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One dropped the a'' from his Slovak surname and became Andy Warhol. The other, Gaspard Felix Tournachon, switched to Gaspard Tournadar, then to the catchier Nadar.Both launched their careers as draftsmen Warhol as a commercial illustrator, Nadar as a sharp eyed caricaturist. Yet both quickly found their most personalized means of expression through the camera.For Warhol, as for Nadar roughly a century before him, the mechanized aperture of light became a portal into vivid personalities, a window onto the rapidly changing societies in which these artists lived and worked, partied and loved.By their choices of human subjects, Nadar and Warhol each sanctioned (and partially invented) a new aristocracy, no longer exclusively based on such archaic criteria as wealth, political power or moral character.Nadar/Warhol: Paris/New York,'' a just opened exhibition at the Getty Museum, is intended to be seen on three levels, according to Getty associate curator Judith Keller, who organized the show with Gordon Baldwin.First, it's a pairing of extravagant temperaments, of two multifaceted innovators who settled on photography as their primary art form.Second, it's an exploration of two cultural milieus: Paris, the glittering center of 19th century European culture, home of Victor Hugo, Sarah Bernhardt, Gustave Dore, George Sand and other imposing personages; and Manhattan, the cocky, self styled capital of a bold new Americanized postwar art world.Finally, in its depiction of so many once renowned but now obscure Parisians and formerly celebrated but already half forgotten New Yorkers, the show is a meditation on the impermanence of selfhood in a technological age.We want people to recognize, as Warhol did, that fame is fleeting, and with the Internet it's probably getting more transient all the time,'' Keller says.The show's genesis dates to 1984, when the Getty acquired 350 Nadars by coming into possession of the Sam Wagstaff collection.

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