Relevant bibliographies by topics / New York <NY> / Metropolitan Museum of Art

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

Academic literature on the topic 'New York <NY> / Metropolitan Museum of Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "New York <NY> / Metropolitan Museum of Art"

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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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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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Ferrari, Roberto C. "Splendors of Imperial China:97105Kent Lydecker et al. Splendors of Imperial China: an Electronic Catalogue. The Metropolitan Museum of Art 1000 Fifth Ave. New York, NY 10028‐0198 212‐879‐5500 212‐570‐3879 (fax): Metropolitan Museum of Art (New York) and National Palace Museum (Taipei) 1996. URL: http://www.metmuseum.org $29.95." Electronic Resources Review 1, no. 11 (November 1997): 122–24. http://dx.doi.org/10.1108/err.1997.1.11.122.105.

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Tait, John. "James P. Allen The Heqanakht papyri (Publications of the Metropolitan Museum of Art Egyptian Expedition Vol. 27). xvii+357 pages, 13 figures, 57 plates, 17 tables, CD-ROM. 2002. New York (NY): Metropolitan Museum of Art; 1-58839-070-5 hardback £35." Antiquity 79, no. 304 (June 2005): 464–65. http://dx.doi.org/10.1017/s0003598x00114280.

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Petrov, Julia. "Visitors to Versailles (1682–1789) Metropolitan Museum of Art, New York, NY April 16–July 29, 2018 Casanova’s Europe: Art, Pleasure, and Power in the 18th Century Museum of Fine Arts, Boston, MA July 8–October 8, 2018." Dress 45, no. 1 (January 2, 2019): 99–102. http://dx.doi.org/10.1080/03612112.2019.1565655.

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Mannings, David. "Fragonard: Drawing Triumphant. By Perrin Stein, with contributions by Marie-Anne Dupuy-Vachey, Eunice Williams and Kelsey Brosnan. New York, NY: Metropolitan Museum of Art. 2016. 324 p. 260 col. illus. $65 (hb). ISBN 978-1-58839-601-3." Journal for Eighteenth-Century Studies 41, no. 3 (June 13, 2018): 475–76. http://dx.doi.org/10.1111/1754-0208.12545.

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Snape, Steven. "Christine Lilyquist with James E. Hoch & A.J. Peden. The tomb of three foreign wives of Tuthmosis III. xv+395 pages, 269 figures & plates, 7 tables. 2003. New York (NY): Metropolitan Museum of Art; 1-58839-070-5; New Haven (CT): Yale University Press; 0-300-10121-X hardback £85." Antiquity 79, no. 305 (September 2005): 720–21. http://dx.doi.org/10.1017/s0003598x00114772.

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

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NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.
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Budin, Stephanie Lynn. "The World Between Empires, Metropolitan Museum of Art, New York." Near Eastern Archaeology 82, no. 3 (September 1, 2019): 179–85. http://dx.doi.org/10.1086/705471.

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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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Dissertations / Theses on the topic "New York <NY> / Metropolitan Museum of Art"

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Fabris, Margherita <1981&gt. "Gli arazzi con l'unicorno del Metropolitan Museum di New York." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4286.

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

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

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The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation's founding. But by 1840, Manhattan's geographical location and great natural harbor had made it America's preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City's cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self-conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. Although cohesive, often overlapping social groups founded and led most elite institutions, important moments of change in leadership in the twentieth century often were precipitated by the breakdown of a social order once restricted to Protestant white males. By the 1920s and 1930s, the old culture of exclusion--of Jews, of women, of ethnic minorities in general--was no longer an accepted assumption, nor was it necessarily good business. In general, institutions that embraced the notion of diversity and adapted to forces of historical change tended to thrive. Those that held fast to the paradigms of the past did not. Typically, when we consider the history and development of such major institutions, the focus often has been on the personalities and plans of the paid directors and curatorial programs. This study, however, redirects some of the attention towards those who created the institutions and hired and fired the leaders. While a common view is that membership on a board was coveted for social status, many persons who led these efforts had little abiding interest in Manhattan's social scene. Rather, they demanded more of their boards and expected their fellow-trustees to participate in more ways than financially. As the twentieth century beckoned, rising diversity in the population mirrored the emerging multiplicity in thought and culture; boards of trustees were hardly exempt from this progression. This dissertation also examines the subtle interplay of the multi-valenced definition of "public" along with the contrasting notion of "private." In the early 1800s, a public institution was not typically government funded, and more often functioned independent of the state, supported by private individuals. "Public," instead, meant for the people. Long before the income tax and charitable deductions for donations, there was a full range of voluntary organizations supported by private contributions in the United States. This dissertation argues that in a privatist spirit, New York elites seized a leadership role, both individually and collectively, to become cultural arbiters for the city and the nation.
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Kouyoumdjian, Mary. "Creating with Ghosts: Identity and Artistic Purpose in Armenian Diaspora." Thesis, 2021. https://doi.org/10.7916/d8-4fqv-ch76.

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

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New York. Scientific research in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 2009.

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Magriel, Paul David. A connoisseur's guide to the Met: The best of the Metropolitan Museum in four 1 hour tours. New York: Vintage Books, 1987.

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Metropolitan Museum of Art (New York, N.Y.), ed. Late Medieval sculpture in the Metropolitan, 1400 to 1530. New York: Metropolitan Museum of Art, 2007.

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Metropolitan Museum of Art (New York, N.Y.), ed. Cameo appearances. New York: The Metropolitan Museum of Art, 2008.

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Metropolitan Museum of Art (New York, N.Y.), ed. Royal art of Benin: The Perls collection in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1992.

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Rogues' gallery: The secret history of the moguls and the money that made the Metropolitan Museum. New York: Broadway Books, 2009.

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Michael, Gross. Rogues' Gallery. New York: Broadway Books, 2009.

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Metropolitan Museum of Art (New York, N.Y.), ed. The unicorn tapestries at the Metropolitan Museum of Art. New York: The Museum, 1998.

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Sotheby's (Firm). Fine manuscript and printed Americana; property of the Metropolitan Museum of Art; property from the estate of William Randolph Hearst; property from the collection of Dorothy W. and F. Otto Haas, Philadelphia, Pennsylvania ...: Auction: Monday, May 19, 1997 ... Sotheby's, 1334 York Avenue (at 72nd Street), New York, NY 10021. New York: Sotheby's, 1997.

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Bigham, Liz. Fun with African beads: A book and kit. London: British Museum, 1999.

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Book chapters on the topic "New York <NY> / Metropolitan Museum of Art"

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Margolis, Oren. "The Book Half Open." In Openness in Medieval Europe, 289–310. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-23_15.

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A small, blind-tooled volume sits on a table covered in green baize: one clasp is open, the other is closed; and a slip of paper emerges from it reading Veritas odium parit (truth breeds hatred). This detail occurs in the foreground of a portrait by Hans Holbein of a young man identified as the Cologne patrician Hermann von Wedigh III (Metropolitan Museum of Art, New York). A study of the physical features of the book and of the history of the brief text — actually an ancient and then Erasmian adage — leads to a new interpretation of the painting in the context of humanist friendship. The book is seen to be a multivalent simile for the work of art authored by the artist as well as for the sitter himself, raising questions about the implications for these of a medium that can be opened and closed. The half-open condition of the book is understood to reflect the complementary pressures of openness and closedness, accessibility and intimacy, that characterized the Renaissance republic of letters.
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"METROPOLITAN MUSEUM OF ART DEPARTMENT OF ISLAMIC ART NEW YORK, NEW YORK." In Enigmatic Charms, 187–217. BRILL, 2006. http://dx.doi.org/10.1163/9789047408529_020.

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

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Stefanidou, Antonia. "The Onassis Stegi and Metropolitan Museum of Art in New York." In Handbook of Research on Museum Management in the Digital Era, 175–205. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9656-2.ch010.

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The chapter examines the special conditions that arose at the beginning of the pandemic of the coronavirus disease 2019 (COVID-19) as far as cultural organisations and audiences are concerned. Research findings on cultural organisations' digital transformation are presented as well as the case studies of Onassis Stegi and MET and the messages they transmitted at the beginning of the pandemic. A comparative analysis of their communication strategy in digital environment is attempted, drawing interesting conclusions as far as their effectiveness is concerned. The chapter ends with the findings of the audience research that was carried out to present whether digital transformation in the field of culture during that period was implemented, in order for organisations to survive and stay in touch with their audience. The research also focuses on the extent to which the public turned to digital culture in an unprecedented period.
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"From Private Collection to Public Good: The Metropolitan Museum of Art." In The New York Market for French Art in the Gilded Age, 1867–1893. Bloomsbury Visual Arts, 2022. http://dx.doi.org/10.5040/9781501358302.ch-6.

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"The Renewed Focus On Comics As Art After 1970." In Comic Art in Museums, edited by Kim A. Munson, 113–19. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0011.

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This is a brief interstitial introduction by art historian Kim A. Munson describing the rediscovery of original comic art following the Pop Art movement and influential publications of the late 1960’s. A wave of large survey shows were organized that took on a more formal appearance and established a loose canon of comic artists. The National Cartoonist Society’s Cavalcade of Comics toured the US. Well reviewed shows of the early 70s included The Art of the Comic Strip (U of Maryland, 1971), The Comics as an Art Form (U of Nevada Las Vegas), and 75 Years of the Comics (New York Cultural Center). Many shows included underground comix. Comics speciality museums opened and flourished, such as the Museum of Comic Art (Rye Brook, NY, 1975), The Cartoon Art Museum (San Francisco, 1987), and the ToonSeum (Pittsburgh, 2007). Images: The Muller Comics Collection, 1976, Cartoon Art Museum, 2016.
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Lin, Jenny. "From Shanghai to New York by way of conclusion." In Above Sea, 147–53. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0006.

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The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.
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Tolles, Thayer. "The elephant in the room: George Grey Barnard's Struggle of the Two Natures in Man at The Metropolitan Museum of Art, New York." In Sculpture and the Museum, 115–31. Routledge, 2017. http://dx.doi.org/10.4324/9781315088259-7.

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Johnson, W. Raymond. "The Duck-Throttling Scene from Amarna: A New Metropolitan Museum of Art/Copenhagen Ny Carlsberg Glyptotek Amarna Talatat Join." In Joyful in Thebes, 293–300. Lockwood Press, 2015. http://dx.doi.org/10.5913/2015406.ch26.

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

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

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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.
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