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European Sculpture and Decorative Arts

ESDA

The fifty thousand objects in the Museum's comprehensive and historically important collection of European sculpture and decorative arts reflect the development of a number of art forms in Western European countries from the early fifteenth through the early twentieth century. The holdings include sculpture in many sizes and media, woodwork and furniture, ceramics and glass, metalwork and jewelry, horological and mathematical instruments, and tapestries and textiles. Ceramics made in Asia for export to European markets and sculpture and decorative arts produced in Latin America during this period are also included among these works.

Now at the Met

Conservation Through a Gamer's Eye

Ashira Loike, Assistant Administrator, Department of Objects Conservation; and Beth Edelstein, Associate Conservator, Department of Objects Conservation

Posted: Monday, November 10, 2014

What happens when gaming students are let loose on the Met's collection? We found our answer to this question this past spring when staff from the Sherman Fairchild Center for Objects Conservation collaborated with a group of intrepid and creative students at the Rochester Institute of Technology (RIT). The students were supervised by their professor, Elizabeth Goins, in a course titled "Interactive Design for Museums," part of RIT's Museum Games & Technology Initiative. The students were tasked with communicating the inside information conservators gather from studying the materials and techniques of works of art through a fun and engaging game aimed at general audiences.

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Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry—Interview with Author Elizabeth Cleland

Rachel High, Editorial Assistant, Editorial Department

Posted: Wednesday, October 15, 2014

A tapestry designer, painter, draftsman, and publisher of architectural treatises, Pieter Coecke van Aelst was quite literally a Renaissance man. Though he was a master of many media while active from the 1520s until his death in 1550, his contributions have been largely forgotten today. Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, the catalogue accompanying the exhibition currently on view through January 11, 2015, covers much more than just the artist's tapestries and aims to fill the nearly fifty-year gap in the literature on this great artist. I spoke with the catalogue's author, Associate Curator Elizabeth A. H. Cleland, about the book, her interest in Coecke, and why she thinks this Northern Renaissance master has been neglected in recent scholarship.

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Now at the Met

A Master of Design, A Master of Tapestry: Recognizing Pieter Coecke van Aelst

Elizabeth Cleland, Associate Curator, Department of European Sculpture and Decorative Arts

Posted: Tuesday, August 26, 2014

The upcoming exhibition Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry (on view October 8, 2014–January 11, 2015) is the story, told through more than sixty astonishing objects, of a startlingly forward-thinking designer and entrepreneur—one who just happened to be born in 1502.

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Now at the Met

How Curators and Conservators Look at a Tapestry

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts; Cristina Carr, Conservator, Department of Textile Conservation; and Elizabeth Cleland, Associate Curator, Department of European Sculpture and Decorative Arts

Posted: Tuesday, July 29, 2014

Understanding an art object requires close observation and an interdisciplinary course of investigation that integrates the work of curators and conservators, the arts and the sciences. This work, however, is often done behind a curtain (so to speak), and visitors rarely have the opportunity to gain insight into the process. On August 4, The Metropolitan Museum of Art will unveil the secret world of curators and conservators with its latest installation in Gallery 599, Examining Opulence: A Set of Renaissance Tapestry Cushions. This one-room exhibition will give visitors a behind-the-scenes glimpse of the fascinating and indispensable questions Museum curators and conservators pose as they investigate six luxurious, late Renaissance tapestry-woven cushion covers depicting scenes from the lives of biblical figureheads Abraham and Isaac.

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Now at the Met

The Dyes Have It: Exploring Color and Tapestries

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, June 24, 2014

Many #tapestrytuesday readers have asked why some tapestries in the Met's collection have such diverse color palettes. As it turns out, the question you should be asking isn't "Why?" but "Dye?" Understanding the preservation or degradation of a tapestry's color is a complex sort of query whose answer is largely influenced by the dyes used to color its threads. To help unravel the mystery of tapestry colors, I recently sat down for a fascinating lesson in dyeing with two of the Museum's tapestry experts: Cristina Carr, conservator in the Department of Textile Conservation; and Nobuko Shibayama, associate research scientist in the Department of Scientific Research.

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Now at the Met

Living on the Edge: Tapestry Borders

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, May 27, 2014

In the world of tapestry, it's hip to be square—or rectangular, for that matter. Why, you ask? The answer is quite simple: borders.

You might have noticed that a decorative, tapestry-woven strip traces the edges of many tapestries, which is referred to as the border. While the border is very much a part of the physical tapestry itself, it often has a personality all its own. And, while some border designs were reused on multiple sets of unrelated tapestries, these ornamental edges can still be thought of as something like a thumbprint, a distinguishing characteristic that is apparent only upon close inspection.

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Now at the Met

Art Song in Jean-Baptiste Carpeaux's France

Michael Cirigliano II, Website Editor, Digital Media Department

Posted: Friday, April 18, 2014

The mid-nineteenth century was a period of incredible stagnation for French music, especially for those composers working in the vocal arts. Only five new French operas were commissioned by the Opéra Comique in Paris between 1852 and 1870, and France had yet to forge their own style of art song, despite the widespread interest German composers had developed in the musical form earlier in the century. However, the passage of multiple revolutions and failed empires in the mid-nineteenth century gave French artists across all disciplines a spectrum of intense emotions to convey, and the wealth of art song in the country quickly began to accumulate.

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Now at the Met

Tapestries Report All the News That's Fit to Weave

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, March 25, 2014

Before the advent of Facebook and Twitter, Pinterest and Instagram, television, or the daily paper, looking at tapestries was one way to learn about the news of the day, observe fashionable trends in clothing and interior design, and perhaps even make a political statement. Since it is #tapestrytuesday, let's examine how the social medium that is a tapestry just might have been an early form of social media.

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Now at the Met

Making a Tapestry—How Did They Do That?

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, February 18, 2014

You are walking through a museum, your mind lost in thought (your feet perhaps aching ever so slightly), when suddenly you look up and see a fascinating object. You immediately begin trying to identify the specimen set before you: it's a fabric . . . no, it's an embroidery . . . wait . . . it's . . . the wall label says it's a tapestry! A tapestry?

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Now at the Met

Introducing #tapestrytuesday

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, January 7, 2014

A riddle, if you will: What type of artwork did Henry VIII love so much that he owned at least 2,500 examples, and Louis XIV and the Medici family value so immensely that they each established their own production workshops?

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About this Blog

Now at the Met offers in-depth articles and multimedia features about the Museum's current exhibitions, events, research, announcements, behind-the-scenes activities, and more.