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Relevant bibliographies by topics / Metropolitan Museum Art ( New York, N. Y.)

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Journal articles
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Academic literature on the topic 'Metropolitan Museum Art ( New York, N. Y.)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Metropolitan Museum Art ( New York, N. Y.)"

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Kabylinskii, Boris Vasilievich. "Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?" Культура и искусство, no. 7 (July 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.7.32827.

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The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.

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Casteras, Susan P. "Stephen Wildman and John Christian. Edward Burne-Jones: Victorian Artist-Dreamer. (Metropolitan Museum of Art.) New York: Harry N. Abrams, Inc. 1998. Pp. xi, 361. $75.00. ISBN 0-8109-6522-4." Albion 31, no. 4 (1999): 683–84. http://dx.doi.org/10.1017/s0095139000063912.

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Bury, Stephen. "Developing NYARC: the New York Art Resources Consortium." Art Libraries Journal 36, no. 3 (2011): 25–30. http://dx.doi.org/10.1017/s0307472200017028.

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NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

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Budin, Stephanie Lynn. "The World Between Empires, Metropolitan Museum of Art, New York." Near Eastern Archaeology 82, no. 3 (September 1, 2019): 179–85. http://dx.doi.org/10.1086/705471.

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Clark, William W., and Charles T. Little. "Notable Recent Acquisitions, Metropolitan Museum of Art and the Cloisters, New York." Gesta 29, no. 2 (January 1990): 239–40. http://dx.doi.org/10.2307/767037.

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Pawlikowska-Gwiazda, Aleksandra. "Terracotta oil-lamps from Egypt's Theban region in the collection of the Metropolitan Museum of Arts, New York." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 31, 2019): 641–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.28.

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The group of 17 oil lamps now in the Islamic Art Department collection of the Metropolitan Museum of Art (New York) was excavated in West Thebes in Upper Egypt by the Metropolitan Museum of Art expedition at the beginning of the 20th century. The assemblage was never fully published (apart from being included in the online MeT Collection database). The present paper documents the material in full, examining the collection and proposing in a few cases a new dating based on parallels from other sites.

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Laderman, Shulamit. "The Colmar Treasure: A Medieval Jewish Legacy, Metropolitan Museum of Art, New York." IMAGES 13, no. 1 (November 26, 2020): 180–87. http://dx.doi.org/10.1163/18718000-12340137.

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Lilyquist, Christine. "Twelve Carnarvon Writing Boards and their Provenances." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 157–75. http://dx.doi.org/10.1177/0307513319896277.

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Research for the final report of a large Middle Kingdom tomb dug jointly by the fifth Earl of Carnarvon and The Metropolitan Museum of Art provides provenance information for 12 writing boards from Carnarvon tombs on the West Bank at Luxor. Through disparate records at the Griffith Institute Oxford, Egyptian Museum Cairo, and The Metropolitan Museum of Art New York, the tablets can now be assigned to a small area below or adjacent to Hatshepsut’s valley temple. The results put the texts into a broader cultural context at the same time that the study illustrates the fragility of information from excavations that deserve to be accurately and widely known.

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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Howell, Joyce. "American Quilts and Coverlets in the Metropolitan Museum of Art, 2nd ed AmeliaPeck with Cynthia V. A.Schaffner. New York: Metropolitan Museum of Art and MQ Publications, 2007." Journal of American Culture 37, no. 1 (March 2014): 74–75. http://dx.doi.org/10.1111/jacc.12108.

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Dissertations / Theses on the topic "Metropolitan Museum Art ( New York, N. Y.)"

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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Paley, Valerie. "Founders and Funders: Institutional Expansion and the Emergence of the American Cultural Capital, 1840-1940." Thesis, 2011. https://doi.org/10.7916/D82F8VCF.

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The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation's founding. But by 1840, Manhattan's geographical location and great natural harbor had made it America's preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City's cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self-conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. Although cohesive, often overlapping social groups founded and led most elite institutions, important moments of change in leadership in the twentieth century often were precipitated by the breakdown of a social order once restricted to Protestant white males. By the 1920s and 1930s, the old culture of exclusion--of Jews, of women, of ethnic minorities in general--was no longer an accepted assumption, nor was it necessarily good business. In general, institutions that embraced the notion of diversity and adapted to forces of historical change tended to thrive. Those that held fast to the paradigms of the past did not. Typically, when we consider the history and development of such major institutions, the focus often has been on the personalities and plans of the paid directors and curatorial programs. This study, however, redirects some of the attention towards those who created the institutions and hired and fired the leaders. While a common view is that membership on a board was coveted for social status, many persons who led these efforts had little abiding interest in Manhattan's social scene. Rather, they demanded more of their boards and expected their fellow-trustees to participate in more ways than financially. As the twentieth century beckoned, rising diversity in the population mirrored the emerging multiplicity in thought and culture; boards of trustees were hardly exempt from this progression. This dissertation also examines the subtle interplay of the multi-valenced definition of "public" along with the contrasting notion of "private." In the early 1800s, a public institution was not typically government funded, and more often functioned independent of the state, supported by private individuals. "Public," instead, meant for the people. Long before the income tax and charitable deductions for donations, there was a full range of voluntary organizations supported by private contributions in the United States. This dissertation argues that in a privatist spirit, New York elites seized a leadership role, both individually and collectively, to become cultural arbiters for the city and the nation.

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Kouyoumdjian, Mary. "Creating with Ghosts: Identity and Artistic Purpose in Armenian Diaspora." Thesis, 2021. https://doi.org/10.7916/d8-4fqv-ch76.

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The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.

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Books on the topic "Metropolitan Museum Art ( New York, N. Y.)"

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Richardson, Joy. Inside the museum: A children's guide to the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1993.

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New York. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 2012.

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The Metropolitan Museum of Art. New York: Harrison House, 1986.

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Company, Teaching, ed. Museum masterpieces: The Metropolitan Museum of Art. Chantilly, Va: The Teaching Company, 2008.

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Brettell, Richard R. Museum masterpieces: The Metropolitan Museum of Art. Chantilly, VA: The Teaching Company, 2008.

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Hibbard, Howard. The Metropolitan Museum of Art. New York: Harrison House, 1986.

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The Metropolitan Museum of Art. New York, NY: AV2 by Weigl, 2015.

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York, New. The Metropolitan Museum of Art guide. New York: The Museum, 1987.

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New York. The Metropolitan Museum of Art guide. Edited by De Montebello Philippe. 2nd ed. New York: The Museum, 1994.

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New York. Publications of the Metropolitan Museum of Art. Boston: G.K. Hall, 1990.

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Book chapters on the topic "Metropolitan Museum Art ( New York, N. Y.)"

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"METROPOLITAN MUSEUM OF ART DEPARTMENT OF ISLAMIC ART NEW YORK, NEW YORK." In Enigmatic Charms, 187–217. BRILL, 2006. http://dx.doi.org/10.1163/9789047408529_020.

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"The Metropolitan Museum of Art, New York, comes into being." In The Collector's Voice, 66–71. Routledge, 2016. http://dx.doi.org/10.4324/9781315264448-17.

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Lin, Jenny. "From Shanghai to New York by way of conclusion." In Above Sea, 147–53. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0006.

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The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.

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Tolles, Thayer. "The elephant in the room: George Grey Barnard's Struggle of the Two Natures in Man at The Metropolitan Museum of Art, New York." In Sculpture and the Museum, 115–31. Routledge, 2017. http://dx.doi.org/10.4324/9781315088259-7.

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Lena, Jennifer C. "The Museum of Primitive Art, 1940–1982." In Entitled, 41–69. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0003.

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This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.

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Rose, Louis. "Toward a Psychology of Art, 1919–32." In Psychology, Art, and Antifascism. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300221473.003.0002.

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This chapter looks at how Kris' status as a convert to Catholicism temporarily provided him with professional and personal protection. His work abroad with international collectors, museum directors, and art patrons supplied a safety net beyond Austria if it became necessary. When the Metropolitan Museum of Art required an expert to catalog its cameo collection, it brought Kris to New York in 1929 to undertake the job. At the same time, Kris kept close track of deteriorating conditions in Austria and employed his contacts to find work abroad for his younger, Jewish colleagues. A liberal royalist in post-imperial Vienna, Kris remained convinced of the irreversible disintegration of Austrian political life. At his first meeting with Ernst Gombrich, he made sure that the young researcher understood fully the uncertainties attached to an art historical career in Vienna.

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Shneer, David. "Valuing Grief." In Grief, 123–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923815.003.0006.

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This chapter traces Baltermants’s entry into the art photography market. In the mid-1960s, he had his first New York City exhibition alongside other well-known photojournalists, including Robert Doisneau and Irving Penn. From there his work was included in a Metropolitan Museum show, and he was often the lone Soviet representative in major photography shows. In the 1970s, Baltermants began giving Grief visual context by exhibiting other images taken that same wartime day in Kerch. In 1983, Baltermants had his first solo show in New York City, and although reviewers loved his wartime work, reviewers panned the overall show. The critical appreciation for his wartime work and disappointment at his postwar Soviet “propaganda” did not dampen a few intrepid collectors’ interest in bringing him to the Western art photograph market and adding financial value to the list of values his photography possessed.

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Hodgkinson, Anna K. "Malqata: Manufacturing at a Ceremonial Settlement." In Technology and Urbanism in Late Bronze Age Egypt. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803591.003.0012.

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The eighteenth-dynasty royal city of Malqata has been selected, since much evidence has been discovered here, particularly with regard to faience-production and glass-working, and there is also limited evidence of metalworking and sculpture-production. The settlement itself dates to the reign of Amenhotep III, and more specifically to his thirtieth regal year, when it was established to celebrate the king’s first ḥb-sd (Sed-) festival, the jubilee and rejuvenation celebration of his thirty years of reign. He celebrated a total of three festivals, the other two taking place in his thirty-fourth and thirty-eighth regal years. Due to the somewhat patchy nature of the early excavations and survey work done at Malqata, especially between 1888 and 1971, no genuine spatial analysis, such as was done for the material from Amarna or Gurob, has been possible for Malqata. The early excavation reports, for instance that by Tytus, or those by Winlock for the Metropolitan Museum missions, simply state in a matter-of-fact way that they located the remains of glass factories in, for example, the South Village. They usually continue to list some of the artefacts that were found, which would indicate the presence of glass-working and faience-manufacture in the area, but they do not describe these objects in any detail, and nor do they indicate where—within the large area covered by the South Village—they were found. However, the author has had the opportunity to study the unpublished archive material from the early excavations at Malqata by the Metropolitan Museum of Art, New York, which took place during the early years of the last century. The excavation diaries kept in these archives revealed no detailed information as to more precise locations or quantities of finds. They did, however, make possible a better understanding of the origins of these interpretations, and the sample of relevant artefacts examined made possible further identification and clarification of their nature. In addition, the author was able to access some of the objects relevant to glass-working and faience-production from Malqata at the Brooklyn Museum and was furthermore given permission to study some of the unpublished site reports, plans, and finds lists from the University Museum of Pennsylvania mission, which took place between 1971 and 1977.

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Feinstein, Amy. "Conclusion." In Gertrude Stein and the Making of Jewish Modernism, 181–96. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066318.003.0008.

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The conclusion explores the ways that Stein’s identity as a Jewish and modernist writer was a potent symbol of collaboration and resistance in Vichy France and today. The chapter addresses and historicizes concerns over Stein’s Jewish identity and alleged Nazi-collaboration as raised by Alan Dershowitz and others in the popular press in 2012, when the Metropolitan Museum of Art in New York City opened the exhibition, “The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde.” Although Stein had translated the speeches of Pétain, Vichy’s head of state, her translations were never published and the origins and conclusion of the project remain unknown. In any case, the translation project must be considered alongside Stein’s numerous contributions to publications of the intellectual resistance. Popular claims of Stein’s Nazi collaboration are largely unsubstantiated, historically obtuse, and prone to reading Stein out-of-context, such as a widely-cited passage about being “conservative” in her 1939 memoir Paris France. In their determination to know about Stein’s wartime experiences and writings, the popular media have, nonetheless, affirmed the importance of Jewish identity and modernist style to Stein’s legacy as a writer. This book affirms that too.

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