Posted: Thursday, February 10, 2011
Since its debut on January 5, Connections has allowed tens of thousands of viewers to become acquainted with members of our staff. Each episode sparkles with the personality of a narrator who weaves together works of art from the Met's collections, based on a theme that he or she finds particularly inspiring. Our viewers have been inspired as well.
Posted: Friday, February 4, 2011
On February 6, 1871, a committee of the Board of Trustees of The Metropolitan Museum of Art discussed the plan that led to the construction of the Museum's first building at its current site on the east side of New York's Central Park.
Posted: Thursday, February 3, 2011
As the situation unfolds in Egypt, I continue to reflect on my trip there last fall and the extraordinary country that I encountered during my stay. My visit was focused on the Met's archaeological work, and I was particularly struck by the relationship between the collection of the Cairo Museum and the holdings of the Met. Our strong relationship with our colleagues in Egypt has fostered more than a century of collaboration, and thirty years of partage (1906–36) has yielded two deeply connected collections.
Posted: Tuesday, February 1, 2011
The Met is taking part in the Art Project, which Google launched today at a press conference in London. Seventeen museums from nine countries are currently participating in the Art Project, which can be accessed at www.googleartproject.com. This allows viewers both to explore the museums using Street Views technology and to view one iconic work from each museum's collection in a more in-depth way using state-of-the-art zooming technology.
Posted: Thursday, January 20, 2011
Developed in the early years of the twentieth century, Autochromes were the result of the first commercially viable color photographic process. Yet the dyes used to impart the color in Autochromes are so sensitive to light that typical exhibition conditions cause rapid and irreversible fading, which has led to the Metropolitan Museum's policy of not exhibiting these vulnerable photographs. As the Museum's research scholar in photograph conservation, I spent three years studying the stability of Autochrome dyes. I began my research with a desire to better understand how and under what conditions Autochromes fade and, ideally, to devise a safe way to exhibit these important photographs. The exciting culmination of my work will take place next week, January 25–30, when five original Autochromes by Alfred Stieglitz and Edward Steichen will be displayed in low-oxygen enclosures as part of the special exhibition Stieglitz, Steichen, Strand.
Posted: Tuesday, January 18, 2011
In 1949 the Metropolitan Museum was bequeathed a masterpiece of Italian Renaissance painting. Painted around 1485 by the Florentine master Filippino Lippi, it shows the Madonna and Child seated in a domestic interior, with a view through a window onto a landscape with a river.
Posted: Wednesday, January 12, 2011
In the early nineteenth century, American wall paintings developed from oil-on-wood works that formed part of a room's wall paneling into large-scale, floor-to-ceiling works on plaster. Much of the scholarship surrounding these wall paintings has focused on the artists who created them for homes throughout New England. As the 2010–2011 Douglass Foundation Fellow in The American Wing, my goal is to study instead the homeowners who commissioned the works, as well as the histories of the houses in which they were completed.
Posted: Wednesday, January 5, 2011
In my first few months as director, some colleagues and I developed the idea of a series that would encourage people to think about the Met's collection in a new way. The result is Connections, a year-long exploration of the Met's holdings by staff from throughout the Museum. These journeys through the collection are not driven so much by art history as by broad, often personal, themes. Some are playful, some are deeply complex.
Posted: Thursday, December 30, 2010
Forty years ago this weekend, on January 1, 1971, The Metropolitan Museum of Art first distributed admission buttons, replacing the envelope-sized, two-color tickets that had been used during a transitional period in 1970.
Posted: Tuesday, December 21, 2010
Velázquez's portrait of Philip IV, king of Spain, went back on view in the European Paintings galleries today after an absence of more than a year, following the completion of a particularly complex restoration.