Group 3: Metropolitan Museum of Art
Alisa Chasan, Theologia Karagiorgis, Bryan Nevarez and Chloe’ Skye Weiser
[oral presentation: B+ published form: A –JMS]
The Metropolitan Museum of Art is one of the most well known museums in New York City, and for good reason. Its statement of purpose is, in essence, to bring art and education to the American people. It has expressed its desire to expose people to its collection of “more than two million works of art spanning five thousand years of world culture, from prehistory to the present and from every part of the globe” (Metropolitan Museum of Art). It boasts of presenting the best, or near-best, collections of international art, and does so in the interest of appealing to a wide range of audiences, from school-age children to art students, from tourists to teachers. To further its goals, the museum provides training programs for teachers, as well.
The Met’s history is also quite interesting. Although one cannot be sure of the founders’ names or personal backgrounds, it is clear that the museum came into being in 1870. The original paintings collection housed there contained 174 paintings from three private European collections that incorporated works by Dutch and Flemish artists (Metropolitan Museum of Art; Kimmelman). The collection continued growing through the 19th century (for example, upon John Kensett’s death, the museum procured thirty-eight of his canvases) and into the 20th: the museum acquired a Renoir in 1907, in 1910 it was the first public institution to accept a Matisse, and by 1979 it owned five out of the fewer than forty known Vermeers. In 1880 the museum moved to Central Park; however the entrance structure along Fifth Avenue was not completed until 1926. Another comprehensive architectural plan to expand the Met was put into motion for the twenty years between 1971 and 1991. Examples include the Robert Lehman Wing, which houses Old Masters, Impressionist and Post-Impressionist artwork, and which came into being in 1975; the American Wing, which was completed in 1980; the Michael C. Rockefeller Wing, finished in 1982, which unites works from Africa, Oceania, and the Americas; and finally, the 1987 Lila Acheson Wallace Wing of modern art.
The Met’s appearance is important and awe-inspiring as well. The first thing one is likely to notice when visiting the Met is the set of granite steps leading up to the entrance. The steps comprises a public space where people find a place to, sit, eat, relax and converse, and are an ideal starting point from which to take a photo of one’s trip. Since five million people visit the Met per year, the steps were built particularly to ensure safety and to create an entrance that would endure these countless footsteps. In addition, the steps enhance one’s perspective of the museum: it’s not just any building; it’s on a completely different level from everything else. The steps serve to differentiate what’s common (the streets and sidewalks and everything on them) from the sophistication of art within the museum: upon ascending the steps the mode of thinking rises, just as the body physically rises, to a higher plateau. The combination of Greek-inspired Corinthian columns and the neoclassical architecture of the museum entrance (including the carvings and statues of human forms) serve as an indicator of the broad span of time periods from which the art originates, and also further distinguish the building from those around it. The banners that are hanging high on the front of the building show the special, temporary art displays at the Met, at present “The Milkmaid” by Johannes Vermeer.
The Metropolitan Museum of Art houses seventeen permanent exhibits, and so, a large amount of very diverse art. These exhibits include Ancient Near Eastern Art, Medieval Art, European Paintings, Modern Art, Egyptian Art, Greek and Roman Sculptures, etc. Many cultures are represented through paintings, sculptures, photographs, furniture, jewelry, musical instruments, costumes, and so on (Peck 2). The Met does not discriminate when it comes to art; this deems the museum as being universal. New York City is one of the most diverse places in the world and it would, consequently, make sense for its largest museum to match the diversity of its inhabitants. Even individuals who claim they do not enjoy viewing art can find something that suits their interests.
The most recognizable exhibit, both by New Yorkers and foreigners is the European Paintings exhibit. The history of the collection is marked by extraordinary gifts and bequests of European paintings and funds for further acquisition. Among the earliest were those of Catharine Lorillard Wolfe (1887) and Henry Marquand (1889). In 1901, the museum received a bequest of almost seven million dollars from Jacob S. Rogers for the purchase of works in all fields. “The Fortune Teller” by Georges de La Tour, “The Harvesters” by Pieter Bruegel the Elder, and “Cypresses” by Vincent van Gogh are just three examples of the many hundreds of pieces acquired through this fund over the years (de Montebello 26). It was not until 1950 that the curators were able to separate the works into different departments, therefore creating the European Paintings Exhibit. Today, the exhibit holds over two thousand works. Furthermore, rooms contained in the exhibit are organized by country, as opposed to an organization based on subject or content. This allows the viewer to acknowledge both the art of various European nations, in addition to comprehending and experiencing European Paintings in totality. A few other artists displayed include Vermeer, Cézanne and Tiepolo.
The modern art exhibit, also known as the Lila Acheson Wallace Wing, is particularly appealing to the younger generations. The Department of Modern Art surveys a multitude of mediums employed from about 1900 to the present day in more than ten thousand works, primarily by European and American artists (de Montebello 71). Previously, the works possessed by the museum considered “modern” were divided amongst the European Paintings and the American Wing. This separate department was later created with the purpose of uniting the museum’s paintings, sculptures, drawings and decorative arts created after 1900. The modern art exhibit differs significantly from the other exhibits in terms of display method: the works are presented on or around white walls and are illuminated by bright, artificial lighting. This means of display plays a significant role in the viewer’s experience: the white walls allow the viewer to focus solely on the artwork, and to observe and distinguish between all the different colors, shapes and textures incorporated.
The display setting, evidently, is distinct and specific for the different exhibitions according to the nature of the art being showcased. There are many examples: rooms where paintings are exhibited generally have burgundy or evergreen-hued walls, the Greek and Roman sculptures are set against an off-white background, and, as mentioned previously, pure white walls mark the modern art section. Lighting is used to enhance one’s viewing of the art as well; for example, dim lighting illumined antique artifacts and paintings. There are also informative signs meant to improve one’s comprehension. Those disclosing artwork titles and artist names are placed at eye-level and printed in large fonts, while those with more in-depth information about artists’ intentions and motives are at waist-level.
Because the Met is an institution that houses more than two million pieces of artwork, each of which is extremely expensive, an important question arises: where did the money to purchase each of these pieces come from? The museum, as an institution owned by New York, receives public funding (Metropolitan Museum of Art). However, it also receives funding from the private sector as many people donate both money and art to the Met. Some even bequeath art to the museum in their wills. Although there are entry fees to the museum, they provide little purchasing power: all ticket prices are only suggested donations and therefore the museum does not make much money in that regard. The money it does obtain in this manner, however, in combination with money received from the city or donations, enables the museum’s board of curators to purchase works on which they collectively agree.
Every year, almost five million people from all over the world visit the Metropolitan Museum of Art. The visitors fit no mold and, as previously stated, range from young students to foreign tourists. The largest percentage of visitors to the museum is students, most of which visit either as part of a social studies curriculum or for an art class. The second largest percentage of visitors is that of foreign tourists. The museum is very accessible for them as there are brochures and tours available, as well as staff with multilingual capabilities.
The staff members working at the Met are a key part of the experience. There are a total of 1,900 hired employees as well as 800 volunteers (Metropolitan Museum of Art). In the museum lobby, at the information desk, there are people stationed to help one plan one’s viewing experience. As stated before, they even speak a variety of languages so that they can help visitors of all nationalities. In addition, they are very knowledgeable about the history of the museum. As one walks further into the museum, one can see guides in each and every room with displays. These workers are very friendly and helpful, and eager to share information about both art and history. They double as security for the artwork as well, making sure that people don’t do anything to harm them. While these people protect the integrity of the art, some others protect the pieces themselves: the security guards. Throughout the museum there are security people patrolling to make sure no one attempts to make off with a priceless work of art. Finally, perhaps the most key division of the staff is that of the curators, who are responsible for arranging the art in a way that best shows it off. Additionally, they find new works of art to add to the museum’s already impressive collection.
In conclusion, the Metropolitan Museum of Art is a fascinating place to visit if you like art, culture and history. The museum is worth visiting at least once, and more times if one wants to thoroughly observe each of the seventeen permanent international exhibits as well as the current special showings. In truth however, there is such diversity and so much to see that it is nearly impossible to get through the museum in one day, if one prefers spending a long time in each room. The Met certainly achieves its means in having an impressive, unprecedented collection of art that is both accessible and educational to the public; however it can be very overwhelming, so one should be prepared.
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