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Exhibition sponsorship is a creative way to achieve corporate goals for international, governmental, customer, or shareholder relations. We work closely with your corporation to customize a strategy for your particular needs. Exclusive sponsorship, partial sponsorship, and co-sponsorship are available for most exhibitions.

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For more information, please call the Development Office at 212-650-2390 or email sponsor.exhibitions@metmuseum.org.


2016

2017


2016

The Power of Prints: The Legacy of William M. Ivans and A. Hyatt Mayor
January–May 2016

To commemorate the centennial of the Department of Drawings and Prints in 2016, this in-house exhibition will celebrate two transformational figures: William Ivins, the inaugural curator of the department, and his great protégé, Hyatt Mayor. As social historians and amateur print specialists, as they referred to themselves, Ivins and Mayor transformed how Americans understand and collect prints. Their scholarship and numerous exhibitions also galvanized print scholarship in the twentieth century. The aim of the exhibition is not only to demonstrate how the Metropolitan's print collection was constructed according to the vision of Ivins and Mayor, but also to display the most beautiful, rare, and exceptional prints alongside the equally important popular and ephemeral works that were collected in the first fifty years of the department's history. The exhibition will show how the print collection was meant to be like a library—conceived from the beginning as a corpus of works (not all distinctly masterful works of art) that described, in the most comprehensive way, man's aspirations. On view will be works by Andrea Mantegna, Albrecht Dürer, Rembrandt van Rijn, Jacques Callot, Francisco de Goya, James McNeill Whistler, Mary Cassatt, and Henri de Toulouse-Lautrec, as well as works by lesser-known artists. The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $145,000

Vigée Le Brun: Woman Artist in Revolutionary France
February–May 2016

Elisabeth Louise Vigée Le Brun (1755–1842) was one of the finest eighteenth-century French painters and among the most important of all women artists. She was an autodidact, with exceptional gifts as a portraitist in oils and pastels. She married, in 1776, the leading dealer in Paris. Despite her husband's profession, and through the intervention of Marie Antoinette, she was admitted in 1783 to the Académie Royale de Peinture et de Sculpture. Obliged to flee because of her association with the queen, she traveled widely and painted members of the royal families of Naples and Russia, and Austrian, Polish, and German princely sitters. In 1790 she was elected to membership in the Accademia di San Luca, Rome, and while in exile she exhibited at the Paris Salons. This will be the first retrospective and only the second exhibition devoted to Vigée Le Brun in modern times. The seventy-five works will be mostly paintings, supplemented by a few drawings and pastels from European and American public and private collections. The exhibition is organized by The Metropolitan Museum of Art, the Réunion des Musées Nationaux-Grand Palais, and the National Gallery of Canada, with the exceptional participation of the Château de Versailles. It is accompanied by a catalogue published by The Metropolitan Museum of Art.

Primary corporate sponsorship available for $500,000
Lead corporate sponsorship available for $300,000
Major corporate sponsorship available for $150,000

Unfinished: Thoughts Left Visible
March–September 2016

Unfinished: Thoughts Left Visible examines a subject critical to artistic practice: the question of when a work of art is finished. Beginning with the Renaissance masters, this probing exhibition considers the impact of significant works of art that were left incomplete by their makers, but have been preserved and appreciated until today. The Roman author Pliny the Elder was thinking of such works when he wrote that unfinished works are admired because in them we see "the preliminary drawings left visible and the artist's actual thoughts."

Of even greater interest is the history of art that makes a feature of a non finito aesthetic that allows for the seemingly unfinished, the provisional, the entropic and the infinite. Some of history's greatest artists explored such an aesthetic, among them Titian, Rembrandt, Turner, Cézanne, Picasso, Louise Bourgeois, Lucian Freud, Robert Rauschenberg, Andy Warhol, and Luc Tuymans, all of whom are represented in this exhibition. It will be on view at The Met Breuer and is accompanied by a catalogue published by The Metropolitan Museum of Art.

Primary corporate sponsorship available for $1 million
Lead corporate sponsorship available for $500,000
Major corporate sponsorship available for $300,000

Nasreen Mohamedi
March–June 2016

A singular artist to emerge in post-Independence India, Nasreen Mohamedi (1937–1990) created a body of work vital to the evolution of international modernism and abstraction. The Met Breuer exhibition marks the largest presentation of Mohamedi's work to date, and explores the conceptual complexity and visual subtlety that made her practice unique in its time.

Mohamedi drew upon a range of inspirations in her work, from Paul Klee and Agnes Martin, to Mughal architecture and Indian classical music. She experimented with organic lines, delicate grids, and hard-edged forms in her oeuvre, and this aesthetic informed and infused the photographs she took throughout her life. With more than 130 paintings, drawings, and photographs, the exhibition surveys the different stages of Mohamedi's career and the development of her aesthetic approach, which made her one the most significant artists of her generation. The exhibition is organized by The Metropolitan Museum of Art and the Museo Nacional Centro de Arte Reina Sofía, Madrid, with the collaboration of the Kiran Nadar Museum of Art, New Delhi. It is accompanied by a catalogue published by the Reina Sofía.

Exclusive corporate sponsorship available for $500,000
Lead corporate sponsorship available for $300,000
Major corporate sponsorship available for $150,000

Pergamon and the Hellenistic Kingdoms of the Ancient World
April–July 2016

The Hellenistic period, the three centuries between the death of Alexander the Great of Macedon in 323 b.c. and the establishment of the Roman Empire at the end of the first century b.c., was a critical era in the history of Greek art that has traditionally received less attention than earlier periods. This major international loan exhibition examines the rich diversity of art forms that arose through the patronage of the royal courts of the Hellenistic Kingdoms. Special emphasis is placed on Pergamon, capital of the Attalid dynasty, which ruled over large parts of Asia Minor. A wide variety of artworks—including marble, bronze, and terracotta sculptures, gold jewelry, vessels of glass and precious metals, engraved gems, and coinage—highlight the innovations and technical mastery achieved by Hellenistic artists, whose enduring legacy profoundly influenced Roman art. The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $1 million
Lead corporate sponsorship available for $500,000
Major corporate sponsorship available for $300,000

Turner's Whaling Pictures
May–August 2016

This focused exhibition will be the first to explore connections between the late seascapes of British Romantic painter J. M. W. Turner and Herman Melville's epic 1851 novel, Moby Dick. Turner's four canvases devoted to the subject of whaling, painted with vigor and freedom, generated considerable excitement when they were exhibited in London in the mid-1840s. Their influence on Melville's prose remains a tantalizing question. The four paintings, now in the Metropolitan Museum and the Tate Britain, will be shown together for the first time, along with related watercolors and books. The installation will offer viewers an opportunity to engage with the work of two great nineteenth-century artists, and to assess for themselves whether Turner's pictures inspired one of the crowning achievements of American literature. The exhibition will be accompanied by a Bulletin.

Exclusive corporate sponsorship available for $250,000
Lead corporate sponsorship available for $150,000

diane arbus: in the beginning
July–November 2016

Spotlighting the rarely seen early work of Diane Arbus (1923–1971), this exhibition explores the genesis of one of the most influential and controversial artists of the twentieth century. The show focuses on Arbus's first seven years working with the camera on the streets of New York City (1956–1962), a dramatic era in American history and the period when the artist developed her idiosyncratic style and subject matter soon recognized, praised, criticized, and copied the world over.

The majority of the photographs will be drawn from The Metropolitan Museum of Art's vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist's estate. More than half of the photographs have not been exhibited or published, offering general visitors and scholars alike an unparalleled opportunity to see the work of this evocative and haunting artist. The exhibition will be on view at The Met Breuer and accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $500,000
Lead corporate sponsorship available for $300,000
Major corporate sponsorship available for $150,000

Every People Under Heaven: Jerusalem, 1000–1400
September 2016–January 2017

This international loan exhibition, comprising some two hundred works of art, will demonstrate the key role that Jerusalem played in shaping the art of the Middle Ages. Whether controlled by Muslim or Western Christian rulers, medieval Jerusalem was a truly international city. Patrons and artists from Christian, Jewish, and Islamic traditions alike focused their attention on the holy city, endowing its sacred buildings, enriching their contents, and creating luxury goods for its residents. This artistic richness was particularly in evidence between the eleventh and fourteenth centuries, notwithstanding often devastating circumstances—from the earthquake of 1033 to the fierce battles of the Crusades. Jerusalem was so strong a magnet that it even inspired artists who were separated from it by great distances. The exhibition will break new ground in exploring the relationship between the historical and the ideal city of Jerusalem. It will also probe the way in which Judaism, Christianity, and Islam were preoccupied with the city, and demonstrate the interaction between their competitive and complementary traditions. The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $1 million
Lead corporate sponsorship available for $500,000
Major corporate sponsorship available for $300,000

Fragonard: Drawing Triumphant—Works from New York Collections
October 2016–January 2017

Jean Honoré Fragonard (French, 1732–1806) was one of the most forward-looking artists of the eighteenth century, highly valued by collectors from his own day to the present. New York has long been, and actively continues to be, a center for the collecting of this artist, with the fruit of these efforts spread between various museums and a large number of private collections. Since the last retrospective of Fragonard's work, held in New York and Paris in 1987–88, many new sheets have come to light and entered local collections, including four outstanding works in the Met's collection. Moreover, our understanding of the artist, especially of the role drawings played in his oeuvre, has evolved considerably. Unlike many Old Master painters who used drawings primarily as preparatory tools, Fragonard explored their potential as works of art, ones that permitted him to work with great freedom and speed, and allowed his genius to shine.

This exhibition will include approximately ninety works on paper, drawn entirely from local collections, public and private. By combining the Met's holdings with loans from other New York City museums and private collections, Fragonard's entire range and achievement as a draftsman will be represented at the highest level. The selection will embrace the full chronological spectrum of his career as well as all the genres he worked in. The materials he mastered range from red chalk to brown wash to rare examples in colored gouache, and the works on display will include both the most spontaneous sketches and the most worked-up studio pieces intended to be framed and displayed. Aspects of his graphic talent will also be appreciated in his original etchings, which are among the most free and inventive of the eighteenth century. Fragonard: Drawing Triumphant—Works from New York Collections will present to a contemporary public a virtuoso draftsman whose drawings count among the great achievements of the eighteenth century. The focus of the show on his graphic work will also shed light on this critical moment in the later eighteenth century when drawing was untethered from academic practice and increasingly appreciated as an independent art form. The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exhibition budget: In formation

Valentin de Boulogne: Beyond Caravaggio
October 2016–January 2017

In the years following Caravaggio's death in 1610, the Spaniard Jusepe de Ribera and the Frenchman Valentin de Boulogne (1591–1632) emerged as the two great protagonists of naturalistic painting in Italy. Unlike Ribera, who, in 1616, moved to Naples, then under Spanish rule, Valentin's entire career was spent in Rome, where he became one of the favored artists of the papal Barberini family, for whom he painted one of the most astonishing works of the seventeenth century, the Allegory of Italy (Finnish Institute in Rome), and through whom he was commissioned to paint a major altarpiece in Saint Peter's (Pinacoteca Vaticana). We know from a contemporary source that the installation of this work and another altarpiece by Valentin's countryman Nicolas Poussin inspired a lively debate about the virtues of a naturalistic versus a classical style—a debate that was to appear in various guises for the next two centuries. There is little question that when, in 1630, Velázquez arrived in Rome, he studied the work of both artists carefully and was particularly inspired by the example of Valentin. Valentin's reputation stood very high. Louis XIII's minister, Cardinal Mazarin—one of the great collectors of the seventeenth century—owned no fewer than nine canvases by the artist, some of which entered the royal collection after his death and are now in the Louvre. Valentin's reputation continued into the nineteenth century, when, through Courbet and, later, Manet, naturalism once again became the basis of modernism.

This will be the first fully monographic exhibition to be devoted to the artist. The French scholar Annick Lemoine, currently at Villa Medici and the author of a much-admired book on Valentin's contemporary Nicolas Régnier, will be the guest curator, working together with Keith Christiansen, John Pope-Hennessy Chairman in the Department of European Paintings at The Metropolitan Museum of Art, and Nicolas Milovanovic at the Louvre. Lemoine is presently at work on a monograph on the artist. The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exhibition budget: In formation

Kerry James Marshall: Mastry
October 2016–January 2017

Marking the artist's largest museum exhibition to date, this retrospective of paintings by Kerry James Marshall (b. 1955, Birmingham, Alabama) spans the artist's remarkable thirty-five-year career, revealing the complex and compelling creative output of one of today's most important living artists.

Marshall is a history painter whose work reflects and challenges the time and culture he inhabits. Driven by an examination of the historical dearth and relatively recent appearance of the black figure in the history of Western painting, he is immersed in the past and present of painting—particularly the century-long conflict between figuration and abstraction. He is also committed to a vision of American history that represents the narratives—triumphs and failures both—of individual African Americans as well as the concept of blackness as a whole. In the grand scale of the Old Masters, Marshall creates works that engage with themes of visibility and invisibility, portraiture and self-portraiture, religious iconography, the politics of Pan-Africanism and black militancy, and the ethics of painting. The exhibition is organized by the Museum of Contemporary Art, Chicago, The Metropolitan Museum of Art, New York, and the Museum of Contemporary Art, Los Angeles.

Exclusive corporate sponsorship available for $750,000
Lead corporate sponsorship available for $500,000
Major corporate sponsorship available for $300,000

Max Beckmann in New York
October 2016–February 2017

In late December 1950, Max Beckmann set out on foot from his apartment on the Upper West Side to see his last self-portrait shown at the Metropolitan Museum's survey of American Painting Today. On the corner of 69th Street and Central Park West, he suffered a fatal heart attack. The poignant circumstances of Beckmann's death serve as the inspiration for the exhibition.

During Beckmann's ten-year-long exile in Amsterdam, from 1937 to 1947, when his work was banned as "degenerate" by the Nazis, Americans saw him as a heroic figure much admired for his stoic endurance. Settling in America for good in 1948, he regarded his emigration to this country as "marking the end of his exile." He moved to New York in August 1949, where his works had been shown since the late 1920s.

The focused exhibition will be limited to some forty paintings. It will include works that Beckmann created while living in New York from 1949 to 1950, and those dating from the 1920s through the 1940s that are in museums and private collections in the city. Important works include a group of iconic self-portraits; expressionist, mythical interiors; robust, colorful portraits of women and performers; landscapes; and triptychs. The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $750,000
Lead corporate sponsorship available for $500,000
Major corporate sponsorship available for $300,000

2017

Marsden Hartley's Maine
March–June 2017

Beloved by artists, art lovers, art historians, and museum curators alike, the great American modernist Marsden Hartley lived an itinerant life, and the many locales where he briefly resided figure prominently in his art. Yet of all the places Hartley painted, his home state of Maine, where he began and completed his career, served him as his most meaningful and enduring source of inspiration. Maine was a springboard to his imagination and creative reinvention, a locus of his memory and longing, a refuge, and a means of communion with other artists, including Winslow Homer, who had been likewise compelled to paint its rugged coasts and hardy, stalwart people. Building on the opening of the beautifully renovated and installed Modern and Contemporary galleries in 2014, the Metropolitan Museum will present approximately eighty of Hartley's Maine paintings and drawings, marking the first large monographic showing of his art in New York since 1980, and the first serious and focused examination of his essential subject.

Marsden Hartley's Maine will showcase Hartley's extraordinary expressive range as an artist, from early post-Impressionist interpretations of seasonal change and his first figurative works, to late, folk-inspired depictions of Mount Katahdin and of the rugged lobstermen and other native-born Mainers who exemplified culturally resonant conceptions of the ideal American. Loans to the exhibition will be drawn from major museum and private collections in the United States and abroad, promising an unparalleled opportunity to view some of the most significant artworks created in the United States in the early twentieth century.

Following its winter and springtime presentation at The Met Breuer, the exhibition will travel to the Colby College Museum of Art in Waterville, Maine, during the summer and fall months, making it available to the many visitors who are inexorably drawn, just as Hartley had been, to the state's majestic beauty. The exhibition is organized by The Metropolitan Museum of Art and the Colby College Museum of Art. It is accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $500,000
Lead corporate sponsorship available for $300,000
Major corporate sponsorship available for $150,000

Hercules Segers
February–May 2017

Hercules Segers may be the greatest artist you have never heard of. Active in Holland just before Rembrandt, some have viewed Segers's work as the beginning of modernism. In fact, Werner Herzog featured details of Segers's prints in his piece for the 2012 Whitney Biennial.

The great experimental printmaker Hercules Segers (Dutch, ca. 1589–before 1638), one of the most fertile artistic minds of his time, created otherworldly landscapes of astonishing originality. With a unique array of techniques whose identification still puzzles scholars, he etched extraordinary, colorful landscapes and still lifes. Rejecting the idea that prints from a single printing plate should all look the same in black and white, he produced impressions in varied color schemes, painting them, then adding lines or cutting down the plate. Hailing from a family of cloth merchants, Segers sometimes printed on cloth. As a result of his unusual approach to this reproductive medium, he turned each impression of a print into a unique, miniature painting. Segers's work strongly influenced Rembrandt who owned a number of pieces by the artist including one of his printing plates.

This exhibition is the first to display all of Segers's rare prints in varying impressions alongside a selection of his paintings and will be the first large selection of his fascinating work to be shown in the United States. The exhibition is organized by The Metropolitan Museum of Art and Rijksmuseum, Amsterdam. It is accompanied by a catalogue published by the Rijksmuseum.

Exhibition budget: In formation

Seurat's Circus Sideshow
February–May 2017

Seurat's Circus Sideshow will be the focus of an exhibition that will provide a fresh context for appreciating its heritage and allure. The artist's first nocturnal painting and the first he devoted to popular entertainment, Circus Sideshow will be joined by Seurat's preparatory studies, his great café concert drawings, and other works related in subject, style, and composition. The selection of loans includes paintings, drawings, and prints by artists ranging from Daumier to the young Picasso that will trace the importance of the parade subject from the mid-nineteenth to the early twentieth century. The display will be supplemented by a rich array of documentary and circus-related material that will set the stage for Seurat's poetic and provocative picture. The exhibition is accompanied by a catalogue published by The Metropolitan Museum of Art.

Exhibition budget: In formation

Small Wonders: Gothic Boxwood Miniatures
February–May 2017

This exhibition will reveal the extraordinary artistry involved in the creation of miniature boxwood carvings. A tiny triptych, a hinged bead carved inside and out, an opening coffin and skull with images worthy of Halloween, and a rosary given to King Henry VIII will be among the approximately forty marvelous carvings featured.

The techniques employed by Flemish virtuoso artists at the beginning of the sixteenth century to transform these small objects into miniature worlds teeming with life have long defied comprehension. Now, through collaborative work by conservators at the Art Gallery of Ontario and The Metropolitan Museum of Art, the secrets of the artists' techniques have been unraveled.

The Thomson Collection at the Art Gallery of Ontario and The Metropolitan Museum of Art constitute the largest and most significant collections of late medieval and Renaissance boxwood production; the Rijksmuseum possesses a prayer bead inscribed with its original owner's name, together with its copper case and velvet pouch.

The Cloisters' gardens, which feature boxwood plantings, will enhance the understanding of the material used in the creation of these medieval carvings. Small Wonders: Gothic Boxwood Miniatures is organized by the Art Gallery of Ontario, Toronto; The Metropolitan Museum of Art, New York; and the Rijksmuseum, Amsterdam. It will be accompanied by a catalogue published by the Art Gallery of Ontario.

Exhibition budget: In formation

The Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220)
March–July 2017

This exhibition, synthesizing the archaeological finds and historical research of the last fifty years, presents the art and culture of China during a critical period of its history: the more than four centuries of the Qin and Han dynasties when, for the first time, people of diverse backgrounds were brought together under a centralized government that fostered a new "Chinese" identity. Taken together, the Qin and Han empires represent the "classical" era of Chinese civilization, coinciding in importance and in time with Greco-Roman civilization in the West. The short-lived Qin and centuries-long Han established the political and intellectual institutions that became the foundation for all later Chinese dynasties while fundamentally shaping China's art and culture across more than two millennia. The 180 or so objects, including ceramics, metalwork, textiles, sculpture, painting, calligraphy, and architecture models, have been selected both for their aesthetic appeal and art historical significance. These works attest to an unprecedented role of art as spectacle. They also reflect seminal changes in political, social, economic, intellectual, and religious aspects of public life.

The exhibition will be accompanied by an illustrated catalogue written by leading Chinese and Western scholars in the field. The catalogue will not only afford readers a visual feast, but also provide meaningful interpretations of the art and culture of this pivotal period of Chinese history that will foster a greater understanding of China among Western audiences.

Exclusive corporate sponsorship available for $2,000,000
Lead corporate sponsorship available for $1,000,000
Major corporate sponsorship available for $500,000

Visitors to Versailles, 1682–1789
May–September 2017

With more than six million visitors annually to the château and an estimated ten million to the park, Versailles is among the most visited public institutions in the world. The palace and its gardens attracted travelers ever since it was transformed under the direction of Louis XIV from a simple hunting lodge belonging to his father into one of the most magnificent and public courts of Europe. French and foreign travelers, incognito royal visitors, dignitaries and ambassadors, artists, musicians, writers and philosophers, scientists, grand tourists, and day-trippers alike flocked to the majestic royal palace surrounded by its extensive formal gardens, making it a very international place. Countless visitors described their experiences and observations in correspondence and journals. Court diaries, gazettes, and literary journals offered detailed reports on specific events and entertainments as well as ambassadorial receptions, which have also been documented in paintings and engravings.

The aim of this exhibition is to follow the travelers to Versailles from the late seventeenth century up to the French Revolution. Through paintings and portraits, tapestries, carpets, engravings, guidebooks, costumes and uniforms, furniture, porcelain, gold boxes, sculpture, and arms and armor, we will illustrate what the visitors encountered at the court, what kind of welcome and access to the palace they received, and, most importantly, what they saw, what impressions, gifts, and souvenirs they took home with them. The exhibition is organized by The Metropolitan Museum of Art and the Château de Versailles. It will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $1,000,000
Lead corporate sponsorship available for $500,000
Major corporate sponsorship available for $300,000

Souls Grown Deep
July–September 2017

Souls Grown Deep celebrates contemporary African American artists from the Southern United States. The works presented in this exhibition are part of a significant donation to the Museum from the Souls Grown Deep Foundation, an Atlanta-based organization established in the 1980s by William S. Arnett. The fourteen artists represented exemplify an indigenous tradition of the deep American South: it has made—and continues to make—an extraordinary contribution to the history of contemporary art, and in particular casts new light on the broader history of American artistic achievement. Despite poverty, lack of formal education, and a social environment of entrenched racism, these men and women created profound works of art from both conventional art media and cast-off materials—from toy cars and buttons to salvaged sheet metal—giving visual power to a rich vernacular tradition that expands conventional narratives of modern art.

Highlighted in the exhibition will be a core group of six large-scale works from the last decade by painter Thornton Dial. These multimedia assemblages demonstrate Dial's method of constructing pieces from wood, carpet, and other scavenged materials. In addition, Souls Grown Deep will present a large group of Gee's Bend quilts by a number of distinguished practitioners from this remote region in Alabama. These geometrically designed works have gradually evolved from their original functional role into dazzling works of art, and have been celebrated internationally through numerous exhibitions and private and public collections. This exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art.

Exclusive corporate sponsorship available for $265,000

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