Quiet Spaces: the First Floor Rooms
By Hun Ohm

Between the cavernous galleries and grand balconies, there are a number of small rooms that provide glimpses into what people have envisioned to be the pinnacle of design and dwelling. They are almost never overrun, and visitors who spend more than a perfunctory amount of time in each will be rewarded.

Frank Lloyd Wright room
I have never had the chance to make it out to Taliesin or Falling Water. The Johnson Wax headquarters remain just a brief flicker on the TV screen. However, Frank Lloyd Wright’s work and personality have intrigued me; thus, this room on the first floor of the American Wing is always on the itinerary when I’m in the vicinity. Taken from the living room of the Francis W. Little house in Minnesota (built during 1912-1914), this installation is a study in the harmony and continuity that were hallmarks of Frank Lloyd Wright’s aesthetic. Horizontal lines permeate all planes of the room, from the chair armrests to the tables to the window seats that line the room. The copper window grilles also echo the geometrical grace of Wright’s designs. Out the windows, you’ll be able to see a slope of Central Park grass, which further accentuates the architecture’s connection to its natural surroundings. Don’t forget to look up at the ceiling where the geometric continuity, well, continues. The small viewing areas and somewhat hidden location ensure small crowds.

First floor, American Wing (northwest corner of American Wing Courtyard).

Gubbio Studiolo
Finished in 1476 for the Duke of Urbino, this room is a woodworking tour de force. Florentine artisans were brought in to complete the construction, and their expertise is readily apparent in the "intarsia" (intricate inlaid woodwork) that graces each wall. Originally the Duke’s study, the walls are filled with images of the Duke’s various interests and pursuits: lutes, compass, hourglass. Look for the caged bird, which for some odd reason is tragically charming locked within the wood slats of its cage. The room is also cleverly lit so that it appears that there is a shaft of sunlight peering through the single window. Many museum-goers seem to either flash through or miss the room entirely, so if you’re patient, you will be able to have the room to yourself. This is one of those rare rooms where you are allowed to get rather close to the artwork—a real treat, as the discrete wood pieces are fascinating to scrutinize. However, don’t touch, and if you’re toting a backpack or bag, take extra care not to bump into the walls.

Note: if you continue along this wall en route to the Arms and Armor gallery, you will see other room installations (Italian and Swiss) that are also wonderful examples of woodworking, though they are not quite as intimate as the Gubbio Studiolo.

First floor, European Sculpture and Decorative Arts.

Quiet Spaces: the Ladies of Sargent
By Hun Ohm

The Met has one of the most impressive collections of American art in the world. You can very easily spend your entire visit exploring the nooks and crannies of this wing, including the Henry R. Luce Center, where you will get a glimpse of the extraordinary wealth of works that are not currently on prominent display. The array is bewildering, and you will begin to understand just how much thought must go into the curatorial decision-making process.

The Ladies
That decision-making process is evident in the Frank A. Cosgrove, Jr. galleries, where a set of John Singer Sargent paintings have long held quiet court; a few cast members have recently been moved around or removed entirely, reflecting the give and take that goes on between world-class institutions as the curators put together shows that necessarily borrow from other collections’ holdings. Still, the remaining Sargent’s still fascinate—indeed, something about the luscious tones of Sargent’s oils have always pleased me, so it’s always a pleasant surprise to me to see how uncrowded this gallery of the Met can be; perhaps this is due to its "mezzanine" location, or maybe I just visit at odd hours. At any rate, if you’re lucky, you’ll have the room to yourself, free to admire for as long as your heart desires.

From one wall above the stairs, you will be greeted by an enormous portrait of "The Wyndham Sisters," (1899) three sisters in white gowns as luminous as clouds with a darkened background that connects the viewer (and the sisters and artist) to the past. You will also see the beautiful "Mrs. Hugh Hammersley" (1892), resplendent in a sumptuous magenta gown, perched on a sofa, her lively posture and slightly raised legs intimating that she may soon rise to greet the viewer. The frank graze and confident stances of "Lady with the Rose" is equally mesmerizing, what with the white rose contrasting with the deep black gown and bewitching rouge of cheek and lip that ensnares you in story.

The Necessary Missing
As noted above, curators must make tough decisions, and for better or for worse, two of the most exquisite paintings, the bold and defiant "Mr. and Mrs. I. N. Phelps Stokes" (1897) and the famously severe porcelain profile of "Madame X" (1883-84) are currently on loan to other museums; thus, you may find a few gents presiding amongst these fine ladies when you visit. This diminishes the cohesiveness and allure of the room in some respects; nevertheless, the presence of the Sargent men should not dissuade you from paying a visit, as they are tremendous works in their own right.

Located in the American Wing, mezzanine level.

Note: If you continue down to the first floor, you will be very close to the Frank Lloyd Wright room (see other entry), which is another must see in the American Wing.

Quiet Spaces: Asian Art Wing
By Hun Ohm

The Asian Art wing contains works from all across the continent and is well worth a visit. From exquisite celadon vases to imposing stone guardians, the collection is comprehensive and, though popular, not nearly as crowded other wings. Here are a couple of the quiet spaces that will transport you to another realm.

The Astor Court
Based off of a place known as the "Garden of the Master of the Fishing Nets" in Suzhou, this Ming scholar’s garden is a must. The walls, openings and flaring roofs expand the space dramatically. Limestone rock formations are placed carefully around the courtyard, accompanied by the sight and sound of falling water. These two contrasting elements are said represent a theme that permeates the Chinese artistic tradition (opposites balancing/opposites negating, etc.). On a clear day, when shafts of sunlight pour in through the skylights overhead, this wonderful oasis is an ideal spot to contemplate these notions of ying and yang, or past and present days, or whatever else might enter your thoughts. Running water, sunlight, bamboo -- what more could you ask for? Well, if you’re looking for further immersion, go into the reconstructed Ming room situated at the northern end of the gallery. Spend some time admiring the wood chests, couch tables, instruments, and roof beams. When you’re good and ready, take a seat beside the windows, peer out through the wood screens back toward the garden and tell me that you’re still in New York City.

The Nakashima Room
Located in the Sackler Wing Galleries, this dimly lit room is rather lightly occupied (it seems that people typically stroll through without stopping for long). Don’t fall for that temptation. George Nakashima believed a spirit dwelled in all natural things and endeavored to "find the God within" the wood, and you get a taste of that pursuit in this tranquil room. His works are elegant, simple, and celebrate the wood’s (black walnut, shaved hickory) unique grains and shapes. Furthermore, unlike most pieces in the museum, you can actually take a seat at the table, and there is something that is satisfying about the tactile experience of caressing what Nakashima described as the "satiny texture" of the wood’s grain. Be certain to check out the butterflies in the table that hold together the splits in the wood, and feel free to peruse the books or sit back and watch the videos on Japanese culture that play on a set of TV screens. On the far wall, a stunning view (the nose smudges on the glass are a telltale sign of the window’s allure) into the Temple of Dendur courtyard seals the deal. Note: If you have a car and the desire to see more works, make a trip out to Bucks County, PA, where Nakashima’s children still run the woodworking business complete with showroom.

Second Floor, Asian Art Wing, use the west (left) entrance.

The main reason we visited the Metropolitan Museum of Art was to see the Egyptian Art exhibit, as we were headed to Egypt the next day. At the time, the exhibit seemed spectacular, with so many items, but after seeing the Cairo Museum a few days later, it seems like such a small collection. I am glad that I saw this exhibit before seeing the one in Cairo, as I would not have appreciated it as much. One thing that is on display here that I felt was better than the similar art in Egypt was the wall paintings from the tomb of Perneb. Seeing wonderful tomb paintings in an air-conditioned room could not be topped by the stifling hot tombs of the Valley of the Kings in Egypt.

I also enjoyed the Temple of Dendur. It was saved from being submerged underwater when the Aswan High Dam was built. This temple is not as great as the enormous temples that remain in Egypt, but it is quite amazing to be able to see such an old building just as it stood in Egypt. I am still amazed that our technology can move buildings that are thousands of years old halfway around the world without entirely destroying it.

I found the Egyptian exhibit a great introduction to what we were to see in Egypt, and I feel that I was able to better appreciate the items in Egypt because I had seen less spectacular things here. Although the items here are still spectacular, I am sure most can agree that seeing the items in a museum far from their origins is not as worthwhile as visiting the items in the same place as where they are originally from.

While at the museum, we also checked out the American Wing. For me, it was a wonderful moment to see the original "Washington Crossing the Delaware" painting. Even though, as a historian, I should not love the painting as much as I do, as it has many inaccuracies, but I still enjoy it from the perspective of an artist's representation of a important moment in our country’s history.

Admission for adults is $12.00 and it is definitely worth the price because there is so much to see! You could spend days here and not see everything! We spent all day and saw a lot, but our feet were very sore.

The museum provides free tours, one of which is a museum highlights tour. We took this hour-long tour with a guide who was so insightful on the museum and all of its art. Plus, it is a nice introduction to the layout of the buildings and what there is to see.

We have learned our lesson about spending a whole day at a museum. This time we brought our own food instead of paying $3.00 for a bottle of soda alone. This proved to be a little tricky because some of the guards at the entrances didn't like it when people were bringing in backpacks. One of them told us to check our bag, so we went to another entrance and snuck by without any disruption. We pulled out our bread and sandwich fixings in the American wing cafeteria where we did get a couple of strange looks from people. But hey, we saved a bundle!

Bathrooms are everywhere and so are opportunities to shop for souveniers.

Some highlights of the museum are:
Tiffany's beautiful stained glass
Frank Lloyd Wright room
Rembrant paintings
A large Medieval collection
Temple of Dendur

Address:
1000 Fifth Avenue at 82nd Street

Phone:
212-535-7710

Website:
http://www.metmuseum.org/