Quiet Spaces at the Met: A Short List

In a city that has numerous topnotch art collections, one could spend many, many hours exploring other venues without repetition or boredom, and yet there I am, revisiting the Metropolitan Museum of Art’s galleries again, and again, and again. There’s no denying it: I am very fond of the Met. After all, it is one of most impressive and comprehensive art museums in the world, with works from nearly every continent and every major artistic movement. It has breadth and depth. Masterpieces and lesser-known works. Rooms where there is good reason for the elbow to elbow jostling, and rooms where you wonder why there aren’t more people—and are grateful that there aren’t. There is so much to discover here that the simple, oft-told adage that you cannot do the museum in a week, let alone a day, holds true. Sure, a Highlights tour can bring a "Met, check it off the list" sense of accomplishment, and the tour will introduce you to several major works, but alas, such a brief taste really doesn’t do the place justice.

Quick Tips:

Tips
That said, most folks won’t have the luxury of unlimited time. If you only have a few hours, I would recommend focusing on a couple of wings only; otherwise, you run the risk of being overwhelmed (and absorbing nothing). Get a free map from Information, take a few minutes to get a sense of the layout of the place, and then go. After you finish those initial meanderings to your satisfaction, and if you still have the energy to explore, consider taking a look at some of the more quiet rooms I mention in this journal.

Hours
Go in the mornings during the weekdays to avoid the crowds and, if possible, catch one of the usually excellent 11am. Gallery Talks to gain additional insight on a discrete morsel of the collection. Or if you’re looking for some good music and a drink or snack as part of your museum going experience, go on Friday or Saturday evening when the Met stays open late, snag a table on the Great Balcony and just sit back and absorb. The galleries are also often less crowded later in the evening, so there is a chance that you can have some rooms all to yourself. The feel of many rooms change with the coming of darkness and spotlights, especially the various sculpture gardens, and there is something very appealing about hearing one’s footsteps echo as you stroll leisurely amongst countless masterpieces.

Best Way To Get Around:

Downside
Crowds. They can be suffocating, especially around the special exhibits and better-known works. I don’t find the Met to suffer the same general congestion that you might encounter at, say, MOMA, but traffic can be heavy. If you see a line of school buses outside the front steps of the museum, be prepared.

Maybe, maybe not
I’m always a bit torn on audio guides. They are valuable, providing context and anecdotes that really enhance an experience, but they can be time-consuming.

Basics
Entrance on Fifth Avenue and 82nd Street.
Closed on Mondays.
Admission: suggested.
www.metmuseum.org for additional information.

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.

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: 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: Individual Works
By Hun Ohm

If you only have one visit, you may be more inclined to head for some of the greatest hits, perhaps the Impressionist paintings or the Temple of Dendur. You will undoubtedly have more than enough choices, but if you’re looking for some exquisite but often ignored pieces, here are a few individual works that merit lengthy observation.

Duccio’s Madonna and Child
This very early work (1300) by the Renaissance master only recently entered the Met’s collection for an astonishing sum of money (reportedly in the $40-plus million range). It is a significant work, one of the earliest instances in which the religious figures have broken away from the highly stylized Byzantine tradition and toward the humanism and naturalism that are the hallmarks of the Renaissance; in fact, it was likened by some as the Met’s "Mona Lisa" because of its historical importance. And yet, it seems to be scarcely a blip on anyone’s radar screen. Take advantage—you will be able to study this work undisturbed by the tour groups and three deep crowds that plague the Mona Lisa. Note the burn marks on the bottom of the frame, evidence of many a devoted candle.

Second Floor, European Paintings.

Pensive Bodhisattva
A relatively recent acquisition, this tiny gilt bronze statue dates from the 600s A.D. and patiently watches over the pottery in the Arts of Korea gallery. Its contemplative posture is not unknown in Korean art, but this particular work has received additional praise and admiration for its supple limbs, and if you look closely, the big toe, really, does bring this idealized image completely to life. Check it out, and then admire the charming and elegant celadon pieces.

Second Floor, Asian Art wing, near the entrance.

Jain Meeting Hall Dome
Tucked into the deep recesses of the South Asian galleries of the Asian Art wing, this installation is amazing for its intricate woodcarving. Dating back to the late 1500s, this teakwood structure comes from Gujurat, Patan and still bears some evidence of its original decorative coloration. Binoculars, though impractical to carry, would serve you well, as its difficult to fully admire the vast array of figures from the stairway.

Second Floor, Asian Art wing, enter through east (right) entrance.

MIA: Nur al-din Room
The Islamic art galleries are undergoing an extensive renovation (to be completed in early 2008), and an unfortunate casualty of this process is perhaps one of the most alluring rooms in the entire museum. From Syria, and created during the 1700s, this room’s viewing area was miniscule and the entrance unobtrusive; thus, you often were the only one taking a look. However, the quiet trickle of the fountain, the incredible tile work, the luxuriant mats on which the wealthy once reclined, it’s all been lost—for the time being. Hopefully when the renovation is complete, this room will be open once again for our perusal.

Second Floor, eastern wall, Islamic art galleries.