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Mastery of Imagination—Sultans of Deccan India with Navina Najat Haidar

Rachel High, Editorial Assistant, Editorial Department

Posted: Tuesday, June 30, 2015

In the sixteenth and seventeenth centuries, the Deccan Plateau of south-central India was a nexus of international trade and home to a series of important, highly cultured Muslim kingdoms. With cultural connections to Iran, Turkey, eastern Africa, and Europe, Deccani art is particularly celebrated for its unmistakable, otherworldly character. This beautifully illustrated catalogue discusses two hundred of the finest Deccan works and includes extraordinary new photographs of the lush landscapes of the Deccan lands.

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Event Highlights: June 29–July 2

Posted: Monday, June 29, 2015

The Museum offers hundreds of events and programs each month—including lectures, performances, tours, family activities, and more. The following listings are just a sample of our upcoming programs.

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A Reunion after Sixty Years: The Lin Yutang Family Collection

Shi-yee Liu, Assistant Research Curator of Chinese Art, Department of Asian Art

Posted: Friday, June 26, 2015

The Metropolitan Museum's collection of Chinese painting and calligraphy, one of the finest outside China in both quality and scope, is largely built upon the acquisition of a few private collections. The nearly three hundred works that entered the Museum from the collections of C. C. Wang (1907–2003), the Edward Elliot Family, and John M. Crawford, Jr. (1913–88) in the 1970s and 1980s include several of the most important extant Song (960–1279) and Yuan (1271–1368) pieces today. Spanning the period from the eleventh to the nineteenth century, these works form the core of the department's painting and calligraphy collection from dynastic China.

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The Artist Project: Season 2

Thomas P. Campbell, Director and CEO

Posted: Monday, June 22, 2015

Step aside, Game of Thrones; Season 2 of The Artist Project is the most anticipated follow-up of the year. With twenty new artists talking about how The Met is the place where they always find inspiration and make new discoveries, there is no better watching. Tune in and feel free to binge watch.

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Vernal Splendor: Kano Sansetsu's Old Plum

Aaron Rio, Jane and Morgan Whitney Fellow, Department of Asian Art

Posted: Thursday, June 18, 2015

In Kano Sansetsu's Old Plum—currently on view in the exhibition Discovering Japanese Art: American Collectors and the Met—a wizened plum tree stirs in the cold of early spring. At lower right, its buckled trunk rises near pillar-like rocks and a thicket of bamboo grass (sasayabu) before stretching to the left, heaving and gyrating its way across a sixteen-foot expanse of gold foil. Green lichen clings to its knotty trunk and icy white blossoms open on its fragile twigs, frozen stiff against the gold.

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The Jabach Portrait: An Extraordinary Acquisition

Thomas P. Campbell, Director and CEO

Posted: Thursday, June 11, 2015

I often remind people that when the Met was founded in 1870, it did not own a single work of art. The collection that we know and love today is the collective achievement of many collectors and donors—private citizens determined to share their passion for art with the public. The giant names—J.P. Morgan, Louisine and H.O. Havemeyer, Benjamin Altman, Robert Lehman, Charles and Jayne Wrightsman, Walter Annenberg, and most recently Leonard Lauder—join hundreds of others who were, and are, profoundly generous in supporting the development of our collection.

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Installing Sacred Traditions of the Himalayas: A Behind-the-Scenes Look

Kurt Behrendt, Associate Curator, Department of Asian Art ; Kristine Kamiya, Associate Conservator, Department of Textile Conservation; and Matthew Cumbie, Conservation Preparator, Department of Objects Conservation

Posted: Friday, June 5, 2015

During the earliest stages of conceptualizing the Sacred Traditions of the Himalayas exhibition, on view through June 14, I went through the Metropolitan Museum's holdings and came across a stunning body of jewelry that came to the collection in 1915. As the Department of Asian Art is celebrating its centennial this year, I was excited to have the opportunity to present the very first Himalayan works to come into our collection—the first of many works acquired beginning exactly one hundred years ago.

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Now on View: A Portrait Bust of Emperor Domitian

Christopher S. Lightfoot, Curator, Department of Greek and Roman Art

Posted: Friday, June 5, 2015

In June, the Department of Greek and Roman Art's fine bronze portrait bust of an aristocratic Roman boy goes on display in The Toledo Museum of Art in Toledo, Ohio. The sculpture, originally affixed to a herm of wood or stone, was made by a gifted craftsman who endowed it with great presence. The boy's identity is unknown since no inscription is preserved, but the high quality of the sculpture has often led to the suggestion that he represents the emperor Nero as a child. Since Nero was already thirteen years old in a.d. 50—when he was adopted by his great uncle and stepfather, the emperor Claudius—it seems unlikely that he is, in fact, the person portrayed here. Nevertheless, the style of the bust is very much in keeping with late Julio-Claudian portraiture.

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The Decoration of Men's Fashion in Eighteenth-Century France

Kirstin Purtich, Former Intern, Department of European Sculpture and Decorative Arts

Posted: Wednesday, June 3, 2015

In the eighteenth century, promenading among the shops along the rue St. Honoré became a fashionable leisure activity for men and women alike. This street was home to Paris's marchands merciers (known as "mercers" in English), a class of merchants who dealt in all manner of luxury goods, including textiles for furnishing and clothing. The mercers' exclusive right to finishing work—arranging for the addition of embroidery, buttons, braids, and sequins through a network of specialized workers—allowed their customers to choose the exact colors and patterns they wanted at the point of sale. The range of embroidery samples currently displayed in the exhibition Elaborate Embroidery: Fabrics for Menswear before 1815, on view through July 19, offers a small window into the level of decoration and customization possible for fashionable men of the late eighteenth and early nineteenth century.

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The Shapes of Things, or, How the Ding Met the Tureen

Denise Patry Leidy, Curator, Department of Asian Art

Posted: Friday, May 29, 2015

This spring, the subject of cultural exchange between China and the West has been a hot topic thanks to the exhibition China: Through the Looking Glass, a collaboration between The Costume Institute and the Department of Asian Art. Yet fashion is by no means the only arena in which Western artists have been inspired by Chinese objects. For instance, bronze ritual vessels known as ding (figs. 1 and 2), which emerged during China's Bronze Age (ca. 1600–221 B.C.), have long inspired objects ranging from Korean chaekgori screens to Viennese bowls.

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Worth Their Weight: Hungarian Silver from the Salgo Collection

Melissa Chumsky, Research Assistant, Department of European Sculpture and Decorative Arts

Posted: Friday, May 29, 2015

It is not difficult to appreciate the allure of the silver objects now on display in the exhibition Hungarian Treasure: Silver from the Nicolas M. Salgo Collection, on view through October 25. The patrons who originally commissioned them between the fifteenth and eighteenth centuries surely appreciated the way that they glittered in the light and how they demanded to be admired in all of their sumptuous glory, but there may have been another glint in the eye of their beholders: that of their wealth reflected back to them by these utilitarian objects. Their aesthetic value was only paralleled by their monetary value; after all, these objects are literally made of money, fashioned by talented goldsmiths from silver ore.

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"The Blood Was Pooled, the Skulls Were Piled": Maya Star Wars and a Misconstrued Doomsday

James Doyle, Assistant Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Friday, May 29, 2015

A fragment of the bas relief known as Tortuguero Monument 6, now in the collection of the Metropolitan Museum, forms part of one of the most infamous and contentious hieroglyphic texts in the Classic Maya (ca. a.d. 250–900) corpus. For many years epigraphers and lay enthusiasts honed in on the final passage of the text as a "prophecy," a tale of what would have happened on the date 13.0.0.0.0 4 Ahaw 3 K'ank'in in the Maya calendar. This corresponded to a day in December 2012, leading to spurious and sensational claims about an end of days predicted by the ancient Maya. The Met's fragment contains a pivotal portion of the text (fig. 1).

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The Ashcan School, The Eight, and the New York Art World

Sylvia Yount, Lawrence A. Fleischman Curator in Charge, The American Wing

Posted: Tuesday, May 26, 2015

There's something new to see in gallery 772: a more expansive look at the work of the early-twentieth-century urban realists known as the Ashcan School. Robert Henri, William Glackens, George Luks, Everett Shinn, and John Sloan explored many dimensions of modern life in paintings, drawings, and prints, and now—for the first time in The American Wing—you can see their work across various media in one gallery.

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Hidden Secrets of Ancient Egyptian Technology

Anna Serotta, Independent Conservator; and Federico Carò, Associate Research Scientist, Department of Scientific Research

Posted: Friday, May 22, 2015

Archaeological objects and works of art in museum collections are not only treasured for their aesthetic qualities, but are also repositories of invaluable information, often concealed at a first sight, about the civilizations that created them. Among the many beautiful pieces in the collection of the Met's Department of Egyptian Art, it is interesting to note one modest stone fragment (fig.1), the scientific investigation of which has provided a clue that could solve a long-time debate among Egyptologists and historians of technologies: the use of high-performance abrasives.

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The Jabachs Are in the House!

Stephan Wolohojian, Curator, Department of European Paintings

Posted: Tuesday, May 19, 2015

At long last, after ten months of conservation work, Charles Le Brun's arresting portrait of Everhard Jabach and his family is now on view in the galleries.

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Me, My Selfie, and I: A Day at the Met with Telly Leung

Telly Leung, Guest Blogger

Posted: Friday, May 15, 2015

May is Asian-Pacific American Heritage month, and my dear friends at the Met have asked me to be one of the many performers taking part in their upcoming Asian-Pacific American Heritage Month Celebration on Friday, May 22.

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George Stubbs and the Art of the Thoroughbred

Carol Santoleri, Research Assistant, Department of European Paintings

Posted: Wednesday, May 13, 2015

The early patrons of British painter George Stubbs (1724–1806) were enthusiasts of the hunt or the racecourse who sought flattering portraits, not just pictures, of the thoroughbred horses they owned. One such portrait, Turf, with Jockey up, at Newmarket, is now on view in gallery 629 as part of the exhibition Paintings by George Stubbs from the Yale Center for British Art.

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Conserving the Saint Martin Series: Technical Analysis of Fifteenth-Century Embroideries

Giulia Chiostrini, Assistant Conservator, Department of Textile Conservation

Posted: Monday, May 11, 2015

Seven embroideries, six roundels, and one arch panel depicting scenes from the life of Saint Martin are now on view in the exhibition Scenes from the Life of St. Martin: Franco-Flemish Embroidery from the Met Collection. These fifteenth-century textiles were embroidered with dyed silk, silver, and gilt–silver metal threads on a linen plain weave underlaid with two layers of linen plain weave (fig. 1).

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The Conservation of the Jabach Portrait: Almost There!

Michael Gallagher, Sherman Fairchild Conservator in Charge, Department of Paintings Conservation

Posted: Monday, May 11, 2015

The second and final phase of the retouching of the Jabach portrait—which has been undergoing conservation since July 2014—is virtually finished. This step brings the losses that had previously only been underpainted up to a full match with the surrounding original. Also, areas where the paint layer has been abraded in the past can be corrected.

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Explore the World with Senses of Springtime: Celebrate India!

Mary Ann Bonet, Coordinator of Family, Teen, and Multigenerational Learning

Posted: Friday, May 8, 2015

One of the things I love most about the Met is that our diverse collection allows us to take a journey around the world without ever leaving the building. I am particularly excited about our next festival on May 17, Senses of Springtime: Celebrate India!, which will give visitors the opportunity to explore a part of the world that I have always wanted to visit—India and Southeast Asia.

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A Jewelry Designer's Tour of the Met

Debbie Kuo, Administrator, Department of Greek and Roman Art

Posted: Friday, May 8, 2015

The Met's collection is a world of inspiration for artists. As an administrator in the Department of Greek and Roman Art and a jewelry designer, I often stop in the galleries on my way to a meeting or sketch during my lunch break, and I am constantly looking to past centuries for new ideas.

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Crossing Cultures—Platon for China: Through the Looking Glass

Rachel High, Editorial Assistant, Editorial Department

Posted: Thursday, May 7, 2015

Best known for his compelling portraits of world leaders, Platon spent several months photographing couture garments from designers such as Christian Dior, Jean Paul Gaultier, Karl Lagerfeld, Alexander McQueen, and Yves Saint Laurent, as well as traditional Chinese costume and decorative art objects. I spoke with him about the book, his work, and the importance of artists as cultural mediators.

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Restoring Bhairava's Ear

Pascale Patris, Conservator, Department of Objects Conservation

Posted: Tuesday, May 5, 2015

In 2012, this imposing Bhairava's mask came to the Museum as a part of an important donation from The Zimmerman Family Collection, and it is now on display in the newly renovated gallery 252. The sixteenth-century gilt and polychrome copper mask of Bhairava from Nepal had a significant loss to its appearance—its right ear was missing, and its attribute, a large copper pendant earring for the left ear, had been used as a substitute.

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Discussing the Rise of French Art Deco with Author Jared Goss

Rachel High, Editorial Assistant, Editorial Department

Posted: Wednesday, April 29, 2015

In April 1925, the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes introduced French Art Deco to the public at large. Ninety years later, French Art Deco, one of the only books in English focused on this subject, provides a detailed account of this important movement, encapsulating the complex modern sensibilities of the early twentieth century through a selection of objects from the Met's impressive collection. I spoke with Jared Goss, author of the catalogue, about French Art Deco and the effects of the Industrial Revolution on artistic attitudes and production in twentieth-century France.

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Olmec Babies as Early Portraiture in the Americas

James Doyle, Assistant Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Friday, April 17, 2015

One of the stars of gallery 358 and the recent exhibition The Nelson A. Rockefeller Vision: In Pursuit of the Best in the Arts of Africa, Oceania, and the Americas is a seated figure of a chubby baby in the Olmec style from Central Mexico (fig. 1). As the Rockefeller exhibit pointed out, this is among one of the most celebrated Olmec ceramic works known to scholars, and was even selected as the cover model for the Museum of Primitive Art's landmark show on Preclassic Mesoamerica in 1965.

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The "Cutting Edge" of Fashion: Designs for the Decoration of Arms and Armor on Paper

Sasha Rossman, Visiting Research Scholar, Department of Drawings and Prints; and Femke Speelberg, Assistant Curator, Department of Drawings and Prints

Posted: Thursday, April 16, 2015

In his 1583 book The Anatomie of Abuses, the English moralist Phillip Stubbes criticized the growing trend for wearing arms as a stylish accessory, condemning upstart fops who sported "swoords, daggers and rapiers guilte and reguilte, burnished, and costly engraven, with all things els that any noble of honorable, or worshipfull man doth, or may weare so as one cannot easily be discerned from the other." Stubbes's main concern lay in the fact that men of all classes gave in to the whims of fashion and started wearing decorated arms daily as pieces of jewelry, giving way to vanity and pride and simultaneously blurring the lines of social standing.

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Spectrum Spotlight: Fatal Attraction

Christopher Gorman, Assistant Administrator, Marketing and External Relations; Chair, Spectrum

Posted: Tuesday, April 14, 2015

Douglas Eklund, curator in the Met's Department of Photographs, recently spoke with me about the special exhibition Fatal Attraction: Piotr Uklański Photographs, on view through August 16.​

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Asian Art Centennial: One Hundred Years of Tibetan Art at the Met

Kurt Behrendt, Associate Curator, Department of Asian Art

Posted: Tuesday, April 14, 2015

In 1915, the president of The Metropolitan Museum of Art, Robert de Forest, turned his attention to Asia and acquired a large group of Nepalese and Tibetan gem-studded objects. Among them was this dazzling ornament for the forehead of a sculpture. It presents the four directional Buddhas in diamonds, rubies, sapphires, emeralds, as well as auspicious materials such as red coral and turquoise. At the center, the cosmic axis of the universe, is a vajra featuring a large diamond surrounded by lapis lazuli—a clear reference to Vajrayana Buddhism as the diamond path.

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The Jabach Portrait: Reflections on an Extraordinary Acquisition

Keith Christiansen, John Pope-Hennessy Chairman, Department of European Paintings

Posted: Tuesday, April 7, 2015

Michael Gallagher has been taking readers of this blog series step by step through his conservation work on the remarkable Jabach portrait. So I thought this might be the moment—in the few weeks remaining until its installation in the galleries—to reflect on how we came to acquire this extraordinary picture.

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Where the Vast Sky Meets the Flat Earth: Framing Plains Indians

Daniel Kershaw, Exhibition Design Manager, Design

Posted: Monday, March 30, 2015

When I began thinking about the installation plan for the exhibition Plains Indians: Artists of Earth and Sky almost two years ago, I started organizing the artworks and contemplating the layout of the scheduled gallery. The Iris and B. Gerald Cantor Exhibition Hall (gallery 999) is usually divided into rooms, or a sequence of manageable spaces, but somehow this seemed inappropriate for an exhibition focused on art devoted to, and deeply reflective of, its overwhelming natural environment. Almost none of the objects, with the exception of modern and contemporary works, needed to be mounted to a wall, so that left most of the walls of the Met's second-largest special exhibition gallery available.

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A New Web Series: The Artist Project

Thomas P. Campbell, Director and CEO

Posted: Wednesday, March 25, 2015

We have spoken a lot lately about The Met's interest in looking at contemporary art through the lens of our historical collection. We have just launched a new project that gives you a glimpse of just what we mean when we talk about that kind of connected view of contemporary art.

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Intern Spotlight: Ibrahim Mohamed Ali's Work in Photograph Conservation

Nora Kennedy, Sherman Fairchild Conservator, Department of Photograph Conservation

Posted: Tuesday, March 24, 2015

Ibrahim Mohamed Ali joined the Metropolitan Museum's paid summer intern program from his position as a conservator at the Grand Egyptian Museum via the George Washington University Museum Studies Program, where he is working toward his master's degree. With a background in the conservation and preservation of metal archaeological artifacts but with an immense passion for everything photographic, Ibrahim delved into all aspects of photograph conservation during his nine weeks at the Met this past summer.

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Sacrifice, Fealty, and a Sculptor's Signature on a Maya Relief

James Doyle, Assistant Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Thursday, March 19, 2015

One of the Maya masterworks at The Metropolitan Museum of Art is an eighth-century relief with enthroned ruler, likely a fragment of the carved lintel of a doorway from the site of La Pasadita in northwestern Guatemala (fig. 1). La Pasadita was visited in the 1970s by renowned explorer and monument recorder Ian Graham, but subsequently became dangerous for scholarly visits because of border conflicts during the country's decades-long civil conflict. Land mines and security problems prevented archaeological work until 1998, when Charles Golden and colleagues performed reconnaissance in the area. Even today, the site lies within a troubled zone suffering the effects of narcotrafficking and illegal settlements within the national parks in the Usumacinta River drainage.

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Celebrating Nauruz with The Shahnama of Shah Tahmasp

Rachel High, Editorial Assistant, Editorial Department

Posted: Tuesday, March 17, 2015

The Shahnama of Shah Tahmasp is a tenth-century epic by the Persian poet Firdausi, chronicling Iran's mythical history before the founding of Islam. The Metropolitan Museum of Art's publication is a facsimile of the most lavishly illustrated version of the text, produced for the Safavid Shah Tahmasp, who ruled Iran from 1524 to 1576.

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Now on View: Drawings by Bill Traylor, Pioneer of Outsider Art, in The American Wing

Sylvia Yount, Lawrence A. Fleischman Curator in Charge, The American Wing

Posted: Friday, March 13, 2015

"[Traylor] was beautiful to see—so right with himself and at peace—as the rich imagery of his long life welled up into his drawings and paintings."

—Charles Shannon, 1985

A few weeks ago in gallery 749—where we've been featuring a range of nineteenth-century American folk art—we installed eight drawings from the late 1930s by the acclaimed pioneer of so-called outsider art, Bill Traylor (1853/54–1949). This is the first time in twenty years that these works have been seen at the Met—and the very first in The American Wing.

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Evoking the Divine: Mental Purification Using a Tibetan Tsakali Mandala

Kurt Behrendt, Associate Curator, Department of Asian Art

Posted: Friday, March 13, 2015

Tsakali cards were used by a practitioner, usually a monk or nun, under the guidance of a teacher to evoke a Buddhist deity. As these teachers traveled from one monastery to the next, using sets of portable tsakali cards was an efficient way of presenting the vast pantheon of Buddhist gods.

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Dana Claxton to Perform Original Piece, Fringed, at the Met

Amanda Malcolm, Intern, Department of the Arts of Africa, Oceania, and the Americas

Posted: Thursday, March 12, 2015

This Sunday, March 15, filmmaker, photographer, and performance artist Dana Claxton will present an original piece entitled Fringed, which she created specifically for the Metropolitan Museum in honor of the exhibition The Plains Indians: Artists of Earth and Sky. Claxton's art, which is also represented in the exhibition, expresses reverence for her Lakota heritage and challenges the viewer to engage with Native American identities in contemporary society.

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Painting Beauty: A Recent Acquisition

Keith Christiansen, John Pope-Hennessy Chairman, Department of European Paintings

Posted: Thursday, March 12, 2015

"Almost invariably," writes Stendahl in the Italian Chronicles, "foreigners coming to Rome ask to be taken, at the outset of their tour of inspection, to the Barberini gallery; they are attracted, the women especially, by the portraits of Beatrice Cenci and her stepmother." Beatrice, of course, not only had possessed beauty, but she had a story, having been publicly executed for the murder of her cruel, molesting father.

What was thought to be her portrait (above) was painted by the "Divine Guido Reni" (1575–1642). Reni was a great artist, but the picture Stendahl admired was not, in fact, by him and certainly cannot hold a candle to the portrait of an unknown beauty recently given to the Metropolitan Museum and now hanging—following its cleaning and reframing—in gallery 623.

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The Plains Indians Exhibition: A Milestone for the Met

Judith Ostrowitz, Research Associate, Department of the Arts of Africa, Oceania, and the Americas

Posted: Monday, March 9, 2015

Today, The Plains Indians: Artists of Earth and Sky, a ground-breaking exhibition of Native American art, opens to the public at the Metropolitan Museum. Although indigenous art from North America has been presented at the Museum before, both in the permanent galleries in the Michael C. Rockefeller Wing and in smaller-scale temporary exhibitions, this project represents a certain milestone in the Museum's history. It focuses on a single region and includes more than 150 works of art that range from ancient stone sculptures made before European contact through painted buffalo hides and items of prestigious regalia to more recent works on paper, paintings, photographs, and a contemporary video installation piece. The scope of this exhibition is extremely ambitious, and I am delighted to have been a part of this project as the organizer for the venue here in New York.

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L'Estampe Originale: A Rare Print Portfolio Now Online

Britany Salsbury, Former Research Assistant, Department of Drawings and Prints; and Lisa Conte, Assistant Conservator, Department of Paper Conservation

Posted: Friday, March 6, 2015

During its two-year print run, the print portfolio L'Estampe Originale (1893–95) brought together the most sophisticated developments in printmaking by a range of vanguard artists. The Met's unique, complete edition of the prints was recently digitized and is now available for consultation online.

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The Conservation of the Jabach Portrait: Starting the Retouching

Michael Gallagher, Sherman Fairchild Conservator in Charge, Department of Paintings Conservation

Posted: Wednesday, March 4, 2015

Michael Gallagher uses gouache paint to retouch losses in the Jabach portrait, which has been undergoing conservation for the past eight months.

With the exception of the inevitable damage caused by the turning over of the top of the canvas to attach it to a smaller stretcher (see my September 24, 2014, post about this aspect of the painting's history), the great Jabach family portrait is in exceptional condition. Nevertheless, there are several small losses and scrapes that are typical for a painting of this age and size and which hung in domestic interiors—albeit quite grand ones—for centuries. So the next step is to retouch these areas.

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The Gilded Road: A Journey in Tweets

James Doyle, Assistant Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Monday, March 2, 2015

I recently embarked on a research trip that revealed new insights into the cultural contexts of some of the Met's most beloved objects made of gold, silver, and copper from Central and South America. The ancient artists that lived in present-day Panama, Colombia, Ecuador, and Peru produced incredible metal masterpieces now found in national, public, and private collections around the world. Though the specific focus of my trip was to study metallurgical traditions, visits to archaeological sites and new museums held many surprises pertaining to the arts of architecture, textiles, pottery, and even woodworking. Throughout the trip, I documented our team's visits to each place on Twitter. Here is a summary of the three-week journey from Panama to Peru, illustrated with a selection of the photos I tweeted.

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Bloomberg Hosts Instameet at the Met

Christopher Gorman, Assistant Administrator, Marketing and External Relations; Chair, Spectrum

Posted: Friday, February 27, 2015

On Monday, February 2, I was thrilled to be a part of a Bloomberg Philanthropies–hosted "Instameet," an event bringing together people who use Instagram for a whirlwind session of picture-taking. I found myself among some wonderful Museum colleagues, staff from Bloomberg Philanthropies, and some of the most influential Instagramers in New York City.

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Destruction at the Mosul Museum

Thomas P. Campbell, Director and CEO

Posted: Thursday, February 26, 2015

Speaking with great sadness on behalf of the Metropolitan, a museum whose collection proudly protects and displays the arts of ancient and Islamic Mesopotamia, we strongly condemn this act of catastrophic destruction to one of the most important museums in the Middle East. The Mosul Museum's collection covers the entire range of civilization in the region, with outstanding sculptures from royal cities such as Nimrud, Nineveh, and Hatra in northern Iraq. This mindless attack on great art, on history, and on human understanding constitutes a tragic assault not only on the Mosul Museum, but on our universal commitment to use art to unite people and promote human understanding. Such wanton brutality must stop, before all vestiges of the ancient world are obliterated.

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Nine "Secrets" about the History of the Met's Department of Asian Art

Mike Hearn, Douglas Dillon Chairman of the Department of Asian Art

Posted: Friday, February 20, 2015

In preparing a history of the Museum's Department of Asian Art, which this year celebrates its centennial by showcasing its unparalleled collection through a range of exhibitions, gallery talks, and other offerings, I have uncovered a number of little-known facts and many "secrets" that are not widely known to the public. Here are nine of the most fascinating.

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The Met's Joint Mission to Malqata

Catharine H. Roehrig, Curator, Department of Egyptian Art

Posted: Tuesday, February 17, 2015

The remains of the festival city of Malqata are located on the west bank of the Nile, about 430 miles south of Cairo, opposite the modern city of Luxor (usually referred to by Egyptologists as Thebes). The festival city dates to the time of the pharaoh Amenhotep III, who reigned during the second half of Dynasty 18, during Egypt's New Kingdom. This pharaoh was the father of Akhenaten, and very likely the grandfather of Tutankhamun.

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The Mummy of Nesmin: A Closer Look

Isabel Stünkel, Associate Curator, Department of Egyptian Art; and Sarah Nankivell, 2014 Intern, Department of Egyptian Art and Digital Media Department

Posted: Tuesday, February 17, 2015

For several years The Metropolitan Museum of Art has been collaborating with the NYU Langone Medical Center Department of Radiology, using computed tomography (CT) to scan objects in the Museum's collection for research purposes.

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Guns, Paper, and Stains: Preserving History through Interdepartmental Collaboration

Angela Campbell, Assistant Conservator, Department of Paper Conservation

Posted: Friday, February 13, 2015

Included in the Arms and Armor: Notable Acquisitions 2003–2014 exhibition, curated by Donald J. La Rocca and currently on display in the galleries of the Department of Arms and Armor though December 6, are several printed designs associated with ornamental firearms. Upon acquisition, two of these prints—the decorative title page from the album Plvsievrs Pieces et Ornements Darquebuzerie, acquired in 2011, and a design for the stock of a musket from the Nouveavx Desseins D'Arquebvseries, acquired in 2013—appeared similarly stained and damaged, but underwent distinctly different conservation campaigns. The two prints, as well as all of the other works on paper currently on display, will be on view through March 2015, due to their preservation needs.

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Using Color to Link Cultures: An Eighteenth-Century Islamic Tile in Context

Fatima Quraishi, 2014–15 Hagop Kevorkian Fellow, Department of Islamic Art

Posted: Wednesday, February 11, 2015

The Department of Islamic Art has over three thousand ceramic objects in its collection, with perhaps the largest corpus of the collection acquired from the Museum's excavations in Nishapur, Iran, during the mid-twentieth century. While the department maintains a fine collection of Safavid and Ottoman ceramics, ceramic work from south Asia is not as well represented. Among these examples of south Asian ceramics, my favorite is an eighteenth-century tile from Multan, in present-day Pakistan (pictured above). In terms of both material and technique, the tile is typical of ceramics from this part of south Asia, as are three similar objects in the collection—an eighteenth-century dish and two late fifteenth-century tiles (2008.461 and 2008.462).

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Back in Print—High Style: Masterworks from the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art

Rachel High, Editorial Assistant, Editorial Department

Posted: Monday, February 9, 2015

The perfect Valentine's Day gift for the fashion lover, High Style is now back in print as a paperback, with an updated cover that features the stunning "Clover Leaf" gown by Charles James. This lavishly illustrated volume presents some two hundred examples drawn from more than twenty-four thousand garments, accessories, hats, and shoes in the Brooklyn Museum's collection (which was transferred to the Met in 2009). A wide-ranging book covering garments from the eighteenth through the twentieth century, High Style provides a perfect introduction to the history of fashion.

In honor of Valentine's Day, read further to learn more about seven romantically hued ensembles featured in this publication.

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Now at the Met offers in-depth articles and multimedia features about the Museum's current exhibitions, events, research, announcements, behind-the-scenes activities, and more.