Author: The Metropolitan Museum of ArtPublish On: 2021-04-29
978-1-58839-724-9 Paperback price: $85 Free digital edition: metmuseum.org/art/metpublications/The_Cesnola_Collection_ of_Cypriot_Art_Terracotta_Oil_Lamps METROPOLITAN MUSEUM JOURNAL Volume 56 | 2021 The Metropolitan Museum Journal is ...
Author: The Metropolitan Museum of Art
Publisher: Metropolitan Museum of Art
This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.
Author: Metropolitan Museum Metropolitan Museum of ArtPublish On: 2022-01-31
Founded in 1968, the Metropolitan Museum Journal is a blind, peer-reviewed scholarly journal published annually that features original research on the history, interpretation, conservation, and scientific examination of works of art in the ...
Author: Metropolitan Museum Metropolitan Museum of Art
Publisher: Metropolitan Museum Journal
Founded in 1968, the Metropolitan Museum Journal is a blind, peer-reviewed scholarly journal published annually that features original research on the history, interpretation, conservation, and scientific examination of works of art in the Museum's collection. Its scope encompasses the diversity of artistic practice from antiquity to the present day. The Journal encourages contributions offering critical and innovative approaches that will further our understanding of works of art.
See Joanne Pillsbury, “Aztecs in the Empire City: 'The People without History' in The Met,” Metropolitan Museum Journal 56 (2021): 14. 5. Kwame Anthony Appiah, The Lies That Bind: Rethinking Identity (New York: Liveright, 2018), 196. 6.
Author: Daniel H. Weiss
Publisher: Yale University Press
A powerful reflection on the universal art museum, considering the values critical to its history and anticipating its evolving place in our cultural future Art museums have played a vital role in our culture, drawing on Enlightenment ideals in shaping ideas, advancing learning, fostering community, and providing spaces of beauty and permanence. In this thoughtful and often personal volume, Daniel H. Weiss contemplates the idea of the universal art museum alongside broad considerations about the role of art in society and what defines a cultural experience. The future of art museums is far from secure, and Weiss reflects on many of the difficulties these institutions face, from their financial health to their collecting practices to the audiences they engage to ensuring freedom of expression on the part of artists and curators. In grappling with these challenges, Weiss sees a solution in shared governance. His tone is one of optimism as he looks to a future where the museum will serve a greater public while continuing to be a steward of culture and a place of discovery, discourse, inspiration, and pleasure. This poignant questioning and affirmation of the museum explores our enduring values while embracing the need for change in a rapidly evolving world.
2 vols. Paris: Librairie Renouard, 1886. McClellan, Andrew. Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-Century Paris. ... Metropolitan Museum Journal 56 (2021): 79–94. ———.
Author: Iris Moon
Publisher: Penn State Press
When Louis XVI was guillotined on January 21, 1793, vast networks of production that had provided splendor and sophistication to the royal court were severed. Although the king’s royal possessions—from drapery and tableware to clocks and furniture suites—were scattered and destroyed, many of the artists who made them found ways to survive. This book explores the fabrication, circulation, and survival of French luxury after the death of the king. Spanning the final years of the ancien régime from the 1790s to the first two decades of the nineteenth century, this richly illustrated book positions luxury within the turbulent politics of dispersal, disinheritance, and dispossession. Exploring exceptional works created from silver, silk, wood, and porcelain as well as unrealized architectural projects, Iris Moon presents new perspectives on the changing meanings of luxury in the revolutionary and Napoleonic periods, a time when artists were forced into hiding, exile, or emigration. Moon draws on her expertise as a curator to revise conventional accounts of the so-called Louis XVI style, arguing that it was only after the revolutionary auctions liquidated the king’s collections that their provenance accrued deeper cultural meanings as objects with both a royal imprimatur and a threatening reactionary potential. Lively and accessible, this thought-provoking study will be of interest to curators, art historians, scholars, and students of the decorative arts as well as specialists in the French Revolution.
See: https://www. metmuseum.org/about-the-met/conservation-and-scientific-research/time-based-media- ... 'Co-creating, co-producing and connecting: Museum practice today', Curator: The Museum Journal (2019) 62(2): 257–67.
Author: Elizabeth Edwards
Publisher: UCL Press
What are photographs ‘doing’ in museums? Why are some photographs valued and others not? Why are some photographic practices visible and not others? What value systems and hierarchies do they reflect? What Photographs Do explores how museums are defined through their photographic practices. It focuses not on formal collections of photographs as accessioned objects, be they ‘fine art’ or ‘archival’, but on what might be termed ‘non-collections’: the huge number of photographs that are integral to the workings of museums yet ‘invisible’, existing outside the structures of ‘the collection’. These photographs, however, raise complex and ambiguous questions about the ways in which such accumulations of photographs create the values, hierarchies, histories and knowledge-systems, through multiple, folded and overlapping layers that might be described as the museum’s ecosystem. These photographic dynamics are studied through the prism of the Victoria and Albert Museum, London, an institution with over 150 years' engagement with photography’s multifaceted uses and existences in the museum. The book differs from more usual approaches to museum studies in that it presents not only formal essays but short ‘auto-ethnographic’ interventions from museum practitioners, from studio photographers and image managers to conservators and non-photographic curators, who address the significance of both historical and contemporary practices of photography in their work. As such this book offers an extensive and unique range of accounts of what photographs ‘do’ in museums, expanding the critical discourse of both photography and museums.
Darr 2021. Alan P. Darr. “The Legacy of William Valentiner in Shaping the Display and Collecting of European ... 155–56. Draper 1986. James David Draper. “Francesco Bertos: A Vessel with Three Putti.” Metropolitan Museum Journal 21 ...
Author: Denise Allen
Publisher: Metropolitan Museum of Art
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.
74 Of varying hues: Ana Maria Falchetti de Sáenz, “The Darién Gold Pendants of Ancient Colombia and the Isthmus,” Metropolitan Museum of Art Journal 43 (2008): 39–73, 55–56. 75 arsenic bronze: Heather Lechtman, “Arsenic Bronze: Dirty ...
Author: Valerie Hansen
Publisher: Simon and Schuster
The World in the Year 1000 -- Go West, Young Viking -- The Pan-American Highways of 1000 -- European Slaves -- The World's Richest Man -- Central Asia Splits in Two -- Surprising Journeys -- The Most Globalized Place on Earth.
A French Renaissance Relief at the Metropolitan Museum of Art.” Metropolitan Museum Journal 38 (2003): 145–56. Elliott, Lisa Keane. “In Pursuit of Charity: Nicolas Houel and his Maison de la Charité chrétienne in Late Sixteenth-Century ...
Author: Susan Broomhall
An innovative analysis of the representational strategies that constructed Catherine de’ Medici and sought to explain her behaviour and motivations.
Author: Naomi Feuchtwanger-SarigPublish On: 2021-12-06
... by M.F.J. Baasten and R. Munk, 41–56. Dordrecht: Springer, 2007 Forsyth, William H. “Popular Imagery in a Fifteenth-Century Burgundian Crèche.” Metropolitan Museum Journal 24 (1989): 123–126 Fox-Davies, A. C., and Arthur Charles.
Author: Naomi Feuchtwanger-Sarig
Publisher: Walter de Gruyter GmbH & Co KG
The Nuremberg Miscellany [Germanisches Nationalmuseum Nürnberg, Bibliothek, 8° Hs. 7058 (Rl. 203)] is a unique work of scribal art and illumination. Its costly parchment leaves are richly adorned and illustrated with multicolour paint and powdered gold. It was penned and illustrated in southern Germany – probably Swabia – in 1589 and is signed by a certain Eliezer b. Mordechai the Martyr. The Miscellany is a relatively thin manuscript. In its present state, it holds a total of 46 folios, 44 of which are part of the original codex and an additional bifolio that was attached to it immediately or soon after its production. The book is a compilation of various Hebrew texts, most of which pertain to religious life. Others are home liturgies, Biblical exegeses, comments on rites and customs, moralistic texts, homiletic and ethical discourses, and an extensive collection of home liturgies, its major part being dedicated to the life cycle. The unparalleled text compilation of the Nuremberg Miscellany on the one hand, and the naïve, untrained illustrations on the other hand, are puzzling. Its illustrations are hardly mindful of volume, depth or perspective, and their folk-art nature suggests that an unprofessional artist, possibly even the scribe himself, may have executed them. Whoever the illustrator was, his vast knowledge of Jewish lore unfolds layer after layer in a most intricate way. His sharp eye for detail renders the images he executed a valid representation of contemporary visual culture. The iconography of the Nuremberg Miscellany, with its 55 decorated leaves, featuring 25 text illustrations, falls into two main categories: biblical themes, and depictions of daily life, both sacred and mundane. While the biblical illustrations rely largely on artistic rendering and interpretation of texts, the depictions of daily life are founded mainly on current furnishings and accoutrements in Jewish homes. The customs and rituals portrayed in the miscellany attest not only to the local Jewish Minhag, but also to the influence and adaptation of local Germanic or Christian rites. They thus offer first-hand insights to the interrelations between the Jews and their neighbors. Examined as historical documents, the images in the Nuremberg Miscellany are an invaluable resource for reconstructing Jewish daily life in Ashkenaz in the early modern period. In a period from which only scanty relics of Jewish material culture have survived, retrieving the pictorial data from images incorporated in literary sources is of vital importance in providing the missing link. Corroborated by similar objects from the host society and with descriptions in contemporary Jewish and Christian written sources, the household objects, as well as the ceremonial implements depicted in the manuscript can serve as effective mirrors for the material culture of an affluent German Jewish family in the Early Modern period. The complete Nuremberg Miscellany is reproduced in the appendix of this book.
Courtesy of the Metropolitan Museum of Art, New York 123 5.6 Duchenne de Boulogne & Adrien Tournachon, “Expression of severity,” 1854–56, printed 1862, albumen silver print from glass negative. Courtesy of the Metropolitan Museum of Art ...
This volume addresses the interdependencies between visual technologies and epistemology with regard to our perception of the medical body. The contributions investigate medical bodies as historical, technological and political constructs, constituted where knowledge formation and visual cultures intersect.