The Metropolitan Museum Journal is issued annually by The Metropolitan Museum of Art. Its purpose is to publish original research on works in the Museum's collections and the areas of investigation they represent. Contributions, by members of the Museum staff and other specialists, vary in length from monographic studies to brief notes. The wealth of the Museum's collection and the scope of these essays make the Journal essential reading for all scholars and amateurs of the fine arts.
The first article in this bulletin features five vases in the Museum’s collection that offer a comprehensive overview of the style of the artist known as the Princeton Painter, who worked in Athens about 550–530 B.C. The second article studies an unusual Indian bronze figure that was cast in the second or third century A.D. that may be an early image of Maitreya, the Future Buddha. The early history of the imposing Flamboyant Gothic portal that graces the entrance to the Unicorn Tapestries Hall at The Cloisters has been unknown until now; the third article in this issue traces the origins of the portal to the Château de La Roche-Gençay in the Poitou region of western France, where it was installed in the 1520s. The fourth article postulates that the Museum’s two fragments of a bronze frieze made in Venice in the 1530s were once part of a zodiac globe supported by either Hercules or Atlas, or both. A rare set of armor preserved in the Peabody Essex Museum is the subject of the fifth article. A note on Hendrick Ter Brugghen’s Crucifixion with the Virgin and Saint John shows that the painter imbued the scene with an eerie realism by re-creating the dramatic effect of a total solar eclipse which is discussed in the sixth essay. An examination of a sketch in the Museum's collection by Maurice Quentin de La Tour shows this work was a preparatory study for the artist's first portrait of King Louis XV. The next article reassigns two pastel portraits in the Museum to Dutch-born artist Gerrit Schipper, who worked in the United States between 1802 and 1808. Two large vases by Fletcher & Gardner that were given to Governor De Witt Clinton in 1825 are the subject of another article. An essay on painting argues that the Venetian Canaletto, despite his fame in England and the presence of many of his works there, exerted little if any influence on J. M. W. Turner’s magisterial views of Venice. And the final essay celebrates Harry Burton’s photographs of the Museum’s excavations at Deir el-Bahri in Egypt in the 1920s.
196 pages, 215 illustrations (10 in full color), 8 1/2 in. x 11 in. Paper.
Metropolitan Museum Journal: Volume 42, 2007
Table of Contents
The Princeton Painter in New York, by Mary B. Moore
An Early Image of Maitreya as a Brahman Ascetic? by Elizabeth Rosen Stone
A Flamboyant Gothic Portal from Poitou at The Cloisters, by Roland Sanfaçon
Two Fragments of a Renaissance Bronze Zodiac Frieze, by Szilvia Bodnár
A Rare Armor for the Gioco del Ponte, by Walter J. Karcheski Jr. and Donald J. La Rocca
The Sun, the Moon, and an Eclipse: Observations on The Crucifixion with the Virgin and Saint John by Hendrick Ter Brugghen, by Helmut Nickel
A New Preparatory Sketch by Maurice Quentin de La Tour, by Xavier Salmon
Pastels by Gerrit Schipper in the Metropolitan Museum, by David W. Meschutt and Kevin J. Avery
Ancient Rome via the Erie Canal: The De Witt Clinton Vases, by Beth Carver Wees
"Canaletti Painting": On Turner, Canaletto, and Venice, by Katharine Baetjer
Harry Burton’s Photographs of the Metropolitan’s Excavations at Deir el-Bahri, by Bruce Schwarz
Metropolitan Museum Journal: Volume 42, 2007
05-013461
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