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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.




Garry Winogrand
June–September 2014

Garry Winogrand (1928–1984) is widely considered one of the greatest photographers of the twentieth century. This large traveling retrospective exhibition organized by SFMOMA will feature approximately 150 of the artist's best-known photographs from his thirty-year career with the camera. In both the content of his photographs and his dynamic visual style, Winogrand emerged from the 1950s to become one of the principal voices of the eruptive 1960s and early 1970s. His work simultaneously expresses the hope and buoyancy of the decades after World War II as well as a powerful anxiety. In picture after picture, Winogrand presents an America that shines with possibility just as it threatens to spin out of control. Organized for SFMOMA by photographer and author Leo Rubinfien (a protégé of Winogrand in the 1970s), the show seeks to reappraise Winogrand's photographs for the first time since 1989. Accompanied by a catalogue published by SFMOMA. Also on view at SFMOMA (March–June 2013), and the National Gallery of Art, Washington, D.C. (March–June 2014), Jeu de Paume, Paris (October 2014–February 2015), and the Fundación Mapfre, Madrid (March–May 2015). Organized by the San Francisco Museum of Modern Art and the National Gallery of Art, Washington, D.C.

Exhibition sponsorship: $100,000 for exclusive corporate sponsorship at the Metropolitan Museum.

Assyria to Iberia at the Dawn of the Classical Age
September 2014–January 2015

With the collapse of the Bronze Age, the interconnected world of palatial centers that had developed over two thousand years in the Near East and the eastern Mediterranean fragmented during the so-called Dark Age into an array of decentralized merchant and colonial endeavors in the midst of the growing power of the Assyrian Empire. Yet the legacy of the "Age of Heroes" and the reference to a courtly royal past survived not only in the writings of Homer, but in the brilliantly carved ivories, fine metalwork, and luxurious jewelry created by Near Eastern artisans in the early first millennium B.C.

This was the world of Odysseus, in which land and sea trade proliferated, with Phoenician merchants expanding through Europe and North Africa, reaching the "pillars of Hercules." It was a time of great territorial expansion, in which Assyrians were the first of a succession of western Asiatic powers who conquered foreign lands and carried off tribute and craftsmen to embellish their magnificent palaces. This was also a time of Greek colonial expansion into the Black Sea and the eastern and western Mediterranean, culminating in the clash of imperial ambitions that led to the confrontation of the Persian East and Hellenic West against the backdrop of intense cultural interaction. The profound influence on the visual arts reflects the impact of such encounters. They create a compelling picture of the origins and development of artistic traditions in the western world and their deep roots in the interaction between the ancient Near East and the lands along the shores of the Mediterranean. Accompanied by a catalogue published by the Metropolitan Museum.

Exhibition sponsorship: $500,000 for lead corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Kimono: A Modern History
September 2014–January 2015

Kimono: A Modern History focuses on the evolution of designs on Japanese garments from the seventeenth century to the present day, and relates the fascinating story of the survival of indigenous traditional dress, even as international fashion trends captivated elite societies around the world. The kimono is a simple garment, but one with a complex history shaped by the evolution of weaving, dyeing, and embroidery techniques. Japanese textile design mirrors trends in the pictorial and decorative arts of every era, and can be treated as a distinctive art form in its own right. Kimono also shed light on Japan's encounters with the outside world, especially China in the premodern period and with the West in the modern times. The exhibition features both sumptuous garments custom-made for wealthy patrons and everyday wear available for sale to the general public—yet all share a concern with a harmonious unity of fine arts and craftsmanship. The kimono has long served as a tableau on which to inscribe, describe, and absorb the effects of modernization, and chronicles Japan's efforts to shape its national identity on the world stage. Over fifty kimono will be on display in the Japanese galleries, with approximately twenty robes borrowed from private and public collections. The displays will be complemented by paintings, prints, and illustrated books, as well as lacquerware and ceramics that present kimono as a pictorial theme.

Exhibition sponsorship: $125,000 for exclusive corporate sponsorship at the Metropolitan Museum.

Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry
October 2014–January 2015

This international loan exhibition will explore the career and achievement of Pieter Coecke van Aelst (1502–1550). Coecke derails our expectations of a Renaissance artist by excelling in the applied arts before he became the most celebrated Netherlandish painter of his generation. His first and primary medium for artistic expression was the glamorous, monumental, textile format of tapestry, and from this vantage point, Coecke was able to rise to the apex of his profession. His tapestry series were acquired by the most exacting patrons, from Henry VIII and François Ier, to the Habsburgs and the Medici. But simultaneously, he also became the self-styled "painter to his Majesty, Charles V" by managing to dominate the panel paintings' market in the affluent and competitive Renaissance Southern Netherlands. This exhibition displays complete rooms of the splendid Renaissance tapestries that Coecke designed, superbly woven with brilliant silks, wools, and precious metal-wrapped threads, alongside Coecke's eloquent drawings, striking, colorful panel paintings, and fascinating prints recording his travels in Constantinople. Accompanied by a catalogue published by the Metropolitan Museum.

Exhibition sponsorship: $500,000 for lead corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Death Becomes Her
October 2014–February 2015

Death Becomes Her will examine mourning dress of the nineteenth century, the period during which it reached its apogee, as complex details of etiquette became codified and widely accepted and mourning increasingly conformed to the dictates of fashionable dress. Presenting a survey of mourning fashions through a range of representative silhouettes, the exhibition will reveal the cultural significance of mourning dress, its aesthetic development, and its influence on the garment and textile trades. Highlighting examples of mourning dress, jewelry, and complimentary accessories, Death Becomes Her will explore the symbolism embedded in these objects and illuminate the role of sartorial display in nineteenth-century rituals of bereavement.

The image of a widow in mourning was fraught with social and cultural implications. The dramatic black silhouette of a woman in a state of bereavement could elicit the sympathy of society, but, despite its obvious propriety, mourning dress was also a sign of the social ambiguity of a woman cast into a new role. She could be a model of austere probity, or, lacking a spouse and protector, someone vulnerable to the predation of fortune seekers and opportunistic libertines. Alternatively, as a woman of sexual experience and estranged from marital constraints, she could be imagined as dangerously free, a "Black Widow." As mourning dress modifies—but does not repudiate—fashion, the black dress of the widow becomes the most clarified expression of the high style silhouettes of its time. The renunciation of color and pattern does not result in the absence of allure.

Exhibition sponsorship: $500,000 for exclusive corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Bartholomeus Spranger: Splendor and Eroticism in Imperial Prague
November 2014–February 2015

This exhibition will be the first to examine the life and artistic triumphs of Bartholomeus Spranger (1546–1611), the most prominent artist of the imperial court in Prague. Spranger's rare paintings, drawings, and engravings from museums and private collections around the world will collectively document his formative years in Antwerp, Italy, and Vienna, his artistic influences and teachers such as the Zuccari, and his later influence throughout Europe as the leader and founder of the Prague school, a school stylistically related to the Italian Mannerists. A major force in Eurpoean art circa 1600, Spranger was the star in the galaxy of Emperor Rudolf II's artists, composing works imbued with eroticism and erudition. The diversity of geography and subject matter, comprising landscapes, portraits, religious, and mythological themes seen throughout this exhibition offers a kaleidoscope of visual enjoyment, exquisite art, and cultural achievement. Accompanied by a catalogue published by the Metropolitan Museum.

Exhibition sponsorship: $500,000 for lead corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Warriors and Mothers: Epic Mbembe Art
December 2014–September 2015

Among the earliest wood sculptures preserved from Africa and the most visually dramatic is a small group of masterpieces from southeastern Nigeria. Their subjects are seated figures of mothers nurturing children and aggressive male warriors that were for the most part originally an integral part of monumental carved drums positioned at the epicenter of spiritual life in Mbembe communities. Their exposure to the elements over the centuries has resulted in intensive weathering that has distilled these representations to their very essence. In 1974 these monumental figurative works, striking for their synthesis of intense rawness and poetry, came to the attention of the art world in a Paris gallery where they were exhibited for the first time. Since then they have been dispersed internationally and become the centerpieces of major collections—including the Louvre's Pavilion des Session that highlights forty-five masterpieces of African art drawn from the not inconsiderable French national collections, the Beyeler Foundation in Basel where major African and Oceanic sculptures are interspersed with paintings by Modernist masters, and The Metropolitan Museum of Art's Michael C. Rockefeller Wing. This exhibition gathers together the seventeen electrifying surviving creations from this tradition to present them to American audiences for the first time.

Exhibition sponsorship: $305,000 for exclusive corporate sponsorship at the Metropolitan Museum.

The Winchester Bible: A Masterpiece of Medieval Art
December 2014–March 2015

The magisterial Winchester Bible is one of the pivotal landmarks of medieval art around 1200, bridging the Romanesque and Gothic worlds. It is the single greatest surviving manuscript treasure of Winchester Cathedral, the Anglo-Saxon royal seat and capital before moving to Westminster. Two (out of four) volumes of the Bible will be shown with the Morgan Leaf, the single most important full-page miniature from the Winchester Bible to survive. (The availability of the two volumes is due to planned renovations at Winchester Cathedral.) The items will be shown in our permanent galleries, where works from our collection provide a context.

Exhibition sponsorship: $205,000 for exclusive corporate sponsorship at the Metropolitan Museum.

"Made by Ennion": Master of Roman Glass
December 2014–April 2015

The invention of glassblowing in the late first century B.C. was one of the most momentous technological advances of the ancient world, stimulating the growth of a glass industry throughout the Roman Empire. It also provided the impetus for the flowering of glassworking as an artistic endeavor, allowing craftsmen much greater flexibility in the shapes of vessels they could create and the types of decoration they could employ. Mold-blowing, which developed around the turn of the millennium, played an important part in this phenomenon. Glass vessels signed by Ennion are the most outstanding examples of Roman mold-blown glass production in the first century A.D. His work displays a creativity, elegance, and innovation that are unsurpassed. This special exhibition will be the first devoted to ancient glass ever to be held at The Metropolitan Museum of Art.

Exhibition sponsorship: $100,000 for exclusive corporate sponsorship at the Metropolitan Museum.


Captain Linnaeus Tripe: Photographer of India and Burma, 1854–1860
February–May 2015

Linnaeus Tripe (1822–1902) began to photograph in Britain in the early 1850s, while on leave from his post as an officer in the 12th Madras Infantry. He mastered the medium's chemical and optical complexities with a self-confident ease and elegant dexterity that distinguished his entire career. Soon after he returned to India in 1854 he was appointed an "Artist in Photography" to accompany a mission to the court of Ava, Burma, where he made over 200 large-format paper negatives, from which 120 were selected to be printed in an edition of 50. The second phase of Tripe's photographic career began in 1856 with his appointment as the "Photographer to the Madras Government," with a mandate to document "the objects in the Presidency that are interesting to the Antiquary, Architect, Sculptor, Mythologist, and Historian." As if to underline the purposeful rigor of this task, he added by way of an aside, "the Picturesque may be allowed perhaps, supplementally." With these objects in mind Tripe began a four-month tour of southeast India in late 1857, photographing at Ryacotta, Madura, Poodoocotta, Tanjore, Trichinopoly, and for the next three years dedicated himself to publishing nine portfolios in a series called Photographic Views.

Other venues: National Gallery of Art, Washington, D.C. (September 2014–January 2015); Victoria and Albert Museum, London (June–October 2015). Accompanied by a catalogue published by the National Gallery of Art, Washington, D.C. Organized by the National Gallery of Art, Washington, D.C., and The Metropolitan Museum of Art, New York, in association with the Victoria and Albert Museum, London.

Exhibition sponsorship: $215,000 for exclusive corporate sponsorship at the Metropolitan Museum.

The Plains Indians: Artists of Earth and Sky
March–May 2015

The Plains Indians of North America captured the wonder and imagination of the western world from earliest contact, and remain today embedded in its consciousness. Plains Indian culture holds a significant place in European history and is fundamental to the heritage of North America. Indeed, the Plains Indian is the icon of all North American Indians for many people throughout the world. Through the presentation of more than 150 masterworks from both European and North American collections, the exhibition will offer an unprecedented view of the culture's aesthetic traditions over its long history—particularly as they were defined by continuous and monumental change during the first three centuries of Euro-American contact, and as they are being redefined today. Accompanied by a catalogue published by the musée du quai Branly. Organized by the musée du quai Branly, Paris, in collaboration with The Metropolitan Museum of Art, New York, and in partnership with The Nelson-Atkins Museum of Art, Kansas City.

Exhibition sponsorship: $1 million for exclusive corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Art of India's Deccan Sultans, ca. 1500–1750
April–July 2015

In the sixteenth and seventeenth centuries, the Deccan plateau of south-central India was home to a series of important and highly cultured Muslim kingdoms. Invigorated by cultural connections to Iran, Turkey, East Africa, and Europe, Deccani art is celebrated for its unmistakable character: in painting a poetic lyricism; in architecture a somber grandeur; and in the decorative arts lively creations in inlaid metalwork and dyed textiles. This exhibition will unite about 165 of the finest works from the Deccan to create the most comprehensive exploration to date of this major subject. The exhibition will be accompanied by a fully illustrated catalogue with essays by an international team of experts, published by The Metropolitan Museum of Art.

Exhibition sponsorship: $1 million for exclusive corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Navigating the West: George Caleb Bingham and the River
June–September 2015

Navigating the West will bring together for the first time seventeen of Bingham's iconic river paintings, exploring them as an extraordinary artistic series that chronicles the process of civilizing the nation by transforming the western wilderness. As an entrepreneurial effort, Bingham's series harnessed the fluid social worlds of the inland rivers and addressed the expectations of regional and national audiences during the 1840s and 1850s. Approximately forty of Bingham's masterful preparatory drawings will be included in the exhibition, enabling audiences to witness firsthand the artist's in-depth study and preparation for his paintings.

A special feature of the exhibition will be the revelation of newly discovered under drawings for Bingham's celebrated masterpiece, Fur Traders Descending the Missouri, in the collection of The Metropolitan Museum of Art, which will clarify how the artist achieved this powerful work. The project includes an innovative technical study comparing findings from state-of-the-art infrared analysis of the paintings with in-depth studies of the figural preparatory drawings, revealing how Bingham's meticulous creative methods resulted in compositions and characters that told carefully crafted stories on canvas. This dynamic exhibition will not only reveal how the Mississippi and Missouri rivers advanced the integration of the West into a national narrative, but how Bingham's paintings claim a place for western character and identity in shaping the United States. Organized by the Amon Carter Museum of American Art, Fort Worth, Texas, and the Saint Louis Art Museum, St. Louis, Missouri.

Exhibition sponsorship: $450,000 for exclusive corporate sponsorship at the Metropolitan Museum; partial sponsorship also available.

Kongo: Power and Majesty
September 2015–January 2016

Artists from a swathe of Central Africa that extends across present-day Republic of Congo, the Democratic Republic of Congo, and Angola have been responsible for one of the world's great sculptural traditions. Their communities south of the Zaire River were historically united as part of a precolonial state known as the Kingdom of Kongo. The leaders of that polity developed close diplomatic ties with Portugal beginning in 1482. As a result of that engagement with the outside world, Kongo's political leadership elected to convert to Christianity. By the early sixteenth century Kongo's King Afonso I adopted Christianity as the official state religion and sent envoys to the King of Portugal and the Vatican. The global impact of this legacy has been unparalleled as a result of those early relationships and the subsequent diaspora to the Americas.

Kongo culture is epitomized by a landmark creation acquired by the Metropolitan in 2008—the commanding Mangaaka Power Figure that is an electrifying presence at the entrance to the Michael C. Rockefeller Wing. That work, attributed to the Chiloango River Master, was conceived to at once inspire awe for the preeminence of an abstract force of law and order, and instill in members of a Kongo community a sense of the consequences of their failure to do so. In Kongo society such works allowed the greatest sculptors of the day to give human form to an unbounded power. The dramatic visual impact of such works was intensified by virtue of the fact that they represented the outer limits of a broader sculptural tradition. Such creations stood at one extreme of a richly diverse artistic tradition that also embraced the most refined and delicate miniature figurative genres and abstract decorative arts that include finely embroidered textiles and ivory tusks adorned with carved geometric motifs.

In September 2015 the Metropolitan will present a special exhibition that will introduce the array of forms of material culture developed by Kongo masters responsible for their society's most exceptional creations. The selection of some 120 Kongo masterpieces will assemble for the first time twenty of the monumental power figures attributed to the Chiloango River Master. These nineteenth-century works will be historically grounded in relation to the earliest Kongo artifacts dispersed in European princely collections, where they have been preserved since the sixteenth century. The exhibition has been organized by The Metropolitan Museum of Art. The Metropolitan will publish an accompanying catalogue.

Exhibition sponsorship: Exclusive and partial corporate sponsorship at the Metropolitan Museum available.

The Japanned Furniture of Colonial Boston
November 2015–February 2016

Since the late nineteenth century, collectors and students of American furniture have been fascinated by the japanned furniture (i.e., pieces embellished with a western imitation of oriental lacquer) of colonial Boston. The ambition, the quality and beauty, and the rarity of these early eighteenth-century works is extraordinary. Home to the preeminent collection of japanned furniture anywhere, the Metropolitan oversaw the conservation and publication of its holdings in the 1980s. In the succeeding thirty years, a number of additional pieces have come to light, as well as advances in conservation techniques—and therefore, it has become time for another special exhibition and reappraisal.

There are fewer than sixty pieces of eighteenth-century Boston japanned furniture known (testament to the fragility of the decoration), some in the turned-leg William and Mary style of the 1720s, but most in the cabriole-leg Queen Anne style of the 1730s–50s. The vast majority of them are case pieces—high chests and tall case clocks, together with a few dressing and bureau tables—but there are also one or two superb looking glasses. We know the names of ten japanners working in colonial Boston, and while for three of them—Thomas Johnson, William Randle, and Robert Davis—there is a signed or labeled piece, overall the authorship of the decoration of specific pieces has not been sorted out. This exhibition aims to bring together the best and most interesting pieces to provide a dramatic visual spectacle and an opportunity for in-depth examination by curators and conservators alike.

Exhibition sponsorship: Exclusive and partial corporate sponsorship at the Metropolitan Museum available.

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