For those who can’t visit in person, I’ll take the opportunity to point out again the terrific resource that is the Met’s recently redone website.

I know I just did an article on their extensive collection of John Singer Sargent on the recent anniversary of his birth, but I can’t resist the opportunity to point out more terrific images, and mention that most are available on the site in high-resolution versions, as my detail crop of the John White Alexander painting, above, bottom, shows.

There is a sampling of images from the collection on this page, from which the above examples were drawn.

(Images above: Matthew Pratt, Kenyon Cox, Albert Bierstadt, William Merritt Chase, Thomas Eakins, Winslow Homer, John White Alexander)

A search for his work on the wonderful, recently redesigned website of the Metropolitan Museum of Art brings up over 600 images.

Yes, the iconic and astonishingly accomplished society portraits are well represented, and if you want to focus on those, you can limit your search to show only artworks on display, which sharply reduces it to 18 finished and beautiful works.

Part of the fascination for me, however, is exploring the less finished, less often seen works by Sargent in the museum’s collection, including watercolors, drawings and sketchbooks.

Sargent was prolific, and sketched and painted in watercolor for his own pleasure in addition to his more finished commissioned portraits.

The wonderful thing about browsing the Met’s website, aside from the amazing quantity and quality of their collection of Sargent, is that almost all of the images are viewable in large, sometimes wonderfully large, versions.

On each image’s detail page, click on the image or the “View fullscreen” link below it, and then zoom, or even better, use the download image arrow at bottom right to view the image larger.

This gets my Major Timesink Warning.

Enjoy.

Those of us, both faculty and students, who were in the traditionalist faction thought the Academy, of all places, should be bastion of academic art tradition, steeped in the teachings of Eakins and his predecessors. Those in the the modernist faction thought our values hopelessly irrelevant, just as we thought theirs spurious and insubstantial.

Times have, of course, changed somewhat; traditionalism and modernism seem to be in a kind of uneasy détente in the art world as traditional values and representational art have been reestablishing their prominence, and the Academy is perhaps a prime example of the current mix.

That mixture has become evident on the outside of the venerable school and museum as well as the inside, with the creation of the Lenfest Plaza, a reclaimed section of Cherry Street in Philadelphia, linking the Samuel M. V. Hamilton building, where most classes are now conducted, with the Academy’s Landmark building, an architectural marvel from the mind of Victorian era American architect Frank Furness that has been the Academy’s main building for most of its history.

The plaza gives the Academy a “campus” of sorts for the first time in its history (when I was there, the majority of classes were in a building called the “Peale House”, named for Charles Wilson Peale and located several blocks away form the Academy’s main building).

The centerpiece of the new plaza is the “Paint Torch”, a new large scale sculpture by modernist sculptor Claes Oldenberg.

Those who have been reading Lines and Colors for some time will know that I am generally not enthused about post-war modernism (i.e. American modernism), but there are exceptions and Oldenberg is one of them; partly because his sculptures of giant household objects are hilarious, and a breath of fresh air among modernists who take themselves way too seriously, and partly because they accomplish what I think art does for us at its best, allowing us to see the world around us, and the objects we take for granted, with fresh eyes.

Oldenberg’s Paint Torch is a 51ft (15m) high paintbrush, hanging out over the Broad Street sidewalk at a 60° angle, complete with a 6ft (2m) high dropped dollop of paint. It’s called the “Paint Torch” because the brush will light up at night, for the first time tonight, October 1, 2011.

The Academy is celebrating with a day long “Party on the Plaza” which is free and open to the public, as is the Academy’s superb museum of American art today.

As usual, Oldenberg’s work, and its placement, is stirring up a little controversy, but this is one hidebound traditionalist Academy alumni who likes it just fine.

(Photographs from PAFA)

[Addendum: photos from the event, as well as another good photo of the Paint Torch on the OLIN blog as well as extensive PAFA Flickr set.]

As someone who routinely scours the web in search of great art images, I can testify that art museum websites vary in quality and usefulness on those counts from good to disappointing to appallingly bad. It’s astonishing how many major museums allow their online presence to fall into the latter two categories.

The website for the Metropolitan Museum of Art in New York, one of the world’s great art museums and one that has been fairly adept in its adaptation of modern technology, has always been something of a mixed bag — professional and competent, with lots of information online, some of it very well presented, but with a somewhat clunky search system, some frustrating dead ends, disappointingly small images and an overall feeling that things could somehow be better.

Evidently those responsible for the museum’s website have also been of the opinion that it could be better, and after what is undoubtedly a great deal of thought, planning and hard work, have just unveiled a new website that is likely the best major art museum website in the world.

The redesigned interface is elegant, understated and when presenting the artworks, quietly beautiful. The website has been reorganized, streamlined and made more usable at almost every level.

The new home page, which thankfully dispenses with the pointless splash page from the old site, offers easy access to a number of paths into the site’s contents without overwhelming or confusing the visitor.

The listings for exhibitions are likewise simplified and at the same time more graphically appealing, the search feature is drastically improved and much more useful than its predecessor, and the listings for individual objects are a brilliant combination of clear, uncluttered presentation and easy access to deeper levels of information.

The Heilbrunn Timeline of Art History, an online feature I have written about before, is not dramatically changed, but has been integrated into the other parts of the site more fully, putting this great resource to even better use.

A new MetMedia section collects videos, podcasts and web interactive features into an easy to use central interface.

Best of all perhaps, is the new image enlargement feature, in many cases replacing the disappointingly small images that used to represent the objects at their most detailed with a new full screen image viewer that is lightning fast and a joy to use.

I don’t know if the work was done in-house or by a third party design firm. If the latter, they deserve more recognition than the site gives them, but if the new site was created by museum staff, which I believe is the case, they just handed numerous high-end website design firms their lunch and sent them packing by showing them how a large scale website (of any kind) should be done. [Addendum: Lines and Colors reader Caz was kind enough to inform me that the site was designed by Cogapp, a design firm from Brighton, UK with offices in New York. The also designed the new website for the Barnes Foundation here in Philadelphia. My hat's off to them.]

In the process there are few trade-offs; the horrible long-string URLs (web page addresses) for individual pages utilized by the old site, which were difficult to copy and paste, send to a friend, or add to an article, have been replaced by short, human-readable addresses. The downside for someone like me is that the dozens, if not hundreds of links I’ve made to the Met’s site over the last 6 years are now broken and have to be replaced, but I’ll gladly accept that for the easier to use addresses going forward.

For those who can physically visit the museum, not only are the exhibition listings and visitor information sections much improved, there is a new zoomable interactive museum map that allows you to pinpoint specific galleries within the museum and explore their contents, as well as suggested itineraries for those who can’t devote a week or two to exploring the museum’s extensive and extraordinarily rich collections.

Exploring the collections and works online is now a genuine pleasure, so much so that I will issue my Major Timesink Warning about visiting.

The elegance, ease of use and intelligent application of sophisticated interface design principles throughout make the new Metropolitan Museum of Art website a shining example that we can only hope many other art museums will aspire to emulate.

There is a press release about the new site here.

The event is sponsored and coordinated by Smithsonian magazine. From the website description:

In the spirit of Smithsonian Museums, who offer free admission everyday, Museum Day is an annual event hosted by Smithsonian magazine in which participating museums across the country open their doors to anyone presenting a Museum Day Ticket…for free.

You must order tickets in advance, which can easily be done online, for one of the participating museums, two tickets per household.

The venues page lets you search for nearby (or distant) participating museums by way of typing in an address, searching a Google Map, or using a drop-down menu to search by state.

For more (and information on the North American Reciprocal Museum Program), see my post on Museum Day 2010.

(Images above, some participating art museums in the NYC area: Morgan Library and Museum, Brooklyn Museum, Newark Museum)

The latest in this list of high resolution image resources is the Image Library of the Los Angeles County Museum of Art (LACMA).

You can search the collections by various criteria. However, because the online collections of the categories of art I’m most interested in, American Art, European Painting and Sculpture and Prints & Drawings, are not extensive, (28, 300 and 40 entries, respectively, as of this writing) I find it more fruitful to browse the collections by category.

The default page comes up with a sampling of various items form the collection. The categories are accessed from links in the left sidebar.

Unfortunately the pages of preview images are listed by title and don’t list artist names, so it’s a little bit hit and miss (though that can lead to nice discoveries). Bringing up the page and information for a given thumbnail is quick enough.

The detail pages show the image in a Zoomable interface so you can zoom in on a section of the work and get an idea of the detail; then, for the images you like, click on the convenient “Download Image” link under the Zooming image.

Most of the files I downloaded varied from about 4mb to 20mb. Downloading can take time, click on a few and get a cup of tea.

Browsing may lead you to some unexpected delights, like this gem from Danish painter Martinus Rørbye (image above, bottom two).

(Images above, each with detail, Camille Pissarro, Jan Davidsz de Heem, Camille Corot, Ubaldo Gandolfi, Martinus Rørbye)

[Via BibliOdyssey on Twitter as @BibliOdyssey]

Peacay, author of the amazing blog, BibliOdyssey (see my posts here and here), was kind enough to point out recently that the Rijksmuseum in Amsterdam, one of the world’s great museums, is now posting high resolution images of almost all of the works featured in their online collections. This practice extends right down to the posters and prints in their shop.

While not as stunningly high-resolution as the images on the Google Art Project (my post here), these can be viewed whole more easily and they go way beyond the selection offered there.

You can search the collections, or, as I prefer to do, browse through their lists of artists alphabetically; find someone you’re interested in, say, Vermeer (grin), and see a selection of the works available for viewing online.

Click on a thumbnail image to access the detail page for a given work, for example, The Little Street, and click on the plus sign or link for “Extra large view of the image” below the preview image to see the larger version (images above, top, with detail crop below it).

Some enlargements are higher in resolution and have more detail than others, but all I’ve encountered have been large enough to be worthwhile.

The collection includes artists who are quite famous, like Rembrandt (images above, 3rd and 4th down), a little less famous, like Pieter de Hooch (above, 7th and 8th down), and lesser known but wonderful artists like still life painter Floris van Dijck (above, 5th and 6th down).

The museum’s online collection also contains gems you might not expect, like one of Van Gogh’s beautifully textural ink drawings, or a stunning Monet.

It’s also worth coming back through the front of the site and exploring that way, though I find the artist listings the most rewarding in terms of high resolution images. You could spend a lot of rewarding time here just checking out artists with whom you’re not familiar.

If your taste for great northern European art (and others) is anything like mine, I’ll issue my standard Major Time Sink Warning.

[Thanks also to Valentino Radman and Lok Jansen for mentions of high res images at the Rijksmuseum.]

There are times I just want to hug the internet, and say “I love you Internet!“.

Google, that monolithic giant of search, advertising, maps, stats and online software, whose offerings and initiatives have ranged from the amazing (search, maps) to the not-so wonderful (privacy issues), has spun off a new initiative for which I will forgive most of their transgressions.

Google on Monday unveiled a new feature called Google Art Project that is nothing short of wonderful and amazing, and, if Google’s history is any indication, stands to become even more wonderful and amazing as time goes on.

The project is an online archive of ultra-high-resolution images of great works of art.

Google has applied their “Street View” technology, familiar for providing zoomable street-level images within the context of Google Maps, to the display of both the works and the galleries in which they reside.

Google Street View has been put to unofficial art related use before, notably with the Virtual Paintout (my post here) in which artists virtually “visit” a specified location by way of Google Street View, and use the images as reference for “on location” paintings.

Here, the technology is being put to much different use by Google, allowing some of the best views of great paintings available online.

At the moment they are working with 17 museums, each of which has contributed one or more gigapixel level images to the project; and an impressive start it is:

Alte Nationalgalerie, Berlin – Germany
Freer Gallery of Art, Smithsonian, Washington DC – USA
The Frick Collection, NYC – USA
Gemäldegalerie, Berlin – Germany
The Metropolitan Museum of Art, NYC – USA
MoMA, The Museum of Modern Art, NYC – USA
Museo Reina Sofia, Madrid – Spain
Museo Thyssen – Bornemisza, Madrid – Spain
Museum Kampa, Prague – Czech Republic
National Gallery, London – UK
Palace of Versailles – France
Rijksmuseum, Amsterdam – The Netherlands
The State Hermitage Museum, St Petersburg – Russia
State Tretyakov Gallery, Moscow – Russia
Tate Britain, London – UK
Uffizi Gallery, Florence – Italy
Van Gogh Museum, Amsterdam – The Netherlands

Starting from a list that appears on the project’s home page when you mouse over the initial image, you can choose a museum, then browse the museum’s corridors, or go right to an artwork.

Unlike the stingy feeling so many museums project with tiny preview images and zooming images that have to be scrolled in frustratingly small little windows, the artworks here are available in a full screen zooming interface, and when I say “zoom” I mean it really zooms, down to an astonishing level of detail.

This is like the Haltadefinizione project that I wrote about here, but with a better interface and without the annoyance of watermarking.

In the images above, I’ve chosen to visit the Rijksmuseum in Amsterdam and zoom in to a nose-up-against-the-canvas view of Rembrandt’s The Shooting Company of Frans Banning Cocq, commonly known as The Night Watch.

Though the Flash drop-down for browsing museums and works is a bit glitchy, the interface’s provision for scrolling and zooming is wonderfully fluid, and the ability to get your eyeballs right up to Rembrandt’s textural brushwork is just delicious.

I’ve left the zooming control in my images just to demonstrate it, but it and other interface elements politely melt away when not in use. In the upper right is a Visitor Guide button, which provides a general introduction to the project (there is also a short introductory video here), and an info (“i”) button which gives access to an information panel with a menu of options for information about the painting, provided by the museum in which it hangs.

Of note in that menu are links to “More Works by this Artist” and “More Works in this Museum”, which can lead to a nice browsing experience.

There are some amazing images to be seen, including The Harvesters by Pieter Bruegel the Elder in the Metropolitan Museum of Art, Van Gogh’s The Starry Night at the MoMA, Hans Holbein’s enigmatic The Ambassadors (my post here) in the National Gallery, London and (be still my beating heart) Botticelli’s The Birth of Venus in the Uffizi!

Wow.

I’ll give my Major Time Sink Warning and bid you enjoy!

All art on the internet should be like this.

[Via MetaFilter]