Posted: Friday, May 22, 2015
I find one-minute gesture, or figure, drawings very challenging. My desire to create an intriguing composition makes capturing the model's gesture in such a short period of time even harder. Normally, I look to the Met's collection for inspiration when I find myself confronted by an artistic problem, but, in this case, I thought: "How many one-minute gesture drawings are actually on display in a museum full of meticulously constructed masterpieces?"
Posted: Friday, April 10, 2015
I invite you to look up from your phone. There is something almost sacred about the paintings and objects here at the Met. Stand in front of Johannes Vermeer's Young Woman with a Water Pitcher and look closely, see how blue light comes through the glass of the window and shadows the folds of her headdress. She puts a hand up to the window, lost in thought, as if unaware of you, and light reflects off of the pitcher—a deep blue from her dress and the mantle, and a pale blue from the glass.
Posted: Friday, April 3, 2015
This Wednesday, April 8, Met Curator Luke Syson will give a talk, entitled Behind the Fig Leaf, about Tullio Lombardo's Adam (ca.1490–95)—the Renaissance marble of "The First Man" and one of the most important pieces of Venetian sculpture held outside of that city. After a terrible accident that left him in pieces and the painstaking restoration of the artwork, Adam is now on display in Tullio Lombardo's Adam: A Masterpiece Restored, on view through July 2015. Located in a specially designed space, gallery 504, the exhibition also features captivating video footage of the conservators at work during this extensive restoration project.
Posted: Thursday, February 5, 2015
The Cloisters museum and gardens has many devotees, but I wonder how many of its visitors know about the Glencairn Museum, located in Bryn Athyn, just outside of Philadelphia, Pennsylvania. Glencairn, like The Cloisters, is home to an excellent collection of medieval art on view in a building inspired by medieval architecture. As a current Met fellow and former Glencairn fellow, I have had ample opportunity to study the histories of these two marvelous collections, both of which took shape during the early twentieth century. Together they constitute an important chapter in the story of collecting medieval art in the United States, and I am continually impressed by the close relationship between them.
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.
Posted: Wednesday, October 15, 2014
The three-part Gods and Goddesses lecture series, which concluded on September 30, attempted to broadly address the multifaceted deities of the Hindu, Buddhist, and Jain religions—faiths that are at the foundation of South Asia's great sculptural tradition. The first lecture began with Buddhism, tracing its image-making tradition that emerged to give manifest form to the Buddha's enlightened relics. Over time it continued to reflect developments within the Buddhist tradition, with the imagery becoming more complex as artists strove to represent subtle aspects of ideology.
Posted: Friday, July 25, 2014
As I travel through the galleries of The Metropolitan Museum of Art, one question always lingers in my mind: If these inanimate objects were able to speak, what would they say? I have taken on the task of "interviewing" three sculptures to break their silence and give us more insight into their lives and stories.
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.
Posted: Tuesday, April 15, 2014
The special exhibition The American West in Bronze, 1850–1925 closed at The Metropolitan Museum of Art on Sunday, April 13. Nearly one thousand people visited the galleries on the last day, bringing the total number of visitors to over 108,000 people since the exhibition opened on December 18, 2013. For the next few days, we will be working closely with art handlers, registrars, and conservators to see that the sixty-five sculptures and three paintings are safely de-installed and packed for transport, most of them to the exhibition's second venue at the Denver Art Museum, where it will be on view May 11 through August 31, 2014. The post-closing period also involves thanking lenders and sponsors; sorting out research used for the exhibition and its accompanying catalogue; and writing final reports. I look forward to traveling to Nanjing, China, for the September 29 opening of the exhibition at its third venue, the Nanjing Museum, where it will remain on view through January 18, 2015. Meanwhile, back here at the Met, we will be shifting gears from western bronze sculpture to Rediscovering Thomas Hart Benton's America Today Mural, which will open September 30, 2014.
Posted: Wednesday, April 9, 2014
This Sunday, April 13, is the final day to see The American West in Bronze, 1850–1925 at the Met. After the show closes in New York, it will travel to its second venue, opening at the Denver Art Museum on Sunday, May 11. Located in the heart of the Rocky Mountain region, Denver is an opportune setting for an exhibition of western bronzes. The Denver Art Museum is also home to the Petrie Institute of Western American Art, founded in 2001 and dedicated to promoting the significance of the West in American art and culture. Denver thus provides a new geographic and intellectual context for The American West in Bronze, 1850–1925.