This year I was lucky enough to visit one of the most inspiring museums in the world and even in 3 days I didn't manage to see everything. So much beauty under one roof. ❤ #metropolitanmuseumofart@metropolitanmuseum
There are these joyful and fleeting moments in my life where I am able to share the presence of someone who, through diligence and hard work, has complete control and mastery of their natural talent. I like Van Gogh's work just fine in the way that everyone who grew up studying Starry Night likes him, but this self-portrait really had me gobsmacked. The lines, light brushwork, texture, color selections, and lack of rework on this painting are just...wow. Such a gift. #arttravel#art#vangogh#solofemaletraveler#themet#nyc#vincentvangogh#travel
Red on red on red. As the great Diana Vreeland once said, “Red is the great clarifier—bright and revealing. I can’t imagine becoming bored with red—it would be like becoming bored with the person you love.” Thomas Anshutz, A Rose, 1907 (1993.324) #themet#metamericanwing#red#rose#portrait#artdaily#dailyart
The hilt of this rapier is one of a conspicuous group of late sixteenth- and early seventeenth-century hilts chiseled with numerous minute figures on the pommels and guards. Some of the finest examples are preserved in the former Royal Saxon Armory (now the Staatliche Kunstsammlungen) in Dresden, where they are called Italian. In the absence of any documentation to support this attribution, it may be pointed out to the contrary that the stylized foliage on the rear of the guards is very similar to motifs found on German swords, particularly one made by the iron-chiseler Othmar Wetter in Dresden in the last decade of the sixteenth century (Staatliche Kunstsammlungen, formerly inv. no. E.228). A German–and possibly Saxon–attribution is thus suggested here for this hilt.
The inscription on the ricasso of the blade refers to Pietro de Formicano, one of the famous bladesmiths working in Belluno, north of Venice, at the turn of the seventeenth century. A sword from the Odescalchi Collection, now in the Palazzo Venezia, Rome, has a blade inscribed with this smith's name in almost identical lettering, and bears the date 1603. The crowned monogram on the ricasso has been identified by Boccia and Coelho (see bibliography) as the ownership mark of Ferdinando de' Medici, Grand Duke of Tuscany (reigned 1621–70), which is also found on other arms from the former Medici armory now preserved in the Bargello, Florence. This sword, or at least its blade, apparently once formed part of the famous Medici armory which was housed in the Uffizi until its dispersal in the 1780s.
Rapier. Bladesmith: Pietro de Formicano (Italian, Belluno, active ca. 1600). Hilt, Northern European, possibly German; blade, Italian, Belluno, ca. 1610–20. Bequest of Col. Wickliffe P. Draper, 1972 (1973.27.3). Photos: Juan Trujillo
Nubian pyramids ...
These pyramids are located within present day Sudan; this area of the Nile valley is now known as Nubia. The pyramids were built by the rulers of the 3 ancient Kushite kingdoms. The last kingdom was centred in Meroe ( 300 BC - AD 300 ). The pyramids were built of sandstone and granite ; they were heavily influenced by ancient Egypt - politically, culturally, economically and militarily and the Kushite kingdoms competed with Egypt.
The Nubian pyramids were recognized as a UNESCO world heritage site.
Follow us @pharaohsegypt#pharaohsegypt
A favorite from The Met’s “Epic Abstraction” exhibition. •
“Easter Monday” (oil and newspaper transfer on canvas, 1955-1956) by Willem de Kooning. •
De Kooning completed this work, the largest of a series of 10 monumentally-scaled paintings he executed during the spring of 1956, on Easter Day. I like how the rigidity of the text within the newsprint underlying the composition becomes obscured by the thick, gestural application of the artist’s abstract brushwork on the surface.
Remember yesterday when I said I wanted to throw a tarp over my presents instead of wrapping them all. Confession: I lied and I don’t drink enough water. I partnered with @themetstore to share some simple (and fun!) wrapping ideas... best part about shopping there is that a portion of your purchase goes towards supporting the museum itself. So, like, you’re basically saving one masterpiece at a time with every purchase. (Not all heroes wear capes.) More importantly... as of today, December something, 2018... I am finished with Christmas. At least the shopping part... still miles of cleaning and meal prep and 2x news appearances to focus on. But done with wrapping so that’s something? Now go check out the Met Store online to see all their scarves and jewelry and toys and stuff and save history. (Link in profile for my post with more details.)
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class is classist but I enjoy the classics
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Gogh-ing to visit The Met soon? Make sure to stop by galleries 822 and 825 to view all 16 of the European paintings department’s works by Vincent van Gogh on display. These masterpieces are often loaned to exhibitions around the world, so seeing them all together is a not-to-be-missed occasion. Visitors can enjoy highlights from the artist's prolific years in France, including portraits, still lifes, and landscapes.
Artwork: Vincent van Gogh (Dutch, 1853–1890). Cypresses, 1889. Oil on canvas. #VincentvanGogh#VanGogh#TheMet
“Armenia!” is the first major exhibition to explore the remarkable artistic and cultural achievements of the Armenian people over 14 centuries, starting with their conversion to Christianity in the early 4th century through their leading role on international trade routes in the 17th century. More than 140 objects on view include opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, cross stones (khachkars), church models, and printed books. See #MetArmenia now through January 13, 2019 at #TheMet.
Artwork: Altar Frontal. New Julfa, 1741. Gold, silver, and silk threads on silk. Mother See of Holy Etchmiadzin, Armenia. Photo: Hrair Hawk Khatcherian and Lilit Khachatryan
Who here is a fan of the classic rom-com “You’ve Got Mail”? ✉️ Since today marks 20 years since the movie’s release, here’s a work from our collection depicting more traditional forms of mail. This two-dimensional oil painting by William Michael Harnett features cards and envelopes tucked under pink tape covering wood board. The curling edges, subtle shadows, and distinctive textures tease the viewer into imagining that all the painted elements are real. #TheMet
Artwork: William Michael Harnett (1848–1892) | The Artist’s Letter Rack | 1879
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Collection Management Assistants, Shields Way and Roberta Gorin-Paracka, are working on an ongoing assessment project with Associate Collections Manager, Tracy Yoshimura. Collections assessment is an important step in preventive maintenance, allowing focus on the care of objects that further the department’s mission of collecting masterworks of unparalleled quality and aesthetics. This particular ensemble—a matching gown, slip, step-ins, and brassiere with fine Chinese embroidery, exhibits both. // Ensemble, Mrs. Herbert Sage Mesick, early 1920s; Gift of Mrs. Herbert Sage Mesick, 1964 (C.I.64.62a–d). 📷: @museumway#TheMet#CostumeInstitute
‘Number 1, 1950 (Lavender Mist)’
Oil, enamel, and aluminum on canvas
National Gallery of Art
“It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.” -Jackson Pollock
🌧 On this rainy day in NYC, take a look at this 13th–14th century Mixtec mask depicting the rain god Tlaloc. Many peoples in ancient Mexico made masks of different types and in a variety of materials. Some depict idealized human faces, others animals or supernatural beings. This mask, carved from a light green serpentine, represents the rain god #Tlaloc with the characteristic ringed eyes, prominent teeth, and a mouth with an upper lip-moustache that curls on each side. You can find this work on display in Gallery 358. #TheMet
Artwork: Rain God Mask | 13th–14th century | Mexico, Mesoamerica