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Bibliografie tematiche / Metropolitan Museum of Art (New York, N.Y.)

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Letteratura scientifica selezionata sul tema "Metropolitan Museum of Art (New York, N.Y.)"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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Articoli di riviste sul tema "Metropolitan Museum of Art (New York, N.Y.)"

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 compilatio

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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 (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 (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 (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 fro

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8

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 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 Metrop

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9

Laderman, Shulamit. "The Colmar Treasure: A Medieval Jewish Legacy, Metropolitan Museum of Art, New York." IMAGES 13, no. 1 (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 (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

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