Go behind the scenes at The Met with photographer Eileen Travell as she channels the spirit of Edward C. Moore—the creative force who led Tiffany & Co. during the second half of the 19th century.

Collections Management Assistant Tara Keny uses Edward Penfield's Aetna Dynamite poster to explore the role of dynamite in the anarchist movement in Europe and the United States throughout the late 19th and early 20th centuries.

Lycett’s artistic talent and entrepreneurial skill fueled the dramatic upward trajectory of his success and distinguish his story from those of many industrious immigrants to the land of opportunity.

Hopper sought and explored his chosen themes: the tensions between individuals (particularly men and women), the conflict between tradition and progress in both rural and urban settings, and the moods evoked by various times of day.

"In the palace of art there are many chambers, and that of which Mr. Burne-Jones holds the key is a wondrous museum. His imagination, his fertility of invention, his exquisiteness of work, his remarkable gifts as a colourist—all these things constitute a brilliant distinction." With these words the American critic and novelist Henry James, in 1877, sang the praises of Edward Burne-Jones (1833–1898), the British painter and designer whose work was creating a sensation at the recently opened Grosvenor Gallery in London. A pupil of Dante Gabriel Rossetti and a protégé of John Ruskin, Burne-Jones belonged to the second generation of the Pre-Raphaelite Brotherhood, creating a narrative style of romantic symbolism steeped in medieval legend and fused with the influence of Italian Renaissance masters that was to have widespread influence on both British and European art. Within the sophisticated culture of the late Victorian period Burne-Jones's star rose rapidly, and by the 1880s he had become the establishment artist par excellence, one of the most admired and sought-after painters in Europe. By the 1890s, however, Burne-Jones was ceding popularity to the growing taste for abstraction, and until recently he was all but ignored. Today, one hundred years after his death, in what John Christian, the leading authority on the artist, in this volume terms a "critical somersault," Burne-Jones is once again considered the greatest British painter of the nineteenth century—after only Turner and perhaps Constable. Edward Burne-Jones, Victorian Artist-Dreamer is the catalogue for the first exhibition in the United States devoted to this painter. The works in the exhibition, organized under the auspices of The Metropolitan Museum of Art, New York, the Birmingham Museums and Art Gallery, England, and the Réunion des musées nationaux, Musée d'Orsay, Paris, were selected by Stephen Wildman, Curator of the Ruskin Library at Lancaster University, England. A prodigiously productive artist, Burne-Jones, in addition to being a successful and innovative painter, was also an important force in the Arts and Crafts movement, working closely with his lifelong friend William Morris in the production of such decorative arts as ceramic tiles, stained glass, large-scale tapestries, and illustrated books to be printed at Morris's renowned Kelmscott Press. Examples of works in all these media are presented in the exhibition, with full-color and black-and-white reproductions of each of the 173 works included in the catalogue. Arranged chronologically, the volume is divided into eight sections, each introduced by a vibrant and broadly informative text by John Christian, followed by catalogue entries written by Mr. Wildman and Mr. Christian. An essay by the British scholar Alan Crawford explores Burne-Jones's contribution as a decorative artist, and an essay by Laurence des Cars, Curator at the Musée d'Orsay, Paris, deals with the artist's reputation and influence in France and Belgium.

Edward C. Moore (1827–1891) was the creative leader who brought Tiffany & Co. to unparalleled originality and success during the late nineteenth century. A silversmith, designer, and prodigious collector, Moore sought out exceptional objects from around the world, which he then used as inspiration for Tiffany’s innovative silver designs. This informative, richly illustrated volume, the first study of Moore’s life, collection, and influence, presents more than 170 examples from his vast collection, ranging from Greek and Roman glass to Spanish vases, Islamic metalwork, and Japanese textiles. These are juxtaposed with sixty magnificent silver objects created by the designers and artisans at Tiffany who were inspired by Moore’s acquisitions. Included among them are the world-famous Bryant Vase drawing upon Greek examples, a love cup featuring ornate “Saracenic” decoration, and a chocolate pot incorporating novel techniques influenced by Japanese ceramics and lacquerware. The illuminating texts have been enriched by groundbreaking research into contemporary sources such as newspapers and periodicals, the Tiffany & Co. Archives, and a newly identified technical manual and supervisor’s diaries, all of which provide an intimate look at the firm’s design processes and Moore’s role in shaping them. A valuable contribution to the history of American decorative arts, Collecting Inspiration illuminates both the legendary Tiffany aesthetic and the legacy of a significant collector, designer, and entrepreneur of the Gilded Age.

Steichen’s embrace of editorial and commercial photography in his own work—to Stieglitz’s mind, nothing less than apostasy—drove a still greater wedge between the former mentor and protégé.