Log in

Relevant bibliographies by topics / Metropolitan Museum of Art (Nueva York) / Journal articles

To see the other types of publications on this topic, follow the link: Metropolitan Museum of Art (Nueva York).

Journal articles on the topic 'Metropolitan Museum of Art (Nueva York)'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Metropolitan Museum of Art (Nueva York).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Rodríguez Viejo, Jesús. "A silver cross-reliquary and its patroness in twelfth-century rural Asturias." Hispania Sacra 73, no. 147 (June 29, 2021): 115–24. http://dx.doi.org/10.3989/hs.2021.011.

Full text

Abstract:

La cruz-relicario de San Salvador de Fuentes es un suntuoso crucifijo hecho principalmente de madera y plata creado a finales del siglo XII para esta importante parroquia del concejo de Villaviciosa, en Asturias. El objeto es propiedad del Metropolitan Museum of Art de Nueva York desde 1917. El objetivo del presente trabajo es el de analizar el simbolismo iconográfico y los usos litúrgicos del crucifijo para luego contextualizar el patronazgo de la comitente del objeto, la noble local Sancha, y la creación de este relicario en la vida religiosa de la zona.

APA, Harvard, Vancouver, ISO, and other styles

2

Zurian, Francisco A., and Francisco José García Ramos. "Presentación dosier: Repensar lo camp, investigar lo queer." Estudios LGBTIQ+, Comunicación y Cultura 1, no. 1 (June 16, 2021): 3–4. http://dx.doi.org/10.5209/eslg.76619.

Full text

Abstract:

Han pasado ya 55 años desde la publicación del célebre «Notas sobre lo Camp» en Partisan Review, uno de los textos más conocidos de la filósofa y escritora Susan Sontag. En 1964 el término «camp» era, ante todo, una palabra-código en las subculturas gays de Nueva York y Londres y significaba una actitud irónica de la lectura a contrapelo de películas, novelas y objetos decorativos kitsch y de la cultura de masas (Schreiber, 2018). Desde entonces, la palabra camp ha ido ganando espacio en los ámbitos culturales, hasta el punto de que el Met (The Metropolitan Museum of Art de Nueva York) ha querido conmemorar el aniversario del ensayo de Sontag con una exposición, una gala y un magnífico catálogo con el objetivo de explorar los orígenes de la exuberante estética de lo camp (Bolton et al., 2019).

APA, Harvard, Vancouver, ISO, and other styles

3

Luna, Diego. "El retrato político en la época de su reproductibilidad digital: análisis visual y mediológico de un caso." Claridades. Revista de Filosofía 12, no. 2 (July 23, 2019): 163–80. http://dx.doi.org/10.24310/claridadescrf.v12i2.5586.

Full text

Abstract:

La digitalización ha revolucionado la manera en que las imágenes son producidas y puestas en circulación. Los signos visuales son añadidos instantáneamente a la órbita de Internet, donde son alterados y reproducidos hasta la saciedad, perdiendo en muchas ocasiones su significado original y generando nuevas formas e interpretaciones indeseadas. Como muestra el análisis visual y mediológico de un célebre caso, la imagen del matrimonio Obama con Rodríguez Zapatero y familia en el Metropolitan Museum of Art de Nueva York, el género del retrato político no ha permanecido ni mucho menos ajeno a esta situación. El conflicto sociocultural derivado de la confluencia de diferentes regímenes representacionales dentro de aquella instantánea continúa alimentando hoy, diez años después de su aparición, la reflexión sobre las múltiples y estrechas conexiones existentes entre estética y política.

APA, Harvard, Vancouver, ISO, and other styles

4

Sánchez, Miguel A. "La momia de Nesiamón del Metropolitan Museum of Art de Nueva York: ¿accidente o trasplante para la eternidad?" Trabajos de Egiptología. Papers on Ancien Egypt 5, no. 2 (2009): 227–31. http://dx.doi.org/10.25145/j.tde.2009.05.02.18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Cortés Meseguer, Luis, Julián Esteban Chapapría, and Rafael Marín Sánchez. "Desmontaje y traslado del ábside de Fuentidueña. Experiencia y método en el arquitecto Alejandro Ferrant." EGA. Revista de expresión gráfica arquitectónica 22, no. 29 (March 28, 2017): 68. http://dx.doi.org/10.4995/ega.2017.7344.

Full text

Abstract:

En 1957 los gobiernos de España y Estados Unidos, a través del The Metropolitan Museum of Art y el Museo del Prado, acordaron la devolución de algunas pinturas de San Baudelio de Berlanga a cambio del traslado a Nueva York del ábside románico de San Martín de Fuentidueña. El ábside fue dibujado cuidadosamente y todos sus sillares numerados antes de su desmontaje y traslado hasta el nuevo emplazamiento en el museo The Cloisters.<br />En dichos trabajos quedó patente el alto grado de profesionalidad y conocimiento de Alejandro Ferrant Vázquez. Dado que los operarios del desmontaje no iban a intervenir en la reposición del elemento, este arquitecto plasmó con singular rigor en numerosos planos, complementados con un extenso álbum fotográfico, desde las disposiciones constructivas hasta las cotas de las irregulares hiladas de asiento de cada una de sus piezas. Esta metodología, usada en otros traslados, constituye un valioso documento técnico en una materia tan controvertida como el traslado de monumentos.

APA, Harvard, Vancouver, ISO, and other styles

6

González Fraile, Eduardo Miguel. "WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

Full text

Abstract:

El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.

APA, Harvard, Vancouver, ISO, and other styles

7

Martínez Ruiz, María José. "Arcadio Torres Martín y sus negocios al servicio del tráfico de obras de arte desde España a Estados Unidos." Archivo Español de Arte 94, no. 374 (June 14, 2021): 143–62. http://dx.doi.org/10.3989/aearte.2021.09.

Full text

Abstract:

Arcadio Torres Martín fue un destacado anticuario; protagonista del tráfico de obras de arte desde España a EE. UU. en los años anteriores a la Guerra Civil, durante la posguerra y la dictadura de Franco. Estudioso del arte, miembro de la Institución Cultural Tello Téllez de Meneses (Palencia), tomó parte en la venta de obras de arte procedentes de San Andrés de Arroyo (Palencia), las tablas de Juan de Flandes procedentes de San Lázaro de Palencia y el ábside de San Martín de Fuentidueña (Segovia), entre otras. Contó con la confianza de ciertos obispos y gestó un lucrativo negocio de antigüedades en paralelo a su destacada posición social como amante del arte. Acompañó a personajes destacados, como al hispanista W. S. Cook o al embajador estadounidense en España, en sus visitas a monumentos españoles y ofertó obras al Metropolitan Museum of Art de Nueva York.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

12

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

13

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

17

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

18

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

19

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

21

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

24

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

25

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

26

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

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.

Full text

Abstract:

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)

APA, Harvard, Vancouver, ISO, and other styles

29

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

31

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

32

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

37

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

38

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

42

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

45

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (December 14, 2020): 669. http://dx.doi.org/10.3390/rel11120669.

Full text

Abstract:

This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.

APA, Harvard, Vancouver, ISO, and other styles

50

Quintanilla Martínez, Emilio. "La píxide de marfil VI de San Pedro de la Rúa (Navarra), localizada en el Metropolitan Museum de Nueva York." Archivo Español de Arte 72, no. 285 (March 30, 1999): 86–98. http://dx.doi.org/10.3989/aearte.1999.v72.i285.740.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!