Metropolitan Museum of Art Bling Throuhg the Ages When?
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 forest, gold ground, 63.viii ten 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 woods, 24.one x 28.9 cm
Funds from various donors, 1932 / 32.130.1
The Metropolitan Museum of Fine art, New York
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 Fine art, New York
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
Georges de La Tour, The Fortune-Teller
ca. 1630s, Oil on canvas, 101.nine 10 123.five cm
Rogers Fund, 1960 / threescore.30
The Metropolitan Museum of Art, New York
Johannes Vermeer, Allegory of the Catholic Faith
ca. 1670-72, Oil on canvas, 114.iii x 88.9 cm
The Friedsam Collection, Heritance of Michael Friedsam, 1931 / 32.100.eighteen
The Metropolitan Museum of 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.three x 128.6 cm
Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917 / 17.120.204
The Metropolitan Museum of Art, New York
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
Edgar Degas, Dancers, Pink and Green
ca. 1890, Oil on canvass, 82.two x 75.six cm
H. O. Havemeyer Drove, Heritance of Mrs. H. O. Havemeyer, 1929 / 29.100.42
The Metropolitan Museum of Art, New York
Paul Cézanne, Notwithstanding Life with Apples and Pears
ca. 1891-92, Oil on canvas, 44.8 x 58.7 cm
Heritance of Stephen C. Clark, 1960 / 61.101.3
The Metropolitan Museum of Art, New York
Claude Monet, Water Lilies
1916-nineteen, Oil on canvass, 130.2 x 200.seven cm
Gift of Louise Reinhardt Smith, 1983 / 1983.532
The Metropolitan Museum of Art, New York
Overview
The Metropolitan Museum of Fine art in New York, founded in 1870, possesses a comprehensive collection of cultural artifacts from every corner of the world. The collection spans over v,000 years, from prehistoric times to the nowadays twenty-four hours. This exhibition presents 65 bang-up works, 46 of which are being shown in Japan for the first fourth dimension, representing gems of art selected from the drove of more than two,500 items in the possession of the Department of European Paintings, one of the Museum's 17 curatorial departments. Information technology brings to Japan in a single group masterpieces from historic artists, the works of whom constitute the colorful pageant of Western painting over the 500 years from the fifteenth-century early Renaissance to the nineteenth-century Mail-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 volition be displayed for the enjoyment of visitors. The exhibition represents an opportunity that we promise all art lovers will take advantage of.
| Date | Feb 9 (Wed.) – May xxx (Mon.), 2022 Airtight on Tuesdays (except for May 3) | ||||
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| Opening Hours | ten:00-xviii:00 *10:00-20:00 on Fridays and Saturdays (Last access 30 minutes before closing) | ||||
| Venue | The National Fine art Centre, Tokyo Special Exhibition Gallery 1E 7-22-2 Roppongi, Minato-ku, Tokyo 106-8558 | ||||
| Organized by | The National Fine art Centre, Tokyo; The Metropolitan Museum of Art, New York; Nikkei Inc.; Television receiver TOKYO Corporation; BS TV TOKYO Corporation; TBS; BS-TBS | ||||
| With the back up of | American Embassy | ||||
| With the sponsorship of | Daiwa Firm Industry Co., Ltd.; TOPPAN INC.; Mitsubishi Corporation | ||||
| Admission (tax included) |
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| Inquiries | (+81) 47-316-2772 (Hullo Dial) | ||||
History
The concept for The Metropolitan Museum of Art was first put forrad by a group of Americans who had gathered in Paris on July iv, 1866 to celebrate the 90th anniversary of America's Annunciation of Independence. The Museum was founded iv years subsequently, on April 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 individual citizens including businessmen, people of wealth, and artists. Although the Museum did not have a unmarried work of art when it was get-go founded, its collection grew with the aid of donations from private collectors and the efforts of other stakeholders, finally opening to the public for the first time in a small building in Manhattan on Feb 20, 1872. In 1880, information technology moved to its nowadays home in a building in Primal Park. The Museum subsequently continued to abound, and today its collection contains over one,500,000 archaeological artifacts and works of art from every region of the world, spanning more than v,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 art dealers in Europe in 1871, ane year after The Metropolitan Museum of Art was founded. Since then, the collection has continued to expand through donations, bequests, and purchases, currently boasting over 2,500 paintings from European countries spanning the 13th to the early 20th centuries. The Department'due south permanent exhibition galleries are located on the second floor of the Museum, where the Skylights Project has been underway to update the lighting facilities. Until the diffusion of electric lighting at the end of the nineteenth century, paintings were both created and appreciated in natural light. The Skylights Project is an effort 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 structure work for this project that provided the opportunity making the present exhibition possible.
Composition of the Exhibition
I. Devotion and Renaissance
Subsequently 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 faith and theology, it idealized and sought to give "rebirth (renaissance)" to the older humanist values of aboriginal Greece and Rome.
Italian Renaissance painters developed realistic, three-dimensional means of expression, taking their cue from classical artifact. In dissimilarity to the rather apartment 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 infinite surrounding figures in Renaissance art as well started to be arranged more rationally, such as by using the 1-point perspective method to advise depth. And, during this period, 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 Deutschland and the Netherlands, to an increased demand 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 afar views appear bluer and hazier. The keen observation of nature and infinitesimal depictions to be institute 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 basis, 63.8 x 48.three cm
Maitland F. Griggs Collection, Bequest 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 Renaissance in Italia. He was amidst the first painters to use one-point perspective to express 3-dimensional space. In this delineation of Christ on the cross, his gold-filled background makes for a less than realistic setting, but he captures physical depth with an elliptical organization of the crowd that recedes into the distance. The result 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.one
The Metropolitan Museum of Fine art, New York
According to the New Testament, Christ led his apostles to the garden of Gethsemane at the Mountain of Olives post-obit the Last Supper. There, he prayed in anguish over his impending fate, while his disciples slept around him. This image of that moment was created by the legendary Renaissance artist Raphael around the age of twenty or 21. Originally, information technology adorned the predella, or base of operations 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 fashion of the immature 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 Federal republic of germany, was painted numerous times by German Renaissance master Lucas Cranach the Elderberry. Paris, the Prince of Troy, is called upon to determine who amongst three goddesses―Juno, Minerva, and Venus―should receive a aureate apple addressed "To the fairest." He selects Venus as the recipient in return for her pledge to bestow upon him the most beautiful woman in the earth. In this depiction, the messenger god Mercury, holding a crystal ball that stands in for the golden apple tree, introduces the three goddesses to Paris, who has just awakened from a nap in the woods. The vivid nude images of the goddesses, each shown at unlike angles (side, front, and back), lend a distinctive sensuality. This painting is a must-see for fine details such every bit the armor and jewelry, as well as the typically Northern European meticulous expression of nature, including the lush vegetation and abrupt crags.
2. Absolutism and Enlightenment
This chapter presents thirty masterpieces past artists from various countries who were agile from the seventeenth century, a period in which Europe's accented 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 centre of the Catholic world, spread quickly throughout Europe in a rich array of guises. Characterized by strong lite-and-shade contrasts and dramatic, vivid depictions, Baroque pictorial expression served to proclaim two loci of power, one sacred, the other secular: the Roman Catholic Church and the accented monarchies.
In the Catholic sphere of influence, many paintings on religious subjects, dramatically rendered to inspire piety, were produced in Italy, Spain, and Flanders. And, specially in Spain, painters executed magnificent portraits of royalty and the dignity. In the Dutch Republic, officially Protestant and with a developed ceremonious society, other types of painting―landscapes depicting closely observed natural settings, all the same lifes of flowers and other objects, and genre paintings of everyday life―formed independent genres, ushering in a new phase of art history. In contrast, French republic under Louis XIV, le Roi Soleil, favored art exalting the power of the sovereign. This led to the Classicist style of painting, marked by club and harmony, which was modeled afterwards Classical and Renaissance art and based on theories propounded by the Royal Academy of Painting and Sculpture (founded in 1648), czar of art policy for the land.
Tardily in Louis XIV'south reign, at the commencement of the eighteenth century, the delicate and svelte style of the Rococo appeared, seemingly in reaction confronting ascetic classicism, and held bang-up appeal until the middle of the century. Some other attribute of the French experience at this fourth dimension was the number of artists who gained prominence while executing works low in the university's hierarchy of field of study matter, such as genre painting and still life.
Past the latter half of the eighteenth century, the Enlightenment had penetrated European society. With Rococo fine art in France now encountering criticism for its vulgar and sensual aspects, Neoclassicism took eye stage. Drawing inspiration from the art of ancient Greece and Rome, it pursued the very ideal of dazzler. 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 Royal Academy of Arts was founded in London in 1768, post-obit 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 master of seventeenth-century Italian painting, Caravaggio played a ascendant role in the formation of the Baroque way with his true-to-life portrayals and dramatic interplay of low-cal and shadow. He was 26 when he painted this work for his start 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 home to host musical and theatrical performances by youths, and it would seem that Caravaggio used some of those performers equally the models for this work. However, the improver of Cupid at the left has given ascent to the theory that this painting was intended not as a mere recreation of a recital, but as an apologue of music and love. The 2d figure from the correct, the youth belongings a horn, is speculated to exist the painter's self-portrait. The young musicians' shine, lustrous skin has an androgynous air that reflects Caravaggio's make of languid sensuality.
Georges de La Tour, The Fortune-Teller
ca. 1630s, Oil on canvas, 101.9 x 123.five cm
Rogers Fund, 1960 / 60.xxx
The Metropolitan Museum of Art, New York
Georges de La Tour was mostly active in the Duchy of Lorraine (today part of northeast French republic) in the seventeenth century. His prowess was such that he gained an engagement equally painter to Louis XIII, yet he was soon forgotten later on his decease and remained so until his reappraisal in the twentieth century. His works are largely divided into ii camps―"24-hour interval paintings" bathed in bright light, and "night paintings" that illuminate their subjects with candlelight. A member of the starting time grouping, The Fortune-Teller shows a immature human whose attention is riveted on an old fortune-teller as 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 among European artists in this era, sparked by an early seventeenth-century work by Caravaggio. While La Tour's paintings suggest Caravaggio'southward influence on the selection of subjects and the use of light and shadow, it is unclear how La Tour came into contact with this trend.
Johannes Vermeer, Allegory of the Catholic Faith
ca. 1670-72, Oil on canvas, 114.3 x 88.ix cm
The Friedsam Collection, Heritance of Michael Friedsam, 1931 / 32.100.18
The Metropolitan Museum of Fine art, New York
Seventeenth-century Dutch creative person Vermeer is best known for his small genre paintings that tranquilly depicted the everyday life of his boyfriend Hollanders, but this work from his final years is an unusual allegorical painting within the artist'south oeuvre. The woman, sitting in front of a painting of the Crucifixion, personifies Faith. The hand on her breast indicates the source of living faith, while the placement of a foot on the globe is interpreted every bit an expression of the Catholic Church building's dominion over the world. The crucifix, beaker, and missal on the tabular array suggest the celebration of the Mass. On the flooring are an apple, representing original sin, and a serpent crushed by the cornerstone of the Church building (Christ). In the officially Protestant Dutch Republic, Catholics were forbidden to worship in public, but they were permitted to gloat the Mass and hold other religious meetings within private homes, and so-chosen "hidden churches (schuilkerken)." The room depicted in this piece of work may refer to such a church. Vermeer converted to Catholicism before his 1653 wedlock.
François Boucher, The Toilette of Venus
1751, Oil on canvas, 108.3 10 85.1 cm
Heritance of William Yard. Vanderbilt, 1920 / xx.155.9
The Metropolitan Museum of Art, New York
With their depiction of sensuous mythological scenes and men and women relaxing in pastoral settings, François Boucher'due south vibrant, brilliantly colored paintings brought eighteenth-century French rococo art to its elevation, gaining Boucher great popularity among royalty and the nobility and making him a favorite of Louis Fifteen's official mistress Madame Pompadour for more 15 years. The Toilette of Venus was originally painted to adorn the appartement des bains of the Château de Bellevue, congenital for Madame Pompadour in the Paris suburbs, and forms a pair with The Bath of Venus (National Gallery of Fine 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 sweet 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 sail, 161.3 ten 128.vi cm
Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917 / 17.120.204
The Metropolitan Museum of Art, New York
The 2nd half of the eighteenth century in French republic saw women challenging social restraints to play an increasingly active function in diverse fields. Reflecting this was the emergence of professional female painters, such as Élisabeth Vigée Le Brun, sectional portrait painter to Marie Antoinette. Marie Denise Villers, who belonged to the side by side 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 thought to have been painted by the prominent Neoclassical painter Jacques-Louis David, but questions were raised around the center of the twentieth century, and in 1996, a researcher declared it to exist 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 enquiry on female painters.
III. Revolution and Art for the People
The nineteenth century was a time of great upheaval as 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 indicate not only for France only 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 earth, different movements arose, one after another, reflecting the rapid changes in society. During the get-go half of the nineteenth century, Romanticism gained a post-obit with depictions of fantastic landscapes and narrative scenes. The individual artist'south sensibility and unfettered imagination held sway, in reaction against academicism'southward rigid pursuit of a universal ideal of beauty modeled on aboriginal art. In the middle of the century, Realism came to the fore with its precise and truthful depictions of subjects, such equally the daily lives of farmers and laborers, and renderings of spontaneous scenes eschewing idealization.
The achievements of Realism were inherited past Édouard Manet and Edgar Degas, who began depicting diverse aspects of urban life in Paris every bit modernization took hold, too as by Claude Monet and Auguste Renoir, whose works came to be known by the term "Impressionism" in the late 1870s. Impressionist painters directed their gaze toward the remodeled thoroughfares of Paris and to the city'southward environs, viewed under different weathers, and attempted to capture on canvass the fleeting prototype of a moment, using pure colors and modest, dab-like 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 generally grouped under the umbrella term of "Post-Impressionism." Characterized by, among other things, simplified forms, apartment limerick, and intense coloring (with frequent utilise of master colors), they heralded the advanced art of the early twentieth century.
Auguste Renoir, A Young Girl with Daisies
1889, Oil on canvas, 65.one x 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, simply Renoir made his name as a painter of portraits and human figures. Renoir's focus on the man course stayed with him until the finish of his life and his paintings feature young women with plump bodies. For Renoir, these women represented the platonic motif for addressing the kinds of challenges confronting the painter, such as the expression of book and calorie-free furnishings. A Immature Girl 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 utilise of line drawings and the entire image is imbued with beautiful color harmony.
Edgar Degas, Dancers, Pinkish and Green
ca. 1890, Oil on sheet, 82.2 10 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
Edgar Degas had a fondness for dancers, who feature in many of his works. Dancers, Pinkish and Green depicts dancers arranging their costumes backstage equally seen from the shadows of the wings. Degas liked to capture the deportment of people at such unguarded moments. His use of close-ups and cut-off figures suggests the influence of ukiyoe, which were popular at the time, and of photography, a genre that developed in the nineteenth century. Degas' eyesight had already deteriorated considerably when he created this piece of work. But this brilliantly colored painting shows that he all the same had a sharp eye for rendering the impromptu movements of dancers.
Paul Cézanne, Still Life with Apples and Pears
ca. 1891-92, Oil on sail, 44.viii x 58.7 cm
Heritance 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, but all the elements contained in the piece of work are finely counterbalanced to produce a highly stable composition. Devoting himself to his painting at Aix-en-Provence in southern France, Paul Cézanne strove to reproduce on sail the vibrant sensations he felt from observation. Because of their groundbreaking style, Cézanne's works enjoyed fiddling popularity among the masses at the time, but they were admired by progressive artists and art critics, and had an enormous influence on cubism and other advanced movements in the early twentieth century later Cézanne's decease.
Claude Monet, Water Lilies
1916-19, Oil on canvass, 130.2 ten 200.7 cm
Gift of Louise Reinhardt Smith, 1983 / 1983.532
The Metropolitan Museum of Art, New York
From around 1897, Monet fabricated the h2o-lily pond in the garden of his Giverny home the principal 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 effectually 1915, he started producing a series of large wall paintings, which he called "Grandes Décorations." The work displayed here forms part of this series. The mysterious scene, without perspective, reflects Monet'due south vision at a time when he was suffering from cataracts. Employing gratis brushstrokes of blue, green, yellowish, white, and other colors, the work contrasts the fictive reflection of the heaven and various plants in the pond water with the real water-lily leaves on the water's surface and aquatic plants under the water. Such abstract canvases, distinctly representative of Monet the innovator, are viewed equally anticipating abstract expressionism.
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Source: https://www.nact.jp/english/exhibitions/2021/met/