Off with her hat? Conservators at The Metropolitan Museum of Art recently discovered a fashionable hat hidden under the surface of Jacques Louis David’s portrait of Monsieur and Madame Lavoisier, raising a number of questions about the complex interplay of fashion, politics, and portraiture in the ancien régime, and the practice of updating portraits to reflect rapidly changing social and sartorial mores (figs. 1, 2). An investigation into the origins and reception of Madame Lavoisier ’s hat—a style known as the chapeau à la Tarare—reveals a powerful partisan message rooted in the turbulent political landscape of preRevolutionary France, and a possible explanation for the portrait’s alteration, beyond aesthetic or compositional concerns. overleaf: fig. 1 Jacques Louis David (French, 1748–1825). Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), 1788. Oil on canvas, 102 1/4 × 76 5/8 in. (259.7 × 194.6 cm). The Metropolitan Museum of Art, Purchase, Mr. and Mrs. Charles Wrightsman Gift, in honor of Everett Fahy, 1977 (1977.10)
{"title":"A Tale of Two Chapeaux: Fashion, Revolution, and David’s Portrait of the Lavoisiers","authors":"Kimberly Chrisman-Campbell","doi":"10.1086/723656","DOIUrl":"https://doi.org/10.1086/723656","url":null,"abstract":"Off with her hat? Conservators at The Metropolitan Museum of Art recently discovered a fashionable hat hidden under the surface of Jacques Louis David’s portrait of Monsieur and Madame Lavoisier, raising a number of questions about the complex interplay of fashion, politics, and portraiture in the ancien régime, and the practice of updating portraits to reflect rapidly changing social and sartorial mores (figs. 1, 2). An investigation into the origins and reception of Madame Lavoisier ’s hat—a style known as the chapeau à la Tarare—reveals a powerful partisan message rooted in the turbulent political landscape of preRevolutionary France, and a possible explanation for the portrait’s alteration, beyond aesthetic or compositional concerns. overleaf: fig. 1 Jacques Louis David (French, 1748–1825). Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), 1788. Oil on canvas, 102 1/4 × 76 5/8 in. (259.7 × 194.6 cm). The Metropolitan Museum of Art, Purchase, Mr. and Mrs. Charles Wrightsman Gift, in honor of Everett Fahy, 1977 (1977.10)","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46218224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mnikhówožu Lakȟóta community leader, warrior, and artist Matȟó Nážiŋ (Standing Bear) testified to his experience of the Battle of the Little Bighorn on many occasions, in both words and images. The circa 1920 work by Matȟó Nážiŋ in the Charles and Valerie Diker Collection of Native American Art at The Metropolitan Museum of Art vividly details the events of June 25, 1876, the day he and other members of Očhéthi Šakówiŋ (Seven Council Fires), along with their Tsistsistas (Northern Cheyenne) and Hinono’ei (Arapaho) allies, defended their families against the illegal attack led by Lieutenant Colonel George Armstrong Custer and the U.S. Seventh Cavalry (fig. 1). This confrontation, dubbed “Custer ’s Last Stand” in U.S. popular culture, is referred to by Lakȟótas as the Battle of Phežísla Wakpá (the
Mnikhówožu Lakȟóta社区领袖、战士和艺术家Matȟó Nážiŋ(站熊)在许多场合用文字和图像证明了他在小大角之战中的经历。这幅由Matȟó Nážiŋ创作的1920年左右的作品被收藏在纽约艺术博物馆的美国原住民艺术藏品中，生动地描绘了1876年6月25日发生的事件。那天，他和o h委员会火灾Šakówiŋ (Seven Council Fires)的其他成员，以及他们的Tsistsistas(北夏安族)和Hinono 'ei(阿拉帕霍族)的盟友，捍卫了他们的家庭，反对由乔治·阿姆斯特朗·卡斯特中校和美国第七骑兵队领导的非法袭击(图1)。在美国流行文化中被称为“卡斯特的最后一战”，被Lakȟótas称为Phežísla wakp之战
{"title":"Hearing Witness: The Wičhówoyake of Matȟó Nážiŋ’s Little Bighorn Muslins","authors":"Ramey Mize","doi":"10.1086/723657","DOIUrl":"https://doi.org/10.1086/723657","url":null,"abstract":"Mnikhówožu Lakȟóta community leader, warrior, and artist Matȟó Nážiŋ (Standing Bear) testified to his experience of the Battle of the Little Bighorn on many occasions, in both words and images. The circa 1920 work by Matȟó Nážiŋ in the Charles and Valerie Diker Collection of Native American Art at The Metropolitan Museum of Art vividly details the events of June 25, 1876, the day he and other members of Očhéthi Šakówiŋ (Seven Council Fires), along with their Tsistsistas (Northern Cheyenne) and Hinono’ei (Arapaho) allies, defended their families against the illegal attack led by Lieutenant Colonel George Armstrong Custer and the U.S. Seventh Cavalry (fig. 1). This confrontation, dubbed “Custer ’s Last Stand” in U.S. popular culture, is referred to by Lakȟótas as the Battle of Phežísla Wakpá (the","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45812499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Museum of Art has held three extraordinary works executed by the Parisian atelier of Pierre Philippe Thomire, which incorporated Russian malachite. This richly patterned semiprecious stone, known for its brilliant green color, had strong associations with the Russian count, collector, and industrialist Nicolai Nikitich Demidov (1773–1828). The first, a monumental vase with gilt bronze figural handles, has been amply studied, and its history traced from the time of its making in 1819 for Demidov to its acquisition by the Museum in 1944. The others, impressive twelvelight torchères, were given to the Museum in 1964 by Rodman A. de Heeren, and until now had not been studied in depth or attributed to a specific patron (fig. 1a, b). This research note Malachite Networks: The Demidov and Medici VasesTorchères in The Met
{"title":"Malachite Networks: The Demidov and Medici Vases-Torchères in The Met","authors":"L. Budrina","doi":"10.1086/723661","DOIUrl":"https://doi.org/10.1086/723661","url":null,"abstract":"Museum of Art has held three extraordinary works executed by the Parisian atelier of Pierre Philippe Thomire, which incorporated Russian malachite. This richly patterned semiprecious stone, known for its brilliant green color, had strong associations with the Russian count, collector, and industrialist Nicolai Nikitich Demidov (1773–1828). The first, a monumental vase with gilt bronze figural handles, has been amply studied, and its history traced from the time of its making in 1819 for Demidov to its acquisition by the Museum in 1944. The others, impressive twelvelight torchères, were given to the Museum in 1964 by Rodman A. de Heeren, and until now had not been studied in depth or attributed to a specific patron (fig. 1a, b). This research note Malachite Networks: The Demidov and Medici VasesTorchères in The Met","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43237059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In an oftencited travel diary entry, the Capuchin alms collector Francisco de Ajofrín recorded the name of a celebrated lacquer painter, José Manuel de la Cerda, and identified the vicereine of New Spain as his patroness. The artist, who worked in the city of Pátzcuaro in westcentral Mexico, has been connected with a handful of surviving works, three of which bear his signature. One of them is a newly discovered tray (batea), now in The Metropolitan Museum of Art (fig. 1), while another in Witnessing Ingenuity: Lacquerware from Michoacán for the Vicereine of New Spain
{"title":"Witnessing Ingenuity: Lacquerware from Michoacán for the Vicereine of New Spain","authors":"Ronda Kasl","doi":"10.1086/723654","DOIUrl":"https://doi.org/10.1086/723654","url":null,"abstract":"In an oftencited travel diary entry, the Capuchin alms collector Francisco de Ajofrín recorded the name of a celebrated lacquer painter, José Manuel de la Cerda, and identified the vicereine of New Spain as his patroness. The artist, who worked in the city of Pátzcuaro in westcentral Mexico, has been connected with a handful of surviving works, three of which bear his signature. One of them is a newly discovered tray (batea), now in The Metropolitan Museum of Art (fig. 1), while another in Witnessing Ingenuity: Lacquerware from Michoacán for the Vicereine of New Spain","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46229638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
York from service in the Coast Guard during World War II, Jacob Lawrence began work on The Shoemaker, a watercolor and gouache painting of a Black craftsperson in his workshop (fig. 1). Surrounded by the products of his labor—the strappy heels and sleek leather loafers that are heaped and hung around him—the shoemaker is poised to create still more, his massive hands wielding tools that will slice through a waiting piece of yellow leather. Rendered in the bold, unmodulated tones of vermilion red, cadmium yellow, bluegreen viridian, cobalt blue, deep black, and earthy ocher associated with the artist’s earlier historical cycles, the painting seemed to signal Lawrence’s return, his own eagerness to get down to work. Jacob Lawrence’s Work Theme, 1945–46
{"title":"Jacob Lawrence’s Work Theme, 1945–46","authors":"Claire Ittner","doi":"10.1086/723658","DOIUrl":"https://doi.org/10.1086/723658","url":null,"abstract":"York from service in the Coast Guard during World War II, Jacob Lawrence began work on The Shoemaker, a watercolor and gouache painting of a Black craftsperson in his workshop (fig. 1). Surrounded by the products of his labor—the strappy heels and sleek leather loafers that are heaped and hung around him—the shoemaker is poised to create still more, his massive hands wielding tools that will slice through a waiting piece of yellow leather. Rendered in the bold, unmodulated tones of vermilion red, cadmium yellow, bluegreen viridian, cobalt blue, deep black, and earthy ocher associated with the artist’s earlier historical cycles, the painting seemed to signal Lawrence’s return, his own eagerness to get down to work. Jacob Lawrence’s Work Theme, 1945–46","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48877619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Giulia Chiostrini, Elizabeth Cleland, Nobuko Shibayama, F. Carò
described the temporary palace of Henry VIII erected at the massive, northern French site of the diplomatic meeting between the English king and Francis I in June 1520. Memorably coined by contemporaries as the “Field of the Cloth of Gold” in recognition of the copious amounts of velvet fabrics on view in both royal enclosures, this moniker is just one reminder of the preeminent role of expensive, sumptuous textiles as conspicuous, competitive signifiers of royal pomp and splendor in Renaissance Europe. The exhibition “The Tudors: Art and Majesty in Renaissance England,” organized by The Metropolitan Museum of Art (2022–23), explores the interplay A MonumentalScale Crimson Velvet Cloth of Gold in The Met: Historical, Technical, and Materials Analysis
{"title":"A Monumental-Scale Crimson Velvet Cloth of Gold in The Met: Historical, Technical, and Materials Analysis","authors":"Giulia Chiostrini, Elizabeth Cleland, Nobuko Shibayama, F. Carò","doi":"10.1086/723660","DOIUrl":"https://doi.org/10.1086/723660","url":null,"abstract":"described the temporary palace of Henry VIII erected at the massive, northern French site of the diplomatic meeting between the English king and Francis I in June 1520. Memorably coined by contemporaries as the “Field of the Cloth of Gold” in recognition of the copious amounts of velvet fabrics on view in both royal enclosures, this moniker is just one reminder of the preeminent role of expensive, sumptuous textiles as conspicuous, competitive signifiers of royal pomp and splendor in Renaissance Europe. The exhibition “The Tudors: Art and Majesty in Renaissance England,” organized by The Metropolitan Museum of Art (2022–23), explores the interplay A MonumentalScale Crimson Velvet Cloth of Gold in The Met: Historical, Technical, and Materials Analysis","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46032674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"New Evidence for the Origins of a Royal Copper Head from the Ancient Near East","authors":"Melissa Eppihimer","doi":"10.1086/723652","DOIUrl":"https://doi.org/10.1086/723652","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45977510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sculpting Reputation: A Terracotta Bust of Senesino by Roubiliac","authors":"M. Baker","doi":"10.1086/723653","DOIUrl":"https://doi.org/10.1086/723653","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60728801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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