Posted: Monday, August 17, 2015
Posted: Wednesday, August 12, 2015
Posted: Monday, August 10, 2015
Munich, June 21, 1868: The premiere of Richard Wagner's Die Meistersinger von Nürnberg—an opera portraying the well-known and respected guild of the Meistersingers, who entertained German audiences with poetry and song from the fourteenth through the sixteenth century. While it wouldn't be a proper opera without some romance and intrigue thrown in for good measure, it was the complex Renaissance guild system that provided such rich fodder for one of Wagner's only original plotlines. The story highlights an essential tension within the guilds, between artistic spontaneity and strict regulation, and illustrates how this tension was transcended to create incredible art.
Posted: Wednesday, August 5, 2015
Have you ever viewed an artwork and wondered how it was made? The Met's collection is full of art that inspires us to ponder its creation, but the Museum rarely reveals the many steps that were taken to create the final work of art.
Posted: Monday, August 3, 2015
The exhibition Liturgical Textiles of the Post-Byzantine World, now on view through November 1, 2015, presents a selection of notable liturgical vestments that communicate the continuing prestige of the Orthodox Church and its clergy in the centuries following the fifteenth-century fall of Byzantine Constantinople to the Ottoman Turks. From a strictly theological viewpoint, vestments are hardly a necessity for Christian worship. Liturgical scholars are largely in agreement that for the first several centuries of Christianity's existence, its clergy officiated at services wearing the normal "street dress" of the Roman world. Only gradually did these items of clothing take on special significance as liturgical vestments, to be worn only during worship.
Posted: Wednesday, July 29, 2015
Almost until the day of his death in 1990 at the advanced age of ninety-seven, Romain de Tirtoff, better known as Erté, was a frequent and much-loved guest of New York City. His visits, which were usually marked by dinners and parties in his honor, were often listed with exclamation marks in the society pages of the New York Times, and an exclusive birthday celebration was hosted by the Circle Gallery in Soho in honor of his ninety-fifth birthday.
Posted: Tuesday, July 28, 2015
Missouri native Thomas Hart Benton is often recognized as the leader of Regionalism, the 1930s artistic movement that celebrated rural life in the United States, but few know that New York was his home from 1912 to 1935. In 1930, he received his first major commission for a mural from the New School of Social Research. Called America Today, that mural is the subject of The Metropolitan Museum of Art's latest Bulletin, published to accompany the acquisition of the mural as a gift from AXA in November 2012 and its installation at the Met.
Posted: Wednesday, July 22, 2015
Portraits can reveal so much about the character of the person depicted, beyond the obvious physical traits. What can you tell about the gentleman in this painting?
Posted: Thursday, July 16, 2015
What began as a casual conversation between Marco Leona, David H. Koch Scientist in Charge of the Met's Department of Scientific Research, and Carol Stringari, Deputy Director and Chief Conservator of the Guggenheim Foundation, has grown over the past ten months into an unprecedented collaboration aiming to advance the role of science within curatorial and conservation-based scholarship at both institutions. The partnership—described in detail on the Guggenheim's blog—has established a framework for scientific research within the Guggenheim conservation studio by creating a position for the first scientist on staff and granting access to the Met's fully equipped chemical laboratories and advanced analytical instrumentation. Conservators and scientists from the two museums are currently sharing resources, identifying projects of mutual interest, and jointly studying objects in their respective collections.
Posted: Thursday, July 16, 2015