The present volume, Publications of The Metropolitan Museum of Art, 1964-2005, is a successor to a volume published by the Museum in 1965 entitled Publications of The Metropolitan Museum of Art, 1870-1964. These two bibliographic volumes endeavor to list all the known books, pamphlets, and serial publications bearing the Museum's imprint, and issued by the institution during the first 135 years of its existence (through June 2005). The first volume was compiled by Albert TenEyck Gardner, at the time an Associate Curator of American Paintings and Sculpture, and the present volume has been compiled from the Annual Reports issued by the Museum during the relevant years. Together the two volumes testify to the tremendous contributions made to knowledge by the curators and conservators of the Metropolitan and by the many other experts who have contributed to the Museum's exhibition catalogues. Various issues of the Bulletin emphasize the great sweep of the Museum's acquisitions during these years, and the exhibition catalogues--a number of them Alfred H. Barr Jr., Award or the George Wittenborn Award--testify to the continuity of the institution's dedicated program to enrich people's lives through knowledge of art. (This title was originally published in 2006.)

Japan's brief but dramatic Momoyama period (1573-1615) witnessed the struggles of a handful of ambitious warlords for control of the long-splintered country and finally the emergence of a united Japan. This was also an era of dynamic cultural development in which the feudal lords sponsored lavish, innovative arts to proclaim their newly acquired power. One such art was a ceramic ware known as Oribe, whose mysterious sudden appearance and rise in popularity are explored in this book. Ceramics are closely connected to the tea ceremony and central to Japanese culture. In this context Oribe wares represented a unique and major development, since they were the easiest Japanese ceramics to carry extensive multicolor decoration. Boldly painted with geometric and naturalistic designs, they display sensuous glazes, especially in a distinctive vitreous green, as well as a whole repertoire of playful new shapes. Their genesis has tradtionally been ascribed to Furuta Oribe (1543/44-1615), a warrior and the foremost tea master of his time, who appears to have played a crucial role in redefining the aesthetics of Japan. Over seventy engaging vessels of Oribe ware, along with striking examples of other types of wares produced in the same milieu, make up the heart of this catalogue. -- Metropolitan Museum of Art website.

Collecting Japanese Antiques is an excellent overview of the uniquely Japanese aesthetic and how it relates to Japanese culture. From the time Japan started trading with the West in the sixteenth century, Japanese arts and crafts have intrigued and delighted Westerners, especially lacquer, screens, swords and porcelain. Antique hunters will benefit from the practical and cautionary advice in this book; newcomers will appreciate information on the basics of collecting Japanese antiques; while other sections might reawaken interest in experienced collectors. Striking photographs throughout make this art and antiques book a must for collectors and lovers of Japanese art. Chapters include: Japan's Art Heritage Collecting for Fun and with Wisdom Screens and Scrolls Ukiyo-e and Other Prints Sagemono Ceramics Furniture Textiles Lacquerware Cloisonne Sculpture and Metalwork Swords and Armor Tea Ceremony Utensils Dolls Flower Baskets

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Armorial porcelains comprised the output of most European ceramics factories in the 18th and 19th Centuries in response to the large quantity of armorial porcelain services that were being imported from China bearing the coats of arms and crests of aristocratic families. Whereas these armorial services have been identified and covered for most porcelain manufactories the information relevant to their production by the two relatively short-lived Nantgarw and Swansea China Works has not been addressed as a theme until now. As an integral component of the holistic forensic appraisal of porcelain, a functional and decorative artwork manifestly part of our cultural heritage and its ongoing preservation , the recording and identification of such artefacts is material for the future establishment of a database of factory production . The Nantgarw and Swansea factories only operated for a limited period in the second decade of the 19th Century and their porcelains were much appreciated for their high quality and desirability by Georgian households. Today, examples are to be found in many museums and ceramics collections and continue to excite the interest of specialists and the general public . This text provides the first comprehensive assessment of armorial porcelains from these two factories and the methodology and procedure for the identification of unknown armorial bearings and crests is illustrated; individual bearings are discussed in detail and existing incorrect assignments in the literature are re-appraised. The difficulties in attribution of armorial heraldic achievements that are only minimally depicted are considered and directions for further studies using historical documentation are invoked. This book therefore fills a currently existing gap in the ceramics literature of the 19th Century.

To read most histories of art, you might be forgiven for supposing that great artists are superhuman, and the knowledge of different movements, periods and styles is essential to truly appreciate art. It's time to look at art in a new way. THE POWER OF ART delves into the stories behind remarkable acts of creation in fifteen global cities at pivotal moments of artistic brilliance. It shows how art is an integral part of our daily lives, embedded in the very fabric of our existence. From the enduring wonders of ancient Babylon to the menacing pastel architecture of contemporary Pyongyang, eminent curator Caroline Campbell intertwines the stories of artists with the broader social, cultural and political landscapes of their time. In each vivid episode, Campbell reveals how art, in all its forms, is a testament to humanity's inventiveness and ingenuity: it has served our fundamental needs for shelter, sustenance, spirituality, pleasure, order and community. But it can also evoke envy, anger, greed, and even be used as a means of social control. Spanning thousands of years of creativity, THE POWER OF ART will ignite your imagination and open your eyes to the art that surrounds us, whether it be a painting in a gallery, a public sculpture or an everyday object with hidden beauty.