It plays a major role in developing and collecting modern art, and is often identified as one of the largest and most influential museums of modern art in the world. MoMA's collection offers an overview of modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated books and artist's books, film, and electronic media.The MoMA Library includes approximately 300,000 books and exhibition catalogs, more than 1,000 periodical titles, and more than 40,000 files of ephemera about individual artists and groups. The archives hold primary source material related to the history of modern and contemporary art.It attracted 706,060 visitors in 2020, a drop of sixty-five percent from 2019, due to the COVID-19 pandemic. It ranked twenty-fifth on the list of most visited art museums in the world in 2020.
The Friendly Grey Computer--Star Gauge Model #54 by Edward Kienholz exemplifies the artist's assemblage practice, where he constructed sculptures using found materials, including various industrial metal elements. Stored intermittently in a wooden crate for 45 years, the sculpture exhibited white, crystalline efflorescence on several metal components. The unknown efflorescence was characterized using ultraviolet-induced fluorescence (UVF), micro-Fourier transform infrared spectroscopy (& micro;-FTIR), Raman spectroscopy, scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS), and handheld X-ray fluorescence (p-XRF) to inform treatment and long-term preservation. It was identified as cadmium formate dihydrate (Cd(HCOO)2 & centerdot; 2H2O), a hazardous corrosion product resulting from cadmium-plated metal fastenings used in the sculpture. Solid-phase microextraction (SPME) coupled with gas chromatography - mass spectrometry (GC - MS) of the microclimate inside the crate showed the presence of formic acid, the likely cause of the formate species. The cadmium formate dihydrate was reduced with safety precautions in place, and the sculpture was rehoused in a newly constructed wooden crate lined with Marvelseal 360 to limit the emission of volatiles within the crate over time. Results from this study highlight where cadmium formate dihydrate can be found within heritage collections and provide insight into Kienholz's artistic practice. "(sic)(sic)(sic)(sic)(sic)(sic)(sic)-(sic)(sic)54(sic)"(The Friendly Grey Computer--Star Gauge Model #54)(sic)(sic)(sic)(sic)-(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).45(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(UVF),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic) (mu-FTIR),(sic)(sic)(sic)(sic) (Raman),(sic)(sic)(sic)(sic)-(sic)(sic)(sic)(sic)X(sic)(sic)(sic)(sic) (SEM-EDS)(sic)(sic)(sic)X(sic)(sic)(sic)(sic)(sic)(sic) (Handheld XRF)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)Marvelseal (R) 360 (sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic). Translation: Chongwen Liu; revision: Pengxiao Hao. The Friendly Grey Computer--Star Gauge Model #54 d'Edward Kienholz illustre la pratique de l'assemblage par l'artiste, qui construisait des sculptures & agrave; partir de mat & eacute;riaux trouv & eacute;s, notamment divers & eacute;l & eacute;ments m & eacute;talliques industriels. Conserv & eacute;e de fa & ccedil;on intermittente dans une caisse en bois pendant 45 ans, la sculpture pr & eacute;sentait une efflorescence cristalline blanche sur plusieurs composants m & eacute;talliques. Cette efflorescence non identifi & eacute;e initialement a & eacute;t & eacute; caract & eacute;ris & eacute;e au moyen de la fluorescence induite par ultraviolet (UVF), de la micro-spectroscopie infrarouge & agrave; transform & eacute;e de Fourier (mu-FTIR), de la spectroscopie Raman, de la microscopie & eacute;lectronique & agrave; balayage coupl & eacute;e & agrave; la spectroscopie de rayons X & agrave; dispersion d'& eacute;nergie (SEM-EDS), ainsi que de la fluorescence X portable (p-XRF), afin d'orienter le traitement et la conservation & agrave; long terme. Elle a & eacute;t & eacute; identifi & eacute;e comme du formiate de cadmium dihydrat & eacute; (Cd(HCOO)(2) & centerdot; 2H(2)O), un produit de corrosion dangereux provenant de fixations m & eacute;talliques plaqu & eacute;es de cadmium utilis & eacute;es dans la sculpture. La microextraction en phase solide (SPME) coupl & eacute;e & agrave; la chromatographie en phase gazeuse - spectrom & eacute;trie de masse (GC-MS) du microclimat & agrave; l'int & eacute;rieur de la caisse a r & eacute;v & eacute;l & eacute; la pr & eacute;sence d'acide formique, cause probable de la formation de l'esp & egrave;ce formiate. Le formiate de cadmium dihydrat & eacute; a & eacute;t & eacute; r & eacute;duit en appliquant des mesures de s & eacute;curit & eacute; appropri & eacute;es, et la sculpture a & eacute;t & eacute; reconditionn & eacute;e dans une nouvelle caisse en bois doubl & eacute;e de Marvelseal (R) 360, afin de limiter l'& eacute;mission de compos & eacute;s volatils & agrave; l'int & eacute;rieur de la caisse dans le futur. Les r & eacute;sultats de cette & eacute;tude mettent en & eacute;vidence les contextes dans lesquels le formiate de cadmium dihydrat & eacute; peut & ecirc;tre rencontr & eacute; au sein de collections patrimoniales et apportent un & eacute;clairage sur la pratique artistique de Kienholz. Traduit par Monique Benoit. O & laquo;Friendly Grey Computer--Star Gauge Model #54 & raquo; de Edward Kienholz exemplifica a pr & aacute;tica de montagem do artista, onde ele construiu esculturas usando materiais encontrados, incluindo diversos elementos industriais de metal. Armazenada, intermitentemente, em uma caixa de madeira por 45 anos, a escultura exibia efloresc & ecirc;ncia cristalina branca em v & aacute;rios componentes met & aacute;licos. A efloresc & ecirc;ncia desconhecida foi caracterizada usando fluoresc & ecirc;ncia induzida por ultravioleta (UVF), espectroscopia infravermelha com transformada de Fourier micro (mu-FTIR), espectroscopia Raman, espectroscopia de dispers & atilde;o de energia de radia & ccedil;& atilde;o de micromicroscopia eletr & ocirc;nica de varredura (SEM-EDS) e fluoresc & ecirc;ncia de raios X de m & atilde;o (p-XRF) para orientar o tratamento e a preserva & ccedil;& atilde;o a longo prazo. Foi identificado como diidrato de formiato de c & aacute;dmio (Cd(HCOO)2 & centerdot; 2H2O), um produto corrosivo perigoso resultante de fixa & ccedil;& otilde;es met & aacute;licas revestidas a c & aacute;dmio usadas na escultura. A microextra & ccedil;& atilde;o em fase s & oacute;lida (SPME) combinada com cromatografia gasosa - espectrometria de massa (GC - MS) do microclima dentro da caixa mostrou a presen & ccedil;a de & aacute;cido f & oacute;rmico, prov & aacute;vel causa da esp & eacute;cie formi & aacute;tica. O dihidrato de formiato de c & aacute;dmio foi reduzido com precau & ccedil;& otilde;es de seguran & ccedil;a, e a escultura foi realocada em uma caixa de madeira rec & eacute;m-constru & iacute;da forrada com Marvelseal (R) 360 para limitar a emiss & atilde;o de compostos vol & aacute;teis dentro da caixa ao longo do tempo. Os resultados deste estudo destacam onde o dihidrato de formiato de c & aacute;dmio pode ser encontrado nas cole & ccedil;& otilde;es de patrim & ocirc;nio e fornecem uma vis & atilde;o sobre a pr & aacute;tica art & iacute;stica de Kienholz. Translation: Francisco Vieira; revision: Teresa Lan & ccedil;a Ruivo. La "Friendly Grey Computer--Star Gauge Model #54" de Edward Kienholz, ejemplifica la pr & aacute;ctica de ensamblaje del artista, donde construy & oacute; esculturas utilizando materiales encontrados, incluidos varios elementos met & aacute;licos industriales. Almacenada intermitentemente en una caja de madera durante 45 a & ntilde;os, la escultura present & oacute; una eflorescencia blanca y cristalina en varios componentes met & aacute;licos. Esta eflorescencia desconocida se caracteriz & oacute; mediante fluorescencia inducida por ultravioleta (UVF), espectroscopia infrarroja transformada de Fourier (mu-FTIR), espectroscopia Raman, microscop & iacute;a electr & oacute;nica de barrido con espectroscopia de rayos X por energ & iacute;a dispersiva (MEB-EDS) y fluorescencia de rayos X port & aacute;til (p-XRF) para fundamentar su tratamiento y conservaci & oacute;n a largo plazo. El compuesto se identific & oacute; como formiato de cadmio dihidratado (Cd(HCOO)2 & centerdot; 2H2O), un producto de corrosi & oacute;n peligroso resultante de los cierres met & aacute;licos cadmiados utilizados como parte de la obra. La microextracci & oacute;n en fase s & oacute;lida (SPME) combinada con cromatograf & iacute;a de gases-espectrometr & iacute;a de masas (GC-MS) del microclima interior de la caja mostr & oacute; la presencia de & aacute;cido f & oacute;rmico, probable causa de la formaci & oacute;n del formiato. Se redujo el formato de cadmio dihidratado tomando precauciones de seguridad y la escultura se volvi & oacute; a colocar en una nueva caja de madera revestida con Marvelseal (R) 360 para limitar la emisi & oacute;n de sustancias vol & aacute;tiles dentro de la caja a lo largo del tiempo. Los resultados de este estudio resaltan d & oacute;nde se puede encontrar formiato de cadmio dihidratado dentro de las colecciones patrimoniales y brindan informaci & oacute;n sobre la pr & aacute;ctica art & iacute;stica de Kienholz. Traducido y revisado por David Cohen y Soledad Tancoff; revisi & oacute;n final por Amparo Rueda e Irene Delaveris.
This article restores an attribution for a sketchbook, now in the collection of the Getty Research Institute, shared by preeminent French woman artist of the nineteenth century Rosa Bonheur (1822–99) and her father and teacher, Raymond Bonheur (1796–1849). The sketchbook contains a range of entries in different media, including landscape studies by Raymond dating to the 1840s and drawings by Rosa from the early 1850s. Reidentified as a collaborative project spanning a period of two decades, the sketchbook offers a new material context for the artistic relationship between father and daughter as well as for the origins of Rosa’s great Salon successes The Horse Fair (1853–55) and Haymaking in the Auvergne (1855).
The richly decorative and imaginative works by French artist Séraphine Louis (1864–1942) have long elicited fascination, and her working methods have often eluded art historians and conservators alike. Working in secret and outside established art circles, Séraphine employed materials such as natural resin varnishes and was said to have used household paints in addition to traditional artists' oil paints. In this study of six works in the collections of the Musée d'Art et d'Archéologie, Senlis (MAA), The Museum of Modern Art, New York (MoMA), and The Metropolitan Museum of Art, New York (MMA), attention was given to Séraphine's choice of colors and paints, in addition to identifying possible additions to or manipulations of painting media by the artist. Technical imaging was carried out using UVF to visualize the extent of Séraphine's use of natural resins. Analysis of the palette relied on XRF techniques and limited sampling for analysis by Raman and µ-FTIR spectroscopies. Overall, the following pigments were identified: lead white, zinc white, carbon-based black, red and brown ochres, umber, vermilion, alizarin lake, rhodamine B lake, Prussian blue, cobalt blue, ultramarine blue, chrome green, emerald green, viridian, cadmium yellow, and lead chromates, including chrome yellow deep and light, zinc yellow, and chrome orange. THM-Py-GCMS analysis of selected samples supported the documentary evidence of Séraphine's use of household oil paints; a single instance of a cellulose nitrate enamel paint was additionally determined by µ-FTIR. The chromatographic analysis also indicated a natural plant resin in her varnishes, probably dammar in combination with pine resin. Overall, this material investigation, accompanied by the art historical record, better reveals the techniques of an experimental painter whose works have come to epitomize French outsider artists of the early twentieth century.
