From Green to White Metropolitan Museum of Art 199936382
European Masterpieces from The Metropolitan Museum of Fine art, New York
Website：https://met.exhn.jp/
Fra Angelico (Guido di Pietro), The Crucifixion
ca. 1420-23, Tempera on woods, gold ground, 63.8 ten 48.three cm
Maitland F. Griggs Drove, Heritance of Maitland F. Griggs, 1943 / 43.98.v
The Metropolitan Museum of Art, New York
Raphael (Raffaello Sanzio or Santi), The Agony in the Garden
ca. 1504, Oil on wood, 24.1 x 28.9 cm
Funds from various donors, 1932 / 32.130.1
The Metropolitan Museum of Art, New York
Lucas Cranach the Elder, The Judgment of Paris
ca. 1528, Oil on beech, 101.9 x 71.1cm
Rogers Fund, 1928 / 28.221
The Metropolitan Museum of Fine art, New York
Caravaggio (Michelangelo Merisi), The Musicians
1597, Oil on canvass, 92.one 10 118.4 cm
Rogers Fund, 1952 / 52.81
The Metropolitan Museum of Art, New York
Georges de La Tour, The Fortune-Teller
ca. 1630s, Oil on sheet, 101.9 ten 123.5 cm
Rogers Fund, 1960 / lx.30
The Metropolitan Museum of Art, New York
Johannes Vermeer, Allegory of the Catholic Faith
ca. 1670-72, Oil on canvas, 114.3 x 88.ix cm
The Friedsam Drove, Bequest of Michael Friedsam, 1931 / 32.100.18
The Metropolitan Museum of Art, New York
François Boucher, The Toilette of Venus
1751, Oil on sail, 108.3 x 85.1 cm
Bequest of William M. Vanderbilt, 1920 / 20.155.9
The Metropolitan Museum of Art, New York
Marie Denise Villers, Marie Joséphine Charlotte du Val d'Ognes (died 1868)
1801, Oil on sheet, 161.3 x 128.6 cm
Mr. and Mrs. Isaac D. Fletcher Drove, Heritance of Isaac D. Fletcher, 1917 / 17.120.204
The Metropolitan Museum of Art, New York
Auguste Renoir, A Young Girl with Daisies
1889, Oil on canvass, 65.1 x 54 cm
The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1959 / 59.21
The Metropolitan Museum of Art, New York
Edgar Degas, Dancers, Pink and Light-green
ca. 1890, Oil on canvas, 82.ii x 75.6 cm
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 / 29.100.42
The Metropolitan Museum of Art, New York
Paul Cézanne, Withal Life with Apples and Pears
ca. 1891-92, Oil on canvas, 44.8 x 58.seven cm
Bequest of Stephen C. Clark, 1960 / 61.101.3
The Metropolitan Museum of Art, New York
Claude Monet, Water Lilies
1916-19, Oil on canvas, 130.2 x 200.vii cm
Souvenir of Louise Reinhardt Smith, 1983 / 1983.532
The Metropolitan Museum of Fine art, New York
Overview
The Metropolitan Museum of Fine art in New York, founded in 1870, possesses a comprehensive collection of cultural artifacts from every corner of the earth. The drove spans over five,000 years, from prehistoric times to the present day. This exhibition presents 65 swell works, 46 of which are existence shown in Nihon for the first time, representing gems of art selected from the collection of more than than ii,500 items in the possession of the Department of European Paintings, one of the Museum's 17 curatorial departments. Information technology brings to Nihon in a single group masterpieces from celebrated artists, the works of whom constitute the colorful pageant of Western painting over the 500 years from the fifteenth-century early Renaissance to the nineteenth-century Postal service-Impressionists. From Fra Angelico, Raphael, Cranach, Titian, and El Greco, to Caravaggio, Georges de La Bout, Rembrandt, Vermeer, Rubens, Velázquez, Poussin, Watteau, and Boucher, on to Goya, Turner, Courbet, Manet, Monet, Renoir, Degas, Gauguin, Van Gogh, and Cézanne, some of the greatest treasures that are the pride of The Metropolitan Museum of Art will exist displayed for the enjoyment of visitors. The exhibition represents an opportunity that we promise all art lovers will accept advantage of.
| Date | February 9 (Wed.) – May 30 (Mon.), 2022 Closed on Tuesdays (except for May three) | ||||
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| Opening Hours | 10:00-xviii:00 *10:00-20:00 on Fridays and Saturdays (Last admission thirty minutes before closing) | ||||
| Venue | The National Art Center, Tokyo Special Exhibition Gallery 1E vii-22-2 Roppongi, Minato-ku, Tokyo 106-8558 | ||||
| Organized by | The National Art Centre, Tokyo; The Metropolitan Museum of Art, New York; Nikkei Inc.; TV TOKYO Corporation; BS TV TOKYO Corporation; TBS; BS-TBS | ||||
| With the support of | American Embassy | ||||
| With the sponsorship of | Daiwa House Manufacture Co., Ltd.; TOPPAN INC.; Mitsubishi Corporation | ||||
| Admission (revenue enhancement included) |
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| Inquiries | (+81) 47-316-2772 (Hello Dial) | ||||
History
The concept for The Metropolitan Museum of Art was start put frontward by a group of Americans who had gathered in Paris on July 4, 1866 to celebrate the 90th anniversary of America'due south Declaration of Independence. The Museum was founded 4 years later, on April 13, 1870. Its mission was to encourage and develop the fine arts and related teaching for the people of America, and it was founded through the tenacious efforts of private citizens including businessmen, people of wealth, and artists. Although the Museum did not take a unmarried work of art when it was starting time founded, its collection grew with the aid of donations from private collectors and the efforts of other stakeholders, finally opening to the public for the first fourth dimension in a small-scale building in Manhattan on February twenty, 1872. In 1880, information technology moved to its nowadays home in a edifice in Central Park. The Museum subsequently continued to grow, and today its collection contains over one,500,000 archaeological artifacts and works of art from every region of the world, spanning more 5,000 years from prehistoric times to the nowadays.
Department of European Paintings
The collection of European paintings began with the purchase of 174 paintings from art dealers in Europe in 1871, one twelvemonth after The Metropolitan Museum of Art was founded. Since then, the collection has continued to expand through donations, bequests, and purchases, currently boasting over ii,500 paintings from European countries spanning the 13th to the early on 20th centuries. The Section's permanent exhibition galleries are located on the second flooring of the Museum, where the Skylights Projection has been underway to update the lighting facilities. Until the diffusion of electric lighting at the stop of the nineteenth century, paintings were both created and appreciated in natural low-cal. The Skylights Project is an attempt to produce a more comfortable and natural environment for the appreciation of artworks by making utilize of natural light admitted through skylights to illuminate the gallery. It was the ensuing construction work for this project that provided the opportunity making the nowadays exhibition possible.
Composition of the Exhibition
I. Devotion and Renaissance
After emerging in Florence, Renaissance culture flourished and spread beyond Europe during the fifteenth and sixteenth centuries. Moving abroad from the medieval worldview, centered on Christian organized religion and theology, it idealized and sought to give "rebirth (renaissance)" to the older humanist values of ancient Greece and Rome.
Italian Renaissance painters developed realistic, three-dimensional ways of expression, taking their cue from classical antiquity. In contrast to the rather flat depictions of Christ and the Virgin Mary typical of the Center Ages―otherworldly images that emphasized their sanctity―Renaissance paintings were inclined to return them as fully rounded homo figures. The space surrounding figures in Renaissance art besides started to be bundled more than rationally, such as past using the i-point perspective method to suggest depth. And, during this menstruation, mythological painting featuring aboriginal Greek and Roman anthropomorphic deities joined religious painting based on Christian themes equally a major genre.
Following the Protestant Reformation in northern Europe in the sixteenth century, the prohibition on the veneration of sacred images led, in Frg and the Netherlands, to an increased need for mythological painting and portraiture in preference to religious painting. Paintings of the Northern Renaissance were characterized by detailed realism; and, in landscapes adopting the aerial perspective, artists mimicked the atmospheric miracle whereby more afar views appear bluer and hazier. The keen observation of nature and minute depictions to be constitute in works by northern artists greatly influenced Italian painters.
This affiliate presents seventeen works by leading painters of the Italian and Northern Renaissance.
Fra Angelico (Guido di Pietro), The Crucifixion
ca. 1420-23, Tempera on forest, gilded ground, 63.eight x 48.3 cm
Maitland F. Griggs Drove, Bequest of Maitland F. Griggs, 1943 / 43.98.5
The Metropolitan Museum of Art, New York
Fra Angelico―a posthumous nickname pregnant "Celestial Blood brother"―was both a devoted Dominican friar and a leading painter of the early Renaissance in Italia. He was among the first painters to use one-bespeak perspective to express 3-dimensional space. In this depiction of Christ on the cross, his gold-filled background makes for a less than realistic setting, but he captures physical depth with an elliptical organization of the crowd that recedes into the distance. The result is a precious case of an early work that merges the unrealistic, planar expression of medieval art with the realism and iii-dimensionality of Renaissance painting.
Raphael (Raffaello Sanzio or Santi), The Agony in the Garden
ca. 1504, Oil on wood, 24.1 10 28.nine cm
Funds from various donors, 1932 / 32.130.1
The Metropolitan Museum of Art, New York
According to the New Testament, Christ led his apostles to the garden of Gethsemane at the Mountain of Olives following the Concluding Supper. There, he prayed in anguish over his impending fate, while his disciples slept effectually him. This image of that moment was created by the legendary Renaissance artist Raphael effectually the age of 20 or 21. Originally, it adorned the predella, or base of an altarpiece, of Madonna and Kid Enthroned with Saints (aka the Colonna Altarpiece), which Raphael painted for the convent Sant' Antonio di Padova in Perugia. This piece of work allows the viewer to bask the delicate, graceful manner of the young artist.
Lucas Cranach the Elder, The Judgment of Paris
ca. 1528, Oil on beech, 101.9 x 71.1cm
Rogers Fund, 1928 / 28.221
The Metropolitan Museum of Art, New York
The Judgment of Paris, a mythological tale that became a popular theme in sixteenth-century Germany, was painted numerous times past German Renaissance master Lucas Cranach the Elderberry. Paris, the Prince of Troy, is called upon to decide who amongst 3 goddesses―Juno, Minerva, and Venus―should receive a gold apple addressed "To the fairest." He selects Venus as the recipient in return for her pledge to bestow upon him the virtually cute woman in the world. In this delineation, the messenger god Mercury, holding a crystal ball that stands in for the aureate apple, introduces the three goddesses to Paris, who has only awakened from a nap in the forest. The bright nude images of the goddesses, each shown at dissimilar angles (side, front, and back), lend a distinctive sensuality. This painting is a must-come across for fine details such equally the armor and jewelry, as well as the typically Northern European meticulous expression of nature, including the lush vegetation and precipitous crags.
II. Absolutism and Enlightenment
This chapter presents xxx masterpieces by artists from various countries who were active from the seventeenth century, a menstruum in which Europe's accented monarchs reasserted their sovereign power, through to the eighteenth century, the Age of Enlightenment.
The Bizarre style that emerged at the start of the seventeenth century in Rome, the middle of the Catholic world, spread quickly throughout Europe in a rich array of guises. Characterized past strong light-and-shade contrasts and dramatic, vivid depictions, Bizarre pictorial expression served to proclaim two loci of ability, ane sacred, the other secular: the Roman Cosmic Church and the accented monarchies.
In the Catholic sphere of influence, many paintings on religious subjects, dramatically rendered to inspire piety, were produced in Italy, Spain, and Flanders. And, particularly in Spain, painters executed magnificent portraits of royalty and the dignity. In the Dutch Republic, officially Protestant and with a developed ceremonious order, other types of painting―landscapes depicting closely observed natural settings, still lifes of flowers and other objects, and genre paintings of everyday life―formed independent genres, ushering in a new phase of art history. In contrast, France under Louis XIV, le Roi Soleil, favored art exalting the power of the sovereign. This led to the Classicist style of painting, marked by society and harmony, which was modeled after Classical and Renaissance art and based on theories propounded by the Royal Academy of Painting and Sculpture (founded in 1648), arbiter of art policy for the land.
Late in Louis 14's reign, at the get-go of the eighteenth century, the delicate and graceful style of the Rococo appeared, seemingly in reaction against austere classicism, and held great appeal until the middle of the century. Some other attribute of the French experience at this time was the number of artists who gained prominence while executing works low in the academy's hierarchy of subject affair, such as genre painting and still life.
By the latter half of the eighteenth century, the Enlightenment had penetrated European club. With Rococo art in French republic now encountering criticism for its vulgar and sensual aspects, Neoclassicism took center stage. Cartoon inspiration from the art of ancient Greece and Rome, it pursued the very platonic of dazzler. During this period, women began to brand conspicuous contributions in various fields of endeavour past pushing past social restrictions. Though modest in number, professional women painters emerged and gained fame. At the aforementioned fourth dimension, the Purple University of Arts was founded in London in 1768, following similar institutions established on the Continent, a motility that affirmed the newly elevated status of British painters.
Caravaggio (Michelangelo Merisi), The Musicians
1597, Oil on canvas, 92.1 ten 118.4 cm
Rogers Fund, 1952 / 52.81
The Metropolitan Museum of Art, New York
The greatest master of seventeenth-century Italian painting, Caravaggio played a dominant function in the formation of the Baroque style with his truthful-to-life portrayals and dramatic interplay of light and shadow. He was 26 when he painted this piece of work for his first patron, Key Francesco Maria del Monte, in 1597. In that yr, Caravaggio was welcomed to join the household of del Monte. The cardinal was an avid supporter of the arts who used his home to host musical and theatrical performances by youths, and it would seem that Caravaggio used some of those performers as the models for this piece of work. However, the add-on of Cupid at the left has given rise to the theory that this painting was intended not as a mere recreation of a recital, but equally an allegory of music and love. The second figure from the right, the youth holding a horn, is speculated to be the painter's self-portrait. The young musicians' smooth, lustrous pare has an androgynous air that reflects Caravaggio's make of languid sensuality.
Georges de La Bout, The Fortune-Teller
ca. 1630s, Oil on canvas, 101.9 x 123.5 cm
Rogers Fund, 1960 / 60.30
The Metropolitan Museum of Fine art, New York
Georges de La Tour was by and large active in the Duchy of Lorraine (today part of northeast France) in the seventeenth century. His prowess was such that he gained an date every bit painter to Louis 13, all the same he was soon forgotten after his expiry and remained and then until his reappraisal in the twentieth century. His works are largely divided into two camps―"24-hour interval paintings" bathed in brilliant light, and "night paintings" that illuminate their subjects with candlelight. A member of the outset group, The Fortune-Teller shows a immature human whose attention is riveted on an old fortune-teller as the surrounding young women rob him of his purse and jewelry. His rigid pose, glaring stare, and eccentric, brightly colored attire create a powerful impression. The theme of fortune-telling spread among European artists in this era, sparked by an early seventeenth-century work by Caravaggio. While La Tour'southward paintings suggest Caravaggio's influence on the choice of subjects and the utilize of lite and shadow, it is unclear how La Tour came into contact with this tendency.
Johannes Vermeer, Allegory of the Catholic Faith
ca. 1670-72, Oil on sheet, 114.3 x 88.ix cm
The Friedsam Collection, Bequest of Michael Friedsam, 1931 / 32.100.18
The Metropolitan Museum of Art, New York
Seventeenth-century Dutch artist Vermeer is best known for his pocket-size genre paintings that tranquilly depicted the everyday life of his young man Hollanders, merely this work from his last years is an unusual allegorical painting inside the artist's oeuvre. The woman, sitting in forepart of a painting of the Crucifixion, personifies Organized religion. The hand on her breast indicates the source of living faith, while the placement of a foot on the globe is interpreted as an expression of the Catholic Church building'due south rule over the globe. The crucifix, beaker, and missal on the table suggest the celebration of the Mass. On the floor are an apple, representing original sin, and a snake crushed past the cornerstone of the Church (Christ). In the officially Protestant Dutch Commonwealth, Catholics were forbidden to worship in public, but they were permitted to celebrate the Mass and hold other religious meetings inside private homes, so-chosen "hidden churches (schuilkerken)." The room depicted in this work may refer to such a church. Vermeer converted to Catholicism before his 1653 marriage.
François Boucher, The Toilette of Venus
1751, Oil on sail, 108.3 x 85.i cm
Bequest of William K. Vanderbilt, 1920 / 20.155.nine
The Metropolitan Museum of Fine art, New York
With their depiction of sensuous mythological scenes and men and women relaxing in pastoral settings, François Boucher'due south vibrant, brilliantly colored paintings brought eighteenth-century French rococo art to its height, gaining Boucher not bad popularity among royalty and the nobility and making him a favorite of Louis XV'due south official mistress Madame Pompadour for more than 15 years. The Toilette of Venus was originally painted to adorn the appartement des bains of the Château de Bellevue, built for Madame Pompadour in the Paris suburbs, and forms a pair with The Bath of Venus (National Gallery of Art, Washington). The nude figure of Venus with her alluring cervix tilted to 1 side has the whiteness and smoothness of porcelain, imparting an air of sweet sensuousness. Cupid and white doves are traditional attributes of Venus. The luxurious and superbly executed texture accentuate the opulent atmosphere.
Marie Denise Villers, Marie Joséphine Charlotte du Val d'Ognes (died 1868)
1801, Oil on canvass, 161.3 x 128.6 cm
Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917 / 17.120.204
The Metropolitan Museum of Art, New York
The second half of the eighteenth century in French republic saw women challenging social restraints to play an increasingly active role in various fields. Reflecting this was the emergence of professional person female painters, such equally Élisabeth Vigée Le Brun, exclusive portrait painter to Marie Antoinette. Marie Denise Villers, who belonged to the side by side generation of painters afterward Vigée Le Brun, studied painting under the Academician Anne-Louis Girodet de Roussy-Trioson, and exhibited her artwork several times at the Salon between 1799 and 1814. For many years, Marie Joséphine Charlotte du Val d'Ognes (died 1868) was thought to take been painted by the prominent Neoclassical painter Jacques-Louis David, merely questions were raised around the center of the twentieth century, and in 1996, a researcher declared it to exist the piece of work of Villers. Her skill is apparent in the clear, uncluttered limerick, and the deft use of backlight. The work exemplifies progress in the field of research on female painters.
III. Revolution and Art for the People
The nineteenth century was a time of great upheaval as the tide of modernization swept across Europe. Taking for its historical context the development of civil society, this affiliate presents eighteen masterpieces by painters of the era noted for their innovative arroyo to art.
The eruption of the French Revolution in 1789 proved a turning point not just for France simply for the whole of Europe, ushering in modern society. The revolutionary wave reached its peak in 1848 when popular uprisings engulfed many countries. In the art globe, dissimilar movements arose, one after another, reflecting the rapid changes in society. During the first half of the nineteenth century, Romanticism gained a following with depictions of fantastic landscapes and narrative scenes. The individual creative person'due south sensibility and unfettered imagination held sway, in reaction confronting academicism's rigid pursuit of a universal ideal of beauty modeled on ancient art. In the middle of the century, Realism came to the fore with its precise and truthful depictions of subjects, such as the daily lives of farmers and laborers, and renderings of spontaneous scenes eschewing idealization.
The achievements of Realism were inherited by Édouard Manet and Edgar Degas, who began depicting various aspects of urban life in Paris as modernization took concur, also equally by Claude Monet and Auguste Renoir, whose works came to exist known by the term "Impressionism" in the tardily 1870s. Impressionist painters directed their gaze toward the remodeled thoroughfares of Paris and to the city's environment, viewed under different weathers, and attempted to capture on sail the fleeting image of a moment, using pure colors and small, dab-like brushstrokes.
The second half of the 1880s saw the advent of painters, including Paul Cézanne, Paul Gauguin, and Vincent van Gogh, who, in respect to both methods and ideas, departed from Impressionism. Their works, while varying widely themselves, are mostly grouped nether the umbrella term of "Mail service-Impressionism." Characterized by, amidst other things, simplified forms, flat composition, and intense coloring (with frequent use of chief colors), they heralded the avant-garde art of the early twentieth century.
Auguste Renoir, A Young Daughter with Daisies
1889, Oil on sail, 65.1 x 54 cm
The Mr. and Mrs. Henry Ittleson Jr. Buy Fund, 1959 / 59.21
The Metropolitan Museum of Art, New York
Many impressionist artists painted landscapes, but Renoir made his proper noun as a painter of portraits and human figures. Renoir's focus on the human being form stayed with him until the terminate of his life and his paintings feature immature women with plump bodies. For Renoir, these women represented the platonic motif for addressing the kinds of challenges confronting the painter, such as the expression of volume and low-cal furnishings. A Young Girl with Daisies, produced in 1889, fuses the classical style with which Renoir experimented in the 1880s with a softer and lighter touch. The human effigy and the scenery are both depicted in soft shades of lite and dark without the utilize of line drawings and the unabridged epitome is imbued with beautiful colour harmony.
Edgar Degas, Dancers, Pink and Green
ca. 1890, Oil on canvas, 82.2 10 75.6 cm
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 / 29.100.42
The Metropolitan Museum of Art, New York
Edgar Degas had a fondness for dancers, who feature in many of his works. Dancers, Pink and Greenish depicts dancers arranging their costumes backstage as seen from the shadows of the wings. Degas liked to capture the actions of people at such unguarded moments. His employ of close-ups and cutting-off figures suggests the influence of ukiyoe, which were popular at the time, and of photography, a genre that adult in the nineteenth century. Degas' eyesight had already deteriorated considerably when he created this work. But this brilliantly colored painting shows that he notwithstanding had a sharp eye for rendering the impromptu movements of dancers.
Paul Cézanne, Still Life with Apples and Pears
ca. 1891-92, Oil on canvass, 44.8 x 58.7 cm
Heritance of Stephen C. Clark, 1960 / 61.101.3
The Metropolitan Museum of Fine art, New York
The solid form of the apples and pears depicted in this painting instill them with an extraordinary sense of presence. The tabular array appears tilted and the walls distorted, but all the elements contained in the work are finely counterbalanced to produce a highly stable limerick. Devoting himself to his painting at Aix-en-Provence in southern France, Paul Cézanne strove to reproduce on sheet the vibrant sensations he felt from ascertainment. Considering of their groundbreaking style, Cézanne's works enjoyed lilliputian popularity among the masses at the time, only they were admired by progressive artists and fine art critics, and had an enormous influence on cubism and other avant-garde movements in the early on twentieth century after Cézanne'due south death.
Claude Monet, Water Lilies
1916-nineteen, Oil on canvas, 130.2 x 200.seven cm
Gift of Louise Reinhardt Smith, 1983 / 1983.532
The Metropolitan Museum of Art, New York
From around 1897, Monet made the water-lily pond in the garden of his Giverny home the main theme of his artwork for the next thirty years. Before long, he conceived the idea of adorning a whole room with works focused on water lilies, and from around 1915, he started producing a series of large wall paintings, which he called "Grandes Décorations." The work displayed here forms part of this serial. The mysterious scene, without perspective, reflects Monet's vision at a time when he was suffering from cataracts. Employing free brushstrokes of blue, light-green, yellowish, white, and other colors, the work contrasts the fictive reflection of the sky and various plants in the pond water with the real water-lily leaves on the water'due south surface and aquatic plants under the water. Such abstract canvases, distinctly representative of Monet the innovator, are viewed as anticipating abstruse expressionism.
Source: https://www.nact.jp/english/exhibitions/2021/met/
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