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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

Betsy 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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A First Look at Arms and Armor: Notable Acquisitions 2003–2014

Donald J. La Rocca, Curator, Department of Arms and Armor

Posted: Monday, November 10, 2014

In the exhibition Arms and Armor: Notable Acquisitions, 2003–2014, on view from November 11, 2014, through December 6, 2015, the Department of Arms and Armor is reflecting on its recent growth and development. Between 2003 and 2014, about three hundred objects were added to the collection, many of which have been put on permanent display in the Arms and Armor galleries; the exhibition highlights about forty other acquisitions from this period that, for the most part, are unpublished and have never before been on display.

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Drawings and Prints: A Dialogue

Perrin Stein, Curator, Department of Drawings and Prints

Posted: Friday, November 7, 2014

Did you know that until 1992, Drawings and Prints were two separate departments within the Museum? Behind the scenes, there are many physical reminders of this earlier era, including separate storerooms, separate study rooms, and staff offices spread over two floors. However, both in the public galleries as well as conceptually, these two areas of the collection are now wholly integrated, allowing for a richer understanding of how works on paper were made and used.

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The Latest on the Jabach Portrait: What, No Frame?

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

Posted: Thursday, November 6, 2014

That's right; our newly acquired Jabach portrait arrived at the Museum with no frame. When I inquired about the omission, I was told that the frame it had had in London was not worth sending over. Besides, that frame no longer fit the picture, since it had been made when the top of the canvas was folded over. (See "The Jabach Conservation Continued: Next Steps" for more on the fold in the canvas.)

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Cowboys in China: The American West in Bronze, 1850–1925 at the Nanjing Museum

Thayer Tolles, Marica F. Vilcek Curator of American Paintings and Sculpture, The American Wing

Posted: Friday, October 31, 2014

After the exhibition The American West in Bronze, 1850–1925 closed at the Met on April 13, 2014, it traveled to the Denver Art Museum, where it was on view through August 31. While Colorado is located in the heart of the American West, the show's current venue, the Nanjing Museum in China, represents an exciting new frontier for these sculptures. This is certainly not the first exhibition of American art to travel to China, but it is the first focused on bronze statuettes—including forty-four works by twenty-two artists, with the roster of lenders comprising public and private collections in and around New York and Denver. Although fewer objects are included in the Nanjing Museum presentation than in either the New York or Denver venues, the organizing structure remains the same: Old West themes representing American Indians, cowboys and settlers, and animals of the plains and mountains.

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New MetPublications: Summer/Fall 2014

Mark Polizzotti, Publisher and Editor in Chief, Editorial Department

Posted: Thursday, October 30, 2014

The Museum's Editorial Department presents this season's new titles that celebrate the Met's collection and special exhibitions. The following are eight spectacular publications, just off the presses.

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"Please Lie Down; This Won't Hurt a Bit": The Jabach Conservation Continues

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

Posted: Wednesday, October 22, 2014

Now that I've finished the cleaning of the Jabach portrait, it is time to deal with the distortion resulting from the top of the picture having been folded over (as described in my last post). We first had to construct a platform on which to lay the picture face down while working on the reverse side of the canvas. This was custom built by our structural specialist, George Bisacca.

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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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Teens Take the Met!

Sandra Jackson-Dumont, Frederick P. and Sandra P. Rose Chairman of Education

Posted: Friday, October 10, 2014

The Met is known by most for its monumental building, its extraordinary and massive collection of works of art, and its incredible team of curators. But on the evening of Friday, October 17, the Met will take on an entirely different identity as a super-cool destination for teens with its first-ever teen night, affectionately dubbed Teens Take the Met.

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A Recent Gift of Delacroix Drawings Highlighted in New Gallery Rotation

Cora Michael, Associate Curator, Department of Drawings and Prints

Posted: Thursday, October 9, 2014

A selection of ten drawings by Eugène Delacroix (French, 1798–1863) is now on view in the Robert Wood Johnson Jr. Gallery. The display features several highlights from a recent gift of forty-three Delacroix drawings from the collection of Mrs. Karen B. Cohen that focus on the artist's Moroccan subjects. Many of these works were inspired by Delacroix's journey to North Africa in 1832—including studies related to his painting of The Sultan of Morocco and His Entourage, animal drawings such as a ferocious tiger, and figure studies of Arab peoples and costumes.

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Meet the Jabachs

Christine Seidel, 2013–2014 Slifka Foundation Interdisciplinary Fellow, Department of European Paintings

Posted: Wednesday, October 8, 2014

In the few months that have passed since the arrival of Charles Le Brun's monumental canvas depicting Everhard Jabach and his family, we've begun to get acquainted with the members of this extraordinary family, which moved from Cologne to Paris and established a life of courtly elegance.

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The Drinking Cup of a Classic Maya Noble

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

Posted: Thursday, September 25, 2014

When researchers deciphering the Classic Maya (ca. a.d. 250–900) hieroglyphic writing turned their attention to texts on ceramic vessels, they encountered a repeated series of similar signs first known as the "Primary Standard Sequence." The signs were statements that Classic Maya artists used to name the type of vessel (e.g., "plate" vs. "drinking cup"), the material it originally held (e.g., "chocolate" vs. "tamales"), and the owner or giver of the gift. For instance, the text around the rim of the vessel from the Met's collection (fig. 1, shown at left) identifies it as a "drinking cup."

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The Jabach Portrait Conservation Continued: Next Steps

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

Posted: Wednesday, September 24, 2014

Now that the varnish removal from the Jabach portrait is finished, it's time to turn to a rather more thorny issue: the structural conservation work.

The original and surprisingly fine canvas is constructed from five pieces of fabric: a large, central rectangle; two horizontal bands, one each top and bottom; and two vertical bands, one each at the left- and right-hand sides. The horizontal bands run the full width of the composition. This construction is entirely original, planned from the outset to accommodate the monumental scale of the painting while carefully situating the seams in the peripheral areas of the composition.

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#AskaCurator Day on Twitter

Taylor Newby, Social Media Manager, Digital Media

Posted: Monday, September 15, 2014

This Wednesday, September 17, join us on Twitter for Ask a Curator Day. Three curators will answer your questions about their jobs, collections, exhibitions, and more during live Twitter Q&As. You can tweet your questions to @metmuseum using the #AskaCurator hashtag both in advance and during the following sessions.

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How to Read Oceanic Art—Interview with Author Eric Kjellgren

Rachel High, Editorial Assistant, Editorial Department

Posted: Monday, September 15, 2014

With the start of a new school year, it is a great time to learn about the art and cultures of Oceania with the help of this fascinating new publication, written specifically to provide the keys to understanding the significance and meaning of Oceanic art. How to Read Oceanic Art is a clear and detailed introduction to Oceanic art as seen through the Met's comprehensive collection. I recently spoke with the book's author, Eric Kjellgren—formerly the Evelyn A. J. Hall and John A. Friede Associate Curator for Oceanic Art in the Department of the Arts of Africa, Oceania, and the Americas—about this engaging introduction to Oceanic art and his interest in the artistic traditions of the Pacific Islands.

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The Art of the Chinese Album

Joseph Scheier-Dolberg, Assistant Curator, Department of Asian Art

Posted: Friday, September 12, 2014

During the summer of 1644, the city of Nanjing lived beneath a cloud of anxiety and fear. The once-vibrant southern capital of the Ming dynasty (1368–1644) had become home to the remnants of the Ming court, a bedraggled and shaken group who had fled south after the fall of Beijing in April of that year. The shock of seeing their capital fall, of witnessing their young emperor retreat behind the Forbidden City and commit suicide—these were the traumas that the court brought south to Nanjing. Even as they struggled to establish a temporary capital in the south, up north the Manchus prepared to complete their conquest of the empire. Like a city preparing for the arrival of a hurricane, Nanjing waited, and feared.

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What's That? A Closer Look at Objects in the Jabach Portrait

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

Posted: Thursday, September 11, 2014

​Those of us who work in museums are as curious as any visitor to know about all the objects that fill a given painting. In the case of Charles Le Brun's Jabach portrait, a painting of a well-to-do family in a luxurious Parisian residence, there's a lot to catch your eye; we see a number of things the family must have owned and treasured.

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Opening of the Met's New David H. Koch Plaza

Thomas P. Campbell, Director and CEO

Posted: Wednesday, September 10, 2014

It is a great day for the Met and a great day for the City of New York. More than a century after the completion of the Met's Fifth Avenue facade and forty years after its last plaza renovation, the Museum has revived one of the great outdoor spaces in New York.

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The New Met App

Thomas P. Campbell, Director and CEO

Posted: Tuesday, September 2, 2014

I'm pleased to announce the launch of the Met app created by the Museum's Digital Media Department. This free digital resource is the easiest way for the Met community, both local and global, to stay current with what's happening at the Museum every day—wherever you are.

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The Conservation Continues: Revealing Jabach's Daughter Anna Maria

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

Posted: Wednesday, August 27, 2014

The cleaning of the Jabach portrait is going well, and we in Paintings Conservation are all transfixed by the exceptional quality of the painting. One area I was particularly looking forward to seeing without the yellowed varnish was the beautiful figure of Jabach's daughter Anna Maria. She really anchors the right-hand side of the composition, and her self-aware, direct gaze pulls us into the Jabach family's rarefied world. Below are some photographs that I took during the cleaning.

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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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A Stone Sphere from Costa Rica

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

Posted: Tuesday, August 19, 2014

In June 2014 the United Nations Educational, Scientific, and Cultural Organization (UNESCO) named the "Precolumbian Chiefdom Settlements with Stone Spheres of the Diquís" to its World Heritage List, the first cultural site from Costa Rica to make the list of global heritage sites. The team from the Museo Nacional de Costa Rica, led by archaeologist Dr. Francisco Corrales Ulloa, nominated these sites as an "outstanding representation of the complex social, economic and political systems, as well as the refined cultural achievements, of chiefdom societies of the south Central American region during the pre-Columbian period a.d. 500–1500."

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Le Brun's Jabach: Who's Got the Best?

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

Posted: Wednesday, August 13, 2014

Well, if you live in New York and work at the Metropolitan Museum, there's really only one acceptable answer to that question! But what happens when two versions of a picture exist, as is the case with the Metropolitan's new painting by Charles Le Brun of the German banker Everhard Jabach (1618–1695)? I worried about this as we entered into negotiations for the purchase of the picture.

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Way to Gogh

Alison Hokanson, Assistant Curator, Department of European Paintings

Posted: Friday, August 8, 2014

For the first time in recent memory, all seventeen of the Met's paintings by Vincent van Gogh—the largest collection of the artist's work on this side of the Atlantic—are in house and on view in galleries 823826, and 961. Visitors can enjoy a full range of highlights from the artist's prolific years in France, from portraits to still lifes to landscapes. These masterpieces are often committed to exhibitions around the world, making this a not-to-be-missed occasion.

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Now on View: Works by Vittore Carpaccio, Master Draftsman of Renaissance Italy

Furio Rinaldi, Research Assistant, Department of Drawings and Prints; and Carmen Bambach, Curator, Department of Drawings and Prints

Posted: Friday, August 8, 2014

Well known for the outstanding storytelling of his cycles of paintings, the Renaissance artist Vittore Carpaccio (1460/66?–1525/26) was also a prolific draftsman. Four of the artist's drawings are part of the Met's collection and currently on view in the Robert Wood Johnson, Jr. Gallery.

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Our New 82nd & Fifth iPad App—in Twelve Languages

Thomas P. Campbell, Director and CEO

Posted: Thursday, August 7, 2014

The Met's 82nd & Fifth web feature redefined the online museum experience: in two-minute episodes, one hundred Met curators talked about the work of art that changed the way they see the world—one curator, one work, two minutes at a time. That content is now available on an iPad app in twelve languages. You can download, favorite, and share episodes, and create your own collections.

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First Things First: Commencing the Conservation of the Jabach Portrait

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

Posted: Wednesday, July 30, 2014

I had first seen the Jabach family portrait in a warehouse in London over a year ago and loved it, but I'll admit that when it finally arrived in our paintings conservation studio at the Museum this past June, I was a bit overwhelmed—it's enormous! Fortunately, the work's current condition needs to be fully documented before conservation can begin. This not only helps a conservator understand the painting and its issues but also provides some breathing space and thinking time.

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Becoming the Advertisement: Daisy Murdoch as "Cupid" on 1880s Tobacco Cards

Rebekah Burgess, Collections Management Coordinator, Department of Drawings and Prints

Posted: Tuesday, July 29, 2014

"…how dismal is progress without publicity…individuals love more to bask in the sunshine of popularity than they do to improve in some obscure intellectual shade. Merit is no object, conspicuity all."

—Theodore Dreiser, Sister Carrie (1900)

The Jefferson R. Burdick Collection of printed ephemera in the Department of Drawings and Prints includes over six thousand "tobacco cards" from the late 1800s that depict actresses of various levels of celebrity. Twenty-seven of these cards—which were inserted in cigarette packs and intended to be collected and traded much like baseball cards—advertise Daisy Murdoch, a mid-level burlesque actress of the 1880s. She constituted what we might call a "one-hit wonder" today; she was recognized by the public almost solely for her role as Cupid in the Bijou Opera Company's traveling production of Orpheus and Eurydice (1883–85). Murdoch's cards present a clear example of the dissemination of imagery and commodification of celebrity during this unique moment in print culture and theater history.

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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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Exploring the Galleries: A Met Museum Presents Itinerary

Meryl Cates, Press Officer, Met Museum Presents

Posted: Friday, July 25, 2014

Met Museum Presents begins its third season in September, which will bring an array of dazzling site-specific, gallery-based performances to the Museum. Filling the Met's spaces with music, dance, opera, and theater, world-class performers will continue our mission of creating exciting programs for the Museum and its collection, allowing audiences an unparalleled experience.

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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.