MAY – AUGUST 2000
New Exhibitions
Upcoming Exhibitions
Continuing Exhibitions
New and Recently Opened Installations
Traveling Exhibitions
Visitor Information
OF SPECIAL NOTE:
PRESS RELEASES NOW ONLINE
All of the Metropolitan Museum's press releases are now online at the Museum's recently expanded and redesigned Web site, www.metmuseum.org. You can access them by entering the site and clicking on News from the Met — and then again on Press Releases and General Information. From there, you can choose from any of the Current Releases or from the Press Release Archive that dates back to January 1998. We hope you will find that having this information available to you 24 hours a day in one convenient location is helpful, and we encourage you to view all of the new features now offered throughout the site, including pictures and information on more than 3,500 works of art from the collection. A press release explaining the new Web site in detail can be found in Current Releases on the site.
NEW EXHIBITIONS
A CENTURY OF DESIGN, PART II: 1925–1950
May 9 — October 29, 2000
This is the second in a four–part series of exhibitions surveying design in the 20th century through the presentation of significant objects in all media by major European modernist designers, drawn from the Museum's collection. While the luxurious and sensual aesthetic of Art Deco reigned in France during the late 1920s and 1930s, avant–garde German design of the same period presented an ethical and polemical antithesis. Bauhaus designers such as Marianne Brandt, Walter Gropius, Ludwig Mies van der Rohe, and Wilhelm Wagenfeld explored the possibilities of functionalism, mass production, and industrial materials. Though enormously influential, the severity of their uncompromising work was soon challenged by the softer lines and natural materials of Scandinavian design from the 1930s by such designers as Alvar Aalto and Bruno Mathsson. This exhibition is an interesting complement to American Modern, 1925–1940: Design for a New Age.
THE FORGOTTEN FRIEZES FROM THE CASTLE OF VÉLEZ BLANCO
May 12, 2000 — January 7, 2001
An extraordinary group of six spectacular carved pine friezes from the Musée des Arts Décoratifs in Paris is on display to celebrate the Museum's reopening of the newly renovated Renaissance patio from the Fajardo castle at Vélez Blanco in southern Spain (see page 19). Recently discovered, these 16th–century reliefs, each nearly 20 feet in length, were once part of the decoration of the reception halls in the same castle and are boldly carved with classical and mythological scenes representing the Triumph of Julius Caesar and the Labors of Hercules.
SCULPTURE AND DECORATIVE ARTS OF THE SPANISH RENAISSANCE
May 12, 2000 — January 7, 2001
The Museum's small but select collection of Spanish polychrome sculpture — among the most important such holdings in the U.S. — is displayed in the gallery adjacent to the newly reopened Vélez Blanco Patio (see page 19). The sculptures, dating from the early 16th to the mid–17th century, are augmented by groupings of Spanish decorative arts, displayed to reveal the varied strands of influence — Moorish, Flemish, and Italian Renaissance — that enriched the glittering and vibrant material culture of Renaissance Spain. Among the highlights of the installation are two rare and delicate 11–foot–high embroidered hangings depicting heroic events in the Catholic reconquest of Spain. Long in storage, they are displayed to celebrate the patio's reopening.
DAVID SMITH ON THE ROOF
May 16 – late fall 2000 (weather permitting)
A selection of works in burnished stainless steel by David Smith (1906–1965), considered the most original and influential American sculptor of his generation, is installed on the Museum's 10,000–square–foot open–air Iris and B. Gerald Cantor Roof Garden, which offers a panoramic view of the Manhattan skyline and Central Park. Beverage and sandwich service is available from 10:00 a.m. until closing, including Friday and Saturday evenings.
The installation is made possible by the Lita Annenberg Hazen Charitable Trust.
AMERICAN MODERN, 1925–1940: DESIGN FOR A NEW AGE
May 16, 2000 — January 7, 2001
Between 1925 and 1940, a pioneer group of industrial designers emerged in this country who decisively altered the shape and character of the everyday things with which we live. Employing new technologies and materials available in America, these designers rejected historicist ornament, preferring the clean, uncluttered lines and geometric forms of European functionalism. They created objects that reflected the dynamism of the 20th century, trying their hand at everything from streamlined locomotives and "skyscraper" furniture to cocktail shakers and kitchen appliances. On display are approximately 150 objects — furniture, clocks, appliances, lamps, textiles, posters, and more from the Museum's collection and the John C. Waddell Collection, a major promised gift to the Metropolitan — created by the first generation of American industrial designers, including Norman Bel Geddes, Donald Deskey, Henry Dreyfuss, Paul Frankl, Eliel Saarinen, Walter Dorwin Teague, Walter von Nessen, Russel Wright, and others. A related exhibition of interest, opening May 9, is A Century of Design, Part II: 1925–1950 (see page 1).
The exhibition was organized by The Metropolitan Museum of Art and the American Federation of Arts.
Support has been provided by the William Randolph Hearst Foundation and the National Patrons of the AFA.
Accompanied by a publication.
THE ANNENBERG COLLECTION OF IMPRESSIONIST AND POSTIMPRESSIONIST MASTERPIECES
June 6 – mid–November 2000
In an annual event, the 53 paintings, drawings, and watercolors that compose the Annenberg Collection of Impressionist and Postimpressionist masterworks are once again on view in the Museum's Nineteenth–Century European Paintings and Sculpture Galleries. The collection, acknowledged as one of the most distinguished private collections of its kind, includes the work of 18 of the greatest artists of the 19th and early 20th centuries, among them Manet, Monet, Renoir, Cézanne, Van Gogh, Gauguin, and Picasso. Assembled by the Honorable Walter H. and Leonore Annenberg, the collection is loaned generously by them to the Metropolitan for six months of every year.
JOHN SINGER SARGENT BEYOND THE PORTRAIT STUDIO: PAINTINGS, DRAWINGS, AND WATERCOLORS FROM THE COLLECTION
June 6 – September 24, 2000
Some 100 paintings and drawings selected from the Museum's extensive holdings illuminate episodes in Sargent's career as he studied and sought inspiration outside the confines of the portrait studio. These works reflect his travels to Spain, Morocco, and other destinations in North Africa and the Near East; his enduring fascination with Venice; his summer holidays in the Italian lake district and the Alps; his tours of North America, including Florida and the Rocky Mountains; and his travels to the western front during World War I as an official war artist. Also on view are his preparatory sketches for allegorical murals for the Boston Public Library, the Museum of Fine Arts, Boston, and Harvard University's Widener Library. The exhibition commemorates the 75th anniversary of the artist's death and the 50th anniversary of the gift of numerous works to the Metropolitan by his sister, Mrs. Francis Ormond.
The exhibition and its accompanying publications are made possible by the Marguerite and Frank A. Cosgrove Jr. Fund.
OTHER PICTURES: VERNACULAR PHOTOGRAPHS FROM THE THOMAS WALTHER COLLECTION
June 6 — August 27, 2000
This selection of anonymous vernacular photographs from the 1920s to the 1960s teases the eye and delights the mind. Cut loose from their original context but infused with the aesthetic spirit of their time, these unintended and unexpected masterpieces often call to mind the work of master photographers such as Henri Cartier–Bresson, László Moholy–Nagy, or Robert Frank. Drawn from the collection of Thomas Walther, these surprising images shed new light on one of the most prolific and eccentric artists of our century: "Photographer Unknown." Accompanied by a publication.
FIREWORKS! FOUR CENTURIES OF PYROTECHNICS IN PRINTS AND DRAWINGS
June 6 — September 17, 2000
More than 100 prints and drawings, culled primarily from the Metropolitan's collection, illustrate celebrations in which fireworks mark special occasions, such as births, weddings, and royal entries. The works range in date from the 15th to the 20th century and include depictions of firework displays at the Vatican, on the Arno in Florence, lighting up the cathedral in Antwerp, at Versailles, in St. Petersburg and Vienna, and celebrating the opening of the Brooklyn Bridge. Among the artists represented are Antonio Tempesta, Jacques Callot, Claude Lorrain, Jean–Louis Desprez, Francesco Piranesi, Winslow Homer, Edgar Degas, and the lithographers Currier and Ives.
Accompanied by a Museum Bulletin.
CHARDIN
June 27 – Septemer 3, 2000
This major loan exhibition offers a survey of Chardin's distinguished career as a still–life and genre painter, as seen in 66 works from international collections. The son of a Parisian artisan, Jean–Siméon Chardin (1699–1779) was received into the French Academy in 1728. The quality of his naturalistic painting in the 17th–century Dutch tradition was exceptional and his success as a painter of animals, birds, and fruit was immediate. The artist later turned to half–length figures and genre scenes and his interior views, which depict 18th–century bourgeois life, are remarkable for the studied harmony of their pictorial structure. The critic Diderot wrote in 1763 that a still life by Chardin "is nature itself; the objects free themselves from the canvas and are deceptively true to life."
Among the highlights of the exhibition are The Ray (Musée du Louvre, Paris), Girl with Shuttlecock (private collection), The Governess (National Gallery of Canada, Ottawa), and Basket of Wild Strawberries (private collection), as well as Soap Bubbles, a painting in the Metropolitan Museum's collection.
The exhibition is made possible by The Florence Gould Foundation.
The exhibition was organized by The Metropolitan Museum of Art, New York, the Réunion des musées nationaux, Paris, the Kunstmuseum and Kunsthalle, Düsseldorf, and the Royal Academy of Arts, London.
An indemnity has been granted by the Federal Council on the Arts and the Humanities.
Accompanied by a catalogue.
THE BEGINNING OF BAROQUE: CARRACCI AT THE METROPOLITAN
July 7 – September 17, 2000
Between the years 1580 and 1610, the Carracci — Annibale, Agostino, and their cousin Ludovico — laid the foundation for what we know as Baroque art. Through a series of remarkable acquisitions — most notably, Ludovico Carracci's groundbreaking Lamentation purchased just six months ago for a record–setting price — the Metropolitan Museum's collection of works by the Carracci is now the richest and most comprehensive in this hemisphere. In this exhibition, visitors can acquaint themselves with paintings, drawings, and prints that changed the course of European painting for two and a half centuries.
MAX BECKMANN PRINTS
July 14, 2000 – January 7, 2001
A selection of recent acquisitions of early drypoints created between 1914 and 1922 by this German master. Included are images from the artist's portfolios Faces of 1914–18 and The Fair of 1922. The rawness of emotions and compressed spaces of these kaleidoscopic images — ranging from operating rooms to merry–go–rounds — contain the seeds of Beckmann's later oeuvre.
PARKS AND PROMENADES: MAURICE PRENDERGAST IN THE METROPOLITAN MUSEUM OF ART
July 25 – October 22, 2000
A selection of paintings, watercolors, drawings, and prints by the New England modernist Maurice Prendergast (1858–1924), all drawn from the Museum's collection. His watercolors, which provide an engaging chronicle of daily life, capture fleeting, incidental imagery in shimmering hues. The exhibition includes the 40 large–scale watercolors once bound in the Large Boston Public Garden Sketchbook.
The exhibition is made possible by Robert Lehman Foundation, Inc.
UPCOMING EXHIBITIONS
THE EMBODIED IMAGE: CHINESE CALLIGRAPHY FROM THE JOHN B. ELLIOTT COLLECTION
September 15, 2000 – January 7, 2001
The Elliott Collection is perhaps the finest collection of Chinese calligraphy outside Asia, spanning the period from the inception of writing as a fine art in the fourth century to the modern era. More than 50 calligraphic works — hangings and handscrolls, album leaves, and other treasures — and 10–12 objects from the collection will be featured in this exhibition, accompanied by selections from the Metropolitan Museum's renowned Crawford Collection and select private collections. The presentation of these approximately 130 works together in a large–scale exhibition will constitute the most important display of calligraphy ever assembled in the West. The exhibition is made possible by The Dillon Fund.
Accompanied by a catalogue.
ART AND THE EMPIRE CITY: NEW YORK, 1825–1861
September 19, 2000 – January 7, 2001
In America during the second quarter of the 19th century — between 1825, when the Erie Canal was completed, and 1861, when the Civil War began — the visual arts proliferated. This landmark exhibition explores in exceptional depth the history of American art of this period through a selection of works created in and for New York City, which at that time blossomed into the largest city in the Western Hemisphere and became the center of manufacturing, culture, and the arts. More than 300 objects — paintings, sculpture, architectural and city planning documents, photography, lithography, and the full gamut of decorative arts, including furniture, silver, ceramics, and glass — will be shown, assembled from some 100 lenders in the United States and Europe and including approximately 100 works in all media from the Metropolitan's own collection.
The exhibition is made possible by Fleet.
The accompanying catalogue is made possible through the support of the William Cullen Bryant Fellows.
"LA DIVINE COMTESSE": PHOTOGRAPHS OF THE COUNTESS DE CASTIGLIONE
September 19 — December 31, 2000
Considered the most beautiful woman of her time, the Countess de Castiglione was a special agent for the cause of Italian unification, the mistress of Napoleon III, and a mysterious recluse notorious for her multiple love affairs. She collaborated with photographer Pierre–Louis Pierson to chronicle her natural beauty and extravagant couture and to recreate for posterity the great moments of her public life. This exhibition of approximately 50 photographs, many of which were elaborately painted under her direction, will tell an extraordinary tale of narcissism and delusion — and of a surprisingly innovative approach to photography.
Accompanied by a publication.
QUEEN VICTORIA AND THOMAS SULLY
September 19 – December 31, 2000
The highlight of the career of the Philadelphia portraitist Thomas Sully (1783–1872) was his 1837–38 commission to paint the young Queen Victoria. This exhibition will explore the artist's experiences in London during the exciting coronation year and the success of his portraits of the queen. Included will be oil portraits, wash drawings, and graphite sketches by Sully, along with a selection of related works by other artists and various mementos of his trip. The exhibition will be mounted in commemoration of the anniversary of Queen Victoria's death in 1901. The exhibition is made possible by Crown Equipment Corporation.
Accompanied by a catalogue.
THOMAS SULLY IN THE METROPOLITAN
September 19, 2000 — January 7, 2001
Presented in conjunction with Queen Victoria and Thomas Sully, described previously, this display of the Museum's collection of paintings and drawings by Sully will feature works given by his grandson, Francis T. S. Darley. The selection will include depictions of prominent social figures of the day, members of the artist's family, self–portraits, and other works.
The Eugénie Prendergast Exhibitions of American Art are made possible by a grant from Jan and Warren Adelson.
EGYPTIAN ART AT ETON COLLEGE: SELECTIONS FROM THE MYERS MUSEUM
September 26, 2000 – January 21, 2001
Eton College in England houses one of the world's finest collections of ancient Egyptian decorative arts. Little known outside of Eton, the core of the collection was acquired by Major William Joseph Myers (1858–1899), an alumnus of the college. The exhibition will highlight a selection of approximately 150 works of art, including a series of stunning chalices and bowls of Egyptian faience, an exceptionally rare pectoral of electrum, and a finely carved, fragmentary wooden statuette of a man.
The exhibition is made possible by Lewis B. and Dorothy Cullman.
The exhibition is organized by The Myers Museum, Eton College and The Metropolitan Museum of Art.
Accompanied by a publication.
THE YEAR ONE: ART OF THE ANCIENT WORLD, EAST AND WEST
October 3, 2000 – January 14, 2001
As part of its celebration of the new millennium, the Metropolitan Museum is preparing an exhibition of masterpieces from its own collection that were produced some 2,000 years ago in the period just before and after the Year One. Drawn from six departments in the Museum, the approximately 150 works come from regions as diverse as western Europe, the Mediterranean, Africa, the Middle East, India, China, Southeast Asia, and the Americas. The exhibition not only will feature magnificent and distinctive works from each of these areas, but also will highlight the interconnections that existed between many of these widely separated parts of the world. Some relationships were established through the extension of Roman power under the rule of Augustus, the first Roman emperor (27 B.C.–A.D. 14), others through the overland and maritime trade routes that provided the East and West with tantalizing glimpses of each other and also linked cultures of Asia in an unprecedented fashion. Among the works on view will be Roman portraits, marble architectural elements, wall frescoes, and glass, Celtic metalwork, Egyptian sculpture, a Gandharan bodhisattva, Han Dynasty terracotta figures, Dongson drums from Vietnam and Indonesia, and hammered gold Calima face masks found in modern–day Colombia. The exhibition will give the public an opportunity to see the richness and variety of cultures that flourished 2,000 years ago and the numerous interconnections that already existed between distant parts of the world.
Accompanied by a publication.
THE GOLDEN DEER OF EURASIA: SCYTHIAN AND SARMATIAN TREASURES FROM THE RUSSIAN STEPPES
October 12, 2000 – February 4, 2001
This exhibition will display spectacular finds of gold and silver recently excavated at Filippovka in Bashkortostan, Russia — works that have never been seen in the United States — along with related Scythian, Sarmatian, and Siberian objects from the State Hermitage Museum in St. Petersburg. Created around the fifth to fourth century B.C. by nomadic people who lived in the open steppe in the southern Ural Mountain region, the distinctive works of art from Filippovka include wooden deerlike creatures overlaid with sheets of gold and silver, as well as gold attachments for vessels with representations of animals and gold plaques originally attached to leather or fabric. The subjects commonly represented on the Filippovka gold are similar to the animal repertory of contemporary Scythian art, but the vibrant and decorative curvilinear elaboration of the body surfaces is unique in this area and resembles the style of works of art found much further east in the frozen tombs of the Altai Mountain region of Siberia and in western China.
Accompanied by a catalogue.
ROMANTICISM AND THE SCHOOL OF NATURE: NINETEENTH–CENTURY DRAWINGS AND PAINTINGS FROM THE COLLECTION OF KAREN B. COHEN
October 17, 2000 – January 21, 2001
More than 100 paintings, drawings, and oil sketches will be on view in this exhibition of selected works from the holdings of Karen B. Cohen, noted New York collector. Included will be landscapes, portraits, figure compositions, and still lifes by great artists of the Romantic period, the School of Barbizon, and their followers, from Prud'hon to Seurat. The Cohen collection represents several artists in depth; thus, the exhibition will feature a varied range of work by such masters as Couture, Gericault, Daubigny, Rousseau, and especially Delacroix, several of whose drawings and watercolors are promised gifts to the Metropolitan. Among other highlights will be a group of oil paintings — both landscapes and portraits — by Courbet and a series of cloud studies by Constable.
SILVER IN ANCIENT PERU
November 3, 2000 – April 22, 2001
Ancient Peruvian silver — one of three metals extensively worked in Peru from about 500 B.C. onwards, and rarer at the time than gold — will be the focus of this exhibition, which brings together for the first time 150 well–preserved silver objects from public and private collections in the United States. Spanning the period from the early part of the first millennium until the 16th century, the works will include two rare beakers covered with narrative scenes in fine repoussé work, one of only five surviving backrests of a litter decorated with cut–out silver sheet, four large repoussé disks, miniature models of a garden scene and funeral procession, personal ornaments, and an important group of silver vessels in the shape of human and animal figures from the Metropolitan's collection.
The exhibition is organized in collaboration with the Americas Society, New York.
Accompanied by a catalogue.
THE STILL LIFES OF EVARISTO BASCHENIS AND THE MUSIC OF SILENCE
November 21, 2000 — March 4, 2001
This exhibition is devoted to the paintings of Evaristo Baschenis (Bergamo, 1617–1677), the outstanding still–life painter of 17th–century Italy. Although unfamiliar to American audiences, his hauntingly poetic still lifes of musical instruments have been compared to Chardin's paintings, especially for their geometric structure and careful simplicity. Approximately 15 paintings from public and private collections throughout northern Italy will be on view in the Robert Lehman Wing. Among them will be Baschenis's masterpiece, a triptych done for the Agliardi family of Bergamo, which includes a self–portrait and portraits of the family members playing instruments. Also to be included are books on perspective and examples of period musical instruments from the Museum's collection.
The exhibition is made possible by Banca Popolare di Bergamo.
The exhibition is organized by The Metropolitan Museum of Art, New York, with the Accademia Carrara, Bergamo, and the Superintendency of Milan.
Accompanied by a catalogue.
A CENTURY OF DESIGN, PART III: 1950–1975
November 2000 – April 2001
This will be the third in a four–part series of exhibitions surveying design in the 20th century through the presentation of significant objects in all media by major European modernist designers, drawn from the Museum's collection. During this period, European and American modernist designers worked in a number of different idioms that explored the possibilities of new materials, technologies, and aesthetics, such as organic modernism, Scandinavian modernism, and postwar Italian modernism. The concurrent origins of the studio craft movement presented a growing dichotomy between handmade and mass–produced objects.
ANNUAL CHRISTMAS TREE AND NEAPOLITAN BAROQUE CRÈCHE
November 25, 2000 – January 7, 2001
The Museum continues a long–standing holiday tradition with the annual presentation of its Christmas tree, a favorite of New Yorkers and visitors from out of town. A vivid 18th–century Neapolitan crèche scene, embellished with a profuse array of diminutive, lifelike attendant figures and silk–robed angels hovering above, adorns the candlelit spruce. Recorded music adds to the enjoyment of the holiday display. Lighting ceremony Friday and Saturday evenings at 7:00.
The installation is made possible by The Loretta Hines Howard Trust.
THE SHAHNAMA OF MUHAMMAD JUKI
Early 2001
The illustrated Shahnama made for the Timurid prince Muhammad Juki is a superb example of painting from Herat, one of the great centers of 15th–century Persian art. This celebrated version of the Persian epic, which now belongs to the Royal Asiatic Society in London, will be displayed unbound for the first time, with all 31 of its miniatures on view.
The exhibition is made possible by The Hagop Kevorkian Fund.
PHOTOGRAPHY: PROCESSES, PRESERVATION, TREATMENT
January 30 — May 6, 2001
Celebrating the opening of the new Sherman Fairchild Center for Works on Paper and Photographs Conservation, this exhibition will explain various photographic processes and explore issues of condition, preservation, and treatment. The selection of photographic prints and negatives displayed — from throughout the medium's history and running the gamut from superbly preserved to unfortunately time–worn — will be accompanied by revealing examples of before– and after–treatment documentation, microscopic views, and explanatory texts.
DYNASTY TO REPUBLIC: LATE 19TH– AND EARLY 20TH–CENTURY CHINESE PAINTING FROM THE ROBERT H. ELLSWORTH COLLECTION
January 30 – August 19, 2001
This selection from the nearly 500 paintings in the Ellsworth Collection at the Metropolitan Museum will focus on Chinese painting created during the period of clashing social visions and dramatic political change that marked China's entry into the modern world. In the arts, it was a time when the tensions between tradition and innovation, native and foreign styles reached an unprecedented level of intensity. The Ellsworth Collection encompasses nearly all of the traditional masters working during this period, including major examples by the Shanghai School masters Wu Changshi (1844–1927) and Wang Zhen (1867–1938), the Western–influenced reformers Gao Jianfu (1878–1951) and Zu Beihong (1895–1953), and the advocates of a new traditionalism: Fu Baoshi (1904–1965), Huang Binhong (1865–1955), and Zhang Daqian (Chang Dai–chien, 1899–1983). Of particular note are nearly 40 works by Qi Baishi (1864–1957), one of the best–known Chinese painters of all time.
The exhibition and accompanying catalogue are made possible by The Dillon Fund.
CORREGGIO AND PARMIGIANINO: MASTER DRAFTSMEN OF THE RENAISSANCE
February 6 — May 6, 2001
Correggio and Parmigianino were two of the greatest masters of the Emilian school of early 16th–century Italy. This exhibition of more than 130 drawings from English and North American public and private collections will be the first time that a major selection of their drawings has been shown together. In his day Correggio became famous for creating magical effects of light and shadow in his paintings and drawings. Emerging from Correggio's powerful legacy, Parmigianino came into his own as a master of elegant figure drawing and as a leading artist of Mannerism. The exhibition will present a wide variety of drawing types by the two artists — rapid sketches, careful life studies, and spirited composition drafts, as well as monumental finished drawings — to illustrate the range of their creative powers. Many of the works included were preparatory for oil paintings and frescoes that are now considered milestones in the history of Italian art.
The exhibition has been organized by The Metropolitan Museum of Art and The British Museum with the participation of The Royal Library.
Accompanied by a catalogue.
WILLIAM TROST RICHARDS IN THE METROPOLITAN MUSEUM OF ART
Mid–February – mid–May 2001
The American artist William Trost Richards (1833–1905) was associated with both the Hudson River School and the American Pre–Raphaelite movement. Landscapes in oil, watercolor, graphite, and ink from the Museum's rich collection of his works will be shown with selections from a loan collection of Richards's charming postcard–size watercolors of landscape and marine subjects in Pennsylvania, New England, and the British Isles.
TREASURY OF THE BASEL CATHEDRAL
February 27 – May 27, 2001
The medieval treasury of the Basel Minster miraculously survived earthquakes, wars, iconoclasm, and reformation, only to be dispersed in the early 19th century. Based on inventories and other documents, all of the objects belonging to the treasury have been identified and, today, over half are in the Historisches Museum Basel while the remaining ones are in museum collections in Amsterdam, Berlin, London, New York, Paris, Vienna, and Zurich. This exhibition unites more than 75 of these splendid ecclesiastical and secular objects, the vast majority of which have never before traveled to the United States. The works date from the early 13th through the early 16th century, spanning the High Gothic period to the Reformation. Most are of gold and silver — many encrusted with precious stones, rock crystal, antique gems, or translucent enamels — but there are also textiles and objects of hardstone, rock crystal, bronze, and wood on display, including one of the original storage cupboards.
Accompanied by a catalogue.
VERMEER AND THE DELFT SCHOOL
March 8 – May 27, 2001
The Delft School is best known for its quiet images of domestic life by Johannes Vermeer and Pieter de Hooch. These and other Delft artists painted views of the households, courtyards, church interiors, streets, and squares of Delft during the 1650s and 1660s. However, Delft masters also produced history pictures in an international style, highly refined flower paintings, princely portraits, and superb examples of the decorative arts. About 75 paintings by some 20 artists, 35 drawings, and smaller selections of tapestries, gilded silver, and Delftware faience will cast the familiar "Delft School" in a new light — one that emphasizes the roles of the neighboring court at The Hague, and of sophisticated patrons in Delft.
The exhibition has been organized by The Metropolitan Museum of Art, New York, and by The National Gallery, London.
Accompanied by a catalogue.
WILLIAM BLAKE, 1757–1827
March 27 – July 1, 2001
The first major exhibition in more than 20 years to focus on the work of the important British Romantic printmaker, poet, and painter, William Blake will present more than 200 works drawn from public and private collections in Britain, America, Canada, and Australia. The broad range of Blake's artistic and poetic vision will be represented, with special attention to his innovative printmaking techniques and methods of painting, his visionary imagination, and the implications of his radical politics for his art.
The exhibition is being organized by Tate Britain, London.
Accompanied by a catalogue.
CONTINUING EXHIBITIONS
ANCIENT FACES: MUMMY PORTRAITS FROM ROMAN EGYPT
Through May 7, 2000
During the first to third century A.D. in Egypt, painted panel portraits — also known as Fayum portraits — were sometimes placed over the heads of mummies. With their direct full gaze and strong presence, these portraits, at once Greco–Roman in their painting style and intrinsically Egyptian in their purpose, bring the inhabitants of ancient Egypt before us with compelling immediacy. Based on a similar exhibition at the British Museum in 1997, Ancient Faces presents approximately 70 of the finest Fayum portraits, drawn from museums throughout Europe and the U.S. They are accompanied by examples of contemporary mummy coverings and masks, jewelry, funerary stelae, and related works.
The exhibition is made possible in part by The Andrew W. Mellon Foundation.
The exhibition was organized by The Metropolitan Museum of Art, in collaboration with The British Museum.
Accompanied by a catalogue.
TILMAN RIEMENSCHNEIDER: MASTER SCULPTOR OF THE LATE MIDDLE AGES
Through May 14, 2000
Striking a rare balance between formal elegance and expressive strength, the sculpture of Tilman Riemenschneider (c. 1460–1531) stands solidly anchored in the late Gothic tradition while also reflecting emerging humanist concerns. This international loan exhibition brings together many of the sculptor's finest works from throughout his career, including elements from altarpieces, cult figures, objects of private devotion, models, and sculpture with a secular function. Riemenschneider, active in Würzburg from around 1483 until 1531, was one of the first sculptors to abandon polychromy on occasion, making a conscious aesthetic decision to leave visible his favored material, limewood. Here on display are examples of both his monochrome and polychrome wood sculptures, as well as exquisite works in alabaster and sandstone. The inclusion of a few outstanding works by Riemenschneider's most important predecessors and contemporaries — such as Niclaus Gerhaert von Leiden, Michel Erhart, and Veit Stoss — allows his achievement to be viewed in its proper context.
The exhibition is made possible in part by Bayerische Landesbank.
The exhibition is organized by The Metropolitan Museum of Art, New York, and the National Gallery of Art, Washington.
An indemnity has been granted by the Federal Council on the Arts and the Humanities.
Educational programs have been supported in part by the Anna–Maria and Stephen Kellen Foundation.
The accompanying catalogue is made possible by the Doris Duke Fund for Publications.
WALKER EVANS
Through May 14, 2000
This major retrospective of the work of American photographer Walker Evans (1903–1975) displays some 175 vintage prints from public and private collections throughout the United States and Canada, and draws on newly available material from the photographer's archive, which was acquired by the Metropolitan Museum in 1994. The photographs span the artist's long and productive career, focusing not only on the classic pictorial documents of America during the Depression, but also on little–known experimental images from the 1920s, photo–essays for Fortune magazine from the 1940s and 1950s, and SX–70 Polaroid color prints from the 1970s. The exhibition is accompanied by two publications: a monographic treatment of Evans's work; and an anthology of materials that makes available for the first time the artist's early short stories, important letters, and critical essays now housed in the Walker Evans Archive.
The exhibition is made possible by Prudential Securities.
The conservation of the Walker Evans Archive has been made possible through the generous support of the William Randolph Hearst Foundation as part of the Save America's Treasures program.
Additional conservation support has been provided by The Horace W. Goldsmith Foundation, the National Endowment for the Humanities, the Henry Nias Foundation, the Institute of Museum and Library Services, and The Andrew W. Mellon Foundation.
The accompanying publication is made possible by The Andrew W. Mellon Foundation.
NORTHERN RENAISSANCE DRAWINGS AND ILLUMINATIONS IN THE ROBERT LEHMAN COLLECTION
Through May 28, 2000
This is the second rotation of northern drawings culled from the Metropolitan's Robert Lehman Collection. On view are 15th– and 16th–century German, French, and Netherlandish drawings and illuminations selected from the trove of treasured master drawings and manuscripts amassed by Robert Lehman, supplemented with several loans from the Museum's Department of Medieval Art. Four autograph sheets by Albrecht Dürer are among the highlights of the presentation that also includes works by Martin Schongauer, Hans Baldung Grien, Maerten van Heemskerck, and artists in the circles of Jan van Eyck and Rogier van der Weyden. This installation has been organized to coincide with the publication of the Lehman Collection catalogue Fifteenth– to Eighteenth–Century Drawings in the Robert Lehman Collection: Central Europe, The Netherlands, France, and England.
The exhibition is made possible by Robert Lehman Foundation, Inc.
KOREAN CERAMICS FROM THE MUSEUM OF ORIENTAL CERAMICS, OSAKA
Through June 11, 2000
The 48 exquisite works on loan from the distinguished collection of the Museum of Oriental Ceramics, Osaka, represent the period of highest achievement in the Korean peninsula's long ceramic tradition. Dating from the 12th to the 19th century, the selection includes luminous jade–green celadon wares of the Koryŏ dynasty (918–1392) as well as superb examples of the innovative stoneware known as punch'ong and white porcelains of the Chosŏn dynasty (1392–1910). The objects are exhibited alongside the Metropolitan's own Korean art collection in the Museum's permanent Arts of Korea gallery, which was inaugurated in June 1998.
The exhibition is made possible by The Kun–Hee Lee Fund for Korean Art.
Accompanied by a catalogue.
MASTERPIECES OF JAPANESE ART FROM THE MARY GRIGGS BURKE COLLECTION
Through June 25, 2000
This unprecedented exhibition drawn from the renowned Burke Collection, the most comprehensive private holding of Japanese art in the West, features some 200 masterpieces in various media, dating from the second millennium B.C. to the early 19th century. A sizable portion of this exquisite collection has recently been promised to the Metropolitan by the owner. Works selected for the exhibition, some of which are recent acquisitions, include sculptures and paintings made to honor native Shinto gods or foreign Buddhist deities. Some of the finest ink–monochrome paintings were produced for the service of Zen Buddhist communities. Elegant polychromatic paintings — hanging scrolls, handscrolls, and folding screens (byobu) — reflect the indigenous tastes of the Japanese. Some works illustrate Japan's oldest and finest literary masterworks, such as the Tales of Ise (10th century) and Tale of Genji (ca. 1005), while others depict the joys and pleasures of the common people. Also featured are powerful abstractions of landscapes in bold and dramatic designs, executed in brilliant gold and colors; ceramics that reflect the tradition of the tea ceremony; and Negoro, Kodaiji, and Namban lacquerwares. There will be a rotation of 14 paintings on May 1, 2000.
A CD–ROM entitled The Paths Dreams Take: Japanese Art from the Collections of Mary Griggs Burke and The Metropolitan Museum of Art was produced in conjunction with the exhibition.
The accompanying publication is made possible through the generous support of The Dillon Fund.
KLEE'S LINE
Through July 9, 2000
A selection of works that displays the artist's imaginative use of line, changing from early naturalism to spidery playfulness to the thick contours of his late years, is installed in the Lila Acheson Wallace Wing's south mezzanine gallery.
ART AND ORACLE: SPIRIT VOICES OF AFRICA
Through July 30, 2000
Throughout history, people everywhere have developed divinatory strategies as a means of harnessing spiritual forces that can be used to resolve their problems. Many of the most renowned and sublime works of art from Africa were conceived as part of such quests for understanding and enlightenment. This millennial exhibition explores the relationship between artistic creation and divine inspiration by bringing together some of the finest works relating to the cosmologies and religious systems that inform divination practices across sub–Saharan Africa. Works of art designed as instruments for professional diviners and prescribed as remedies to the individuals who consult them include the full repertory of finely carved implements, used for over half a millennia, by Yoruba Ifa diviners as well as figurative sculptures from Senufo, Baule, Mende, Igbo, and a score of other cultures. Works conceived to enhance the destinies of their individual owners range from monuments commissioned by kings to miniature protective amulets. The exhibition features some 200 works of sculpture in a full range of media from European and American collections.
The exhibition is supported by the William Randolph Hearst Foundation and was organized in collaboration with the Rietberg Museum, Zurich.
The exhibition catalogue and a special feature on the Museum's Web site are made possible by The Ford Foundation.
AFTER NICOLAS POUSSIN: NEW ETCHINGS BY LEON KOSSOFF
Through August 13, 2000
Drawn from the Museum's collection of works by the London painter Leon Kossoff (b. 1926), a selection of 14 etchings — some with aquatint — after eight paintings by the 17th–century French artist Nicolas Poussin are on view in the north mezzanine gallery of the Lila Acheson Wallace Wing.
SUBJECTS AND SYMBOLS IN AMERICAN SCULPTURE: SELECTIONS FROM THE PERMANENT COLLECTION
Through August 20, 2000
This exhibition of American sculpture from the 19th and early 20th centuries draws on historical, allegorical, and literary subjects and considers the popularity of such themes as the seasons and the times of day. Some 35 bronze, marble, and plaster statuettes and reliefs such as Erastus Dow Palmer's Sappho, Augustus Saint–Gaudens's Diana, and Adolph Alexander Weinman's Descending Night are drawn entirely from the Museum's extensive holdings of American art.
THE WORLD OF SCHOLARS' ROCKS: GARDENS, STUDIOS, AND PAINTINGS
Through August 20, 2000
Rocks have long been admired in China as an essential feature in gardens. By the early Song dynasty (960–1279), small ornamental rocks were also collected as accoutrements of the scholar's study, and the portrayal of rocks, often joined by an old tree or bamboo, became a favorite and enduring pictorial genre. Particularly admired are stones that have been sculpted by natural processes of erosion — or that appear natural even if they have been artfully enhanced by man — as embodiments of the transformational powers of nature. This exhibition features more than 30 scholars' rocks from the noted collection of the Richard Rosenblum family, ranging in size from desktop pieces to freestanding works of several feet in height. They are accompanied by around 90 paintings dating from the 11th to 20th century, drawn primarily from the Museum's collection.
PERFECT DOCUMENTS: WALKER EVANS AND AFRICAN ART, 1935
Through September 3, 2000
In 1935, a large and groundbreaking exhibition of African sculpture was mounted at the Museum of Modern Art in New York. In it, the works were shown as art objects rather than as ethnographic objects. Walker Evans, then 32 years old, was commissioned to create a photographic portfolio of a selection of works in the show, including some 477 images. Seventeen portfolios, each comprising four volumes, were then produced. Perfect Documents displays 50 of the photographs from Walker Evans's portfolio (with a rotation of photographs in June), along with several related sculptures. The exhibition complements the Metropolitan's full–scale retrospective of the work of Walker Evans, on view until May 14, 2000.
This exhibition is sponsored by Philip Morris Companies Inc.
The accompanying catalogue is made possible by the Doris Duke Fund for Publications.
RIDING ACROSS CENTRAL ASIA: IMAGES OF THE MONGOLIAN HORSE IN ISLAMIC ART
Through September 24, 2000
This exhibition examines the depiction of horses in Islamic art, especially during the Seljuq and the Ilkhanid periods (ca. 12th–14th century) in Iran. The Mongolian horse — a small, heavy–boned, agile, and tireless animal that became instrumental when the Mongol armies moved across Central Asia in the 13th century — can also be viewed as a swift carrier of different cultures and traditions to the Islamic world. Uniting some 25 objects from the Museum's collection, this exhibition displays representations of the horse as seen in various media, including illustrated manuscripts, inlaid metalwork, ceramic tiles, stone, and stucco, in addition to two saddles and a Yüan scroll representing grooms and horses.
The exhibition is made possible by The Hagop Kevorkian Fund.
NOW! MODERN Photographs from the Permanent Collection
Through October 22, 2000
The inauguration of a series of selections from the expanding permanent collection of contemporary photographs, this installation concentrates on 13 works that directly or indirectly address issues of time and measurement. Instantaneous shots taken while speeding down a freeway in L.A., images gradually laid down on a negative for the duration of a feature film, images gestating while tadpoles turn into frogs over a period of weeks, photographs of millions of light years — the selection is rich in conceptual leaps, technical approaches, and jumps in scale. Works by Vito Acconci, Chris Burden, Walter de Maria, Jan Dibbets, and Dennis Oppenheim from the 1960s and 1970s introduce recent works by Adam Fuss, Susan Derges, Vik Muniz, Gabriel Orozco, Thomas Ruff, Hiroshi Sugimoto, Thomas Struth, and others.
CELEBRATING THE AMERICAN WING: NOTABLE ACQUISITIONS 1980–1999
Through November 12, 2000
To celebrate the 75th anniversary of the founding of The American Wing — which contains the world's most comprehensive collection of historical American decorative and fine arts — the Metropolitan presents an exhibition of notable acquisitions made by gift or purchase since 1980, when the original wing was expanded to its current size. Important works are featured in their customary settings in the permanent collection galleries, revealing how they complement existing holdings. All these recent additions are highlighted by special labels that describe their significance within the context of the Museum's collection and the circumstances of their acquisition.
The exhibition is made possible by The Bank of New York and The George Link, Jr. Foundation.
PAINTERS IN PARIS: 1895–1950
Through December 31, 2000
During the first decades of the 20th century, France was host to many foreign artists and Paris was central to the development of modern art. This exhibition, which gathers for the first time more than 100 prime examples from the Metropolitan's collection of paintings by artists of the School of Paris, begins with the Impressionist tradition, represented by Monet, and chronologically continues through the Fauves, Cubists, and Surrealists. Many of these works — by 36 modern painters including Braque, Chagall, Dubuffet, Matisse, Miró, and Modigliani, as well as 19 paintings by Picasso — were acquired through major gifts and bequests during the past two decades. United in this exhibition, these paintings recall a period and place of great vitality, and they reveal unexpected relationships between the artists who so profoundly shaped the art of their century.
The exhibition is sponsored by Aetna.
Accompanied by a publication.
EUROPEAN HELMETS, 1450–1650: TREASURES FROM THE RESERVE COLLECTION
Through January 2001
Helmets are the earliest known form of body armor and remain today an essential element of protection not only for soldiers but also for sportsmen. In the later Middle Ages and Renaissance, helmet design reached its apogee, the European armorer creating head defenses of ingenious construction and powerful sculptural form. The Metropolitan Museum's holdings of European helmets are among the largest and most diverse in the world. This exhibition offers a representative survey of some 75 helmets drawn entirely from storage, revealing the depth of the collection and a glimpse of objects that are rarely on public display.
The accompanying publication is made possible by the Grancsay Fund.
NEW AND RECENTLY OPENED INSTALLATIONS
THE VÉLEZ BLANCO PATIO
Reopening May 12, 2000
The early 16th–century Fajardo castle at Vélez Blanco was an important landmark in the history of the Spanish Renaissance. The delicate ornamental carved marbles that composed the castle's magnificent arcaded patio were acquired early in the 20th century for installation in the Park Avenue home of George Blumenthal, a future president of the Metropolitan Museum, and were bequeathed to the Museum at the time of his death in 1941. The patio, which was reconstructed at the Museum in 1964 and became commonly known as the Blumenthal Patio, has for the past three years undergone conservation and refurbishment with the addition of a new marble floor more in keeping with the original structure. In addition, the patio arcade features a prized new acquisition: a remarkable Early Renaissance Flemish tapestry depicting The Triumph of Fame, believed to have been in the collection of Queen Isabella of Spain. In celebration of the reopening of the patio, The Forgotten Friezes from the Castle of Vélez Blanco and Sculpture and Decorative Arts of the Spanish Renaissance will be on view through January 7, 2001.
NEW BYZANTINE GALLERIES
Opening November 14, 2000
This fall, the new Mary and Michael Jaharis Byzantine galleries will open in a dramatically expanded and redesigned space that includes an intimate gallery under the Grand Staircase in the Great Hall — an area never before accessible to the public. Featured in the installation will be the Museum's extensive collection of superb secular and religious art of the Byzantine Empire produced from its capital in Constantinople to its southern border in Egypt. Some of the earliest images developed by the Christian church will be on display as well as contemporary works from the surviving Greco–Roman tradition and examples of Judaica. Selections from the Museum's rich collection of provincial Roman and barbarian jewelry will demonstrate the accomplished artistry of the diverse people beyond the western borders of the Byzantine state who helped shape early Europe. The opening of the Jaharis galleries constitutes the first phase in the planned reinstallation of the permanent collection of the Department of Medieval Art and The Cloisters.
THE NEW CYPRIOT GALLERIES
Opened April 5, 2000
With the opening of the Cypriot Galleries, some 600 works from the historic Cesnola Collection — comprising antiquities from Cyprus in all major media and ranging in date from ca. 2500 B.C. to ca. A.D. 300 — have returned to public view. The newly designed installation marks the end of Phase II in the renovation of the Greek and Roman Galleries. Acquired by Luigi Palma di Cesnola while he was serving as American consul in Cyprus, these works were purchased by the newly formed Metropolitan Museum between 1874 and 1876 and constituted its first large collection of archaeological materials. In 1879, Cesnola was named the Museum's first director. The new presentation emphasizes the collection's particular strengths in the areas of sculpture, bronze, and precious metals.
Accompanied by a publication.
NEW GALLERIES FOR ANCIENT NEAR EASTERN ART
Opened October 19, 1999
Newly renovated and reinstalled, with natural light now illuminating the Assyrian reliefs within, the galleries that house the permanent collection of the Department of Ancient Near Eastern Art recently reopened to the public. The new installation displays sculpture, metalwork, seals, and other objects dating from 8000 B.C. to A.D. 700 from ancient Mesopotamia, Iran, and their neighbors, ranging from Anatolia and the Arabian Peninsula to the Indus Valley, and Central Asia to the Mediterranean Sea. Throughout the galleries, these works of art are set in contexts that illuminate their use and significance in antiquity as well as their connections to the art of neighboring cultures. Among the strengths of the collection are objects excavated by Museum–sponsored projects at Nippur, Nimrud, and Hasanlu; superb ivories from Anatolia, Syria, and Mesopotamia; silver and gold objects from Iran; and foreign long–term loans from the Israel Antiquities Authority, the Institute of History, Archaeology and Ethnology of the Academy of Sciences, Tajikistan, the Vorderasiatisches Museum, Berlin, and the British Museum, London. Support for the reinstallation of the Galleries for Ancient Near Eastern Art has been provided by The Hagop Kevorkian Fund.
THE NEW GREEK GALLERIES
Opened April 20, 1999
Following several years of planning and construction, seven completely renovated and reinstalled galleries for Archaic and Classical Greek art are open to the public on the Museum's first floor. This latest stage in the three–phase expansion of the exhibition space devoted to Greek and Roman art comprises the Mary and Michael Jaharis Gallery — the grand vaulted gallery that was formerly known as the Cypriot corridor, now fully skylit and clad in limestone walls as originally envisioned by McKim, Mead and White in 1917 — and the six flanking galleries. Refurbished to their original Neoclassical grandeur, the galleries house a generous selection of the Museum's finest works from the sixth through fourth century B.C. The new galleries constitute the largest and most comprehensive permanent installation of its kind in the Western Hemisphere.
ARTS OF KOREA
Opened June 9, 1998
The opening of the new, permanent gallery for the Arts of Korea represents the final stage in the Museum's master plan for the presentation of Asian art. Currently on view is a display of works from the Museum's own collection — including ceramics, metalwork, lacquerware, sculpture, and paintings — and selected loans. An exhibition of Korean ceramics on loan from the Museum of Oriental Ceramics, Osaka, will be on view in the galleries through June 11, 2000 (see page 15). The establishment of and program for the Arts of Korea Gallery have been made possible by The Korea Foundation and The Kun–Hee Lee Fund for Korean Art.
PHASE I OF THE NEW GREEK AND ROMAN ART GALLERIES: THE ROBERT AND RENÉE BELFER COURT
Opened June 1, 1996
The Belfer Court constitutes Phase I of the renovation of the Greek and Roman Galleries and reinstallation of the Greek and Roman collections. The western section of the court, devoted to the earliest Greek art, contains Neolithic, Cycladic, Minoan, Mycenaean, and Geometric objects; the eastern section documents the colorful picture of Archaic Greece.
TRAVELING EXHIBITIONS
PLEASE NOTE: These exhibitions originate at The Metropolitan Museum of Art with works of art from the Museum's collections selected and organized by Museum staff members. Please confirm the opening and closing dates with the local exhibiting museums as they may be subject to change.
ABSTRACT EXPRESSIONISM: WORKS ON PAPER, SELECTIONS FROM THE METROPOLITAN MUSEUM OF ART
A selection of 20th–century works drawn from the Museum's Department of Modern Art.
Fundación Juan March — Madrid, Spain — May 9 — July 2, 2000
AMERICAN IMPRESSIONISTS ABROAD AND AT HOME: PAINTINGS FROM THE COLLECTION OF THE METROPOLITAN MUSEUM OF ART
These 39 works by 27 artists will illuminate the training that the American Impressionists undertook abroad and at home; the complex attractions of Europe and America; the significance of the subjects they depicted; and their various responses to French Impressionism. Tour organized with the American Federation of Arts. San Diego Museum of Art — San Diego, CA — January 26 — April 22, 2001
Delaware Art Museum — Wilmington, DE — May 11 — August 5, 2001
Cheekwood Museum of Art — Nashville, TN — August 24 — November 18, 2001
Orlando Museum of Art — Orlando, FL — December 7, 2001 — March 3, 2002
New York State Museum — Albany, NY — March 22 — June 16, 2002
THE LANDSCAPE IN TWENTIETH–CENTURY ART
A selection of American paintings from the Museum's Department of Modern Art.
New York State Museum — Albany, NY — February — summer 2001
WINSLOW HOMER AND HIS CONTEMPORARIES: AMERICAN PRINTS FROM THE METROPOLITAN MUSEUM OF ART
Popular and fine prints from the Museum's collection by Homer himself and artists active during his career, including Edwin A. Abbey, John G. Brown, Frederick E. Church, Edwin Forbes, Mary Cassatt, Stephen Parrish, James Whistler, and J. Alden Weir.
Tour organized with the Gallery Association of New York State (GANYS).
Brandywine River Museum — Chadds Ford, PA — March 25 — May 20, 2001
New York State Historical Association/ Fenimore House Museum — Cooperstown, NY —Summer 2001
THE PRINT IN THE NORTH: THE AGE OF ALBRECHT DÜRER AND LUCAS VAN LEYDEN SELECTIONS FROM THE METROPOLITAN MUSEUM OF ART
Based on the Metropolitan Museum's 1997 exhibition, a selection of masterpieces from the Museum's exceptional collection of German and Netherlandish prints from 1440 to 1550 — the age in which printmaking came into its own. Tour organized with the American Federation of Arts.
Venues to be determined — Traveling as of spring 2001
VISITOR INFORMATION AND MUSEUM HOURS
MAIN BUILDING
Fridays and Saturdays — 9:30 am – 9:00 pm
Sundays, Tuesdays — Thursdays — 9:30 am – 5:30 pm
Mondays — Closed
THE CLOISTERS
(March – October hours)
Tuesdays — Sundays — 9:30 am – 5:30 pm
Mondays — Closed
(November – February hours)
Tuesdays — Sundays — 9:30 am – 4:45 pm
Mondays — Closed
ADMISSION
Suggested admission to the Main Building and The Cloisters
Adults — $10.00
Students, senior citizens — $ 5.00
Members and children under 12 accompanied by adult — Free
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May 18, 2000
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