The Metropolitan Museum's world-famed collection of European paintings encompasses works of art from the thirteenth through the nineteenth centuries—from Giotto to Gauguin. Most, though not all, are displayed in the galleries of the Department of European Paintings. Others works of art can be found in the Lehman Collection, the Linsky Collection, The Cloisters, and in various period rooms.
Posted: Tuesday, May 19, 2015
Posted: Monday, May 18, 2015
Spring has finally arrived in New York, and the gardens of The Cloisters are filling out quickly, announcing their return with tender shoots and splashes of color. Inside the museum, we have opened the new exhibition Treasures and Talismans: Rings from the Griffin Collection, now on view in the Glass Gallery. This exhibition showcases a group of exceptional rings assembled by a private collector alongside works of art drawn from the holdings of The Metropolitan Museum of Art.
Posted: Friday, May 15, 2015
In celebration of the 2015 Scholastic Art & Writing Awards exhibition, now on view in the Ruth and Harold D. Uris Center for Education, the Teen Blog will feature guest posts by Scholastic Gold Key Award writers from New York City through the close of the exhibition on May 17. This week's blogger, Anika, was awarded a Gold Key for her poem, "Tale of a River Stone."
Posted: Wednesday, May 13, 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, 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: 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.
Posted: Friday, March 6, 2015
My first impression of Hortense Fiquet, or Madame Cézanne, is that she has the face of the disapproving old woman who lives next door to you. Her expression is similar to that of someone unaware they're having their picture taken. Regardless of her harsh looks, post-Impressionist painter Paul Cézanne decided to depict his wife, time and time again, over a twenty-year period, presenting Fiquet in a serene light that gives her an air of mystery and intrigue.
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.
Posted: Tuesday, March 3, 2015
Paris is always lovely, but this spring I decided to cross the English Channel for my latest lecture series, a move that has surprised those who know my work on French painting. My roots in British art actually go back to my undergraduate years, when I spent a few summers in Oxford. London, a short coach ride away, offered total immersion in British painting—in addition to the equally exciting possibility of a Princess Diana sighting!