METROPOLITAN MUSEUM JOURNAL最新文献_第9页

Protecting Fertility in Fra Filippo Lippi’s Portrait of a Woman with a Man at a Casement 菲利波·里皮的《女人和男人在窗边的画像》中的保护生育能力

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691106

J. R. Sale

引用次数: 2

Jean Pillement: Shipwrecks and the Sublime Jean Pillement:《沉船与崇高

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691108

Katharine Baetjer

引用次数: 1

Creation Narratives on Ancient Maya Codex-Style Ceramics in the Metropolitan Museum 大都会博物馆关于古玛雅古抄本风格陶瓷的创作叙述

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691105

J. Doyle

引用次数: 1

Stormy Weather in Revolutionary Paris: A Pair of Dihl et Guérhard Vases 革命巴黎的暴风雨天气:一对Dihl et gusamhard花瓶

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691109

I. Moon

引用次数: 0

Louis Comfort Tiffany’s Designs for American Synagogues (1889–1926) 路易斯·康福特·蒂芙尼为美国犹太教堂设计的作品(1889-1926)

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691112

P. Pongracz

引用次数: 0

A Palace for Louis XVI: Jean Augustin Renard at Rambouillet 路易十六的宫殿:让·奥古斯丁·雷纳德在朗布依埃

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691107

B. Baudez

引用次数: 0

Fragments of Time: Ancient Glass in the Department of Greek and Roman Art 时间的碎片:希腊和罗马艺术系的古代玻璃

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691104

C. Lightfoot

引用次数: 1

Sophilos and Early Greek Narrative 索菲亚与早期希腊叙事

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691103

M. B. Moore

引用次数: 0

Charles Lepec and the Patronage of Alfred Morrison 查尔斯·勒佩克和阿尔弗雷德·莫里森的赞助

2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2015-01-01 DOI: 10.1086/685681

Olivier Hurstel, Martin Levy

{"title":"Charles Lepec and the Patronage of Alfred Morrison","authors":"Olivier Hurstel, Martin Levy","doi":"10.1086/685681","DOIUrl":"https://doi.org/10.1086/685681","url":null,"abstract":"Previous articleNext article FreeCharles Lepec and the Patronage of Alfred MorrisonOlivier Hurstel and Martin LevyOlivier HurstelIndependent Scholar, Paris Search for more articles by this author and Martin LevyAntiques Dealer and Scholar, London Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreSince the second half of the twentieth century, the appreciation of nineteenth-century European decorative arts has evolved by fits and starts. For British design, the revival was arguably initiated by the exhibition “Victorian and Edwardian Decorative Arts,” held at the Victoria and Albert Museum, London, in 1952.1 Interest in French and other continental European manufacture began later and did not immediately take hold. In France, this interest increased with the decision in 1978 to create the Musée d’Orsay, Paris, specifically devoted to the art of the nineteenth century.2 Writing that same year in the introductory essay to the catalogue for the seminal exhibition originating in Philadelphia “The Second Empire, 1852–1870: Art in France under Napoleon III,” Jean-Marie Moulin acknowledged that this particular period “has been ignored—one might almost say erased—by French art historians…. Those who have had the experience of working on the Second Empire in the area of the arts have felt the scorn (sometimes tinged with indulgence) that has surrounded the period, even—and perhaps especially—among the specialist and the knowledgeable layman.”3The ambivalence toward French decorative arts from the middle decades of the nineteenth century can perhaps be understood against the backdrop of a sense of loss for the dignified and aristocratic grandeur encapsulated by the culture of the ancien régime. France was dominated by the bourgeoisie by the time of the Second Empire, and the frequently backwardlooking decoration of this period tended toward the showy: the taste of the nouveaux riches. But this viewpoint has come to be seen as representing an incomplete and unfair assessment of a fertile period, in which technical and artistic invention introduced a great degree of originality, with such work now appreciated for its distinctly nineteenth-century aesthetic merit.Charles Lepec (1830–1890), who was at his most active during the Second Empire period,4 exemplifies this sophisticated strand of French creativity. He was an artist who excelled in the medium of enamels, and, as will be shown, was particularly original and technically innovative. Many of his contemporaries working in the medium depended on compositions prevalent during the Renaissance. The 1978 Second Empire exhibition drew attention to many of the period’s leading manufacturers, some of whom are now represented in the collection of The Metropolitan Museum of Art, which acquired them subsequently. These include the bronze founder and enamel manufacturer Ferdinan","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":"50 1","pages":"194-223"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147909002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Buddhist Source for a Stoneware “Basket” Designed by Georges Hoentschel 由Georges Hoentschel设计的石制“篮子”的佛教来源

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2014-01-01 DOI: 10.1086/680035

Denise Patry Leidy

引用次数: 0