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The form of tin-glazed earthenware known as maiolica reveals much about the culture and spirit of Renaissance Italy. Engagingly decorative, often spectacularly colorful, sometimes whimsical or frankly bawdy, these magnificent objects, which were generally made for use rather than simple ornamentation, present a fascinating glimpse into the realities of daily life. Though not as well known as Renaissance painting and sculpture, maiolica is also prized by collectors and amateurs of the decorative arts the world over. This volume offers highlights of the world-class collection of maiolica at the Metropolitan Museum. It presents 135 masterpieces that reflect more than four hundred years of exquisite artistry, ranging from early pieces from Pesaro—including an eight-figure group of the Lamentation, the largest, most ambitious piece of sculpture produced in a Renaissance maiolica workshop—to everyday objects such as albarelli (pharmacy jars), bella donna plates, and humorous genre scenes. Each piece has been newly photographed for this volume, and each is presented with a full discussion, provenance, exhibition history, publication history, notes on form and glaze, and condition report. Two essays by Timothy Wilson, widely considered the foremost scholar in the field, provide overviews of the history and technique of maiolica as well as an account of the formation of The Met's collection. Also featured is a wide-ranging introduction by Luke Syson that examines how the function of an object governed the visual and compositional choices made by the pottery painter. As the latest volume in The Met's series of decorative arts highlights, Maiolica is an invaluable resource for scholars and collectors as well as an absorbing general introduction to a multifaceted subject.
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.
Includes report of the director of fine arts, of the director of the Museum, and of the director of the Technical schools.
This volume catalogues more than 400 decorative objects in the Robert Lehman Collection at The Metropolitan Museum of Art, including painted enamels, snuffboxes, porcelain, pottery, ceramics, jewellery, furniture, cast metal, and textiles from throughout Europe and Asia, with the majority dating from the late seventh century to the 20th century.
Portrait sculptures are among the most vibrant records of ancient Greek and Roman culture. They represent people of all ages and social strata: revered poets and philosophers, emperors and their family members, military heroes, local dignitaries, ordinary citizens, and young children. The Met's distinguished collection of Greek and Roman portraits in stone and bronze is published in its entirety for the first time in this volume. Paul Zanker, a leading authority on Roman sculpture today, has brought his exceptional knowledge to the study of these portraits; in presenting them, he brings the ancient world to life for contemporary audiences. Each work is lavishly illustrated, meticulously described, and placed in its historical and cultural context. The lives and achievement of significant figures are discussed in the framework of the political, social, and practical circumstances that influenced their portrait's forms and styles—from the unvarnished realism of the late Republican period to the idealizing and progressively abstract tendencies that followed. Analyses of marble portraits recarved into new likenesses after their original subjects were forgotten or officially repudiated provide especially compelling insights. Observations on fashions in hairstyling, which typically originated with the Imperial family and spread as fast as the rulers' latest portraits could be distributed, not only edify and amuse but also link the Romans' motives and appetite for imitation to our own. More than a collection catalogue, Roman Portraits is a thorough and multifaceted survey of ancient portraiture. Charting the evolution of this art from its origins in ancient Greece, it renews our appreciation of an connection to these imposing, timeless works.