Metropolitan Museum of Art Show New York Butterfly Ornament
European Masterpieces from The Metropolitan Museum of Art, New York
Website：https://met.exhn.jp/
Fra Angelico (Guido di Pietro), The Crucifixion
ca. 1420-23, Tempera on wood, gold ground, 63.8 x 48.3 cm
Maitland F. Griggs Collection, Bequest of Maitland F. Griggs, 1943 / 43.98.5
The Metropolitan Museum of Art, New York
Raphael (Raffaello Sanzio or Santi), The Desperation in the Garden
ca. 1504, Oil on wood, 24.1 10 28.nine cm
Funds from diverse donors, 1932 / 32.130.1
The Metropolitan Museum of Art, New York
Lucas Cranach the Elder, The Judgment of Paris
ca. 1528, Oil on beech, 101.9 10 71.1cm
Rogers Fund, 1928 / 28.221
The Metropolitan Museum of Art, New York
Caravaggio (Michelangelo Merisi), The Musicians
1597, Oil on sail, 92.1 ten 118.4 cm
Rogers Fund, 1952 / 52.81
The Metropolitan Museum of Art, New York
Georges de La Bout, The Fortune-Teller
ca. 1630s, Oil on canvas, 101.ix x 123.five cm
Rogers Fund, 1960 / 60.30
The Metropolitan Museum of Art, New York
Johannes Vermeer, Allegory of the Catholic Organized religion
ca. 1670-72, Oil on canvas, 114.three 10 88.ix cm
The Friedsam Collection, Bequest of Michael Friedsam, 1931 / 32.100.eighteen
The Metropolitan Museum of Fine art, New York
François Boucher, The Toilette of Venus
1751, Oil on canvas, 108.3 x 85.1 cm
Bequest of William K. Vanderbilt, 1920 / 20.155.9
The Metropolitan Museum of Art, New York
Marie Denise Villers, Marie Joséphine Charlotte du Val d'Ognes (died 1868)
1801, Oil on canvas, 161.3 x 128.6 cm
Mr. and Mrs. Isaac D. Fletcher Drove, Bequest of Isaac D. Fletcher, 1917 / 17.120.204
The Metropolitan Museum of Art, New York
Auguste Renoir, A Young Daughter with Daisies
1889, Oil on canvas, 65.1 x 54 cm
The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1959 / 59.21
The Metropolitan Museum of Art, New York
Edgar Degas, Dancers, Pink and Green
ca. 1890, Oil on canvas, 82.ii x 75.half-dozen cm
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 / 29.100.42
The Metropolitan Museum of Art, New York
Paul Cézanne, Still Life with Apples and Pears
ca. 1891-92, Oil on canvas, 44.8 x 58.7 cm
Bequest of Stephen C. Clark, 1960 / 61.101.3
The Metropolitan Museum of Art, New York
Claude Monet, Water Lilies
1916-xix, Oil on sail, 130.2 x 200.seven cm
Souvenir of Louise Reinhardt Smith, 1983 / 1983.532
The Metropolitan Museum of Art, New York
Overview
The Metropolitan Museum of Art in New York, founded in 1870, possesses a comprehensive collection of cultural artifacts from every corner of the world. The drove spans over 5,000 years, from prehistoric times to the present twenty-four hours. This exhibition presents 65 great works, 46 of which are being shown in Japan for the beginning time, representing gems of fine art selected from the collection of more than than ii,500 items in the possession of the Department of European Paintings, i of the Museum's 17 curatorial departments. It brings to Japan in a single grouping masterpieces from historic artists, the works of whom institute the colorful pageant of Western painting over the 500 years from the fifteenth-century early Renaissance to the nineteenth-century Mail service-Impressionists. From Fra Angelico, Raphael, Cranach, Titian, and El Greco, to Caravaggio, Georges de La Tour, Rembrandt, Vermeer, Rubens, Velázquez, Poussin, Watteau, and Boucher, on to Goya, Turner, Courbet, Manet, Monet, Renoir, Degas, Gauguin, Van Gogh, and Cézanne, some of the greatest treasures that are the pride of The Metropolitan Museum of Art will exist displayed for the enjoyment of visitors. The exhibition represents an opportunity that we hope all fine art lovers will take advantage of.
| Date | February 9 (Wed.) – May 30 (Mon.), 2022 Closed on Tuesdays (except for May three) | ||||
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| Opening Hours | 10:00-xviii:00 *10:00-twenty:00 on Fridays and Saturdays (Last admission 30 minutes before closing) | ||||
| Venue | The National Art Center, Tokyo Special Exhibition Gallery 1E 7-22-2 Roppongi, Minato-ku, Tokyo 106-8558 | ||||
| Organized past | The National Art Center, Tokyo; The Metropolitan Museum of Art, New York; Nikkei Inc.; TV TOKYO Corporation; BS TV TOKYO Corporation; TBS; BS-TBS | ||||
| With the support of | American Embassy | ||||
| With the sponsorship of | Daiwa House Industry Co., Ltd.; TOPPAN INC.; Mitsubishi Corporation | ||||
| Admission (tax included) |
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| Inquiries | (+81) 47-316-2772 (Hello Dial) | ||||
History
The concept for The Metropolitan Museum of Fine art was kickoff put forward by a grouping of Americans who had gathered in Paris on July 4, 1866 to celebrate the 90th anniversary of America'southward Announcement of Independence. The Museum was founded iv years later, on Apr 13, 1870. Its mission was to encourage and develop the fine arts and related education for the people of America, and it was founded through the tenacious efforts of private citizens including businessmen, people of wealth, and artists. Although the Museum did non take a single work of art when it was first founded, its collection grew with the assistance of donations from private collectors and the efforts of other stakeholders, finally opening to the public for the starting time time in a small edifice in Manhattan on Feb 20, 1872. In 1880, it moved to its present abode in a edifice in Central Park. The Museum subsequently continued to grow, and today its drove contains over 1,500,000 archaeological artifacts and works of art from every region of the globe, spanning more than than 5,000 years from prehistoric times to the present.
Department of European Paintings
The collection of European paintings began with the purchase of 174 paintings from fine art dealers in Europe in 1871, one year after The Metropolitan Museum of Art was founded. Since then, the collection has continued to aggrandize through donations, bequests, and purchases, currently boasting over 2,500 paintings from European countries spanning the 13th to the early on 20th centuries. The Department's permanent exhibition galleries are located on the second flooring of the Museum, where the Skylights Project has been underway to update the lighting facilities. Until the diffusion of electric lighting at the cease of the nineteenth century, paintings were both created and appreciated in natural lite. The Skylights Project is an endeavor to produce a more comfortable and natural surroundings for the appreciation of artworks by making use of natural light admitted through skylights to illuminate the gallery. It was the ensuing construction work for this project that provided the opportunity making the nowadays exhibition possible.
Composition of the Exhibition
I. Devotion and Renaissance
After emerging in Florence, Renaissance culture flourished and spread across Europe during the fifteenth and sixteenth centuries. Moving away from the medieval worldview, centered on Christian organized religion and theology, it arcadian and sought to give "rebirth (renaissance)" to the older humanist values of ancient Hellenic republic and Rome.
Italian Renaissance painters developed realistic, three-dimensional means of expression, taking their cue from classical artifact. In contrast to the rather flat depictions of Christ and the Virgin Mary typical of the Middle Ages―otherworldly images that emphasized their sanctity―Renaissance paintings were inclined to render them as fully rounded human figures. The space surrounding figures in Renaissance art also started to be arranged more rationally, such every bit past using the ane-indicate perspective method to advise depth. And, during this menstruum, mythological painting featuring ancient Greek and Roman anthropomorphic deities joined religious painting based on Christian themes as a major genre.
Following the Protestant Reformation in northern Europe in the sixteenth century, the prohibition on the veneration of sacred images led, in Germany and kingdom of the netherlands, to an increased need for mythological painting and portraiture in preference to religious painting. Paintings of the Northern Renaissance were characterized by detailed realism; and, in landscapes adopting the aerial perspective, artists mimicked the atmospheric phenomenon whereby more than distant views appear bluer and hazier. The keen observation of nature and minute depictions to be found in works by northern artists greatly influenced Italian painters.
This chapter presents seventeen works by leading painters of the Italian and Northern Renaissance.
Fra Angelico (Guido di Pietro), The Crucifixion
ca. 1420-23, Tempera on woods, gold footing, 63.eight x 48.3 cm
Maitland F. Griggs Drove, Heritance of Maitland F. Griggs, 1943 / 43.98.5
The Metropolitan Museum of Art, New York
Fra Angelico―a posthumous nickname meaning "Angelic Brother"―was both a devoted Dominican friar and a leading painter of the early on Renaissance in Italy. He was among the first painters to use one-bespeak perspective to express iii-dimensional space. In this depiction of Christ on the cantankerous, his gold-filled background makes for a less than realistic setting, but he captures concrete depth with an elliptical organisation of the crowd that recedes into the distance. The upshot is a precious example of an early work that merges the unrealistic, planar expression of medieval art with the realism and three-dimensionality of Renaissance painting.
Raphael (Raffaello Sanzio or Santi), The Agony in the Garden
ca. 1504, Oil on wood, 24.1 x 28.9 cm
Funds from various donors, 1932 / 32.130.1
The Metropolitan Museum of Art, New York
According to the New Testament, Christ led his apostles to the garden of Gethsemane at the Mount of Olives following the Last Supper. At that place, he prayed in anguish over his impending fate, while his disciples slept effectually him. This image of that moment was created past the legendary Renaissance artist Raphael around the historic period of twenty or 21. Originally, it adorned the predella, or base of an altarpiece, of Madonna and Child Enthroned with Saints (aka the Colonna Altarpiece), which Raphael painted for the convent Sant' Antonio di Padova in Perugia. This work allows the viewer to savor the delicate, svelte style of the young artist.
Lucas Cranach the Elder, The Judgment of Paris
ca. 1528, Oil on beech, 101.9 x 71.1cm
Rogers Fund, 1928 / 28.221
The Metropolitan Museum of Art, New York
The Judgment of Paris, a mythological tale that became a popular theme in sixteenth-century Germany, was painted numerous times by German Renaissance principal Lucas Cranach the Elder. Paris, the Prince of Troy, is called upon to determine who among 3 goddesses―Juno, Minerva, and Venus―should receive a gold apple tree addressed "To the fairest." He selects Venus equally the recipient in return for her pledge to bestow upon him the most beautiful woman in the world. In this delineation, the messenger god Mercury, holding a crystal ball that stands in for the gilt apple, introduces the three goddesses to Paris, who has just awakened from a nap in the forest. The vivid nude images of the goddesses, each shown at different angles (side, front, and dorsum), lend a distinctive sensuality. This painting is a must-meet for fine details such as the armor and jewelry, equally well as the typically Northern European meticulous expression of nature, including the lush vegetation and precipitous crags.
II. Authoritarianism and Enlightenment
This affiliate presents xxx masterpieces past artists from diverse countries who were active from the seventeenth century, a period in which Europe'south absolute monarchs reasserted their sovereign power, through to the eighteenth century, the Age of Enlightenment.
The Baroque style that emerged at the start of the seventeenth century in Rome, the eye of the Cosmic world, spread quickly throughout Europe in a rich assortment of guises. Characterized by strong light-and-shade contrasts and dramatic, vivid depictions, Baroque pictorial expression served to proclaim two loci of power, i sacred, the other secular: the Roman Catholic Church and the absolute monarchies.
In the Catholic sphere of influence, many paintings on religious subjects, dramatically rendered to inspire piety, were produced in Italia, Kingdom of spain, and Flanders. And, particularly in Kingdom of spain, painters executed magnificent portraits of royalty and the nobility. In the Dutch Republic, officially Protestant and with a developed civil guild, other types of painting―landscapes depicting closely observed natural settings, still lifes of flowers and other objects, and genre paintings of everyday life―formed contained genres, ushering in a new phase of art history. In contrast, French republic under Louis 14, le Roi Soleil, favored art exalting the power of the sovereign. This led to the Classicist manner of painting, marked by order and harmony, which was modeled after Classical and Renaissance art and based on theories propounded by the Royal Academy of Painting and Sculpture (founded in 1648), arbiter of fine art policy for the country.
Late in Louis Xiv'southward reign, at the starting time of the eighteenth century, the delicate and svelte way of the Rococo appeared, seemingly in reaction against austere classicism, and held peachy entreatment until the middle of the century. Some other attribute of the French experience at this time was the number of artists who gained prominence while executing works low in the academy's bureaucracy of bailiwick matter, such equally genre painting and still life.
By the latter half of the eighteenth century, the Enlightenment had penetrated European social club. With Rococo art in France at present encountering criticism for its vulgar and sensual aspects, Neoclassicism took heart stage. Drawing inspiration from the art of aboriginal Greece and Rome, it pursued the very ideal of beauty. During this period, women began to make conspicuous contributions in various fields of endeavor by pushing past social restrictions. Though modest in number, professional person women painters emerged and gained fame. At the same time, the Majestic Academy of Arts was founded in London in 1768, following similar institutions established on the Continent, a move that affirmed the newly elevated condition of British painters.
Caravaggio (Michelangelo Merisi), The Musicians
1597, Oil on canvas, 92.1 x 118.4 cm
Rogers Fund, 1952 / 52.81
The Metropolitan Museum of Art, New York
The greatest main of seventeenth-century Italian painting, Caravaggio played a ascendant function in the formation of the Baroque fashion with his true-to-life portrayals and dramatic interplay of calorie-free and shadow. He was 26 when he painted this work for his first patron, Cardinal Francesco Maria del Monte, in 1597. In that year, Caravaggio was welcomed to join the household of del Monte. The cardinal was an avid supporter of the arts who used his abode to host musical and theatrical performances by youths, and it would seem that Caravaggio used some of those performers as the models for this work. Nonetheless, the improver of Cupid at the left has given rise to the theory that this painting was intended not every bit a mere recreation of a recital, but as an allegory of music and dearest. The second figure from the right, the youth belongings a horn, is speculated to be the painter's self-portrait. The young musicians' smooth, lustrous pare has an androgynous air that reflects Caravaggio's brand of languid sensuality.
Georges de La Tour, The Fortune-Teller
ca. 1630s, Oil on canvass, 101.ix ten 123.v cm
Rogers Fund, 1960 / 60.30
The Metropolitan Museum of Art, New York
Georges de La Tour was mostly agile in the Duchy of Lorraine (today role of northeast France) in the seventeenth century. His prowess was such that he gained an date every bit painter to Louis XIII, yet he was soon forgotten after his expiry and remained so until his reappraisal in the twentieth century. His works are largely divided into ii camps―"mean solar day paintings" bathed in brilliant light, and "night paintings" that illuminate their subjects with candlelight. A member of the starting time grouping, The Fortune-Teller shows a immature man whose attention is riveted on an sometime fortune-teller equally the surrounding young women rob him of his bag and jewelry. His rigid pose, glaring stare, and eccentric, brightly colored attire create a powerful impression. The theme of fortune-telling spread amid European artists in this era, sparked past an early seventeenth-century work by Caravaggio. While La Tour'southward paintings suggest Caravaggio'due south influence on the selection of subjects and the employ of lite and shadow, it is unclear how La Tour came into contact with this trend.
Johannes Vermeer, Apologue of the Cosmic Faith
ca. 1670-72, Oil on canvas, 114.3 x 88.nine cm
The Friedsam Collection, Bequest of Michael Friedsam, 1931 / 32.100.18
The Metropolitan Museum of Art, New York
Seventeenth-century Dutch artist Vermeer is best known for his pocket-size genre paintings that tranquilly depicted the everyday life of his beau Hollanders, but this piece of work from his last years is an unusual emblematic painting within the creative person's oeuvre. The woman, sitting in front of a painting of the Crucifixion, personifies Faith. The hand on her breast indicates the source of living religion, while the placement of a foot on the earth is interpreted as an expression of the Catholic Church's rule over the globe. The crucifix, beaker, and missal on the table suggest the celebration of the Mass. On the floor are an apple, representing original sin, and a serpent crushed by the cornerstone of the Church (Christ). In the officially Protestant Dutch Republic, Catholics were forbidden to worship in public, but they were permitted to celebrate the Mass and hold other religious meetings within private homes, then-called "hidden churches (schuilkerken)." The room depicted in this piece of work may refer to such a church. Vermeer converted to Catholicism before his 1653 union.
François Boucher, The Toilette of Venus
1751, Oil on canvas, 108.three x 85.1 cm
Bequest of William Thousand. Vanderbilt, 1920 / twenty.155.ix
The Metropolitan Museum of Art, New York
With their delineation of sensuous mythological scenes and men and women relaxing in pastoral settings, François Boucher's vibrant, brilliantly colored paintings brought eighteenth-century French rococo art to its height, gaining Boucher great popularity among royalty and the nobility and making him a favorite of Louis XV's official mistress Madame Pompadour for more than than 15 years. The Toilette of Venus was originally painted to adorn the appartement des bains of the Château de Bellevue, built for Madame Pompadour in the Paris suburbs, and forms a pair with The Bath of Venus (National Gallery of Art, Washington). The nude effigy of Venus with her alluring neck tilted to i side has the whiteness and smoothness of porcelain, imparting an air of sweetness sensuousness. Cupid and white doves are traditional attributes of Venus. The luxurious and superbly executed texture accentuate the opulent atmosphere.
Marie Denise Villers, Marie Joséphine Charlotte du Val d'Ognes (died 1868)
1801, Oil on canvas, 161.iii x 128.vi cm
Mr. and Mrs. Isaac D. Fletcher Drove, Bequest of Isaac D. Fletcher, 1917 / 17.120.204
The Metropolitan Museum of Fine art, New York
The 2d half of the eighteenth century in France saw women challenging social restraints to play an increasingly active role in diverse fields. Reflecting this was the emergence of professional female painters, such as Élisabeth Vigée Le Brun, exclusive portrait painter to Marie Antoinette. Marie Denise Villers, who belonged to the next generation of painters after Vigée Le Brun, studied painting under the Academician Anne-Louis Girodet de Roussy-Trioson, and exhibited her artwork several times at the Salon between 1799 and 1814. For many years, Marie Joséphine Charlotte du Val d'Ognes (died 1868) was idea to accept been painted by the prominent Neoclassical painter Jacques-Louis David, but questions were raised effectually the middle of the twentieth century, and in 1996, a researcher declared it to be the work of Villers. Her skill is apparent in the clear, uncluttered composition, and the deft use of backlight. The work exemplifies progress in the field of research on female painters.
Iii. Revolution and Art for the People
The nineteenth century was a time of peachy upheaval every bit the tide of modernization swept beyond Europe. Taking for its historical context the evolution of civil society, this chapter presents eighteen masterpieces by painters of the era noted for their innovative approach to art.
The eruption of the French Revolution in 1789 proved a turning bespeak not only for France but for the whole of Europe, ushering in modern society. The revolutionary wave reached its peak in 1848 when popular uprisings engulfed many countries. In the art world, different movements arose, one after another, reflecting the rapid changes in guild. During the kickoff half of the nineteenth century, Romanticism gained a following with depictions of fantastic landscapes and narrative scenes. The individual artist'southward sensibility and unfettered imagination held sway, in reaction against academicism's rigid pursuit of a universal ideal of dazzler modeled on ancient fine art. In the middle of the century, Realism came to the fore with its precise and true depictions of subjects, such every bit the daily lives of farmers and laborers, and renderings of spontaneous scenes eschewing idealization.
The achievements of Realism were inherited by Édouard Manet and Edgar Degas, who began depicting various aspects of urban life in Paris as modernization took hold, too as by Claude Monet and Auguste Renoir, whose works came to exist known by the term "Impressionism" in the late 1870s. Impressionist painters directed their gaze toward the remodeled thoroughfares of Paris and to the city's environs, viewed under different weathers, and attempted to capture on canvas the fleeting image of a moment, using pure colors and small, dab-similar brushstrokes.
The second half of the 1880s saw the appearance of painters, including Paul Cézanne, Paul Gauguin, and Vincent van Gogh, who, in respect to both methods and ideas, departed from Impressionism. Their works, while varying widely themselves, are by and large grouped under the umbrella term of "Post-Impressionism." Characterized by, among other things, simplified forms, apartment composition, and intense coloring (with frequent use of master colors), they heralded the avant-garde art of the early on twentieth century.
Auguste Renoir, A Young Girl with Daisies
1889, Oil on sheet, 65.1 ten 54 cm
The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1959 / 59.21
The Metropolitan Museum of Art, New York
Many impressionist artists painted landscapes, but Renoir made his proper noun equally a painter of portraits and human figures. Renoir's focus on the human form stayed with him until the cease of his life and his paintings feature immature women with plump bodies. For Renoir, these women represented the ideal motif for addressing the kinds of challenges confronting the painter, such as the expression of volume and light effects. A Young Daughter with Daisies, produced in 1889, fuses the classical style with which Renoir experimented in the 1880s with a softer and lighter touch. The human figure and the scenery are both depicted in soft shades of light and dark without the apply of line drawings and the unabridged epitome is imbued with beautiful colour harmony.
Edgar Degas, Dancers, Pink and Green
ca. 1890, Oil on sail, 82.2 10 75.6 cm
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 / 29.100.42
The Metropolitan Museum of Fine art, New York
Edgar Degas had a fondness for dancers, who characteristic in many of his works. Dancers, Pink and Green depicts dancers arranging their costumes backstage every bit seen from the shadows of the wings. Degas liked to capture the deportment of people at such unguarded moments. His utilise of close-ups and cut-off figures suggests the influence of ukiyoe, which were popular at the fourth dimension, and of photography, a genre that developed in the nineteenth century. Degas' eyesight had already deteriorated considerably when he created this work. Only this brilliantly colored painting shows that he still had a sharp eye for rendering the impromptu movements of dancers.
Paul Cézanne, Nevertheless Life with Apples and Pears
ca. 1891-92, Oil on canvas, 44.8 x 58.7 cm
Bequest of Stephen C. Clark, 1960 / 61.101.3
The Metropolitan Museum of Art, New York
The solid class of the apples and pears depicted in this painting instill them with an extraordinary sense of presence. The table appears tilted and the walls distorted, simply all the elements contained in the piece of work are finely balanced to produce a highly stable composition. Devoting himself to his painting at Aix-en-Provence in southern France, Paul Cézanne strove to reproduce on canvas the vibrant sensations he felt from ascertainment. Because of their groundbreaking style, Cézanne'south works enjoyed picayune popularity among the masses at the fourth dimension, simply they were admired past progressive artists and art critics, and had an enormous influence on cubism and other advanced movements in the early twentieth century after Cézanne'south death.
Claude Monet, Water Lilies
1916-19, Oil on canvas, 130.ii 10 200.7 cm
Gift of Louise Reinhardt Smith, 1983 / 1983.532
The Metropolitan Museum of Art, New York
From around 1897, Monet made the water-lily pond in the garden of his Giverny abode the main theme of his artwork for the next thirty years. Before long, he conceived the idea of adorning a whole room with works focused on water lilies, and from around 1915, he started producing a series of large wall paintings, which he called "Grandes Décorations." The piece of work displayed hither forms part of this series. The mysterious scene, without perspective, reflects Monet's vision at a time when he was suffering from cataracts. Employing gratuitous brushstrokes of blue, green, yellow, white, and other colors, the work contrasts the fictive reflection of the heaven and various plants in the swimming water with the existent water-lily leaves on the h2o'south surface and aquatic plants under the water. Such abstract canvases, distinctly representative of Monet the innovator, are viewed as anticipating abstract expressionism.
Source: https://www.nact.jp/english/exhibitions/2021/met/
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