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Heilbrunn Timeline of Art History Essays

Pablo picasso (1881–1973).

Marble head from the figure of a woman

Woman in Green

Pablo Picasso

The Blind Man's Meal

At the Lapin Agile

Gertrude Stein

Bust of a Man

Woman in an Armchair

Standing Female Nude

Still Life with a Bottle of Rum

Man with a Hat and a Violin

Bottle and Wine Glass on a Table

Woman in White

Nude Standing by the Sea

Reading at a Table

The Dream and Lie of Franco II

Faun with Stars

Head of a Woman

James Voorhies Department of European Paintings, The Metropolitan Museum of Art

October 2004

The artistic genius of Pablo Picasso (1881–1973) has impacted the development of modern and contemporary art with unparalleled magnitude. His prolific output includes over 20,000 paintings, prints, drawings, sculptures, ceramics, theater sets and costumes that convey myriad intellectual, political, social, and amorous messages. His creative styles transcend realism and abstraction, Cubism , Neoclassicism, Surrealism, and Expressionism. Born in Málaga, Spain, in 1881, Picasso studied art briefly in Madrid in 1897, then in Barcelona in 1899, where he became closely associated with a group of modernist poets, writers, and artists who gathered at the café Els Quatre Gats (The Four Cats), including the Catalan Carlos Casagemas (1880–1901).

Living intermittently in Paris and Spain until 1904, his work during these years suggests feelings of desolation and darkness inspired in part by the suicide of his friend Casagemas. Picasso’s paintings from late 1901 to about the middle of 1904, referred to as his Blue Period, depict themes of poverty, loneliness, and despair. In The Blind Man’s Meal ( 50.188 ) from 1903, he uses a dismal range of blues to sensitively render a lonely figure encumbered by his condition as he holds a crust of bread in one hand and awkwardly grasps for a pitcher with the other. The elongated, corkscrew bodies of El Greco (1540/41–1614) inspire the man’s distorted features.

Picasso moved to Paris in 1904 and settled in the artist quarter Bateau-Lavoir, where he lived among bohemian poets and writers such as Guillaume Apollinaire (1880–1918) and Max Jacob (1876–1944). In At the Lapin Agile ( 1992.391 ) from 1905, Picasso directed his attention toward more pleasant themes such as carnival performers, harlequins, and clowns. In this painting, he used his own image for the harlequin figure and abandoned the daunting blues in favor of vivid hues, red for example, to celebrate the lives of circus performers (categorically labeled his Rose Period). In Paris, he found dedicated patrons in American siblings Gertrude (1874–1946) and Leo (1872–1947) Stein, whose Saturday-evening salons in their home at 27, rue des Fleurus was an incubator for modern artistic and intellectual thought. At the Steins he met other artists living and working in the city—generally referred to as the School of Paris —such as Henri Matisse (1869–1954). Painted in 1905–6, Gertrude Stein ( 47.106 ) records Picasso’s new fascination with pre-Roman Iberian sculpture and African and Oceanic art. Concentrating on intuition rather than strict observation, and unsatisfied with the features of Stein’s face, Picasso reworked her image into a masklike manifestation stimulated by primitivism. The influence of African and Oceanic art is explicit in his masterpiece Les Demoiselles d’Avignon (1907; Museum of Modern Art, New York), a painting that signals the nascent stages of Cubism. Here the figure arrangement recalls Cézanne’s compositions of bathers, while stylistically it is influenced by primitivism, evident by the angular planes and well-defined contours that create an overall sculptural solidity in the figures.

The basic principles of Analytic Cubism (1910–12), with its fragmentation of three-dimensional forms on a two-dimensional picture plane, are embodied in Still Life with a Bottle of Rum ( 1999.363.63 ), painted in 1911. The techniques of Analytic Cubism were developed by Picasso and the French artist Georges Braque (1882–1963), who met in 1907. Picasso’s Bottle and Wine Glass on a Table ( 49.70.33 ) of 1912 is an early example of Synthetic Cubism (1912–14), a papier collé in which he pasted newsprint and colored paper onto canvas. Picasso and Braque also included tactile components such as cloth in their Synthetic Cubist works, and sometimes used trompe-l’oeil effects to create the illusion of real objects and textures, such as the grain of wood.

After World War I (1914–18), Picasso reverted to traditional styles, experimenting less with Cubism. In the early 1920s, he devised a unique variant of classicism using mythological images such as centaurs, minotaurs, nymphs, and fauns inspired by the classical world of Italy. Within this renewed expression, referred to as his Neoclassical Period, he created pictures dedicated to motherhood inspired by the birth of his son Paulo in 1921 (his first of four children by three women). Woman in White ( 53.140.4 ) of 1923 shows a woman clothed in a classic, toga-like, white dress resting calmly in a contemplative pose with tousled hair, eliciting a tender lyricism and calming spirit of maternity. Toward the end of the 1920s, Picasso drew on Surrealist imagery and techniques to make pictures of morphed and distorted figures. In Nude Standing by the Sea ( 1996.403.4 ) of 1929, Picasso’s figure recounts the classical pose of a standing nude with her arms upraised, but her body is swollen and monstrously rearranged.

By the early 1930s, Picasso had turned to harmonious colors and sinuous contours that evoke an overall biomorphic sensuality. He painted scenes of women with drooping heads and striking voluptuousness with a renewed sense of optimism and liberty, probably inspired by his affair with a young woman (one of Picasso’s numerous mistresses) named Marie-Thérèse Walter (1909–1977).  Reading at a Table ( 1996.403.1 ) from 1934 uses these expressive qualities of bold colors and gentle curves to portray Marie-Thérèse seated at an oversized table, emphasizing her youth and innocence.

Although still living in France in the 1930s, Picasso was deeply distraught over the outbreak of the Spanish Civil War in 1936. He reacted with a powerfully emotive series of pictures, such as  Dream and Lie of Franco ( 1986.1224.1[2] ), that culminated in the enormous mural Guernica (1937; Reina Sofía National Museum, Madrid), painted in a grisaille palette of gray tones. This painting, Picasso’s contribution to the Spanish Pavilion in the 1937 Exposition Universelle in Paris, is a complex work of horrifying proportion with layers of antiwar symbolism protesting the fascist coup led by Generalissimo Francisco Franco.

From the late 1940s through the ’60s, Picasso’s creative energy never waned. Living in the south of France, he continued to paint, make ceramics, and experiment with printmaking. His international fame increased with large exhibitions in London, Venice, and Paris, as well as retrospectives in Tokyo in 1951, and Lyon, Rome, Milan, and São Paulo in 1953. A retrospective in New York at the Museum of Modern Art in 1957 garnered a massive amount of attention, with over 100,000 visitors during the first month. This exhibition solidified Picasso’s prominence as museums and private collectors in America, Europe, and Japan vied to acquire his works.

In Faun with Stars ( 1970.305 ) from 1955, Picasso returned to the mythological themes explored in early pictures. Again, incorporating life experience into his painting, he evoked his infatuation with a new love, a young woman named Jacqueline Roque (1927–1986), who became his second wife in 1961 when the artist was seventy-nine years old. Picasso symbolized himself as a faun, calmly and coolly gazing with mature confidence and wisdom at a nymph who blows her instrument to the stars. The picture embraces his spellbound love for Jacqueline.

Even into his eighties and nineties, Picasso produced an enormous number of works and reaped the financial benefits of his success, amassing a personal fortune and a superb collection of his own art, as well as work by other artists. He died in 1973, leaving an artistic legacy that continues to resonate today throughout the world.

Voorhies, James. “Pablo Picasso (1881–1973).” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/pica/hd_pica.htm (October 2004)

Further Reading

Karmel, Pepe. Picasso and the Invention of Cubism . New Haven: Yale University Press, 2003.

Léal, Brigitte, Christine Piot, and Marie-Laure Bernadac. The Ultimate Picasso . New York: Abrams, 2003.

Olivier, Fernande. Loving Picasso: The Private Journal of Fernande Olivier . Edited by Marilyn McCully. New York: Abrams, 2001.

Richardson, John. A Life of Picasso . 2 vols. New York: Random House, 1991–96.

Richardson, John, with the collaboration of Marilyn McCully. A Life of Picasso . 2 vols. New York: Random House, 1991.

Rose, Bernice B., and Bernard Ruiz Picasso, eds. Picasso: 200 Masterworks from 1898 to 1972 . Exhibition catalogue. Boston: Bullfinch Press, 2002.

Rubin, William, ed. Pablo Picasso: A Retrospective . Exhibition catalogue. New York: Museum of Modern Art, 1980.

Zervos, Christian. Pablo Picasso . 33 vols. (catalogue raisonné). Paris: Cahiers d'Art, 1932–78.

Additional Essays by James Voorhies

• Voorhies, James. “ Europe and the Age of Exploration .” (October 2002)
• Voorhies, James. “ Francisco de Goya (1746–1828) and the Spanish Enlightenment .” (October 2003)
• Voorhies, James. “ Paul Cézanne (1839–1906) .” (October 2004)
• Voorhies, James. “ School of Paris .” (October 2004)
• Voorhies, James. “ Art of the Seventeenth and Eighteenth Centuries in Naples .” (October 2003)
• Voorhies, James. “ Elizabethan England .” (October 2002)
• Voorhies, James. “ Alfred Stieglitz (1864–1946) and His Circle .” (October 2004)
• Voorhies, James. “ Fontainebleau .” (October 2002)
• Voorhies, James. “ Post-Impressionism .” (October 2004)
• Voorhies, James. “ Domestic Art in Renaissance Italy .” (October 2002)
• Voorhies, James. “ Surrealism .” (October 2004)

Related Essays

• African Influences in Modern Art
• The Lure of Montmartre, 1880–1900
• School of Paris
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• Auguste Renoir (1841–1919)
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• Francisco de Goya (1746–1828) and the Spanish Enlightenment
• Geometric Abstraction
• Georgia O’Keeffe (1887–1986)
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Artist or Maker

• Braque, Georges
• Picasso, Pablo

Online Features

• The Artist Project: “Jacques Villeglé on Georges Braque and Pablo Picasso”
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Picasso Travel

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Picasso Travel (New York City): Address, Phone Number - Tripadvisor

Picasso Travel

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Picasso Travel - All You Need to Know BEFORE You Go (2024)

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Studio with Plaster Head  (summer 1925) Pablo Picasso (1881–1973) was born in Málaga, Spain, and spent the bulk of his career in Paris. But when it comes to where to find his work, New York is Picasso central. Between the  Guggenheim , the  Metropolitan Museum  and  MoMA , NYC hosts what has to be the largest hoard of grade-A Picassos anywhere. His single most important painting,  Les Demoiselles d’Avignon , resides at MoMA, while his most famous,  Guernica , lived there for 42 years, from 1939 until its 1981 repatriation to Spain. To demonstrate the depth of the artist’s connection to our city,  TONY  presents its selection of Gotham’s top Picassos, dating from his arrival in Paris at the turn of the last century to the final years of his protean career.

Le Moulin de la Galette  (1900) Picasso initially came to Paris in 1900, and his first winter there was a tough one. He lived in a state of abject poverty, sharing an apartment with his friend, journalist and critic Max Jacob. A product of a comfortably middle-class background, Picasso’s experience sparked a lifelong sympathy for the poor and for left-wing causes. This work, the first he painted in Paris, depicts the dance hall in Montmartre that had been frequented and immortalized by such artists as Renoir, Van Gogh and Pissarro.

Seated Harlequin  (1901) The woman on the far left of  Le Moulin de la Galette  is believed to be Germaine Pichot, who may have played a part in the backstory of  Seated Harlequin . The composition is one of six that Picasso created in 1901 depicting different characters, either singly or as couples, seated at cafe tables. Harlequin, a buffoonish figure known for sexually coarse behavior, came out of the centuries-old commedia dell’arte tradition. Picasso not only places this figure in a contemporary setting, he limns him in whiteface, an attribute usually associated with another stock type from the commedia: Pierrot, the sad clown whose lady love was routinely stolen by Harlequin. The subject’s pensive expression is interpreted by some scholars as a reference to another person from Picasso’s milieu, his compatriot Carles Casagemas, who shot himself to death after being spurned by Pichot.

Erotic Scene  (1902 or 1903) Picasso is famous for his own considerable sexual appetites, and from the start of his career, he had a habit of depicting himself in flagrante with various prostitutes, showgirls and artist’s models. When shown a photo of this scene in 1960, he denied the painting was his, but art historians claim that it’s authentic.

The Blind Man’s Meal  (1903) During his early years, Picasso divided his time between Paris and Barcelona, where he painted this example from his Blue Period, generally regarded to be his first mature body of work. In addition to the color and generally somber themes, Blue Period paintings feature attenuated figures in the style of El Greco. According to his own letters, Picasso meant  The Blind Man’s Meal  to be a representation of universal human suffering.

At the Lapin Agile  (1905) Another famous Montmartre nightspot is the setting for this scene, in which Picasso depicts himself this time as a harlequin. The painting was done during his Rose Period, his upbeat turn away from the Blue Period in both color and tone. Even so, Picasso appears to be something of an unhappy camper here, while his female companion—his lover at the time—seems downright sullen. As it turns out, she’s the same Germaine Pichot who became the fatal romantic obsession of Picasso’s friend, Carles Casagemas.

Gertrude Stein  (1905-1906) This image of the legendary American expat writer represents the young Picasso’s great turn of fortune. From her very first meeting with Picasso, Stein, who came from a wealthy Pennsylvania family of German Jews, was absolutely certain that he was the greatest artist of his age. She saw in him a kindred spirit—a revolutionary figure whose genius was bound to be recognized, as she did. She famously helped him along, buying his work and convincing her brother to do likewise. She also persuaded key figures such as American artist-gallerist Alfred Stieglitz and French dealer Ambroise Vollard to purchase Picasso’s work. More than a likeness of crucial benefactor, Stein’s portrait signals the beginning of Picasso’s transition toward the stylistic breakthrough that would cement his place in art history.

Two Nudes  (late 1906) This image of two females facing each other in nearly mirror opposition reflects the increasing influence of non-Western and ancient art on Picasso’s work. The overall pinkish color harkens back to Bronze Age earthenware figures from Picasso’s native Spain, while the stylized facial features of the model turned partly to the viewer come straight from the African masks that Picasso had observed in Paris’s ethnographic museum at the Palais du Trocadéro.

Les Demoiselles d’Avignon  (June–July 1907) For a half a century before Picasso, vanguard artists in France and elsewhere in Europe had been deconstructing the representational tradition of Western art—first by subverting its themes, and then by privileging the various processes behind its creation. This interior scene of a Barcelona brothel delivered the final blow against the art born of the Renaissance. It utterly shattered the picture plane that even the Impressionists and Post-Impressionists adhered to, pointing the way toward the abstract art that would eventually emerge over the next half-century.

Woman’s Head (Fernande)  (fall 1909) Les Demoiselles  paved the way for the emergence of a radical new style dubbed Cubism for the way that it depicted form and space as faceted shapes. The idea was to represent vision as the sum of different vantage points presented simultaneously. But Picasso didn’t limit himself to painting while blazing this trail: Sculptures like this one of Fernande Olivier, his companion at the time, proved crucial in his quest to upend artistic conventions.

Accordionist (L’Accordéoniste)  (summer 1911) In 1907, Picasso became acquainted with Georges Braque, an artist whose own landscapes, inspired by Paul Cézanne, had started to move in the same direction as Picasso’s paintings. Braque’s cerebral nature complemented Picasso’s passionate personality, and the two soon joined forces, working literally side by side to push the envelope on Cubism. They spent the summer of 1911 together in the town of Céret in the French Pyrenees. There, they produced canvases that were virtually indistinguishable.  Accordionist  is one such composition, and it shows how each artist egged the other on toward an ever more deconstructed treatment of subject and space.

Man with a Hat  (December 1912) As important as Cubism was stylistically, its most important legacy for 20th-century art was collage. The incorporation of found materials into works of art effectively began the breakdown of the barrier between art and life that is still being pursued by artists today. Scholars argue as to whether Picasso or Braque invented the technique, though evidence points to the latter. Regardless, Picasso seized on the method, as shown in Man with a Hat, which uses snippets of newsprint and colored paper to create a face.

Maquette for Guitar  (October 1912) Guitar  did for sculpture what  Les Demoiselles  did for painting: It exploded the medium. Before  Guitar , sculpture was a process of modeling form out of a particular material—say, clay or wax—either by addition, subtraction or both. Even casting depended on this first step. But Picasso redefined sculpture as something closer to architecture—an assembly of open, planar components. This idea would continue to reverberate throughout the art of the 20th century and beyond.

Glass of Absinthe  (spring 1914) Glass of Absinthe  is notable for its use of an actual spoon, taken straight from everyday life without any alteration whatsoever. A year earlier, Marcel Duchamp had hit upon a similar idea when he bolted together a bicycle wheel and a stool from his studio. It wasn’t until two years later, however, that Duchamp came up with a name for his accomplishment—The Readymade—and it proved to be a game changer. Nevertheless,  Glass of Absinthe  makes an argument for Picasso as the coauthor of this most radical development in modern art, even though he despised Duchamp and everything he stood for.

Three Musicians  (summer 1921) By the early 1920s, Picasso’s years of revolutionary experimentation were behind him, and Cubism had been supplanted as an avant-garde fashion by Surrealism—whose adherents declared Picasso dead. Europe was still reeling from the devastation of World War I, and in France, culture turned to the past in a search for order. Picasso did likewise in two remarkably different paintings created in the summer of 1921.  Three Musicians  takes a nostalgic look back at the bohemian life of Picasso’s youth in a style of Cubism that pulled away from the near-abstraction of works like  Accordionist . Meanwhile,  Three Women at the Spring  (see the following image) was even more conservative in its Neoclassical treatment of its theme.

Three Women at the Spring  (summer, 1921)

The Studio  (winter 1927–28) During the winter of 1927–28, Picasso painted a series of works on the theme of the artist in his studio. They were self-portraits of a kind, and this one is especially notable for its elegant contrast of bright red and yellow with blocks of grey and black. The composition is spare and schematic, as is the figure of the artist, who is rendered as a bare-bones network of connecting lines.

Seated Bather  (early 1930) By the end of the 1920s and the onset of the 1930s, Picasso, perhaps in an effort to keep up with the times, began to assimilate aspects of Surrealism into his own work—particularly the biomorphic shapes found in the work of Joan Miró, Salvador Dalí and the much younger Yves Tanguy (born the year Picasso arrived in Paris). Another thing Picasso picked up was the air of Freudian menace that suffused much of the Surrealists’ work, especially the sense that newly emancipated women were getting hard to handle. Picasso himself was probably finding that women weren’t quite as pliant as he was used to (one reason why, maybe, the women in his life became younger as he got older).  Seated Bather  expresses some of this sentiment with its bony vision of a monstrous nude by the seashore, whose head consists of a strange critter, leaning forward with its claws held together to create a vagina dentata.

Girl Before a Mirror  (March 1932) The subject of this painting, a meditation on female vanity and fear of aging, is Marie-Thérèse Walter, who first met Picasso in 1927 when she was 17 and he was a married man of 45. She soon became his mistress and model, appearing frequently in his works during the following decade.  Girl Before a Mirror , however, is the undeniable masterpiece of the Walter series, depicting the honey-blond, pink-cheeked ingenue as she stares into the dark and distorted abyss of her future self. She’s surrounded by wallpaper in a harlequin pattern that’s meant to evoke one of Picasso’s favorite themes, and perhaps the artist himself as a ubiquitous if invisible presence. It’s kind of creepy when you think about it, but it’s hard to take your eyes off this work.

Woman with Yellow Hair  (December 1931) Picasso was fond of depicting Marie-Thérèse Walter while she slept, because he thought it captured her in her most vulnerable, intimate state. Here, she lays her head on an arm that looks like a fleshy, sensual extension of her flaxen locks.

Head of a Woman  (1932) In creating this bust of Marie-Thérèse Walter, Picasso returned to sculpture after a 20-year hiatus. The work was produced in a converted stable on the grounds of a chateau that Picasso bought near Boisgeloup, some 40 miles from Paris.

Dora Maar in an Armchair  (1939) Marie-Thérèse Walter became pregnant with Picasso’s child in 1935, even though he hadn’t divorced his wife, Olga Khokhlova, a Russian ballerina—and never would. (Khokhlova died in 1955, still married to Picasso.) That same year, Picasso began an affair with Dora Maar, a Surrealist photographer who sometimes modeled for him. Picasso was perfectly happy to juggle both women, but when they ran into each other one day in Picasso’s studio as he worked on  Guernica , they demanded that he choose between. He demurred, saying they should work it out, whereupon they started to wrestle. Picasso would later describe the incident “as one of his choicest memories.” Whether the fight actually settled matters is unclear; what is certain is that Walter moved on, while Maar became Picasso’s mistress and muse. Maar was something of a neurotic: Picasso called her “the weeping woman” because of her frequent crying jags. In contrast to the way Picasso would paint Walter as a bright, glowing angel, Maar was frequently pictured in darker terms—as in the image here, in which she grimaces in a way that seems almost mad.

The Charnel House  (1944–45) Guernica , painted in 1937 in response to the Spanish Civil War, was Picasso’s greatest antiwar masterpiece, but  The Charnel House  is a close second. Done near the end of World War II, the painting features a pyramidal pile of bodies—an image inspired by newspaper photos of combat dead. Still, it evokes nothing so much as the scenes of concentration-camp victims that would soon cause universal revulsion. Picasso chose to stay in Paris under the Nazi occupation, where he was harassed by the authorities. In this respect, the grimness of  The Charnel House  reflects his own personal wartime experience.

She-Goat  (1950) This fixture of MoMA’s collection, beloved by city kids for generations, was originally cobbled out of pieces of discarded junk thrown into field by a pottery manufacturer next to Picasso’s studio in the town of Vallauris, France. A wicker basket makes up the goat’s rib cage, for instance, while repurposed jugs form the udders.

Baboon and Young  (October 1951) In the same vein as  She-Goat, Baboon and Young  was created out of found objects. The animal’s muzzle is made out of a pair of toys cars, while its tail is fashioned from an automobile’s suspension spring. Although definitely in line with Picasso’s forays into Surrealism,  Baboon and Young  almost seems to anticipate Pop Art.

Standing Nude and Seated Musketeer  (1968) Picasso’s work from late in his life was dismissed by critics until the past several years, when a new appreciation emerged for this phase in his career.  Standing Nude and Seated Musketeer  is from a series created during the five years before Picasso’s death in 1973. His  mosqueteros , or musketeers, featured 17th-century swashbucklers that recall figures out of Rembrandt and Velázquez. But with their beards, mustaches and long, flowing hair, they also resemble the free-spirited youths of the late 1960s and early 1970s. It’s easy to see how Picasso might have sympathized with the politics and sexual ethos of the counterculture. But it’s also easy to imagine the musketeer as a stand-in for Picasso himself, looking back on a life of artistic adventure and historic battles won and lost.

NYC’s top 25 Picassos

TONY rounds up the top Picasso paintings and sculptures that call New York City home.

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‘A crazy can-do mentality’: what made New York’s Met one of the world’s mega museums?

It has 1.5m artefacts, 6m visitors, 2,000 staff – and gets by on donations. Max Hollein, the Met’s Austrian-born boss, relives his first five years, when he faced accusations of hoarding, narco-philanthropy and male dominance

M ax Hollein is sitting in his airy fifth-floor office in New York. Through one window is a view of Central Park, through another the rolling roofscape of the Metropolitan Museum of Art, which he has led for the past five and a half years. On his office walls are paintings by Lee Krasner and Helen Frankenthaler, Philip Guston and Jackson Pollock. There is also a Chola sculpture from India and the stone head of an Egyptian goddess .

In other circumstances, it might seem trite to open an interview with a tour of interior decor, but this is not any old office: it is a statement of taste and philosophy on behalf of one of America’s grandest cultural institutions. “Obviously, it’s not possible to capture the entire diversity of the collection,” says the museum’s 54-year-old director. “And of course, my own background is a little bit stronger in modern contemporary work. But I wanted to make sure I had a proper reflection of the art in the Met’s holdings.”

The facade of cool confidence that this control hub projects is at odds with the turbulence that many of the world’s great museums have been facing, as their dependence on arguably tainted money is challenged, their holdings scrutinised for any history of criminality, and questions raised about their very existence in the 21st century as self-appointed guardians of world culture.

As a 154-year-old museum, which has bought rather than inherited most of its possessions, the Met doesn’t carry the same burden of colonialism as its older European peers. But it shares many of their other problems. It was at the centre of Nan Goldin’s campaign against “narco philanthropy”. In 2018, the photographer and demonstrators threw pill bottles into the moat surrounding an ancient Egyptian temple in the Met, to protest against sponsorship by the billionaire Sackler family, owners of one of the world’s largest opioid-producing companies.

Meanwhile, an investigation last year identified hundreds of artefacts in its possession that were linked to indicted or convicted traffickers, leading to the immediate return of 15 sculptures to India and the removal from display of three others from Turkey.

Even in the context of the world’s mega museums, the scale of Hollein’s job is daunting. In a five-year renovation of some of the roofs beneath his window, about 30,000 sq ft of skylights has been replaced, culminating in November with the reopening of 45 galleries of European art . The aim was not only to spruce the place up, but to rethink its European heritage.

Among other things, this involved adding many more works by women. But beyond that, Hollein says, “the whole presentation really asks you, from the very beginning, what actually is Europe? What does it mean when we say European?” The new display extends the definition to include, for instance, Latin American Cuzco paintings . “They were highly influenced by European politics,” he says. “But they developed their own very complex style.”

The latest show to open applies a similar reframing to the Harlem renaissance, proclaiming it the first important African American artistic movement of 20th-century modernism. Alongside familiar names are artists whose work has never been widely seen, pieces lent by their families or the black colleges that have, says Hollein, sheltered them through decades of public indifference. “Showing the Harlem renaissance as a transnational movement and phenomenon is something that basically has not happened before.” The museum has also recently opened an exhibition of Mughal art , collected by the British artist Howard Hodgkin, which it bought two years ago.

Born and raised in Vienna, Hollein arrived at the Met via San Francisco’s Fine Arts Museums after making his name running institutions in Frankfurt. When he joined, the museum was in the run-up to its 150th anniversary. “Compared to some European institutions, 150 is not a great age,” he says. “But of course, in the American museum landscape, it’s an important anniversary to celebrate.”

Of the museum’s origins, back in 1870, Hollein says: “It just got founded, meaning that a couple of New Yorkers went to Paris, saw the Louvre and said, ‘We want this right now in New York.’ It was this crazy can-do mentality, when the reality was that they didn’t have one work of art. There wasn’t a building and they didn’t have a whole lot of money.”

Its relative youth freed the Met from the limitations that a longer history can bring. The museum is not beholden to the heritages of church or aristocracy, says Hollein, leaving it free to develop its collection as it wishes, without the statutory restrictions that prevent big British institutions from refreshing themselves. If it wants to sell an important Picasso sculpture because it has two – as it did last year, raising a handy $48.5m to reinvest elsewhere – it can do so.

Growing up in Vienna, Hollein did not frequent the Kunsthistorisches Museum . “It’s a museum I love, but I always understood it as the collection of the Habsburgs, not as a museum that represented myself, or even the values of Austria today.” As for Europe’s most visited museum, the Louvre in Paris, he says: “It is very clearly a national institution. It is a French institution. There’s a very different feeling and expectation to the Met. Yes, it sits in New York and is, of course, in the US – but it is not essentially a US institution. It’s much more a museum for, and of, the world.”

For those who don’t live within visiting distance of New York, the museum makes its presence known via the annual Met gala , an extravagant celebration of celebrity and costume that has been chaired since 1995 by Vogue editor in chief Anna Wintour, raising almost $22m (£17m) for it last year. That foundational jaunt to Paris began a tradition of funding through philanthropy that has become the Met’s greatest asset but also its greatest liability. Its historic acceptance of money from the Sackler family brought it an unwelcome starring role in Nan Goldin’s film All the Beauty and the Bloodshed , which turned opinion against money connected to the opioids crisis.

Hollein is undaunted. “That for me is not a crisis of how we can move forward or even how we are supported,” he says. “I see actually the total opposite. Yes, we have to take certain steps. But in the 1900s, there was a very specific group of people who supplied the culture. Now we have thousands and thousands of higher level donors not only across the whole political spectrum, but across the whole spectrum of society, who want to be involved and support the museum because of its important role in that society.”

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The sponsors of the new modern and contemporary wing, a $500m development that will open in 2029, are a case in point. Designed by the Mexican architect Frida Escobedo , it will be called the Tang wing, after Oscar Liu-Chien Tang, a Shanghai-born American businessman and his wife, Agnes, who made a $125m donation in the midst of the Covid pandemic. “They wanted to make a gesture of confidence in the future. They also, I think, wanted to show a sense of pride in Asian Americans who have made a future for themselves in this country in such a major way.”

Four years ago, the pop sociologist Malcolm Gladwell lambasted the great museums of the world, including the Met, for what he called their “dragon psychology” – hoarding more objects than they could possibly display. It’s a concept that snowballed, with last year’s discovery that 1,500 items, many uncatalogued, had allegedly been stolen from the British Museum’s collection in London.

Hollein has little time for this idea, pointing to a recent gift by the daughter of Philip Guston of 220 works by her father. “Of course we couldn’t display 220 Gustons,” he says, “and we wouldn’t want to. She could have sold them for millions of dollars. But her feeling was that the Met is a great place to take care of this body of work, and to share it with other institutions.

“I think that it is really important to understand the museum as, first of all, a really good place for art objects. And what I mean by that is that museums play such an important role in preserving cultural heritage, enabling objects to thrive, to live, to be researched, conserved and also contextualised and shared in many different ways. So the idea that they are mainly hoarders is a misconception of why they were founded and what they are about.”

Part of the responsibility, he adds, is to ensure that every one of the Met’s 1.5m artefacts are properly documented. It also means scrupulous and constantly evolving oversight of their provenance. Although the museum doesn’t suffer from the colonial baggage of older collections, or the traumatic 20th-century history of Nazi seizures with which Hollein himself had to contend as director of museums in Germany, new information about provenance is continually coming to light, with a constant risk of serious reputational damage .

Back in 2009, it repatriated to Egypt 19 objects that were found to have been illegally taken from Tutankhamun’s tomb by the archaeologist involved in its discovery, Howard Carter. More recently, apart from the 15 Indian sculptures that were found to have passed through the hands of a dealer who is now in jail in India, it has returned two Benin bronzes to Nigeria , and 16 artefacts to Cambodia . Four new staff have recently been hired to manage the workload, says Hollein, and a new head of provenance research has just been announced. “We are very transparent. We not only announce all of our restitutions, but we publish updates on our website about what we’re doing in regard to provenance, research and restitution.”

After a rocky few years, the museum’s finances now seem stable, and nearly 6 million visitors passed through its doors in the last calendar year – nearly twice the number that visited the National Gallery in London but 2 million fewer than went to the Louvre . Hollein has no intention of hightailing it back to the subsidised cultures of Europe but, with the constant need to schmooze potential donors while managing nearly 2,000 staff and a budget of $320m a year, he has his work cut out – and after chatting for nearly an hour, I’m worried that he needs to get back to it.

He’s not quite finished, though. “One last thing,” he says, “is that among our peer institutions – the British Museum, the Louvre, the Prado [in Madrid], the Hermitage [in St Petersburg] – the Met is the one institution where the collection has no cutoff date. So we collect through time and through different cultures, from the beginning of artistic production to now.”

Not bad for a museum that, 154 years ago, was in possession of nothing more than a big dream.

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Plus: a Nancy Brooks Brody exhibition, a Nile sailboat charter and more recommendations from T Magazine.

Step by Step

The Wellness Entrepreneur Erica Chidi Shares Her Beauty Regimen

Interview by Caitie Kelly

I’m a big double cleanser, sometimes even a triple cleanser. Step one is usually Biologique Recherche Eau Micellaire Biosensible , followed by Lait Dermo-S . At night, I’ll use Vintner’s Daughter Active Renewal Cleanser with cold water. I’m a big fan of Clean Skin Club towels in XL. I’m prone to acne and hyperpigmentation, and those towels really changed my skin. I use Tower 28’s SOS Rescue Spray to prevent transdermal water loss. Then I do three big droppers of Dr. Barbara Sturm’s Hyaluronic Serum , followed by Paula’s Choice Discoloration Repair Serum and Biologique Recherche Crème Dermopurifiante . I use Supergoop’s Unseen Sunscreen to lock everything in. Every evening, I cleanse and do my Dr. Dennis Gross Spectralite FaceWare Pro LED mask. I use my hyaluronic serum and, after a few minutes, apply a Tretinoin Cream USP 0.1% — my skin responds well to the constant turnover. I’ll follow with my Biologique Recherche Crème Dermopurifiante and Prequel’s Skin Utility Ointment as an occlusive layer. As needed, I use Cosmelan 2 Maintenance Cream for a spot treatment and Biologique Recherche Masque Visolastine+ as a hydrating mask. SK-II Treatment Masks are just good to have in the fridge. I’m a devotee at the temple of Vanessa Lee from the med spa the Things We Do . I did a Cosmelan peel last winter and it took away 80 to 90 percent of my hyperpigmentation. I also love the High Frequency Wand ; when I have little breakouts, I’ll use that to help.

For makeup, I use just a bit of Ami Colé Skin-Enhancing Concealer , a lighter and darker one that I mix. For brows I use KS&Co Clear Strong-Hold Brow Gel . Kristie has done my brows for seven years, and she also tested her microblading technique on me. I use Merit’s Clean Lash and, for lips, I love Rhode’s Peptide Lip Tint and Tower 28’s Lip Jelly . They give you shine and condition the lips. Sunnie’s Lip Dip in Posh is my go-to lipstick and I also like the Lip Bar’s Nonstop Liquid Matte in Bawse Lady.

My baths are a whole thing. I’ll do a whole bag of Ancient Minerals Magnesium Bath Flakes and Osea Vagus Nerve Bath Oil . I’ll be in there for an hour. I’ll work in the bath, send voice notes in the bath. And then I get out and use the Rhode Glazing Milk all over my body. In the shower I use Nècessaire the Body Acne Wash and I like to have the Dr. Bronners unscented formula in the shower, too. Afterward, I use Biography’s Sea Chrome Revitalize Body Oil . Once a week I’ll do a first wash with Olaplex Bond Maintenance Shampoo , then T-Gel twice because I have psoriasis, then Olaplex Bond Maintenance Conditioner . After that I have this microfiber towel that soaks up all the water but doesn’t deposit any lint. There’s a trichologist I follow, Anita Wilson , who said the best thing to do if you suffer from dandruff or psoriasis is to cut all oils from your hair routine. I have to say, it changed my life. No dandruff at all. Instead, I started using this glycerin spray called Greg Juice that has nettle. It’s basically a hydrosol I spray on as my hair or scalp needs hydration. My Zuvi blow dryer is something I’m wild about; I use the diffuser, and I’m obsessed with it.

This interview has been edited and condensed.

A Parisian Apartment Rental Above an Iconic Restaurant

By Lindsey Tramuta

Paris is ever-changing, but La Tour d’Argent, the grande dame of French gastronomy overlooking the Seine, has been reliably constant since 1582. So when André Terrail, the seven-story restaurant’s owner and president, closed it for a 15-month, top-to-bottom transformation led by the architect Franklin Azzi, the ambition was clear: preserve and extend the experience that his family has offered for three generations. That included adding several new spaces, like a ground-floor bar and salon, a rooftop terrace that seats 45 and, most recently, L’Appartement, a 1,200-square-foot pied-à-terre on the fifth floor designed for couples. “La Tour d’Argent was already a destination, but now we can take it further, with a full tailor-made stay,” says Terrail. “If guests want to dine in the restaurant but have a full aperitif in the room with all of our best bottles, they can. If they want the multicourse dinner experience for six to come to them, we can do that, too.” Once inhabited by Terrail’s grandmother Augusta Burdel, the space was designed to embody the family’s French and Finnish heritage: Haussmannian molded ceilings, herringbone parquet floors and a fully equipped kitchen — complete with Christofle tableware and Baccarat glassware — merge with Scandinavian furnishings and an in-room sauna to harmonious effect. Vintage family photographs line the walls alongside contemporary commissions like the 1930s-style enameled ceramic piece “Le Souvenir d’Augusta” from the painter and ceramist Maximilien Pellet. But Terrail insists the most spectacular touch of all sits across the river. “What could be better than these views of Notre Dame right from the living room?” From about $4,860 a night, tourdargent.com .

Vintage Soccer Jerseys Made New

By Lauren Cochrane

In recent years, soccer and style have come together on the runway (see: Balenciaga’s Soccer City Series ) and off (consider TikTok’s Blokecore trend). Systemarosa, a New York-based clothing company and creative studio launched last year by Naomi Accardi and Sam Herzog, is the latest arrival at that intersection. Accardi and Herzog have created an archive of vintage soccer clothing for stylists to borrow from, an online shop where customers can buy curated pieces — 1970s jerseys sit alongside Prada Sport loafers from the 2000s — and a consultancy for others looking to bridge football and fashion (Adidas and Serie A North America are clients). Herzog plays soccer regularly, while Accardi, who grew up in Italy, is the daughter of a professional footballer. Both have experience in fashion marketing, and Accardi has worked with titles in the emerging cluster of fashionable football magazines, including Mundial and Season. They see Systemarosa as a service for two emerging groups: “fashion girls who love the look of a football jersey and maybe would love to know more about football, and the hard-core fans who would like to express the different facets of their life in a more fluid way,” says Accardi.

Their first collaboration — with the Danish sportswear upcycling label Nouveau Nova — arrives this month. The designer Nova Norgaard fused vintage Italian jerseys sourced by Systemarosa with knitwear to make six designs, including a track top, a ’70s-style dress with a frilled skirt and a long dress with corset-inspired lacing down its sides. “It’s more about integrating the appreciation for the game into your everyday life without necessarily looking like you’re going to play,” says Herzog. From $400, systemarosa.com .

The French Jewelry Brand With Picasso Plates in Its Showroom

By Angela Koh

The childhood friends Thomas Montier Leboucher and Iris de La Villardière started their Paris-based fine jewelry label, Viltier, in the spring of 2020. Montier Leboucher had previously worked in marketing for Cartier, while de La Villardière gained experience as an art director at the whimsical French jewelry house Marie-Hélène de Taillac. With Viltier (an appellation derived from their combined last names), they wanted to combine craftsmanship with environmental consciousness. All the pieces are made by artisans in Paris using 18-karat fair-mined gold, and all of their diamonds are regulated by the Kimberley Process , a certification that aims to ensure gems are ethically sourced. The brand’s first collection, Magnetic, features a magnet-inspired motif that shows up in diamond-linked bracelets with inlaid natural stones like malachite or lapis lazuli, and gold chain pendant necklaces. This week, Montier Leboucher and de La Villardière opened a showroom in the Seventh Arrondissement, adorning it with bespoke furniture, including a marble console from Porta Romana and pleated Dior couches reupholstered in their brand’s signature yellow hue. The space also serves as an art gallery with regularly rotating pieces. Currently on display is an abstract work by the French painter Serge Poliakoff and silver dishes by Pablo Picasso. The showroom is by appointment only, and those who book can also schedule a consultation with the designers for the creation of custom jewelry. For an appointment, call 011-33-6-50-88-84-36 or visit viltier.com .

Nancy Brooks Brody’s Delicate Final Works, on View in New York

By Laura Bannister

Throughout their lifetime, the artist and activist Nancy Brooks Brody — a native New Yorker and, from 1991, a founding member of the lesbian art collective Fierce Pussy — was concerned with the invisible. Moving between painting, drawing, sculpture and architectural intervention, Brody used commonplace materials to reveal unseen bodies and negative space. In “Broken Shells,” a series begun in 2002, the innards of smashed seashells were painted with jaunty enamels; arranged together, the cracked skeletons became a rainbow. An ink on newsprint series, “Merce Drawings,” outlined the outstretched limbs of Merce Cunningham dancers, containing and extending their movement.

Brody died in December, and an exhibition of their final body of work, “Ode,” opens this week at Klaus von Nichtssagend Gallery in TriBeCa, including several works made in the last week of their life. Brody hand-tore pieces of colorful tissue paper into ovoid forms, then affixed them to raw canvas. Each pared-back composition includes two stacked, hovering shapes that ripple, wrinkle and tear slightly along the taut surface, recalling the wheat-paste posters of Fierce Pussy. Marisa Cardinale and Joy Episalla, co-executors of Brody’s estate and longtime friends of the artist, compiled “Ode” with the gallery. The rounded silhouettes, they say, emerged from Brody’s longstanding fascination with circular forms in various iterations, including the growth rings of trees and painted coins. “Ode” is on view from April 5 to May 11, klausgallery.com .

A Traditional Egyptian Sailboat, Restored for Luxurious Trips Down the Nile

By Gisela Williams

In Pharaonic times, royalty and nobles traveled the Nile on dahabiya s, traditional wooden boats with two sails and private cabins. (“Dahab” means gold in Arabic; early forms of the boats were often painted to resemble that precious metal.) Steamships ultimately replaced the dahabiya in the late 1800s but lately the boat is back in style thanks to its slow pace and relative silence. This spring, a five-cabin boat called Set Nefru, originally built in the 1940s for a member of the Egyptian royal family, began accepting charters. Its Cairo-based owners — Margarita Andrade, the co-founder of the luxury linens brand Malaika; her husband, the lawyer Florian Amereller; and the entrepreneur Alexander Arafa — invested in a team of 50 craftspeople who restored it with reclaimed wood from historic palaces in Alexandria and laser-cut marble for the bathrooms. (Andrade and Amereller are also behind the Luxor hotel Al Moudira .) In the process, they discovered a hidden Art Deco painting on the boat’s saloon bulkhead. The interior was otherwise returned to its former glory with vintage French and bespoke furniture, Limoges porcelain tableware and Egyptian bed linens from Malaika. For chartered voyages (typically three days or more), Set Nefru, which comes with a staff of 11 including a chef, sets sail from Luxor and makes its way toward Aswan, stopping at historical sites like the Temple of Horus and for visits (and sometimes meals) at small family farms along the Nile. Price on request, setnefru.com .

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Caitie Kelly is an associate market editor for T Magazine. More about Caitie Kelly