Posted: Thursday, July 16, 2015
What began as a casual conversation between Marco Leona, David H. Koch Scientist in Charge of the Met's Department of Scientific Research, and Carol Stringari, Deputy Director and Chief Conservator of the Guggenheim Foundation, has grown over the past ten months into an unprecedented collaboration aiming to advance the role of science within curatorial and conservation-based scholarship at both institutions. The partnership—described in detail on the Guggenheim's blog—has established a framework for scientific research within the Guggenheim conservation studio by creating a position for the first scientist on staff and granting access to the Met's fully equipped chemical laboratories and advanced analytical instrumentation. Conservators and scientists from the two museums are currently sharing resources, identifying projects of mutual interest, and jointly studying objects in their respective collections.
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.
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.
Posted: Tuesday, May 19, 2015
Posted: Monday, May 11, 2015
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.
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.
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.
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.
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.