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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

Stokes-Rees, Emily, Blaire M. Moskowitz, Moira Sun, and Jordan Wilson. "Exhibition Review Essay and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 238–61. http://dx.doi.org/10.3167/armw.2019.070115.

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Exhibition Review Essay:Exhibition without Boundaries. teamLab Borderless and the Digital Evolution of Gallery Space by Emily Stokes-Rees Exhibition Reviews:The Colmar Treasure: A Medieval Jewish Legacy. The Met Cloisters, The Metropolitan Museum of Art, New York by Blaire M. MoskowitzShanghai Museum of Glass, Shanghai; Suzhou Museum, Suzhou; and PMQ, Hong Kong by Moira SunThe Story Box: Franz Boas, George Hunt and the Making of Anthropology. Exhibition at the Bard Graduate Center Gallery in New York City (14 February–7 July 2019) and the U’mista Cultural Centre in Alert Bay, British Columbia (20 July–24 October 2019) by Jordan Wilson

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11

DeLuca, Carolyn. "The Hazen Center for Electronic Information Resources." Art Libraries Journal 23, no. 4 (1998): 26–28. http://dx.doi.org/10.1017/s0307472200011263.

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The Hazen Center is a state-of-the-art electronic resource center situated within the Watson Library at the Metropolitan Museum of Art in New York. It provides access to art historical research and other scholarly resources available via electronic media such as CD-ROMs and the Internet, and also serves as a teaching center for their use. The Center is used by the Museum’s staff, the academic community, and by visiting art researchers.

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12

Canby, Sheila R. "Persian Drawings in the Metropolitan Museum of Art, Marie Lukens Swietochowski and Sussan Babaie, New York: Metropolitan Museum of Art, 1989, 87 pp." Iranian Studies 23, no. 1-4 (1990): 114–16. http://dx.doi.org/10.1017/s0021086200013530.

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13

Sullivan, Winnifred Fallers. "“What Is Religion?”." Comparative Studies of South Asia, Africa and the Middle East 40, no. 1 (May 1, 2020): 211–14. http://dx.doi.org/10.1215/1089201x-8186236.

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Abstract This review of Shahab Ahmed's What Is Islam? The Importance of Being Islamic explores the value of Ahmed's theory of religion through an analysis of some objects presented in Heavenly Bodies, a 2018 exhibit of Catholic fashion at the Metropolitan Museum of Art in New York City.

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14

Zalewski, Leanne M. "Pioneering print collector: Samuel Putnam Avery (1822–1904)." Journal of the History of Collections 31, no. 2 (October 16, 2018): 403–10. http://dx.doi.org/10.1093/jhc/fhy034.

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Abstract Pioneering print collector and curator, Samuel P. Avery (1822–1904), donated a collection of 17,775 prints, including works by Cassatt, Whistler, Turner and Manet, to establish the Print Collection of the New York Public Library in 1900. Prior to his donation, Avery curated print exhibitions at the Library, Metropolitan Museum of Art, Grolier Club, and Union League Club. Through an examination of Avery’s persistent efforts to exhibit exemplary prints in museum and gallery settings – including an unusual collection of prints by women – this article provides evidence that Avery’s ground-breaking curatorial efforts led to the institutionalization of print display in New York.

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15

Frankfurter, David. "Review: Africa and Byzantium, The Metropolitan Museum of Art, New York City." Studies in Late Antiquity 8, no. 2 (2024): 300–310. http://dx.doi.org/10.1525/sla.2024.8.2.300.

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16

Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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17

Selis, David. "“Perhaps The Oldest Piece of Ecclesiastical Furniture in this Country”: The Construction and Destruction of Solomon Schechter’s Cairo Genizah Torah Ark." IMAGES 15, no. 1 (November 9, 2022): 3–17. http://dx.doi.org/10.1163/18718000-12340164.

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Abstract In 1897, Solomon Schechter brought a hoard of Hebrew manuscripts, now known collectively as the Cairo Genizah, to England from Cairo. Along with these manuscripts were several wooden Hebrew inscription fragments from Cairo’s Ben Ezra Synagogue. When Schechter left Cambridge to assume the presidency of the Jewish Theological Seminary of America, these fragments were brought to New York where they were transformed into a Torah Ark. This Torah ark was used at the Seminary for three decades and subsequently exhibited at the Jewish Museum, New York and The Metropolitan Museum of Art. It was featured on numerous postcards and in major works on Jewish art. In 1997, it was deconstructed by the Jewish Museum to extract the medieval inscriptions. This article explores the history, meaning and reception of the Schechter Torah Ark as a window into the complexities of Schechter’s legacy and the history of Jewish scholarship in the twentieth century.

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18

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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19

Mc Nab, Jessie. "Palissy et son «école» dans les collections du Metropolitan Museum of Art de New York." Revue de l'Art 78, no. 1 (1987): 70–76. http://dx.doi.org/10.3406/rvart.1987.347671.

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20

Cleave, Claire. "The Drawings of Filippino Lippi and His Circle, The Metropolitan Museum of Art, New York." Renaissance Studies 12, no. 3 (October 20, 2008): 416–22. http://dx.doi.org/10.1111/j.1477-4658.1998.tb00419.x.

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21

Mc Nab, Jessie. "Palissy et son « école » dans les collections du Metropolitan Museum of Art de New York." Revue de l'art N° 78, no. 4 (April 1, 1987): 70–76. http://dx.doi.org/10.3917/rda.078.0070.

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22

Roehrenbeck, Carol A. "Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments." International Journal of Legal Information 38, no. 2 (2010): 185–200. http://dx.doi.org/10.1017/s0731126500005722.

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Should cultural property taken by a stronger power or nation remain with that country or should it be returned to the place where it was created? Since the 1990s this question has received growing attention from the press, the public and the international legal community. For example, prestigious institutions such as the J. Paul Getty Museum of Art in Los Angeles and the Metropolitan Museum of Art in New York have agreed to return looted or stolen artwork or antiquities. British smuggler Jonathan Tokeley-Parry was convicted and served three years in prison for his role in removing as many as 2,000 antiquities from Egypt. Getty director Marion True defended herself against charges that she knowingly bought antiquities that had been illegally excavated from Italy and Greece. New books on the issue of repatriation of art and antiquities have captured the attention of the public. A documentary based on one of these books was shown in theaters and aired on public television. The first international academic symposium on the topic was convened in New York City in January 1995.

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23

Geismar, Haidy. "Cultural Property, Museums, and the Pacific: Reframing the Debates." International Journal of Cultural Property 15, no. 2 (May 2008): 109–22. http://dx.doi.org/10.1017/s0940739108080089.

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The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,” the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case studies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum collections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This prevailing cultural property discourse tends to use antiquities—that most ancient, valuable, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discussion of broader issues around national patrimony and ownership.

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24

Thürigen, Susanne. "The Silver Caesars: A Renaissance Mystery. Julia Siemon, ed. Exh. Cat. The Metropolitan Museum of Art Symposia. New York: Metropolitan Museum of Art, 2018. xvi + 218 pp. $50." Renaissance Quarterly 73, no. 3 (2020): 1005–6. http://dx.doi.org/10.1017/rqx.2020.132.

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25

Martinson, Fred H. "Japanese Art from the Gerry Collection in the Metropolitan Museum of Art. By Barbara Brennan Ford and Oliver R. Impey. New York: The Metropolitan Museum of Art, 1989. 141 pp. $29.50." Journal of Asian Studies 50, no. 2 (May 1991): 410–11. http://dx.doi.org/10.2307/2057245.

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26

Erkinov, Aftondil. "Navoi’s manuscript of the Metropolitan Museum of Art and the question of its composition(905/1499-1500 years, calligrapher - Sultanali Mashhadi)." Golden Scripts 5, no. 1 (March 10, 2023): 4–20. http://dx.doi.org/10.52773/tsuull.gold.2023.1/izjv1122.

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This article is about the manuscript of the collection of poetry of Alisher Navai, kept in the Metropolitan Museum of Art in New York. This collection was rewritten by the famous calligrapher Sultan Ali Mashkhadi in 905/1499-1500 in the city of Hirat. It is valuable because it is the product of the latest creative collaboration between Navai and Mashkhadi. Textological reasoning about the composition of this collection is given.

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27

Bilak, Donna. "Jewelry: The Body Transformed: Metropolitan Museum of Art, New York, November 12, 2018–February 24, 2019." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 26, no. 2 (September 2019): 322–24. http://dx.doi.org/10.1086/708798.

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28

Zanker, Paul. "Drei Statuen aus der Sammlung des Marchese Vincenzo Giustiniani im Metropolitan Museum of Art, New York." Studi Classici e Orientali 2, no. 67 (2022): 703–17. http://dx.doi.org/10.12871/978883339626244.

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29

Cotner, Jon. "A Squeeze of the Hand." Excursions Journal 3, no. 1 (September 13, 2019): 1–9. http://dx.doi.org/10.20919/exs.3.2012.150.

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We recorded forty-five-minute dialogues for thirty straight days around New York City. Half these talks took place at a Union Square health-food store that we call “W.F.” Other locations included MoMA, the Metropolitan Museum of Art, the Metropolitan Opera House, Central Park, Prospect Park, and a Tribeca parking garage. What follows is our twentieth conversation. Here sickness, emptiness, a train delay, and an argument seem to prefigure disaster and the project’s sudden end. But this disaster—much like the two-character Japanese word for “crisis”: the first one meaning “danger,” the second, “opportunity”—offers clarities perhaps best expressed by a Japanese proverb:Luck turns Wait

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30

Kim, Su-Mi. "The Metropolitan Museum of Art’s Korean Collection: Historical Changes in Collecting, Exhibition, and Management." Korea Association of World History and Culture 64 (September 30, 2022): 305–28. http://dx.doi.org/10.32961/jwhc.2022.09.64.305.

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This article aims to investigate the trajectory of the Korean collection in the Metropolitan Museum of Art (Met) in New York, which is distinguished as a “universal” museum. The transformative characteristics of the formation, exhibition, and management of the Korean collection from its early stage to the present have a close relationship with the Met’s achievement of its mission statement and South Korean cultural institutions’ practices. Transitionally, the establishment of the Korean gallery in 1998 and the presence of a diverse range of its collections in further exhibitions were the major components of the completion of the museum’s global universality from the Met’s perspective. The achievement of the Met’s mission reflects a remarkable shift that can open up the development of Korean collection in universal space. As a part of world culture and history, the study alludes to a suggestive way to expand the investigation of Korean art and culture in world cultural history.(Hankuk University of Foreign Studies)

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31

Charola, A. E., L. Lazzarini, G. E. Wheeler, and R. J. Koestler. "The Spanish Apse from San Martin de Fuentiduena at The Cloisters, Metropolitan Museum of Art, New York." Studies in Conservation 31, sup1 (January 1986): 18–21. http://dx.doi.org/10.1179/sic.1986.31.supplement-1.18.

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32

Pearson, Paul N. "Provenance and identity of a large bronze statue currently in the Metropolitan Museum of Art, New York." Journal of the History of Collections 30, no. 1 (June 24, 2017): 35–48. http://dx.doi.org/10.1093/jhc/fhx016.

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33

Ou, Elisa, Paul Messier, Ruixue Lian, Andrew Messier, and William Sethares. "The Watermark Imaging System: Revealing the Internal Structure of Historical Papers." Heritage 6, no. 7 (July 1, 2023): 5093–106. http://dx.doi.org/10.3390/heritage6070270.

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This paper introduces the Watermark Imaging System (WImSy) which can be used to photograph, document, and study sheets of paper. The WImSy provides surface images, raking light images, and transmitted light images of the paper, all in perfect alignment. We develop algorithms that exploit this alignment by combining several images together in a process that mimics both the “surface image removal” technique and the method of “high dynamic range” photographs. An improved optimization criterion and an automatic parameter selection procedure streamline the process and make it practical for art historians and conservators to extract the relevant information to study watermarks. The effectiveness of the method is demonstrated in several experiments on images taken with the WImSy at the Metropolitan Museum of Art in New York and at the Getty Museum in Los Angeles, and the results are compared with manually optimized images.

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34

Gregory, Tori. "Timeline of Art History2007394Timeline of Art History. Last visited June 2007. Gratis Metropolitan Museum of Art New York, NY URL: www.metmuseum.org/toah/splash.htm." Reference Reviews 21, no. 8 (October 30, 2007): 45. http://dx.doi.org/10.1108/09504120710839029.

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35

Thomason, Allison Karmel. "Beyond Baylon: Art, Trade, and Diplomacy in the Second Millennium B.C.E.: An Exhibit at the Metropolitan Museum of Art, New York." Near Eastern Archaeology 72, no. 1 (March 2009): 51–54. http://dx.doi.org/10.1086/nea20697212.

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36

Busciglio-Ritter, Thomas. "Paris-on-Hudson." Athanor 37 (December 3, 2019): 59–66. http://dx.doi.org/10.33009/fsu_athanor116676.

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In 1969, a curious picture entered the collections of the Metropolitan Museum of Art, in New York City, as part of a major bequest by American banker Robert Lehman (1891-1969). Identified as a Hudson River Scene, the painting, undated and unsigned, depicts an idyllic river landscape, surrounded by green hills, indeed reminiscent of the Hudson River School. Yet the attribution devised by the museum for might appear curious at first glance, as it does not rule out the possibility of a work produced by a little-known French painter named Victor de Grailly. Born in Paris in 1804, Grailly died in the same city in 1887. Mentioned in several museum collections, his pictures constitute a debatable body of work to this day. But if only a few biographical elements have been saved about the artist, the crunch of the debate lies elsewhere.

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37

Maul, Tim. "Anglomania: Tradition and Transgression in British Fashion, Tim Maul, Metropolitan Museum of Art, New York, May - September 2006." Circa, no. 117 (2006): 80. http://dx.doi.org/10.2307/25564475.

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Roden. "The Metropolitan Museum of Art of New York, Heavenly Bodies: Fashion and the Catholic Imagination (2018)." QED: A Journal in GLBTQ Worldmaking 5, no. 3 (2018): 204. http://dx.doi.org/10.14321/qed.5.3.0204.

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39

Ording, Philip. "Picturing Math: Selections from the Department of Drawings and Prints at The Metropolitan Museum of Art, New York." Mathematical Intelligencer 39, no. 3 (August 25, 2017): 1–4. http://dx.doi.org/10.1007/s00283-017-9742-x.

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40

Zingone, Michela. "Instagram as Digital Communication Tool for the Museums: a Reflection on Prospectives and Opportunities through the Analysis of the Profiles of Louvre Museum and Metropolitan Museum of New York." European Journal of Social Science Education and Research 6, no. 3 (September 25, 2019): 53. http://dx.doi.org/10.26417/ejser.v6i3.p53-63.

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Launched in October 2010, Instagram is nowadays one of the most used social networks. According to the latest data released by the platform in 2018, in fact, the number of active users exceeded one million. From the public to the private sector, several actors have integrated Instagram into their communication plan. Among them, there are also the museum institutions. The object of this article is to look at what types of contents museums usually share and to understand how they are using this innovative communication channel based essentially on images to document, communicate their daily activity, their identity, and get in touch with users. Through the method of the content analysis, we propose a qualitative analysis of the posts published in a period of 30 days on the official profiles of the Louvre Museum in Paris and the Metropolitan Museum of Art in New York.

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Atshan, Sa’ed, and Katharina Galor. "Curating Conflict." Conflict and Society 6, no. 1 (June 1, 2020): 1–17. http://dx.doi.org/10.3167/arcs.2020.060101.

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This article compares four Jerusalem exhibits in different geographical and political contexts: at the Tower of David Museum in Jerusalem, the Palestinian Museum in Birzeit, the Metropolitan Museum of Art in New York, and the Jewish Museum Berlin. It examines the role of heritage narrative, focusing specifically on the question of the Israeli-Palestinian conflict, which is either openly engaged or alternatively avoided. In this regard, we specifically highlight the asymmetric power dynamics as a result of Israel’s occupation of East Jerusalem, and how this political reality is addressed or avoided in the respective exhibits. Finally, we explore the agency of curators in shaping knowledge and perspective and study the role of the visitors community. We argue that the differences in approaches to exhibiting the city’s cultural heritage reveals how museums are central sites for the politics of the human gaze, where significant decisions are made regarding inclusion and exclusion of conflict.

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Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.

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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT’s work led to the classification of three “Salting” carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team’s art historians contributed to the platform “Museum With No Frontiers” to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT’s scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.

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Mozzati, Tommaso. "¿Os recibimos con alegría? Il viaggio di Olga Raggio a Vélez Blanco nel 1959: l’itinerario, gli interlocutori, i rapporti frail Metropolitan Museum e le istituzioni spagnole." TEMPORÁNEA. Revista de Historia de la Arquitectura, no. 2 (2021): 2–23. http://dx.doi.org/10.12795/temporanea.2021.02.01.

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L’articolo intende ripercorrere il dialogo apertosi fra il Metropolitan Museum of Art di New York, le autorità ministeriali spagnole e l’intelligentsia andalusa negli anni compresi fra il 1959 e il 1963, cioè durante la ricostruzione del patio proveniente dal castello di Vélez Blanco nelle sale dell’istituzione newyorkese. Nel far questo il contributo si propone di ricollocare una simile rete di relazioni sullo sfondo della più ampia situazione politica e diplomatica vissuta in quegli anni dal regime franchista all’interno della comunità internazionale e, in particolare, nel contesto dei negoziati intrattenuti al tempo con il governo di Washington.

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Frenger, Carolyn. "Timeline of Art History2003411Timeline of Art History. New York, NY: The Metropolitan Museum of Art 2000‐, updated frequently. URL: www.metmuseum.org/toah/. Last visited May 2003." Reference Reviews 17, no. 7 (July 2003): 59–60. http://dx.doi.org/10.1108/09504120310498220.

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Christern-Briesenick, Brigitte. "Das Fragment eines südwestgallischen Sarkophages, vielleicht aus Saint-Guilhem-le-Désert im Metropolitan Museum of Art in New-York." Revue archéologique de Narbonnaise 29, no. 1 (1996): 173–81. http://dx.doi.org/10.3406/ran.1996.1472.

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Ruggles, D. F. "The Ar t of mEdieval Spain, a. d. 500-1200 (New York: Metropolitan Museum of Art, 1993), 357 pp." Medieval Encounters 1, no. 2 (1995): 297–99. http://dx.doi.org/10.1163/157006795x00172.

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Meeks, Dimitri. "Book Review: Le Papyrus D'Imouthès Fils de Psintaês au Metropolitan Museum of Art de New-York (Papyrus MMA 35.9.21)." Journal of Egyptian Archaeology 90, no. 1_suppl (December 2004): 55–57. http://dx.doi.org/10.1177/030751330409001s25.

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Vowles, Sarah. "Michelangelo: Divine Draftsman & Designer (New York, Metropolitan Museum of Art, 13 November 2017–12 February 2018). Accompanying book by Carmen C.Bambach. New York: Metropolitan Museum of Art/Yale University Press, 2017. 392 pp. with 370 colour illus. $65. ISBN 978‐1588396372 (hb)." Renaissance Studies 33, no. 2 (October 22, 2018): 299–306. http://dx.doi.org/10.1111/rest.12535.

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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (December 13, 2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.

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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.

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Musacchio, Jacqueline Marie. "Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art. Timothy Wilson. With Luke Syson. Highlights of the Collection. New York: Metropolitan Museum of Art; distributed by Yale University Press, 2016. xii + 380 pp. $75." Renaissance Quarterly 70, no. 3 (2017): 1078–79. http://dx.doi.org/10.1086/695177.

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