MASTERPIECES 2020 ENGAGEMENT BOOK • The Metropolitan Museum of Art Visit The Met every week of the year with this engagement calendar featuring 56 masterpieces from New York’s largest museum. Selections from The Met’s vast collection of 2 million works and 17 curatorial departments include exquisite paintings, sculpture, musical instruments, photographs, armor, and costume. An identifying caption and a brief historical text accompany each featured work. Pages alternate between glossy paper for art pages and matte paper for calendar pages for ease of writing. Engagement Book 56 color images, 124 pages, 7 x 9", spiral-bound engagement calendar with gift box
RIGHTS: World
ISBN-13: 978-1-4197-3769-5
ISBN 978-1-4197-3769-5 • US $16.99
CAN $21.99
UK £14.99
2019 ISBN: 978-1-4197-3028-3 (engagement book)
Deluxe Engagement Book 56 color images, 124 pages, 7 x 9", hardcover engagement calendar with concealed spiral and cloth spine and ribbon bookmark
Named “Best Museum in the World” by Trip Advisor from 2016–2018
RIGHTS: World
ISBN-13: 978-1-4197-3770-1 ISBN 978-1-4197-3770-1 • US $21.99
CAN $27.99
UK £18.99
2019 ISBN: 978-1-4197-3027-6 (deluxe engagement book) Images © 2018 MMA
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Io + gatto WANDA WULZ (Italian, 1903–1984) Gelatin silver print, 11 9/16 � 9 1/8 in., 1932 Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 1987.1100.123 © tk
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Young Mother Sewing (detail)
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MARY CASSATT (American, 1844–1926) Oil on canvas, 36 3/8 � 29 in., 1900 H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 29.100.48
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YE AR S AF TER SH I PPI N G a barrel of bones back
to New York from her second stay in New Mexico, O’Keeffe wrote, “The bones seem to cut sharply to the center of something that is keenly alive on the desert.” That fall, she painted the present work, partly in response to the artists of the time who sought to identify a quintessential American style. To O’Keeffe, the beauty of the sun-bleached animal skulls captured the true enduring spirit of the nation.
Cow’s Skull: Red, White, and Blue (detail) GEORGIA O’KEEFFE (American, 1887–1986) Oil on canvas, 39 7/8 � 35 7/8 in., 1931 Alfred Stieglitz Collection, 1952 52.203
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I N 1 87 7, EDGAR D EGAS (week of December 6) invited Cassatt to join the independent artists later known as the Impressionists. The only American officially associated with the group, Cassatt exhibited in four of their eight exhibitions. In the 1890s, she began to focus her work on children and the women who cared for them. Here, she used two of her frequent, but unrelated, models to enact the roles of mother and child.
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ST. ANDREW’S DAY (SCT)
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ELECTION DAY (US)
MOTHER’S DAY (US, CAN, AUS, NZ)
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DAYLIGHT SAVING TIME ENDS (US, CAN)
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LO N G BEFO R E TH E digital age, photographers were manipulating their images. In 1932, Wulz submitted five experimental photographs, including this one, to the National Futurist Photography Exhibition in Trieste. To create this mesmerizing image, the artist printed two negatives—one of herself and the other of the family cat—on a single sheet of photographic paper, turning herself into a virtual “cat woman.”
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TH E “ ROYAL G EORG E” Cello is fit for a king— appropriately so, as it was made for the Prince Regent, an avid cellist, who was crowned George IV in 1820. The most celebrated member of a family dynasty of violin and cello makers, Forster is often referred to as “Royal Forster” because of his clientele. A work of visual art as well as a superlative instrument, this magnificent cello is emblazoned with Great Britain’s royal coat of arms and the Prince of Wales’s feathers.
“Royal George” Cello WILLIAM FORSTER (English, 1739–1808) Spruce, maple, ebony, 1782 Gift of Mona and Bradford Endicott, in honor of Ken Moore, 2016 2016.786a–c
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