Relevant bibliographies by topics / New York. Metropolitan Museum of Art. American wing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'New York. Metropolitan Museum of Art. American wing'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'New York. Metropolitan Museum of Art. American wing.'

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.

Journal articles on the topic "New York. Metropolitan Museum of Art. American wing"

1

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
2

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
3

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
4

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

Banks, Patricia A. "Ethnicity, Class and Trusteeship at African-American and Mainstream Museums." Cultural Sociology 11, no. 1 (July 7, 2016): 97–112. http://dx.doi.org/10.1177/1749975516651288.

Full text
Abstract:
While Pierre Bourdieu argues that cultural capital is grounded in distinct aesthetic knowledge and tastes among elites, Francie Ostrower emphasizes that cultural capital grows out of the social organization of elite participation in the arts. This article builds on Ostrower’s perspective on cultural capital, as well as Milton Gordon’s concept of the ethclass group and Prudence Carter’s concept of black cultural capital, to elaborate how culture’s importance for class and ethnic cohesion is rooted in the separate spheres of arts philanthropy among black and white elites. The argument is empirically illustrated using the case of arguably the most prominent mainstream and African-American museums in New York City – the Metropolitan Museum of Art (the Met) and the Studio Museum in Harlem (SMH). Findings show that relative to the Met board the SMH board is an important site of unification for elite blacks, and in comparison to the SMH board, the Met board is a notable site of cohesion for elite whites. This article advances theory and research on cultural capital by elaborating how it varies among elite ethclass groups. Moreover, it highlights how the growth of African-American museums not only adds color to the museum field, but also fosters bonds among the black middle and upper class.
APA, Harvard, Vancouver, ISO, and other styles
6

Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

Full text
Abstract:
Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
APA, Harvard, Vancouver, ISO, and other styles
7

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
8

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
9

Ward, Gerald W. R. "Frances Gruber Safford,American Furniture in The Metropolitan Museum of Art: 1. Early Colonial Period: The Seventeenth-Century and William and Mary Styles. New Haven and London: Yale University Press for The Metropolitan Museum of Art, New York, 2007. 451 pp., 159 color pls., 162 b/w ills., 45 line drgs., bibliog., index. $90." Studies in the Decorative Arts 16, no. 2 (January 2009): 165–67. http://dx.doi.org/10.1086/652509.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Borsay, Peter, Elizabeth Musgrave, and Sue Wragg. "Rebecca Zurier, Robert W. Synder and Virginia M. Mecklenburg, Metropolitan Lives. The Ashcan Artists and Their New York. New York and London: The National Museum of American Art, in association with W.W. Norton & Company, 1995. 232pp. 216 plates. $50.00." Urban History 24, no. 3 (December 1997): 384–85. http://dx.doi.org/10.1017/s0963926800012542.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "New York. Metropolitan Museum of Art. American wing"

1

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "New York. Metropolitan Museum of Art. American wing"

1

B, Davidson Marshall, and Stillinger Elizabeth, eds. The American Wing at the Metropolitan Museum of Art. New York: Harrison House, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

B, Davidson Marshall, and Stillinger Elizabeth, eds. The American Wing at the Metropolitan Museum of Art. New York: The Museum, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

New York. The United States of America. New York: The Museum, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

New York. American pastels in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

New York. American furniture in the Metropolitan Museum of Art. New York: The Museum, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

New York. American sculpture in the Metropolitan Museum of Art. New York: The Museum, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

New York. American paintings in the Metropolitan Museum of Art. [New York]: The Museum in association with Princeton University Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Safford, Frances Gruber. American furniture in the Metropolitan Museum of Art. New Haven, Conn: Yale University Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Gavin, Ashworth, ed. American furniture in the Metropolitan Museum of Art. New Haven, Conn: Yale University Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "New York. Metropolitan Museum of Art. American wing"

1

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'New York. Metropolitan Museum of Art. American wing' for particular source types:
Journal articles Books
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!

To the bibliography