• About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      • The “Interview” Project
  • Events
    • Worldwide Calendar
    • Our Events
      • All Events
      • Annual Conferences
        • 2026 Art Law Conference
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    • Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
  • Log in
  • Become a Member
  • Donate
Center for Art Law
  • About
    About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      Additional resources
      • The “Interview” Project
  • Events
    Events
    • Worldwide Calendar
    • Our Events
      Our Events
      • All Events
      • Annual Conferences
        Annual Conferences
        • 2026 Art Law Conference
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    Programs
    • Visual Artists’ Legal Clinics
      Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
Home image/svg+xml 2021 Timothée Giet Art law image/svg+xml 2021 Timothée Giet Getty v. Microsoft: Flagrant Infringement or a New Fair Use Frontier?
Back

Getty v. Microsoft: Flagrant Infringement or a New Fair Use Frontier?

October 21, 2014

logo

By Elena Kravtsoff, Esq.

On September 4, 2014, Getty Images, Inc. [Getty] filed a lawsuit in the Southern District Court of New York against Microsoft Corporation [Microsoft] over the Bing Image Widget, whose beta version was released less than two weeks earlier. The lawsuit seeks to “enjoin Defendant Microsoft from infringing and facilitating the massive infringement of Plaintiff’s copyrights through [the Widget].” In its complaint, Getty describes itself as “one of the world’s largest providers of commercial visual content and the leading provider of commercial images online, representing more than eighty million unique works of digital imagery.” According to Getty, the Widget allows website publishers to display images collected by the Bing Image Search without attribution of, much less the permission of the copyright owners. Moreover, says Getty, the Widget financially benefits Microsoft by promoting the Bing Search Engine. As discussed below, Microsoft adamantly disagrees. The parties exchanged a flurry of briefs in September and October. As of the date of this blog’s publication, Getty’s motion for a preliminary injunction has been denied since the court was satisfied that Microsoft disabled the Widget and indicated that it does not intend to re-launch it, and the court’s decision on Microsoft’s motion to dismiss remains to be seen.

The Bing Image Widget is no longer publically available, but based on common denominators in Getty’s and Microsoft’s descriptions of the service, the Widget is a snippet of code that an individual building a website can program into his or her webpage. The website builder then runs an image search, and images responsive to his or her query (found through Microsoft’s Bing Search Engine) are displayed through the Widget, in either a collage or a slideshow format. Thumbnail images for the collage format are pulled directly from the image copies saved by the Bing Search Engine and stored on Microsoft’s servers. Images displayed in the slideshow view are funneled through the Widget from the websites that host them and are not copied or stored by Microsoft. Screenshots of the collage and slideshow displays are available in both parties’ pleadings.

Getty and Microsoft’s consensus on what the Widget is and what is does ends with this basic description. According to Getty, Microsoft infringes on Getty’s exclusive rights to reproduce and publically display copyrighted works that are allotted to it by 17 U.S.C. § 106(1), (5). Microsoft, Getty argues, advertises to publishers that the image display powered by the Widget “enhances your web site… and provides your users with beautiful, configurable image galleries and slideshows.” Getty explains that it itself offers an “Embed” feature, which allows non-commercials users to display millions of Getty’s images on their website for free. Notably, when users populate their websites with images through Getty’s “Embed” feature—which, like the Widget, is a snippet of code—the images are automatically attributed and link to Getty’s website, allowing individuals to license the images for commercial use. Getty agues that the Bing Image Widget is similar to the “Embed” feature, but that instead of properly attributing the images, it boasts Bing’s logo, and, at least in the collage view, it directs users to the Bing Search Engine, rather than the copyright owner’s site. Getty argues that Microsoft and Widget users benefit through the Widget’s unauthorized display of images, while Getty suffers financial harm as its images are being illegally used without appropriate compensation to Getty or its clients. Getty states that since the Widget utilizes the images pulled by the Bing Search Engine, “Defendant has turned the entirety of the world’s online images into little more than a vast, unlicensed ‘clip art’ collection for the benefit of those website publishers who implement the Bing Image Widget, all without seeking permission from the owners of copyrights in those images.”

Both parties note in their briefs that courts have previously decided that when search engines crawl the Internet and make thumbnail copies of images, it’s fair use. Thus it is not surprising that in its memorandum in opposition, Microsoft emphasizes the key role of the Bing Search Engine in providing the thumbnail images to the Widget. Microsoft argues that Getty erroneously “conflates” the thumbnail library with the operation of the Widget, which, it says, does not create its own thumbnails and only helps users access the images created by the search engine (whose creation was fair use). Getty states that the Widget is not marketed or used as a search engine, and therefore a fair use defense is not applicable (“According to Defendant, once a fair use copy has been made for one purpose, that copy can apparently be used for any purpose whatsoever, even if that purpose would not have excused the copying as fair use in the first instance. Defendant’s position… finds no support in the law – or even in common sense.”)

Looking at the Perfect 10 v. Amazon court’s analysis (on which Microsoft relies) of why Google’s thumbnails constitute fair use does not provide a clear-cut answer as to whether the Widget’s use of thumbnails warrants the same conclusion. The Widget’s use of thumbnails could be construed as a new and transformative way to present information to the public, or as blatant infringement that supplies website developers with images they would otherwise have to license. According to 17 U.S.C. § 107:

Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies… or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—

(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;

(2) the nature of the copyrighted work;

(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and

(4) the effect of the use upon the potential market for or value of the copyrighted work.

The court in Perfect 10 v. Amazon analyzed fair use factors vis-à-vis Google’s thumbnail images and concluded that factors (2) and (4) did not weigh in favor of either party, that factor (2) weighed only slightly in favor of Perfect 10, and that factor (1) weighed in favor of Google because the thumbnails were “highly transformative:”

Indeed, a search engine may be more transformative than a parody because a search engine provides an entirely new use for the original work, while a parody typically has the same entertainment purpose as the original work… We conclude that the significantly transformative nature of Google’s search engine, particularly in light of its public benefit, outweighs Google’s superseding and commercial uses of the thumbnails in this case. In reaching this conclusion, we note the importance of analyzing fair use flexibly in light of new circumstances. We are also mindful of the Supreme Court’s direction that ‘the more transformative the new work, the less will be the significance of other factors, like commercialism, that may weigh against a finding of fair use’” (emphasis added).

Microsoft also points out that the Widget does, in a way, direct users to the host website: when the user hovers his or her curser over any of the thumbnail images displayed in the Widget, the web address of the image’s host appears, and in the slideshow mode, the scrolling images are directly linked to their host website, whether it be Getty’s website or the website of another host. Microsoft further argues that the slideshow view in the Widget is the same slideshow view that appears in the Bing Image Search’s “detail view” and that Microsoft does not make any copies of images associated with the slideshow view. Microsoft states: “In other words, the Widget merely provides a location address or pointer, not a copy of the image itself. It is well established that this type of HTML in-line address linking does not constitute copying or display of an image. Indeed, this is precisely the issue that was considered in Perfect 10.” The Perfect 10 v. Amazon court summarized the district court’s “server test:”

“In considering whether Perfect 10 made a prima facie case of violation of its display right, the district court reasoned that a computer owner that stores an image as electronic information and serves that electronic information directly to the user (“i.e., physically sending ones and zeroes over the [I]nternet to the user’s browser”) is displaying the electronic information in violation of a copyright holder’s exclusive display right. See 17 U.S.C. § 106(5). Conversely, the owner of a computer that does not store and serve the electronic information to a user is not displaying that information, even if such owner inline links to or frames the electronic information.”

Getty argues that the “server test” that was used in Perfect 10 v. Google and led the district court to determine that Google wasn’t infringing because the images that were produced through its search engine did not reside on its servers does not apply here because the Widget is not being used as a search tool meant to direct users to other website. Aside from this argument, however, Getty does not present a clear explanation as to why the “server test” would not apply to the Widget’s slideshow view.

Another interesting point worth noting is Microsoft’s argument that the Widget only helps website developers do what they can do anyway (“The Widget does not provide search functionality directly; it simply helps automate the coding that the website developer could otherwise do himself in order to display image search results on his websites if the Widget did not exist. [] The Widget just makes that integration of such code easier for the website developer.”). Assuming that the Widget’s functionality is found to be infringing, the fact that website developers could or would have infringed even without the Widget does not help Microsoft. This somewhat strange argument is apparently Microsoft’s segue-way to disputing its role as a volitional actor since the Widget responds to user commands: [N]o alleged infringing actions ever occur unless initiated by the user. This is true for both Slideshow and Collage. As a result, Getty cannot succeed on its claim that Microsoft is a direct infringer.” Getty dismisses this argument as a “red herring” and states that “[Microsoft’s] volitional conduct is immediately apparent from the exclusive control that Defendant exercises over the entire process by which images are selected and displayed through the Bing Image Widget.”

While at first blush Microsoft’s use of copyrighted images within the Widget appears to be a clear-cut case of copyright infringement, the ever-changing nature of the Internet and fair use renders a finding in favor of Getty less than certain. The district court in Perfect 10 v. Google found that Google’s thumbnails were not fair use, which is not an unreasonable conclusion. Yet the circuit court in Perfect 10 v. Amazon pointed out a “highly transformative” perspective on the very same use of thumbnails. Assuming the case at hand does not settle, will the court find a way to regard the Widget’s functionality as transformative and valuable to the public? Stay tuned.

Sources:

Complaint, Getty Images, Inc. v. Microsoft Corp., No. 14-CV-7114 (S.D.N.Y., Sept. 4, 2014).

Plaintiff’s Memorandum of Law in Support of Order to Show Cause, Getty Images, Inc. v. Microsoft Corp., No. 14-CV-7114 (S.D.N.Y., Sept. 4, 2014).

Microsoft Corporation’s Memorandum of Law in Opposition to Plaintiff’s Motion for Preliminary Injunction, Getty Images, Inc. v. Microsoft Corp., No. 14-CV-7114 (S.D.N.Y., Sept. 4, 2014).

Plaintiff’s Replay Memorandum in Support of Motion for Preliminary Injunction, Getty Images, Inc. v. Microsoft Corp., No. 14-CV-7114 (S.D.N.Y., Sept. 4, 2014).

Order, Getty Images, Inc. v. Microsoft Corp., No. 14-CV-7114 (S.D.N.Y., Sept. 4, 2014).

Opinion and Order, Getty Images, Inc. v. Microsoft Corp., No. 14-CV-7114 (S.D.N.Y., Sept. 4, 2014).

Perfect 10, Inc. v. Amazon.com, Inc., 487 F.3d 701 (9th Cir. 2007).

Perfect 10, Inc. v. Google, Inc., 416 F. Supp. 2d 828 (C.D. Cal. 2006).

About the Author: Elena Kravtsoff is an attorney based in Washington, DC. She may be reached at elena.kravtsoff@gmail.com.

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Readers should not construe or rely on any comment or statement in this article as legal advice. For legal advice, readers should seek a consultation with an attorney.

Post navigation

Previous Alternative Alternatives: ALT2 Conference Review
Next Case Review: Crile v. Commission of Internal Revenue

Related Art Law Articles

The End of the Mask Banksy
Art law

The End of the Mask: Banksy, Anonymity, and What We Just Lost

April 1, 2026
Benningson V Guggenheim Case Review Center for Art Law
Art lawCase ReviewLegal Issues in Museum Administration

Case Review: Bennigson v. Solomon R. Guggenheim Foundation

March 13, 2026
Art Muralists Artists? Center for Art Law
Art law

Are Muralists Artists? Legally, It Varies

March 13, 2026
Center for Art Law
What the Heck is Copyright (2)

What is Copy, Right?

Annual Conference

2026 edition explores Visual Art, AI, and the Law in the 21st Century.

 

Early Bird Tickets Available
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Check out our recent article by Lauren Stein revie Check out our recent article by Lauren Stein reviewing Amy Werbel’s "Lust on Trial: Censorship and the Rise of American Obscenity in the Age of Anthony Comstock." Werbel's book showcases a portrait of Anthony Comstock, America’s first professional censor, a man obsessed with purity and self-control who regarded masturbation as a sign of moral corruption. 

Read more about this public figure and Werbel's telling of his life including the impact he had on the US's early attempts to curtail desire in the decades before World War I, in Lauren's review. 

 📚 Click the link in our bio to read more! 

#centerforartlaw #artlaw #artlawyer #lawyer #legalresearch #bookreview #censorship #artistissues
One of our interns, Jacqueline, stopped by the Mor One of our interns, Jacqueline, stopped by the Morgan after the blizzard to catch their exhibition, “Caravaggio’s Boy with a Basket of Fruit in Focus." In partnership with the Foundation for Italian Art and Culture (FIAC) and on loan from the Galleria Borghese in Rome, this is the first time in decades that Caravaggio's early masterpiece has come to the United States. 

"The Morgan is just two blocks away from my university, the Graduate Center. The library and museum have been a rich resource for me, representing an institution that honors the rich legacy of its collector, while also maintaining exciting rotating exhibitions," Jacqueline said. 

The painting is in conversation with other works by those who influenced Caravaggio and those he subsequently inspired. The exhibition's sparkling 3-month run comes to a close April 19.

📚 Check out more information on the exhibition using the link in our bio!

#centerforartlaw #artlaw #artmuseum #caravaggio #themorgan #nyc #artlawyer #legalresearch
Check out our upcoming bootcamp on Artist-Dealer R Check out our upcoming bootcamp on Artist-Dealer Relations, now available online!!

Center for Art Law’s Art Lawyering Bootcamp: Artist-Dealer Relationships is an in-person, full-day training aimed at preparing lawyers for working with visual artists and dealers, in the unique aspects of their relationship. The bootcamp will be led by veteran attorneys specializing in art law.

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to the main contracts and regulations governing dealers' and artists' businesses. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in the specificities of the law as applied to the visual arts.

Bootcamp participants will be provided with training materials, including presentation slides and an Art Lawyering Bootcamp handbook with additional reading resources.

Art Lawyering Bootcamp participants with CLE tickets will receive New York CLE credits upon successful completion of the training modules. CLE credits pending board approval.

🎟️ Grab tickets using the link in our bio!

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #artistdealer #CLE #trainingprogram
Join us on May 27 for the highly anticipated Art L Join us on May 27 for the highly anticipated Art Law Conference 2026, held at Brooklyn Law School and Online (Hybrid). Entitled “What is Copy, Right? Visual Art, AI, and the Law in the 21st Century,” this year’s conference explores the evolving relationship between visual art, copyright law, and artificial intelligence.

Our event will feature a series of dynamic panels, each offering invaluable insights into the rapidly shifting landscape of art and copyright law. Together, let’s trace the impact of copyright law on visual arts, examine the U.S. Copyright Office’s landmark reports on AI, and contemplate the future of licensing in a world where registration is no longer enough.

In addition to substantive portion of the day, our conference with feature exhibitors and a silent auction aimed at raising funds to support Center’s Summer Internship program and bolster our efforts to provide accessible and affordable legal resources to the artistic community.

🎟️ Find more information and grab your tickets using the link in our bio! 

#artlaw #centerforartlaw #artlawyer #legalresearch #copyrightlaw #artcopyright #copyright #ailaw #artlawconference #nyu
Check out the newly released podcast episode! Andr Check out the newly released podcast episode! Andrea and Paris speak with Elysia Borowy, Executive Director of the Rema Hort Mann Foundation, Christy Ceriale, founder of the foundation’s Young Collectors Initiative, and Antonio Vidal, one of the recipients of the 2026 Emerging Artist Grant.

Through these three perspectives, they explored the inner workings of one of New York’s most prominent art foundations, hearing firsthand about the realities of running a philanthropic arts organization, building a career as a working artist, and navigating the world of collecting as a young person in the city.

Founded in 1995, the Rema Hort Mann Foundation supports both emerging visual artists and individuals battling cancer, providing grants and resources at pivotal moments in their lives and careers. 

🎙️ Click the link in our bio to listen anywhere you get your podcasts! 

#centerforartlaw #artlaw #artlawyer #legal #research #podcast #legalresearch #newepisode #artmarket
Join the Center for Art Law on April 30th in conve Join the Center for Art Law on April 30th in conversation with author and prosecutor Adena J. Bernstein as she examines the legal and ethical complexities surrounding the restitution of Nazi-looted art. 

Drawing from her book Stolen Legacies: The Fight for Nazi-Looted Art, she explores how different countries have addressed Holocaust-era cultural theft through legislation, litigation, and museum policies. The discussion will review key restitution frameworks, including the Washington Principles, evolving provenance research standards, and the role of courts in resolving ownership disputes decades after the Holocaust. Bernstein also reflects on the human aspect of these cases and why unresolved cultural losses remain an enduring legal and moral legacy of World War II.

🎟️ Get your tickets using the link in our bio!

#centerforartlaw #artlaw #artlawyer #lawyer #nazilootedart #restitution #stolenart #artcrime #internationallaw
Digital repatriation is a practice being used by m Digital repatriation is a practice being used by museums to "return" a digital version of a work to source communities while retaining the physical object. Digitization itself can increase eduction and access to items, but does a digital version of an object truly act as a sufficient substitute to the heritage contained in the original or does it create a further layer of colonial control through the access to such digital property?

Read out recent article by Afroditi Karatagli to learn more about the impact of digital repatriations and what actions should be taken instead. 

📚 Find the full article using the link in our bio!

#centerforartlaw #artlaw #artlawyer #lawyer #legalresearch #digitalrepatriation #digitalart #artmarket #artistissues #museumissues
Join us for a on April 9th for a new colloquium on Join us for a on April 9th for a new colloquium on the legal foundations for restitution of Nazi-looted art. Raymond J. Dowd will discuss his recent article "Taking The Profit Out of War: Why International Law Requires Restitution of Nazi-Looted Art" published in the Fordham Law Review Online. He will delve into the impact of international property law on those looking to bring restitution claims. 

🎟️ Grab you tickets using the link in our bio!

#centerforartlaw #artlawyer #artlaw #restitution #nazilootedart #lootedart #artcrimes
In January, two Roman bronze statutes of toddlers In January, two Roman bronze statutes of toddlers reaching for partridges, were returned and displayed by the Spanish Museo Arqueológico Nacional. The statues had previously been sold by Christie's in 2012 to a private collector. Christie's had stated the statues came from an unnamed collector, who had gotten them from Giovanni Züst. This was determined to be false. 

After a lengthly journey through the Swiss legal system, due to a Swiss man stating the statues were in his family, before being taken by an Italian man, and then later false documents being prepared prior to the Christie's sale. Later investigators in Spain determined the statues were looted property taken from Spain around 2007. The statues were voluntarily restituted 

📚 Read more using the link in our bio! 

#centerforartlaw #artlaw #artlawyer #legalresearch #looting #artcrimes #spain #restitution
You may have noticed our February newsletter arriv You may have noticed our February newsletter arrived twice, think of it as an encore. March has arrived with its familiar whirlwind, and like many of you, we find ourselves following world affairs with disbelief, dismay, and a deepening sense of urgency. Mahatma Gandhi observed that “the difference between what we do and what we are capable of doing would suffice to solve most of the world’s problems.” At the Center, we believe that building knowledge, access, and community in art law is one meaningful way to solve some of the world’s problems; we wish we could do more. 

🔗 Check out our March newsletter, using the link in our bio, to get a curated collection of art law news, our most recent published articles, upcoming events, and much more!!

#centerforartlaw #artlaw #artlawyer #lawyer #artissues #newsletter #march #legalresearch
Don't miss out on our upcoming Copyright Clinic on Don't miss out on our upcoming Copyright Clinic on March 18th!! Join us for an informative presentation and pro bono consultations to better understand the current art and copyright law landscape. Copyright law is a body of federal law that grants authors exclusive rights over their original works — from paintings and photographs to sculptures, as well as other fixed and tangible creative forms. Once protection attaches, copyright owners have exclusive economic rights that allow them to control how their work is reproduced, modified and distributed, among other uses.

Albeit theoretically simple, in practice copyright law is complex and nuanced: what works acquire such protection? How can creatives better protect their assets or, if they wish, exploit them for their monetary benefit?

🎟️ Grab tickets using the link in our bio!

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #copyright #CLE #trainingprogram
September of 2025 stuck a potential death blow to September of 2025 stuck a potential death blow to the NFT market: Christie's announced the closing of their digital art department. It had only lasted 3 years. NFTs experienced a incredibly  fast tracked rise and fall in popularity, leaving behind questions as to their continuing value and ownership rights. And yet, there could be some lasting change on how digital ownership will continue moving foward. 

📚 To learn more about this niche and potentially, completely, disappearing market read Shaila Gray's recently published article using the link in our bio!

#centerforartlaw #artlaw #artlawyer #lawyer #legalresearch #nfts #blockchain #digitalart #artmarket #artistissues
  • About the Center
  • Contact Us
  • Newsletter
  • Upcoming Events
  • Internship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
DISCLAIMER

Center for Art Law is a New York State non-profit fully qualified under provision 501(c)(3)
of the Internal Revenue Code.

The Center does not provide legal representation. Information available on this website is
purely for educational purposes only and should not be construed as legal advice.

TERMS OF USE AND PRIVACY POLICY

Your use of the Site (as defined below) constitutes your consent to this Agreement. Please
read our Terms of Use and Privacy Policy carefully.

© 2026 Center for Art Law