By recasting these screens as pictorialized versions of actual clothing stands laden with lavishly patterned garments, we can associate them more closely with interior furnishings and displays of wealth.

By the turn of the twentieth century, a new stylistic vocabulary—with distinct regional characteristics—had been firmly established. Whether realistic or abstract, exuberant or restrained, curvilinear or geometric, there was a consistency in the purposeful rejection of outmoded tastes and exploration of new design influences.

Teen Advisory Group Members Mayra and Tiffany explore Ogata Kenzan's Autumn Ivy, focusing on the piece's natural imagery, vibrant colors, and connections to literature.

Though Church had rarely shared his teacher’s taste for explicit moral and religious allegory in landscape art, he often disclosed both his patriotism and his piety.

India: Art and Culture 1300–1900 is a tribute to the rich and varied culture of India as represented in the later art of the subcontinent, dating from the fourteenth through the nineteenth century. Comprehensive in its conceptual framework, this presentation of three hundred thirty-three works brings together masterpieces of the sacred and court traditions and embraces as well the urban, folk, and tribal heritage. This volume, which is divided into five sections, opens with the bronze sculptures, ritual objects, and temple hangings of the classical Hindu tradition of the south. The vivid and lively art of rural India, which provides an aesthetic continuum that extends throughout these six centuries, is presented in the second section, Tribe and Village. This is followed by the highly refined and sophisticated art of the Muslim courts, which reached its greatest flowering in the exquisite illustrated manuscripts executed under the patronage of the Mughal emperors. In addition, the imperial ateliers of the Mughals produced works of technical brilliance in a wide array of decorative arts. Political alliances between the Mughals and the Hindu nobility in the north led to a fusion of Islamic and Hindu traditions that is explored in the bold, vigorous miniatures and dazzling weaponry of the Rajput world. And the art of the nineteenth century, produced under the Raj as Indian artists began to assimilate Western perspectives, is documented in the last section, the British Period. Stuart Cary Welch's pioneering scholarship in the field of Indian painting and the decorative arts is well known to art historians and museum-goers. In his sensitive, informative, and highly readable text he not only discusses each work from the point of view of a connoisseur but also presents the cultural and historical milieus in which each was created. India: Art and Culture 1300–1900 is the catalogue for the exhibition INDIA!, held at The Metropolitan Museum of Art, New York, from September 14, 1985, through January 5, 1986, the most extensive survey of Indian art ever assembled by a museum in the United States.

Listen to a conversation with an international array of scholars, artists, writers, performers, and activists on changing narratives in museums.

Known for its revolutionary politics and underground culture, its liberal reputation lured students, writers, musicians, and artists to the area in the early 1880s.

As Henry James remarked in 1887: “It sounds like a paradox, but it is a very simple truth, that when to-day we look for ‘American art’ we find it mainly in Paris.”

Prints documented the plight of the oppressed and commemorated the struggles and achievements of social reform.

Patrons promoted an American Renaissance to beautify the city with civic monuments, grand mansions, and public sculptures.