Immaterial: Stone – The Metropolitan Museum of Art https://www.metmuseum.org/perspectives/immaterial-stone
Making and breaking legacies.
RICCARDELLI: We have this adhesive in conservation, called B-72 that we use on ceramics
Making and breaking legacies.
RICCARDELLI: We have this adhesive in conservation, called B-72 that we use on ceramics
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
been commissioned to create a site-specific installation for The Met’s Iris and B.
The Concourse of the BirdsThe manuscript from which this painting comes was produced in 1483 at the Timurid court of Sultan Husayn Baycara at Herat. It contains four illustrations that may or may not be by the hand of Bihzad, the most famous artist of that era, but represent his innovative, perfectionist style
Sultan ‘Ali al-Mashhadi is known to have worked for Herat’s contemporary ruler
A modernist in the true sense of the word, Chanel ascribed primacy to function and materials. While a straight, linear silhouette characterizes her designs of the 1920s, her dresses of the 1930s appear more feminine and romantic. Also on display Chanel The
exhibition also focuses on the iconography of the Chanel style that, over time, have
The oil paints did not adhere well to the porcelain surface, and because they have
Indeed, it is likely that only members of the elite would have owned Wari tunics
Editorial Assistant Rachel High discusses the Museum’s first publication devoted to Ennion with Ennion: Master of Roman Glass curator and author, Christopher Lightfoot.
Lightfoot with contributions from Zrinka Buljević, Yael Israeli, Karol B.
Pair of DoorsThis pair of doors once belonged to a minbar and most probably came from the base of its stairs.[1] An elaborate geometric design centered on twelve-pointed stars arranged in staggered rows decorates the front of the doors, which are constructed of rosewood
These alterations may have been done by the previous owner, Edward C.
Although Adam had only recently established his practice in London, his new Neoclassical style found a ready and eager audience with the nobility and gentry.
long history in England of rooms hung with sets of tapestry, and Coventry would have
Emanuel Leutze (American, b. Germany 1816).