbana-Ghampaign. Professor Hedema n was invite d b y the Department o f Manuscripts to spend three month s i n 2002 conducting research as part o f the Museum’s guest scholar program—a program tha t frequently and happily provides the basis for future proj ects. Durin g her visit, she and Dr. Morriso n began to discuss the possibility o f a large-scale exhibitio n devoted t o the exquisite historica l manuscripts tha t dominated secular illuminatio n i n the late Middl e Ages. I thank bot h o f them for the years o f loan negotiations, research, and hard wor k that have made this monumenta l undertaking such a success. I also wash to express m y gratitude t o the catalogue’s othe r authors, as wel l as the countless scholars, curators, and conservators around the worl d wh o participated i n the project. This brillian t book is a testament to their collective achievement. The exhibitio n and catalogue benefited fro m the stewardship o f three forme r Directors and
Actin g Directors at the Getty Museum, Deborah Gribbon, Willia m M . Griswold, and Michae l Brand; we woul d also like t o acknowledge the encouragement and support o f the late James Wood , President and GEO o f the Getty Trust unti l his untimel y passing i n 2010. Thomas Kren, Senior Curator of Manuscripts and Actin g Associate Director for Collections, and Quincy Houghton, Associate Director viii for Exhibitions, were instrumenta l i n shepherding the project t o its completion. Staff members from almost every department i n the Getty Museum were involved i n some way i n this exhibition, and I take this opportunit y to acknowledge the dedication and abilities o f that team i n making this event a reality.
This beautiful catalogue benefited from a generous subvention i n honor o f Bob and Lois Erbu m from Me l Seiden, wh o made its glorious full-color illustrations possible. His recognition o f the importance o f exhibitions devoted to medieval manuscripts is felt wdth deep appreciation. Most o f all, thanks are due to the museums, libraries, and private collectors wh o agreed to lend to this importan t exhibition their treasured obj ects, many o f whic h have never before been seen i n the Unite d States. We are delighted t o be able t o share them wit h our visitors, wh o wil l have the unusual and precious opportunity to see i n one venue some o f the most original masterpieces created i n Europe in the Middl e Ages.
David Bomfor Actin g Director The J. Paul Getty Museum