On view May 9 through August 5, 2007, the exhibition explores the Paul Poiret’s modernity in relation to and as an expression of the dominant discourses of the early twentieth century, including Cubism, Classicism, Orientalism, Symbolism, and Primitivism.
Typically, they were depicted in modern contexts, such as the theater, restaurant
Art demonstrates both the scope and the limits of Roman influence, for the circulation of materials, methods, objects, and art forms created a certain cultural unity, and yet in each place, the persistence of local customs ensured the survival of cultural diversity.
and some of the best preserved examples of Roman public buildings, including a theater
Across the regions of the empire, gladiators and their preparation for fights were depicted through various media, including terracotta oil lamps, figurines, glass vessels, pottery, and relief sculpture.
Theater and Spectacle in the Art of the Roman Empire.
From the late eighteenth century, such institutions had a virtual monopoly on public taste and official patronage.
from the more serious and threatening conceptions of Herod’s bedeviller in both theater
Venus and Cupid Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France) 1949 Theater
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
During the 1880s he worked with Thomas Edison on the first theater to install electric
The Haverhill Room is the formal parlor (now furnished as a bedroom) from a house that originally belonged to James Duncan Jr. Its interior represents the Neoclassical style of architecture that prevailed during the early 1800s and provides an appropriate backdrop for the American Wing’s strong collection of New England furniture of this era.
passed through various hands until it was torn down in 1911 to make room for a movie theater
As Henry James remarked in 1887: “It sounds like a paradox, but it is a very simple truth, that when to-day we look for ‘American art’ we find it mainly in Paris.”
with current criticism and events, and to comfortably read a novel, attend the theater
late-seventeenth-century castle and especially its park, where he ordered that a maze, a theater
This superb early work by Claesz, in pristine condition, was long considered to date from 1623 until the question was revisited in 1982 at the request of Martina Brunner-Bulst, whose monograph of 2004 and the Claesz exhibition of 2004–5 now make clear that in style and subject matter the painting is typical of the late 1620s
„Within Images of Excess, A Glint of Moral Theater.“
