conglomerate of works dedicated to accessing
examples of the human endeavor.
SaraMarionSeealso: Archives; Museums; Museums: United
States; Weems, Carrie Mae
Further Reading
Boxer, Sarah. ‘‘The Hill Where Elitists and Populists Meet:
Photo Collections and the Getty Center.’’The New York
Times, (March 15, 1998): 39–40.
Deal, Joe.Between Nature and Culture: Photographs of the
Getty Center(1999).
‘‘Dearth of Art History.’’Art Review, vol. 53 (July/August
2001): 75.
Failing, Patricia. ‘‘A Nonreligious Monastery for Art His-
torians.’’Artnews, vol. 85, no. 1, (January 1986): 70–74.
In Focus Boxed Set: Andre ́Kerte ́sz, La ́szlo ́Moholy-Nagy,
Man Ray: Los Angeles: The J. Paul Getty Museum, 1999.
The J. Paul Getty Museum: Handbook of the Collections.
Los Angeles: J. Paul Getty Museum, 1997.
The J. Paul Getty Trust Report, 2000–2001. Los Angeles:
The J. Paul Getty Trust, 2001.
Joyce, Patrick. ‘‘More Secondary Modern than Postmo-
dern.’’Rethinking History, vol. 5, no. 3 (2001): 367–382.
Keller, Judith.Walker Evans: The Getty Museum Collec-
tion,Los Angeles: J. Paul Getty Museum, 1995.
Kuspit, Donald. Albert Renger-Patzch: Joy Before the
Object.Los Angeles: J. Paul Getty Museum, 1993.
Masterpieces of the J. Paul Getty Museum: Photographs.
Los Angeles: The J. Paul Getty Museum, 1999.
Nilson, Lisbet. ‘‘Moving West: In One Swell Coup, the
Psychic Center of the Photo Market Shifts to Malibu.’’
American Photographer, vol. 14 (January 1985): 56–63.
Paradise, Joanne. ‘‘Document: The Collections of the Getty
Research Institute.’’Burlington Magazine, vol. 140, no.
1143 (1998): 425–432.
Schreiber, Norman. ‘‘Pop Photo Snapshots: Goody for
Getty,’’ Popular Photography, vol. 91 (September
1984): 93, 95.
Walsh, John and Deborah Gribbon.The J. Paul Getty
Museum and Its Collections: A Museum for the New
Century.Los Angeles: The J. Paul Getty Museum, 1997.LOTTE JACOBI
American
Lotte Jacobi created some of the most striking and
enduring original photographicportraits of the twen-
tieth century. Although many of her subjects were
celebrities, including actors and dancers, her works
were not mere glamour shots. Jacobi captured not
only the sitter, but the essence of his or her creativity
through her direct approach and bold compositions,
leaving a legacy that has shaped our perception of the
artistic circles that emerged during the years between
World War I and World War II in Berlin.
Born in Thorn, West Prussia, Germany (now
Toru ́n, Poland) in 1896, Johanna Alexandra Jacobi
(Lotte was a nickname that caught on at home) was
the fourth generation of her family to take up pho-
tography. Her great-grandfather, Samuel Jacobi, a
glazier, began making daguerreotypes in the 1840s,
having purchased equipment, a license to practice,
and instructions from Daguerre while visiting in
Paris. Growing up in Posen, Germany, the oldest
of three children, Jacobi studied art history and
literature at the Academy of Posen (1912–1916).
At the age of 18, she aspired to become an actress,
the theater being one of her many interests, but she
kept returning to her roots in photography. She
made her first pictures using a pinhole camera
made by her father, Sigismund Jacobi.
In 1916, Jacobi married Fritz Honig, and the
couple had a son, John Frank, the following year.
The marriage only lasted four months; after a long
separation, their divorce became final in 1924, and
Jacobi retained custody of her son. The following
year, she enrolled her son in school in Bavaria, and
Jacobi attended the Bavarian State Academy of
Photography in Munich, where she learned film
and photography, and the University of Munich
(1925–1927), where she studied art history.
After completing her formal training, Jacobi
moved to Berlin, where her family had operated a
photographic business since 1921. Following an
apprenticeship with her father, Lotte became the
director of Jacobi Studio of Photography from
1927–1935, photographing some of the most promi-
nent German citizens, including Bertolt Brecht,
Albert Einstein, Ka ̈the Kollwitz, and Kurt Weill.
The Jacobi Studio made photographs for print
media; John Heartfield was a customer from 1929–J. PAUL GETTY MUSEUM