Metropolitan Museum Studies In Art Science And Technology

This second volume of Studies in Art, Science, and Technology unites studies by scientists, curators, and conservators, all of which are published here for the first time. Essays and technical notes address a variety of themes, such as connections between technology and aesthetics, aging processes of artworks, attribution and dating issues, and conservation theory. Specific examples from throughout art history add context and help promote deeper understanding. A wide range of objects are discussed in the texts, including medieval sculptures, Baroque musical instruments, Egyptian stone works, photographs, enamels, and paintings. The refined analyses of these works will prove relevant and enlightening to an interdisciplinary professional audience.

This is the first volume in a new series focused on the technical study of museum objects through the collaborative efforts of conservators, research scientists, and curators. Written for a professional audience, the publication underscores the importance of a thorough understanding of the context, materials, and technical nature of works of art. This volume includes a history of early objects conservation practices in The Metropolitan Museum of Art; an exploration of the use of lapis lazuli and azurite as pigments in ancient Egypt; two related investigations into the casting methods and materials of early Chinese bronze Buddha figures; a compositional study of medieval Islamic enameled glass; an analysis of the polychrome decoration on four French Romanesque sculptures; and an evaluation of several paintings by Paolo Veronese, addressing a longstanding debate over whether they originated as a group. Published in association with The Metropolitan Museum of Art

The Metropolitan Museum of Art houses one of the world’s largest and most comprehensive collections of works of art from antiquities to modern and contemporary material. Their preservation is a responsibility shared by the many individuals employed at the Museum who oversee and have direct contact with the collection on a daily basis. The Care and Handing of Art Objects—first published in the 1940s and continually updated—offers a guide to the best practices in handling and preserving works of art while on display, in storage and in transit. It explains many of the fundamental principles of conservation that underlie these methods. One of its goals is to make the complexities of caring for a collection readily accessible. The first part offers basic guidelines for the preservation of the diverse types of materials and art objects found in the Met. Each chapter addresses the physical characteristics specific to the particular category, and the environmental, handling and housing factors to which one should be alert to prevent damage and ensure their preservation. Written by experts in the respective specialty, it addresses the Museum’s vast holdings summarizing the most critical preservation issues, many of which are amplified by photographs. As the table of contents makes evident these range from paintings on canvas and works on paper and photographs to furniture and objects made of stone, wood and metals to arms and armor, upholstery, ethnographic materials and many others. Part II succinctly describes factors that affect the collection as a whole: among them, current environmental standards for temperature, relative humidity, light exposure, storage and art in transit. Based on Museum protocols it addresses emergency preparedness and response, and integrated pest management. For easy reference, it includes charts on storage and display conditions, on factors contributing to deterioration, and a glossary of conservation terms, principles, and housing materials referenced in the individual chapters. Drawing upon the knowledge of conservators, scientists, and curators from many different departments, as well as technicians and engineers whose expertise crosses boundaries of culture, chronology, medium and condition, The Care and Handing of Art Objects is primarily directed to staff at the Met. It is, no less, an invaluable resource for students, collectors, small museums, museum study programs, art dealers, and members of the public who want to enhance their understanding of how works of art are safeguarded and the role environment, handling and materials play in making this possible.

Art in Science Museums brings together perspectives from different practitioners to reflect on the status and meaning of art programmes in science centres and museums around the world. Presenting a balanced mix of theoretical perspectives, practitioners’ reflections, and case-studies, this volume gives voice to a wide range of professionals, from traditional science centres and museums, and from institutions born with the very aim of merging art and science practices. Considering the role of art in the field of science engagement, the book questions whether the arts might help curators to convey complex messages, foster a more open and personal approach to scientific issues, become tools of inclusion, and allow for the production of totally new cultural products. The book also includes a rich collection of projects from all over the world, synthetically presenting cases that reveal very different approaches to the inclusion of art in science programmes. Art in Science Museums should be of great interest to academics, researchers and postgraduate students working in the fields of museum studies, cultural heritage management, material culture, science communication and contemporary art. It should also be essential reading for museum professionals looking to promote more reflective social science engagement in their institutions.

This is the first thorough investigation of the Brummer brothers’ remarkable career as dealers in antiques, curiosities and modernism in Paris and New York over six decades (1906-1964). A dozen specialists aggregate their expertise to explore extant dealer records and museum archives, parse the wide-ranging Brummer stock, and assess how objects were sourced, marketed, labelled, restored, and displayed. The research provides insights into emerging collecting fields as they crystallised, at the crossroads between market and museum. It questions the trope of the tastemaker; the translocation of material culture, and the dealers’ prolific relationships with illustrious collectors, curators, scholars, artists, and fellow dealers.

Home to an extraordinary collection of treasured masterworks, including the famed Unicorn Tapestries, The Cloisters is devoted to the art and architecture of medieval Europe. This splendid new guide, published to celebrate The Cloisters' seventy-fifth anniversary, richly illustrates and describes the most important highlights of its collection, from paintings, illuminated manuscripts, and exquisitely carved ivories to its monumental architecture evocative of the grand religious spaces and domestic interiors of the Middle Ages. The Cloisters remains a testament to design innovation--a New York City landmark with sweeping views of the Hudson River--featuring original elements of Romanesque and Gothic architecture dating from the 12th through the 15th century. Three of the structures enclose beautiful gardens cultivated with species known from tapestries, medieval herbals, and other historic sources. These exotic spaces, the art masterpieces, and the fragrant plants offer visitors an oasis of serenity and inspiration. This book both encapsulates and enhances that experience.