Keith Christiansen is the John Pope-Hennessy Chairman of the Department of European Paintings.
Posted: Tuesday, April 7, 2015
Michael Gallagher has been taking readers of this blog series step by step through his conservation work on the remarkable Jabach portrait. So I thought this might be the moment—in the few weeks remaining until its installation in the galleries—to reflect on how we came to acquire this extraordinary picture.
Posted: Thursday, March 12, 2015
"Almost invariably," writes Stendahl in the Italian Chronicles, "foreigners coming to Rome ask to be taken, at the outset of their tour of inspection, to the Barberini gallery; they are attracted, the women especially, by the portraits of Beatrice Cenci and her stepmother." Beatrice, of course, not only had possessed beauty, but she had a story, having been publicly executed for the murder of her cruel, molesting father.
What was thought to be her portrait (above) was painted by the "Divine Guido Reni" (1575–1642). Reni was a great artist, but the picture Stendahl admired was not, in fact, by him and certainly cannot hold a candle to the portrait of an unknown beauty recently given to the Metropolitan Museum and now hanging—following its cleaning and reframing—in gallery 623.
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.
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.
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.
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.)
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.
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.
Posted: Tuesday, July 15, 2014
Ever wonder what it would have been like to live in Paris in the golden age of the French monarchy and to have the money to do it in style?
Posted: Wednesday, June 26, 2013
As part of the installation of the New European Paintings Galleries last month, all of the wall labels were rewritten to reflect recent research. Each time I walked into the Rembrandt gallery (Gallery 637) during the installation, I wondered if I was seeing an art project or merely temporary storage for our new label holders.