Curator Marsha Hill introduces the newly installed galleries for Egyptian Ptolemaic art and discusses the work behind evoking two vantage points in the display.
Moore, 1947 (47.13.2). Right: Model of a temple door bolt with recumbent lion.
Moore, Mary B. 2003. "The Passas Painter: A Protoattic ‚Realist‘?."
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Kenneth Moore, Jeffrey H. Munger, Miyeko Murase, Morihiro Ogawa, Nadine M.
PanelIn their time, the royal quarters at Madinat al-Zahra, the caliphal court in al-Andalus, must have been a spectacular sight, with lavish architectural decoration; luxuriant curtains, textiles, and furnishings; and sumptuous objects
Ekhtiar, Maryam, and Claire Moore, ed. "A Resource for Educators."
George Moore. "Degas: The Painter of Modern Life."
Bibliography of The Met’s Photograph Conservation department
Casella, Luisa and Camille Moore.
Tughra of Sultan Süleyman the MagnificentThe Ottoman Turkish sultans controlled one of the most efficient, well-organized, and effective governmental bureaucracies of early modern times; at the apex of this governmental structure was the Ottoman Imperial Chancery, which created, copied, and recorded all official governmental orders or decrees, known as firman, as well as treaties and official correspondence
Ekhtiar, Maryam, and Claire Moore, ed. "A Resource for Educators."
The New York Dutch Room is a main chamber, or groote kaner in Dutch, and comes from a house built in 1751 for Daniel Pieter Winne, whose ancestors moved to Rensselaerswyck from Flanders via Curacao in 1643.
Moore, 1923 (23.80.17). Right: Tumbler, ca. 1691. American.
The canvas is signed and dated 1647, a year after Charles Le Brun, the future premier peintre du roi under Louis XIV, returned to Paris from a period of study in Rome. In Paris, where he had been the pupil of François Perrier and spent time in the workshop of Simon Vouet, his work had caught the attention of Nicolas Poussin, who had returned to the French capital to work for the king in 1640
Susan Moore. "The Art Market." Apollo 177 (April 2013), p. 68, fig. 2 (color).
New York, nineteenth century
Historical Society) lends an elfish face to the character developed by Clement Clarke Moore
