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The Rialto and other bridges were favorite motifs of Maurice Brazil Prendergast during his second trip to Venice (1911–12), serving as the subject of about twenty-five watercolors. View this work and others by American painters who were inspired by Italy in “American Painters in Italy: From Copley to Sargent” at The Met Fifth Avenue. Maurice Brazil Prendergast (American, 1858–1924). Rialto Bridge (Covered Bridge, Venice), ca. 1911–12 #TheMet #MauriceBrazilPrendergast


Yayoi Kusama was born on this day in 1929. Celebrate with this sculpture on view in "Like Life: Sculpture, Color, and the Body (1300–Now)" at The @MetBreuer.  Yayoi Kusama (Japanese (born 1929)). Phallic Girl, 1967. #TheMet #MetBreuer #YayoiKusama ©️ Yayoi Kusama, Photo: ©️ Tate, London 2018

The Met Breuer

If you’ve been to The Met recently, you may have seen an artist with an easel and art materials diligently copying one of the artworks in our galleries. These artists are participants in The Met’s Copyist program, which has been running since 1872. Visit the link in our profile to read @Artsy’s recent story highlighting copyists who work in Museums around the world. #TheMet #MetCopyist Photo of Michelle Alford by Alayna Wiley

The Metropolitan Museum of Art, New York

Uprooted by poverty-stricken conditions in his native Austria following World War I, Chaim Gross, who was on this day, immigrated to New York City in 1921 and rose to fame in the 1930s for his rhythmic sculptures of acrobats, among an array of subjects he derived from around the city. An early work in his career, “East Side Girl” shows the type of “New Woman” known as a flapper, her identity disclosed by her exposed ankles, bobbed haircut and fashionable cloche hat. As this work suggests, Gross was a proponent of direct carving, which stressed spontaneity in working with natural materials, including lignum vitae, his preferred tropical hardwood. Chaim Gross (American (born Austria), Wolow 1904–1991 New York). East Side Girl, 1928 #TheMet #ChaimGross


This view of a statue of Aphrodite was photographed in the 1950s. #TheMet #tbt


"Don't expect to see a more beautiful show than [this] anytime soon. . . . a fresh, transformative take on pre-Columbian art."—The Washington Post. “Golden Kingdoms: Luxury and Legacy in the Ancient Americas,” which is on view through May 28, traces the emergence and florescence of goldworking in the ancient Americas, from its earliest appearance in the Andes to its later developments farther north in Central America and Mexico. In the ancient Americas, metalworking developed in the context of ritual and regalia, rather than for tools, weapons, or currency. #TheMet #GoldenKingdoms


We are deeply saddened by the loss of Hubert de Givenchy, who founded the house of Givenchy in 1952. Visit our website to view images of more than 100 of his garments in the collection of the @metcostumeinstitute. Hubert de Givenchy (French, 1927–2018) for House of Givenchy (French, founded 1952). Ensemble, fall/winter 1963–64 #TheMet #Givenchy #HubertdeGivenchy


Did you know today is Plant a Flower Day? Celebrate with Childe Hassam’s depiction of the sumptuous wildflower garden cultivated by his friend, poet Celia Thaxter. Childe Hassam (American, 1859–1935). Celia Thaxter's Garden, Isles of Shoals, Maine, 1890. #TheMet #ChildeHassam


In this plaque, the use of gilding and of enamel over metal foil creates a shimmery effect appropriate to this mystical scene. Along with others of the same dimensions— including three at The Met Fifth Avenue—it once decorated an imposing church furnishing, such as an altar, candlestick, or large cross. Plaque with the Pentecost, ca. 1150–75. Made in Meuse Valley, South Netherlands #TheMet #MetCloisters


“Leon Golub: Raw Nerve” is on view at The Met Breuer through May 27. In this drawing, a study for a painting of the same title, the artist quotes the allegorical “danse macabre” genre conceived in the late medieval period and featured in a famous Northern Renaissance woodcut series by Hans Holbein. In Leon Golub’s hands, the skeletal, genderless, and classless personification of death is reimagined as a biker-cap-wearing, skull-headed monster with a lean, muscular body and his name tattooed across his lower abdomen. Sporting a wide grin, Mr. Amok emerges from the darkness, ready to break into the murderous frenzy his name implies. Leon Golub (American, 1922–2004). Mr. Amok (detail), 1994 ©️ The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA, New York, NY #TheMet #LeonGolub