I have taken steps to be awarded several grants. A year from now, I hope to have my own room at the Getty Villa where I am allowed to roam freely admiring the art of my ex-brother-in-law, Garth Benton, and working on my paper and historic masterpiece………..
‘The Doomsday Prophecies of Wealthy Men’
I will be wearing the best headset money can buy with a endless soundtrack from the DaVinci Code, the Phantom of the Opera, and the best of Leonard Cohen. Young scholars will turn their heads as I pass them in halls.
“May the force be with you Professor Obi-Wan Kenobi!”
“Have you saved our planet yet, Obi-Wan?”
“He can’t hear you. He lives in his own world.”
I have also taken steps to receive a grant from the Paul Mellon foundation. Paul is in my rosy family tree via Elizabeth Rosemond Taylor, and Warner. I introduced the Pre-Raphaelites to Christine Rosamond Benton. We are ‘The Last Pre-Raphaelites’.
I just made an offer to be Drew Benton’s Mentor. I can show her how to be a scholar in a year. Above is her mother at the Getty Mansion in New York.
Obi-Wan Kenobi played by Sir Alec Guinness
“The murals on the J. Paul Getty Museum’s garden walls have been seen by millions of visitors since the Malibu institution opened 20 years ago. But who knew that the artist who painted–and is now restoring–the realistic likenesses of columns, garlands and still-life arrangements is Garth Benton, a third cousin of Thomas Hart Benton? The 53-year-old artist never met his famous relative, an American regionalist painter who rejected modern abstraction and championed a muscular style of realism until his death in 1975. But the younger Benton was turned on to art at the age of 8 when he saw a book of his relative’s paintings, and he occasionally corresponded with the late artist, who spent much of his life in his home state of Missouri.”
In Ridley Scott’s Gladiator, the philosophical emperor Marcus Aurelius makes a wonderful appearance. In this poetic portrayal of the truths of history, Marcus Aurelius (played by Richard Harris) chooses the fictional Maximus as his true spiritual heir, because his errant son Commodus is not a man of virtue as his father is.
The interesting question is whether or not this poetic portrayal is true to the Stoic philosophy of Marcus Aurelius or not. Even if the movie is not accurate history, it may still accomplish higher philosophic purposes, as Aristotle noted in his Poetics:
“The distinction between historian and poet is not in the one writing prose and the other verse—you might put the work of Herodotus into verse, and it would still be a species of history; it consists really in this, that the one describes the thing that has been, and the other a kind of thing that might be. Hence poetry is something more philosophic and of graver import than history, since its statements are of the nature rather of universals, whereas those of history are singulars. By a universal statement I mean one as to what such or such a kind of man will probably or necessarily say or do—which is the aim of poetry, though it affixes proper names to the characters; by a singular statement, one as to what, say, Alcibiades did or had done to him.” – (Aristotle, Poetics 6, trans. I. Bywater)
In 1957, Warner married banking heiress Catherine Conover Mellon, the daughter of art collector Paul Mellon and his first wife, Mary Conover, and the granddaughter of Andrew Mellon. By his marriage, Warner accrued substantial capital for investing and expanding his political contacts. The Warners, who divorced in 1973, have three children: Virginia, John Jr, and Mary. His former wife now uses the name Catherine Conover.
John Warner married actress Elizabeth Taylor on December 4, 1976 at the Second Presbyterian Church in Richmond, Virginia. They divorced on November 7, 1982. Warner and Larry Fortensky were the last living former spouses of Elizabeth Taylor at the time of her death in 2011. Warner is the last of Taylor’s husbands to survive. Larry Fortensky died on July 7, 2016, at age 64.
Applications are welcome from researchers of all nationalities who are working in the arts, humanities, or social sciences.
Current Getty staff and members of their immediate family are not eligible for Scholar Grants. Recent recipients who have received a Getty Scholar award within the past three years may be removed from consideration.
Getty Scholars may be in residence for one of six periods ranging from three to nine months: September to December; January to March; April to June; September to March; January to June; or September to June. A stipend of up to $65,000 per year will be awarded based on length of stay. The grant also includes an office at the Getty Research Institute or the Getty Villa, an apartment in the Getty scholar housing complex, airfare to and from Los Angeles, and makes healthcare options available. These terms apply as of July 2017 and are subject to future changes.
What we do
The Paul Mellon Centre for Studies in British Art is an educational charity committed to supporting original research into the history of British art and architecture of all periods. It is the sister institution to the Yale Center for British Art, with which it collaborates closely, and is part of Yale University.
The Centre, based in Bedford Square, London, is a thriving hub of research. It offers a supportive, professional environment for scholarly work, providing rich library and archival resources to curators, art-trade professionals, independent art historians, academics, researchers and students. It hosts a busy programme of scholarly events, including research seminars and lunches, workshops, symposia and conferences. It generates high-quality research through the scholarly activities and publications of its Director, Deputy-Directors, and growing community of in-house Postdoctoral Fellows. It also runs the Yale-in-London teaching programme, which provides visiting Yale students with a variety of courses to study, including ones devoted to the history of British art and architecture. In Autumn 2015 we extended our educational activities with the launch of our Public Lecture Courses aimed at people interested in learning more about British art, but who may not have had studied art history before.
The Centre is also actively engaged in wider realms of scholarly activity and publication. It runs a major grants and fellowships programme that funds high-quality research into the history of British art and architecture. It has a long and continuing history of publishing scholarly monographs and catalogues through Yale University Press. Finally, it is also committed to the most rigorous and creative forms of digital publication: it has recently produced digital catalogue raisonnés on the work of Francis Towne (1739–1816) and Richard Wilson (1713/14–1782), and operates an online journal entitled British Art Studies.