There is nothing more of a privilege than going to a museum. Even when you pay a price for it. It still remains a privilege to be able to see something you may never have known existed, or had only seen in a tiny print reproduced in a book.
Having said all that. I will say, there is nothing more artificial as a museum, it is a totally controlled, manufactured experience which can go all the way from uninspiring to wow! This is what I call art fag terminology, because you really have to have a love of the museum experience. And as nothing is more artificial as the museum experience, nothing is more artificial as a trip to the Cloisters. –Thank goodness!
If it’s quince, it must be NYC, right?
“The Cloisters is a branch of The Metropolitan Museum of Art devoted to the art and architecture of medieval Europe, was assembled from architectural elements, both domestic and religious, that date from the twelfth through the fifteenth century.
“The building and its cloistered gardens—located in Fort Tryon Park in northern Manhattan—are treasures in themselves, effectively part of the collection housed there. The Cloisters’ collection comprises approximately three thousand works of art from medieval Europe, dating from about the ninth to the sixteenth century.” –Wikipedia
I was in the Prado on a tour. Matt and I had come back to the Prado, again, to seem or (re)see some of the collection we had seen before. I ran into a couple who was also on the tour who was baffled by the late Medieval and early Renaissance collection. I asked them why they felt nothing about this. “We’re Jewish, and we don’t understand what this means.” Matt, too, had not been brought up religious, and while there has been an appreciation for Bosch, the medieval escapes him. I realized it is the same for me with Hindi miniatures, and even those Indian Islamic pieces that interpret the old Testament. Context means everything.
Roger Champin’s Merode Altarpiece was unexpected for me. It is one of those pieces that you are lucky that you can see, as many people know of it and have come to see it. Except for the glass which covers its panels, you can see the reflection of the far right,
The Hunt of the Unicorn tapestry series is reminiscent of the style William Morris built a career on.
Tags: Metropolitan Museum of Art, Rogier van der Weyden's Polytych with the Nativity, Spanish tabernacle panels 13th-c, stained glass, Standing Bishop, The Hunt of the Unicorn tapestry series, The Story of the Redemption of Man, Workshop of Roger Champin's Annunciation Triptych (Merode Altarpiece)