MICHAEL kimmelmantoll 20, the most spectacular open space in New York City since the renovation of the central station, and like the central station, it is also a refurbished landmark: 140-foot-long neo-
The main hall of the Metropolitan Museum of Art or the arched corridor south of the Great Hall.
Can you imagine it?
If not, it may be because it has been a building Cinderella for half a century, and its merits are covered up by the work it has to do.
In 1948, it basically became a passage between the hall and the museum cafeteria.
During World War II, its skylight had been blacked out and artificial lights had been installed.
For decades it shows Cyprus and Roman art at will, and most people seem to have barely noticed this on their way to lunch.
The vault on the ceiling began to break.
Surprisingly, before the museum closed the space two years ago for renovation, no one was hit on the head by falling debris.
Now, the skylight opens again: the huge shaft pierced the reconstructed barrel vault and rose to a 62 feet-foot-high window.
On a sunny day, the lights on the walls flashed --
Clean pink stone floors and sculptures, now in Greek style, are cleverly arranged for change.
The corridor has become one of the largest public places in the city.
As the core of phase 3, Phase 2, it is re-opening
Part of the reform of the Metropolitan Museum's Greek and Roman art galleries.
The campaign has grown to $0. 15 billion.
The great cause is profound and admirable fashion.
When the Metropolitan Museum opened in 1870, it was widely believed that the collection of cultural relics was the foundation of a great museum mission.
The first work obtained by the Metropolitan Museum was the Roman coffin.
Greece and Rome are the cornerstone of Western civilization and all educated children should learn Greek and Latin.
This is the world.
But the taste and philosophy have changed. -
Fortunately, this seems to be a long-term view of civilization.
Advertising is the first part of the museum, and the collection of cultural relics is the last major department to be overhauled.
The initial phase of the renovation was completed in 1996 and is now a renovation of the Belver court of prehistoric and early Greek art, in 1902, Richard Morris Hunt designed a large room with a beam ceiling.
The second phase includes huge corridors (
The inspired part holds the piano on the arm and nuchin in the Vatican)
There are also six large, classical rooms, three on each side of the corridor, added to the museum in 1917.
With the current redesign, they serve the purpose conceived by architects McKim, Mead & White, showing the art of inheriting next door Belfer Court in chronological order: attic sculptures and decorative materials from the sixth to fourth centuriesC.
Ancient and Classical times.
The rooms and the collection inside never looked better than this, which is a reasonable guess.
First of all, the walls of the corridor were painted because the museum was unable to get enough stone when built during World War I and is now covered with gray limestone, as we expected.
On the other hand, all works of art-
About 1,200 objects-
It has been cleaned up and this is a huge feat.
While you won't say it's simple, this demo is logical, spacious and handsome.
The antique exhibition is usually the oldest in the museum, and the traditional antique exhibition for experts is often stuffy and shopping.
Objects are usually grouped by style and material.
Endless cases of broken cans emerged in my mind.
In the reinstallation of the Metropolitan Museum, chief designer Jeffrey Daley, who is in charge of curator Carlos Piken and the museum, tried something different.
"I realized it . "
Piken said, "If I show my art on a long row of smaller and smaller objects, I will continue to lose all my customers until the 19 th century.
Thus, the work is now arranged in a different configuration: theme, style, and chronological order.
The theater, Olympic, civic life, death, war, education, Gods, Myths and heroes of ancient Athens.
What's interesting is that for antiquities and non-Antiquities
Western things that link art to social and political history do not seem particularly radical, although in Western painting it remains the focus of heated debate among scholars and museum officials, they argued whether social history covered up aesthetics.
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In any case, forming a network of interconnected work, the room of the jar now has relevant materials to enliven things and convey a greater sense of culture.
A few early-fifth-century B. C.
For example, a tank coated with a chariot shares a box with a small bronze chariot division of the same period.
Examples of an object are concentrated on an artist to illustrate how archaeologists isolate a particular hand.
Long wall texts investigate history, terminology, burial practices, techniques of artists, etc.
Only the most patient and diligent visitors will be able to understand all the themes and connections, but the best permanent devices will return multiple visits.
The guiding principles here should be: open your eyes.
Works that have not been seen for many years because they are in storage, or have not been shown an advantage, are ultimately rewarded as they deserve.
One is kylix, which is shallow.
About 490 B of Cota drinking cups. C.
It was painted by an artist named Douris.
It shows a young woman beautifully painted in her washbasin. Mr.
Piken is also involved in loans, hoping they will become gifts.
Including a late one. fourth-century B. C.
The head of a woman wearing a veil, belonging to a collector in Belgium, was carved into a face that looked like it was swept by a gust of wind and a large flower --
Krater, a bowl of mixed wine and water from B at the end of the sixth century. C.
It is placed in a prominent position in the corridor, making it completely clear to anyone else how much the museum likes it. Mr. advertising
The leather hole recently acquired a variety of antiques, such as marble sculptures in the shape of Pelican's foot shell, for about £ 400. C.
Thin paper so the light goes through it and there's a pair of biggerthan-
The eyes of life of bronze eyelids are very surreal.
They are not the basis for an antique collection in production, but they are perfect for collections that have been formed, such as Met.
The last and most ambitious phase of gallery renovation in Greece and Rome will be completed within a few years.
The restaurant will be relocated, and the space it occupies will become a sky light courtyard for Roman art.
The executive office on the mezzanine adjacent to the court will be the gallery for the Etruscan Arts, special exhibitions and open storage.
The Cyprus sculpture will be on display on the second floor.
A new restaurant will be built on the octagonal Lehman Brothers Pavilion.
Closer to the original IntentThe Museum, Greek and Roman collections will eventually reach 60,000 square feet, a little more than before the restaurant took over the court in 1948.
More importantly, perhaps the mode of transportation will change after the restaurant is relocated, so that the entire southern tip of the metropolis should be closer to the assumption of McKin, mild and White: soaring, classic suites of antique art.
The renovated corridor is now known as the gallery of Mary and Michael jarharris, and will then become the central pillar of the museum within the museum.
Before that, it was first a noble legacy of American cultural ambition and insecurity a century ago.
This is a great place to show art.
At the end of the corridor near the restaurant is the fourth. century B. C.
Marble head of the goddess.
It is said that she may be demit's daughter Persephone, or Hygeia, the daughter of Asklepios, the god of medicine, but it doesn't matter.
No matter who she is, she represents our imagination when we think of serenity, freshness
Perfect for Greek art.
By reinstalling, the sculpture was given new importance.
In the flooded lights of the gallery, her head sparkled like a lighthouse.
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A version of this review was printed on page E00001 of the National edition on April 20, 1999 with the title: art review;
Glory returns to classics.