The Modern Circle brings together patrons and collectors in support of the department.
The group enjoys about eight gatherings per year, including curator-led tours of
Worcester, Mass., 1895–New York, 1981
Harrison’s friendship with Fernand Léger led to a number of public and private American
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
collections of art from the ancient Americas, sub-Saharan Africa, and Oceania), led
The institution of slavery existed in Africa long before the arrival of Europeans and was widespread at the period of economic contact.
Evolving political circumstances and trade alliances in Africa led to shifts in the
Reserve group admission in advance to receive special group rates and bypass the admission lines.
K-12 school groups may also request a live virtual tour led by a Museum guide.
Sherman Fairchild Foundation Fellow Alexandra Nichols explains why time-based art demands special attention.
Light-emitting-diodes (LED) and custom electronics, 22 x 28 x 1 in. (55.9 x 71.1
This exhibition celebrates the Central Park Conservancy’s upcoming conservation on the obelisk of Thutmose III, popularly known as „Cleopatra’s Needle.“ Relying primarily on the Metropolitan’s own collection, enhanced with several important loans from local museums and private lenders, it explores the meaning of obelisks in ancient Egyptian divine and funerary cults and considers how these massive monuments were created and erected.
in western culture and how a longstanding fascination with obelisks ultimately led
A vast network of strategically located trading posts (emporia) enabled the exchange, distribution, and storage of goods.
From there the road led east across the Zagros Mountains to the cities of Ecbatana
The Julio-Claudians were Roman nobles with an impressive ancestry, but their fondness for the ideals and lifestyle of the old aristocracy created conflicts of interest and duty.
This proved impossible and eventually led to a decline in the power and effective
The first generation of modern Egyptian artists was driven by a renewed appreciation of their national patrimony and the return to ancient pharaonic art detached from any African, Arab, or religious cultural references.
It was a manifestation of the contemporaneous intellectual discourse led by secular
