How does a bracelet from ancient Cyprus end up on 5th Avenue? The ancient work from Cyprus at top dates to the 5th century B.C. The other, below, was recreated by Tiffany & Co. after an 1877 agreement allowed the designer to reproduce works of art from the Museum. 

This bracelet from the 5th century B.C. inspired a 19th-century copy, reflecting a larger tradition. From the beginning, the Museum stressed the potential of its collection as inspiration for artists and manufacturers. In 1905, the Museum allowed sketching in the galleries so visitors could draw from centuries of creativity to fuel their own.

While these bracelets may appear to be almost identical, a closer look reveals several significant differences. Green spots of exposed oxidized copper alloy reveal the ancient Cypriot bracelet’s age, whereas the Tiffany & Co. 19th-century replica has an even gold surface.

The surface of this 21st-century sculpture evokes a topographical map. Looking closely reveals that its rich surface is made up of aluminum caps and liquor-bottle seals, each one flattened, perforated with copper wire, and sewn into an undulating tapestry.

What happens when a contemporary artist takes inspiration from a truly global history of art? Anatsui’s Dusasa II blurs traditional geographic and artistic boundaries by evoking diverse traditions, from Ghanaian kente cloth to medieval chain mail and tapestries.

Can art change form with each installation? El Anatsui often blurs traditional boundaries. He once said of one of his sculptures, “You can contract it, you can expand it, you can shape it in any way … I don’t believe in artworks being things that are fixed.” 

The “Four Seasons” guitars have remarkable visual details, some of which contribute to the sound of each instrument. Note the slanted, ovular sound hole; its elegant look also gives the guitar a fuller bass sound.

Each “Four Seasons” guitar has a unique sound—and a unique look to evoke summer, spring, autumn, and winter. Can you tell which season is represented here? Hint: look at the blue finish and floral motifs on the pick guard.

These “Four Seasons” guitars, designed for both display and performance, were commissioned by master luthier John Monteleone between 2002 and 2006. Look for his name inlaid on the headstock. Guitarist Anthony Wilson created a four-part musical composition to highlight each guitar’s unique voice.

During World War II, Nazi authorities confiscated works of art from Jewish private collections, including this 14th-century prayer book. James Rorimer, one the Monuments Men safeguarding and restituting art, found it hidden in a wastebasket at Neuschwanstein Castle. Later, as The Met’s director, he facilitated its purchase from its rightful owner.

Creating a prayer book like this “Book of Hours” in the 14th century was very costly. Each word and illustrated flourish was drawn and painted by hand. The Met didn’t always actively collect illuminated manuscripts, but Director James Rorimer encouraged the Museum to begin—starting with this one and another masterwork, in 1954.

This tiny prayer book was created for Jeanne d'Evreux, the Queen of France. But unlike other medieval manuscripts made for royalty, it doesn't feature any gold leaf. The artist, Jean Pucelle, was famous for using shades of gray to evoke details of carved stone.