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Nine "Secrets" about the History of the Met's Department of Asian Art

Mike Hearn, Douglas Dillon Chairman of the Department of Asian Art

Posted: Friday, February 20, 2015

In preparing a history of the Museum's Department of Asian Art, which this year celebrates its centennial by showcasing its unparalleled collection through a range of exhibitions, gallery talks, and other offerings, I have uncovered a number of little-known facts and many "secrets" that are not widely known to the public. Here are nine of the most fascinating.

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The Met's Joint Mission to Malqata

Catharine H. Roehrig, Curator, Department of Egyptian Art

Posted: Tuesday, February 17, 2015

The remains of the festival city of Malqata are located on the west bank of the Nile, about 430 miles south of Cairo, opposite the modern city of Luxor (usually referred to by Egyptologists as Thebes). The festival city dates to the time of the pharaoh Amenhotep III, who reigned during the second half of Dynasty 18, during Egypt's New Kingdom. This pharaoh was the father of Akhenaten, and very likely the grandfather of Tutankhamun.

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The Mummy of Nesmin: A Closer Look

Isabel Stünkel, Associate Curator, Department of Egyptian Art; and Sarah Nankivell, 2014 Intern, Department of Egyptian Art and Digital Media Department

Posted: Tuesday, February 17, 2015

For several years The Metropolitan Museum of Art has been collaborating with the NYU Langone Medical Center Department of Radiology, using computed tomography (CT) to scan objects in the Museum's collection for research purposes.

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Guns, Paper, and Stains: Preserving History through Interdepartmental Collaboration

Angela Campbell, Assistant Conservator, Department of Paper Conservation

Posted: Friday, February 13, 2015

Included in the Arms and Armor: Notable Acquisitions 2003–2014 exhibition, curated by Donald J. La Rocca and currently on display in the galleries of the Department of Arms and Armor though December 6, are several printed designs associated with ornamental firearms. Upon acquisition, two of these prints—the decorative title page from the album Plvsievrs Pieces et Ornements Darquebuzerie, acquired in 2011, and a design for the stock of a musket from the Nouveavx Desseins D'Arquebvseries, acquired in 2013—appeared similarly stained and damaged, but underwent distinctly different conservation campaigns. The two prints, as well as all of the other works on paper currently on display, will be on view through March 2015, due to their preservation needs.

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Using Color to Link Cultures: An Eighteenth-Century Islamic Tile in Context

Fatima Quraishi, 2014–15 Hagop Kevorkian Fellow, Department of Islamic Art

Posted: Wednesday, February 11, 2015

The Department of Islamic Art has over three thousand ceramic objects in its collection, with perhaps the largest corpus of the collection acquired from the Museum's excavations in Nishapur, Iran, during the mid-twentieth century. While the department maintains a fine collection of Safavid and Ottoman ceramics, ceramic work from south Asia is not as well represented. Among these examples of south Asian ceramics, my favorite is an eighteenth-century tile from Multan, in present-day Pakistan (pictured above). In terms of both material and technique, the tile is typical of ceramics from this part of south Asia, as are three similar objects in the collection—an eighteenth-century dish and two late fifteenth-century tiles (2008.461 and 2008.462).

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Back in Print—High Style: Masterworks from the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art

Rachel High, Editorial Assistant, Editorial Department

Posted: Monday, February 9, 2015

The perfect Valentine's Day gift for the fashion lover, High Style is now back in print as a paperback, with an updated cover that features the stunning "Clover Leaf" gown by Charles James. This lavishly illustrated volume presents some two hundred examples drawn from more than twenty-four thousand garments, accessories, hats, and shoes in the Brooklyn Museum's collection (which was transferred to the Met in 2009). A wide-ranging book covering garments from the eighteenth through the twentieth century, High Style provides a perfect introduction to the history of fashion.

In honor of Valentine's Day, read further to learn more about seven romantically hued ensembles featured in this publication.

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Andrew Bolton Wins 2015 Vilcek Prize in Fashion

Nancy Chilton, Chief Communications Officer for The Costume Institute

Posted: Friday, February 6, 2015

Andrew Bolton, curator in The Costume Institute, was chosen as the winner of the Vilcek Prize in Fashion for his curatorial work that elevates fashion as an art form. The prize is part of the 2015 Vilcek Prize and Creative Promise Prizes in the Arts, which are awarded in the field of fashion, and spotlight foreign-born artists with records of major achievement in their fields.

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Diamond in the Rust: Conserving a Damascened Tibetan Knife

Marlene April Yandrisevits, Former Graduate Intern, Department of Objects Conservation

Posted: Friday, February 6, 2015

Looking closely at historical artifacts is one of the chief privileges and joys of being an art conservator, and I am thrilled to share with you a close look at one of the extraordinary objects currently on view in the exhibition Sacred Traditions of the Himalayas. While this ritual blade is immediately striking in its sinuous form and elaborate decoration, closer examination reveals an inspiring display of technical skill and master artistry.

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Walter Liedtke, Our Friend and Distinguished Colleague (1945–2015)

Thomas P. Campbell, Director and CEO

Posted: Thursday, February 5, 2015

The news that Walter Liedtke was among the victims of the Metro-North train crash on Tuesday night sent shock waves through the Museum. We had all heard about the accident, some considered for a moment who they knew who took that route, but then life continued. The revelation the next morning that among the five people in that first train car was one of our own curators suddenly made the world feel impossibly small. For 35 years, Walter had come and gone from the Met every day, and now that would never happen again.

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Surface, Depth, and Description in Le Brun's Portrait of Everhard Jabach and His Family

Keith Christiansen, John Pope-Hennessy Chairman, Department of European Paintings

Posted: Wednesday, February 4, 2015

We sometimes imagine that no one before the twentieth century thought of a painting in terms of line and color and the play between surface and depth—that before the advent of Cubism, painting was a matter of mere description. Wrong.

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Ragas in Review: An Evening of North Indian Music

Julia Rooney, Administrative Assistant, Department of Islamic Art

Posted: Wednesday, February 4, 2015

The Moroccan Court Music Series, which began in April 2014, saw its last performance of the year on November 21, with a program of Hindustani music. Planned to coincide with the recently closed exhibition Treasures from India: Jewels from the Al-Thani Collection, the evening featured Neel Murgai on sitar and Shivalik Ghoshal on tabla, playing a program of north Indian ragas.

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An American Voyage for French Tapestries

James Moske, Managing Archivist, Museum Archives

Posted: Tuesday, February 3, 2015

During several visits to the recent exhibition Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, I marveled at how the artist's inventive compositions guided my eyes through the dramatic, active scenes these artworks portray. The many fantastic details which augment each narrative rewarded repeated viewing and inspired a sense of awe for the unity of effort required to plan and create such massive, intricate images. At times I felt a bit overwhelmed by the immensity of the tapestries—all but one of them loaned from European museums and private collections—and wondered about the tremendous physical labor it must have taken to bring them to New York and install them here at the Metropolitan Museum.

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The Kunstkammer Has Been Crowned

Sally Metzler, Guest Curator, Department of Drawings and Prints

Posted: Friday, January 30, 2015

In my December 30 post "Crown the Kunstkammer!" I challenged readers to suggest objects that would make worthy additions to the Kunstkammer, or chamber of wonders, in the exhibition Bartholomeus Spranger: Splendor and Eroticism in Imperial Prague. Cheers to all who participated! Holy Roman Emperor Rudolf II, Spranger's patron and the founder of the Prague Kunstkammer, would have found these additions tantalizing. I thank you for the stimulating ideas you contributed both in the comments on the post and on Facebook, and would like to highlight a few of my favorite submissions.

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Understanding and Sustaining Cultures: The Conservation of Nepalese Jewelry

Nina Pascucci, Former College Intern, Department of Objects Conservation

Posted: Friday, January 30, 2015

I've always been drawn to the role that art and artifacts play in shaping our collective history and culture. As a college intern in the Department of Objects Conservation here at the Met, I recently had the unique opportunity to spend some one-on-one time with beautiful jewelry from Nepal while assisting with the preparation for the exhibition Sacred Traditions of the Himalayas.

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Jewelry and Power: Notes from a Friday Focus Lecture

Helen D. Goldenberg, Associate for Administration, Department of Islamic Art

Posted: Wednesday, January 28, 2015

On Friday, January 9, the Department of Islamic Art, in conjunction with the Education Department, hosted guest lecturer Michael Spink to speak at a Friday Focus event. Spink's lecture, Jewelry and Power: Gold and Gems in Mughal India, illuminated the history of jewelry in the Mughal Empire and gave background information on the breathtaking gems that were displayed in the recently closed exhibition Treasures from India: Jewels from the Al-Thani Collection.

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The Jabach Portrait: The First Varnish

Michael Gallagher, Sherman Fairchild Conservator in Charge, Department of Paintings Conservation

Posted: Wednesday, January 28, 2015

Michael Gallagher applies the first layer of varnish to the surface of the Jabach portrait.

After the completion of cleaning and structural work on the Jabach portrait, the next step in its conservation is the application of a first layer of varnish. The varnish acts as an isolating layer between the original painting and the retouching—which will come later—but, most importantly, it begins the process of saturating the surface, which is so crucial to a painting of this period.

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Creating Contrast through Elaborate Details: Technical Analysis and Conservation of an Avalokitesvara

Mandira Chhabra, Assistant Conservator, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai, India; Daniel Hausdorf, Associate Conservator, Department of Objects Conservation; and Pascale Patris, Conservator, Department of Objects Conservation

Posted: Friday, January 23, 2015

This beautiful image of the bodhisattva Avalokitesvara holds a lotus as his principal attribute (fig. 1). On view in the exhibition Sacred Traditions of the Himalayas, the gilded figure and its lotus-inspired pedestal are made of a single block of sandalwood, a wood species that holds spiritual meaning throughout Asia. The exceptional carving found here is a rare surviving example of a Nepalese tradition with a long history, one which ultimately can be traced back to India.

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The Jabach Portrait: Back on Its Feet

Michael Gallagher, Sherman Fairchild Conservator in Charge, Department of Paintings Conservation

Posted: Friday, January 23, 2015

Conservators Michael Gallagher, George Bisacca, Alan Miller, and Jonathan Graindorge Lamour reattach the Jabach portrait to its stretcher in preparation for the final phases of conservation.

Just before the holidays, we reached a major milestone in the conservation of the Jabach portrait: the reattachment of the canvas to its stretcher. The short video above gives a good sense of the process undertaken with George Bisacca, Alan Miller, and Jonathan Graindorge Lamour. In all, it took about a couple of hours.

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Rites of Passage in the Indian Jewelry Tradition

Courtney A. Stewart, Senior Research Assistant, Department of Islamic Art

Posted: Wednesday, January 21, 2015

In this painting, the Mughal Emperor Shah Jahan sits with his young son Dara Shikoh, holding a red gem in his right hand and a small tray of colored gems in his left. This intergenerational portrait illustrates the important Indian tradition of transferring gems among family members. Jewels are among the most important possessions in an estate and, when inherited, they are usually remounted or set by the recipient.

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Beneath the Surface: Technical Analysis of a Vajrabhairava Figurine

Mandira Chhabra, Assistant Conservator, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai, India; Daniel Hausdorf, Associate Conservator, Department of Objects Conservation; and Pascale Patris, Conservator, Department of Objects Conservation

Posted: Friday, January 16, 2015

A gift to the Museum in 1949, this image of Vajrabhairava was not placed on display for many years (fig. 1). In conjunction with the work's display in the Sacred Traditions of the Himalayas exhibition, however, the Departments of Objects Conservation and Scientific Research examined this figure in order to shed light on the materials and the production technique of this unusual representation.

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Taking Stock of the Department of Islamic Art's 2014 Acquisitions

Julia Cohen, Research Assistant, Department of Islamic Art

Posted: Thursday, January 15, 2015

One of my regular tasks as a research assistant is to enter information about new acquisitions into the collections management database of the Department of Islamic Art. Slower-paced than some of my other responsibilities, it gives me an opportunity to study the works that the department has obtained in the past year. And during the holidays, when our offices were a bit quieter, I had the chance to really take a look at our latest acquisitions.

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Shaffron and Sultanate: Horse Armor for Indo-Islamic Royalty

Rachel Parikh, Mellon Curatorial Fellow, Department of Arms and Armor

Posted: Thursday, January 15, 2015

The Department of Arms and Armor's current exhibition, Arms and Armor: Notable Acquisitions, 2003–2014 (through December 6), not only features notable European works, but also highlights superior non-Western ones. For example, there is a particular piece of armor associated with Indo-Islamic royalty. It was not made for an emperor, however, but for a horse.

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Filling In History: Conserving Fifteenth-Century Tibetan Initiation Cards, Continued

Rebecca Capua, Assistant Conservator, Department of Paper Conservation

Posted: Friday, January 9, 2015

In the course of conserving a group of twenty-five Tibetan initiation cards currently on view in Sacred Traditions of the Himalayas, the second phase of treatment—performed after media consolidation—concerned compensating losses. All of the cards were damaged along their top edges from a combination of mold deterioration of the multilayered support and the handling received during their past lives as functional objects. While some of the cards were only missing parts of the top red margins, others had losses that extended well into the image area.

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The Jabach Portrait: An Update on the Frame

Keith Christiansen, John Pope-Hennessy Chairman, Department of European Paintings

Posted: Wednesday, January 7, 2015

The Jabach portrait is now back on its stretcher, and Michael Gallagher is about to move on from the complex structural work that has occupied him these past few months to the final retouching and varnishing. In other words, we are in the home stretch.

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Reimagining Modernism—Expanding the Dialogue of Modern Art

Randall Griffey, Associate Curator, Department of Modern and Contemporary Art

Posted: Wednesday, January 7, 2015

Over the course of summer 2014, the Met reinstalled and reopened the enfilade of galleries that showcases modern art from 1900 to 1950. Encompassing approximately 14,500 square feet of gallery space and roughly 250 objects, this project, Reimagining Modernism: 1900–1950, reinterprets and presents afresh the Metropolitan's holdings of modernist paintings, sculpture, design, photography, and works on paper. Organized at the direction of Sheena Wagstaff, Leonard A. Lauder Chairman of the Department of Modern and Contemporary Art, the project integrates European and American modernist collections for the first time in the Museum's history, along with loans in collaboration with the Departments of Photographs, Drawings and Prints, European Paintings, and The American Wing, in addition to loans from private collections.

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Eastern Religion Meets Western Science: Conserving Fifteenth-Century Tibetan Initiation Cards

Angela Campbell, Assistant Conservator, Department of Paper Conservation

Posted: Monday, January 5, 2015

In 2000, The Metropolitan Museum of Art acquired a complete set of twenty-five early fifteenth-century Tibetan initiation cards (tsakalis), which are currently on display in the Sacred Traditions of the Himalayas exhibition, on view through June 14, 2015. When these cards were received, the majority of them showed noteworthy damage which was most easily visible along the top edges of the cards. Under microscopic examination, however, it became apparent that the delicate paint layer—composed primarily of natural pigments in a natural gum binder—was also markedly damaged and, in some areas, detaching from the paper support. In the magnified image shown below, the fibrous paper support can be seen under the cracked and lifting paint layer.

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Arabic at the Met: Adventures in Translation from alif to ya'

Matt Saba, Mellon Curatorial Fellow, Department of Islamic Art

Posted: Friday, January 2, 2015

Recent visitors to the Met may have noticed more Arabic throughout the building. Magnificent specimens of Arabic calligraphy have always been on display in our galleries, along with examples in Persian and Ottoman Turkish, but the Museum has recently taken on the task of translating educational materials into Modern Standard Arabic (MSA, or al-Lugha al-'Arabiyya al-Fusha in Arabic), a language spoken by hundreds of millions of people worldwide.

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Crown the Kunstkammer!

Sally Metzler, Guest Curator, Department of Drawings and Prints

Posted: Tuesday, December 30, 2014

A Kunstkammer, or chamber of wonders, was the ancestor of today's public museum. We have royalty to thank for its inception; rulers such as Holy Roman Emperor Rudolf II of Prague (1552–1612) spent a great deal of time and money collecting precious objects for enjoyment and study in their palaces, and they kept these objects in rooms designed specifically to hold them. The exhibition Bartholomeus Spranger: Splendor and Eroticism in Imperial Prague (on view through February 1, 2015) features a miniature Kunstkammer that offers the flavor and spirit of Rudolf's collection and arrangement, but you may have noticed that we left a few open spaces.

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A Legendary Eye

Thomas P. Campbell, Director and CEO

Posted: Tuesday, December 23, 2014

One of the great strengths of the Met is its extraordinary staff. In January, one of our legendary curators, Drue Heinz Chairman of Drawings and Prints George Goldner, is stepping down, and we made a special video to mark the impact of his twenty-two-year career here.

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Interview with Christopher S. Lightfoot, Author and Curator of Ennion: Master of Roman Glass

Rachel High, Editorial Assistant, Editorial Department

Posted: Tuesday, December 23, 2014

Ennion: Master of Roman Glass is the Met's first publication devoted exclusively to Ennion, whose glass products traveled across the Roman Empire in the first century A.D. I discussed the book, Ennion's work, and the connections between the ancient and modern world with the curator of the exhibition and author of the catalogue, Christopher S. Lightfoot.

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A Mountain's Eyebrow: The Met's Earliest Ancient American Acquisition

James Doyle, Assistant Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Monday, December 22, 2014

In the 1870s a young Alphonse J. Lespinasse arrived in Mérida, Campeche, Mexico, to begin his term as United States consul. In those days, the Yucatán Peninsula was a volatile place, having been the scene of a political rebellion known as the Caste War of Yucatán, which began in the late 1840s. (In fact, one of the outcomes of the conflict was that peoples of Maya descent formed the independent nation of Chan Santa Cruz in the modern state of Quintana Roo, and even established diplomatic relations with Mexico and the United Kingdom.) Lespinasse arrived in the middle of a tense situation between native Yukatek Maya speakers and landowners who were largely foreigners, or criollos, of European descent.

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The Jabach Portrait, Right Side Up

Michael Gallagher, Sherman Fairchild Conservator in Charge, Department of Paintings Conservation

Posted: Monday, December 22, 2014

After the severe distortions at the top of the Jabach portrait were successfully reduced, the next step was to prepare the painting for re-stretching. This involved the attachment of a new strip-lining; new pieces of canvas were adhered along all four edges of the reverse of the painting using a heat-activated adhesive. (It should be noted that these can be easily removed in the future if necessary.)

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A First Look at Sacred Traditions of the Himalayas

Kurt Behrendt, Associate Curator, Department of Asian Art

Posted: Friday, December 19, 2014

The exhibition Sacred Traditions of the Himalayas, opening tomorrow, explores Buddhist devotional practices across the vast Himalayan region from the thirteenth through the early twentieth century. These practices included ceremonial dance and musical performance, both important dimensions of Buddhist ritual that unified this vast region, which includes Nepal, Tibet, Bhutan, and Mongolia.

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In the Stars: Gems and the Indian Tradition

Courtney A. Stewart, Senior Research Assistant, Department of Islamic Art

Posted: Wednesday, December 17, 2014

In North America, we have a rather superficial relationship with gemstones. You may be aware that your birth month is connected with a gem—your "birthstone"—but what's the point of this connection? For most of us, the only gem we associate with any real symbolic value is a diamond, reserved for nuptial engagements as a symbol of commitment, but even this is a very recent affiliation stemming from a 1947 De Beers ad campaign "A Diamond is Forever."

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The Sword Awarded to Revolutionary War Hero Colonel Marinus Willett

Elizabeth Mankin Kornhauser, Alice Pratt Brown Curator of American Paintings and Sculpture, The American Wing

Posted: Tuesday, December 16, 2014

The current exhibition Arms and Armor: Notable Acquisitions, 2003–2014 features a magnificent and historically important sword that was presented to the Revolutionary War hero Colonel Marinus Willett (1740–1830). In about 1791, American artist Ralph Earl (1751–1801) painted a full-length portrait of Willett (currently hanging in gallery 753 in The American Wing) that commemorates his extraordinary service during the War. Earl made a point of including a detailed rendition of the sword, which is shown hanging from Willett's waist.

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The Architectural Ornament of Abbasid Samarra: Newly Released Depictions by Ernst Herzfeld

Matt Saba, Mellon Curatorial Fellow, Department of Islamic Art

Posted: Friday, December 12, 2014

The Department of Islamic Art is excited to announce the release of new records from the Ernst Herzfeld Papers, part of the department's archival collections. Herzfeld was a German archaeologist and historian considered to be one of the field's founding fathers. The department began to publish records from the Herzfeld Papers online this summer; the records in this latest upload consist of Herzfeld's watercolors and drawings depicting fragments of architectural ornament he excavated at Samarra, the ninth-century capital of the Abbasid dynasty located in today's Iraq.

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Painting on Silk with Nazanin Hedayat Munroe

Catherine Rust, Studio Programs Intern, Education

Posted: Wednesday, December 10, 2014

In October the Studio Workshop event Silk Painting: Kimono-Inspired Designs explored the rich motifs and exciting compositional choices inspired by works from the exhibition Kimono: A Modern History, currently on view through January 19. Students practiced a variety of silk application methods, including paste resist, block printing, and free-hand painting.

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What's New in Gallery 350: Dogon Metalwork

Yaëlle Biro, Associate Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Wednesday, December 10, 2014

A group of fifteen iron and copper alloy miniature sculptures and ornaments has recently been installed in a wall case in gallery 350 dedicated to Dogon art from Mali. Combining three ornaments from the Met's own holdings with works selected from a private collection, this is the largest group of such Dogon miniatures ever featured at the Museum.

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Reflections: Charles Le Brun's Mirrored Presence in the Jabach Portrait

Keith Christiansen, John Pope-Hennessy Chairman, Department of European Paintings

Posted: Wednesday, December 3, 2014

While Michael Gallagher has been busy dealing with the structural issues of Charles Le Brun's great family portrait, I have felt privileged to be an attentive observer. But I have also been thinking about one of the many features that makes this painting so fascinating—the fact that Le Brun included his own reflection in a black-framed mirror propped on a table.

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Looking Closely: An Unexpected Discovery in the Islamic Collection

Fatima Quraishi, 2014–15 Hagop Kevorkian Fellow, Department of Islamic Art

Posted: Wednesday, December 3, 2014

As a new curatorial research fellow in the Department of Islamic Art, I am becoming acquainted with many different aspects of museum life such as museum education and exhibition practices, but I spend most of my time researching our rich collection of Islamic art objects. I've recently been examining a large group of wooden panel pieces, many of which were parts of minbars (pulpits) in mosques in Egypt during the Mamluk period (1250–1517)—some of these are on display in gallery 454. In this group, I came across a rectangular panel (shown above) that is inlaid with carved ivory and bears an inscription in Arabic.

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Reinventing an American Brand: A Poster Competition at LIFE Magazine

Freyda Spira, Associate Curator, Department of Drawings and Prints

Posted: Tuesday, December 2, 2014

Given to the Museum in 1965 by LIFE magazine's creative director of general promotion, Jay W. Cheek, these posters—on view in the current installation in gallery 690 through December 8—were made as part of a campaign for the Pacific Northwest called "Signs of Adolescence."

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Interview with Dita Amory, Curator and Co-author of Madame Cézanne

Rachel High, Editorial Assistant, Editorial Department

Posted: Monday, December 1, 2014

Paul Cézanne is central to the study of modern art, yet one of his most frequently painted subjects, his wife, Hortense Fiquet, is often neglected in the scholarship on the artist. If she is mentioned at all, Hortense is described as ill-humored and as a negative influence on Cézanne's painting. Madame Cézanne, the catalogue accompanying the eponymous exhibition currently on view through March 15, 2015, aims to reevaluate these perceptions of Hortense. I sat down with Dita Amory, curator of the exhibition and co-author of the catalogue, to discuss the book and the complicated, enigmatic relationship between Cézanne and his wife.

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A Ninth-Century Miss Manners: Dining Etiquette in Abbasid Iraq

Julia Cohen, Research Assistant, Department of Islamic Art

Posted: Wednesday, November 26, 2014

With the weather getting colder and Thanksgiving now upon us, my mind has turned to food. Hearty soups, roasted vegetables, and freshly baked bread warm my spirits during the winter months, and there is little I enjoy more than inviting friends and family to join me for meals.

Food and drink are central to celebrations throughout the world, and objects in the Islamic Art collection can tell us so much about people's lives. The tradition of feasting to commemorate important events dates back to pre-Islamic times, both in the Middle East and the rest of the world. The Islamic galleries are filled with serving dishes, storage jars, and drinking vessels that provide a window into the everyday life and celebrations of the many Islamic dynasties represented here.

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A Rare Opportunity to See the Genius of Ancient Chinese Bronze Casters

Zhixin Jason Sun, Curator, Department of Asian Art

Posted: Tuesday, November 25, 2014

A cast-bronze buffalo from the Shanghai Museum is now on view in the exhibition Innovation and Spectacle: Chinese Ritual Bronzes (through March 22, 2015). This fantastic animal-shaped vessel once served as a wine warmer in sacrificial rituals in the Zhou dynasty (1046–256 b.c.).

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The Jabach Portrait: A Change of Plan

Michael Gallagher, Sherman Fairchild Conservator in Charge, Department of Paintings Conservation

Posted: Wednesday, November 19, 2014

One thing you learn quickly in conservation is that the objects under your care make the rules! Frequently, well-thought-through plans or strategies for approaches to treatment have to be tweaked or completely rethought.

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The Arts of a Mesoamerican Metropolis, Here at the Met

James Doyle, Assistant Curator, Department of the Arts of Africa, Oceania, and the Americas

Posted: Wednesday, November 19, 2014

Sergio Gomez and a team of investigators under the Feathered Serpent Pyramid at the site of Teotihuacan—one of the largest and most elaborate pyramids of the ancient world—are exploring a recently discovered man-made tunnel that passes under the east-west axis of the building, and have already uncovered rich dedicatory offerings using unmanned vehicles and controlled excavations (fig. 1). Teotihuacan is remarkable for the scale and elaboration of its architecture, the well-organized grid on which the city was planned, and an artistic tradition that included stone sculpture, mural painting, and pottery. The city's residents lived in complex apartment compounds from the late first millennium b.c. to the mid-seventh century a.d., suggesting a relatively stable social structure unlike that of other cities in the ancient New World. There were even neighborhoods of foreigners who continued their local traditions in distinct "barrios" of the city. A truly cosmopolitan place, Teotihuacan was the Manhattan of its time—a hub of activity and a destination for those from far away.

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Former Incarnations: The Secret Lives of Objects in Treasures from India

Courtney A. Stewart, Senior Research Assistant, Department of Islamic Art

Posted: Wednesday, November 19, 2014

Works of art at the Met are often presented in isolation to give the viewer an opportunity to examine them closely and appreciate their artistic merit, fine craftsmanship, use of materials, and other details. Because of these objects' (near) impeccable state when exhibited, I sometimes forget they have lived entire lives before arriving at the Museum and often have passed through many hands and traveled long distances. Indeed, the life of an object is so much richer, more complicated, and more convoluted than its shining presence in a display case can convey.

While researching the objects selected for the exhibition Treasures from India: Jewels from The Al-Thani Collection (on view through January 25, 2015), I was continually inspired by these histories and fascinated by the winding paths these works had taken before their arrival in our galleries.

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Celebrating #NetsukeNovember on Twitter

Anabelle Gambert-Jouan, Graduate Intern, Department of Asian Art

Posted: Monday, November 17, 2014

The Metropolitan Museum of Art boasts a collection of almost one thousand netsuke, with a particular emphasis on works from the eighteenth and nineteenth centuries. In addition to the selection currently displayed in the exhibition Kimono: A Modern History, on view September 27, 2014–January 19, 2015, daily netsuke posts can also be seen on the Museum's Twitter account throughout the month of November as part of the campaign #NetsukeNovember.

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Waves, Waterfalls, and Whirling Water on Japanese Kimono

Monika Bincsik, Andrew W. Mellon Fellow, Department of Asian Art

Posted: Wednesday, November 12, 2014

The way that kimonos are used and the types of designs to decorate them have shifted dramatically over the last 150 years, shaped by the dialogue of Japanese traditional craft art with modern inventions and Western ideas. As shown in a selection of objects currently found in the exhibition Kimono: A Modern History, on view through January 19, 2015, we can follow this narrative of cultural interaction by focusing on the depiction of water motifs used on kimono.

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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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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.