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Sneak Peak: Our 2019 Masterpieces Calendar

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This exciting engagement calendar features 56 vividly reproduced masterpieces from The Metropolitan Museum of Art and detailed information and descriptive text about each work. All 17 curatorial departments of The Met are represented, from Roman sculptures to contemporary paintings, from 18th-century armor to musical instruments. Here are just a few of our favorite works that you’ll discover in the new year.  

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Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie by Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) 1851-53. Oil on canvas. 47 3/4 x 35 3/4 in. (121.3 x 90.8 cm). The Metropolitan Museum of Art. 1975.1.186

A portraitist to high society including royalty and the aristocracy, this painting of the Princesse de Broglie was the last painting that Ingres completed in his lifetime. Beloved by viewers for the reserved gaze of the subject as well as her resplendent garment and jewels, Ingres captures the Princesse in a way that is truly remarkable. The sheen of the silk on her dress and the chair she rests on, the exquisite fineness of the lace, and porcelain complexion remind the viewer that she is extraordinary, a detail that becomes even more poignant when remembering that this elegant work was commissioned by the sitter’s husband and was completed just before her untimely death. 

 

Stepping Out by Roy Lichtenstein (American, New York 1923–1997 New York) 1978. Oil and Magna on canvas. 86 3/4 × 70 1/8 in. (220.3 × 178.1 cm). The Metropolitan Museum of Art, New York. 1980.420. © Estate of Roy Lichtenstein

In contrast to the sincere and sentimental tone of the portrait of the Princesse do Broglie, this work by Roy Lichtenstein favors drama and irony. Using a style adapted from comic strips, this Pop Art piece also depicts an elegant couple of the upper class believed to be borrowed from cubist compositions by Fernand Léger and Pablo Picasso. Conceived as an artistic mash-up, this work displays incredible artistic creativity and restraint to create such an energetic and unusual composition using a palette of just five colors. 

 

Enameled and Gilded Bottle ca. late 13th century. Attributed to Egypt, possibly Cairo. Glass, greenish; blown, folded foot; enameled and gilded.H. 17 1/8 in. (43.5 cm). Max. Diam. 11 in. (27.9 cm). The Metropolitan Museum of Art. 41.150.

This three-dimensional masterpiece is about 800 years old and is revered both for its elegant form and its rich decoration. Called mamluk glass this piece was produced during the rule of the Mamluk dynasty in Syria and Egypt, which provides context for the warrior pattern that adorns this object. Incorporating Chinese and Persian influences, one can observe ornate vegetal patterns which cover nearly the entirety of the bottle, as well as a majestic phoenix at the neck. 

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) by Katsushika Hokusai (Japanese, Tokyo (Edo) 1760–1849 Tokyo (Edo)). Edo period (1615–1868) ca. 1830-32. Japan. Polychrome woodblock print; ink and color on paper. 10 1/8 x 14 15/16 in. (25.7 x 37.9 cm). The Metropolitan Museum of Art. JP1847.

In keeping with themes of nature, this Edo period woodblock print, best known as The Great Wave, emphasizes the power and vastness of the ocean in contrast to the already imposing scale of Japan’s Mount Fuji. Hokusai masterfully composes the work to create a sense of motion as the wooden boats are pulled forth by the raging tides. Further, the artist’s signature use of indigo and imported Prussian blue paint lend a grandness to the work that add to its awesome visual power.

Irises by Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise) 1890. Oil on canvas. 29 x 36 1/4 in. (73.7 x 92.1 cm). The Metropolitan Museum of Art, New York. 58.187.

Vincent van Gogh’s Irises lend the viewer yet a different facet of the natural world as it is brought indoors to the artist’s bedside. Painted during van Gogh’s stay in the asylum at Saint-Rémy, this is one of four iconic floral still life compositions that he created during his one year stay. The artist himself intended the painting to be “harmonious and soft,” using soothing pastel colors to mimic the natural beauty of the real-life blooms he imitated. 

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