560
pages, Broadway, ISBN-13: 978-0767924887
Michael
Gross has written the definitive book on the history of the Metropolitan Museum
of Art – “The Met” – located in Central Park in New York City, a work that was
not supported by the Met’s executive committee who were hostile to any “literary”
interpretations of the museum’s history since its founding in 1870 from seeing
the light of day. I, for one, can’t imagine anyone else doing a better job of
the extraordinarily fine and exhaustive research in this iconoclast portrait; to
quote the author: “Behind almost every painting is a fortune and behind that a
sin or a crime”. You just know that the egos and the mania and the power makers
and climbers will be well represented in this history, for although the solid
exterior of Richard Morris Hunt’s main building gives the appearance of order,
quiet, perfection and harmony, inside there is a fascinating world of great
egos, money, power, and hundreds of ghosts, not all of them nice ones.
Gross
takes us through the ages, from the post-Civil War moguls who founded the
museum to the new tycoons of the present age. It is a vast tale, but one which
Gross weaves with his usual clipped style, throwing in colorful tidbits along
the way. A magnificent job of reporting and laying it all out there to let the
Public decide if they have been well served by the power makers, the curators
and the public “servants” up to the present. Gross is at his strongest and his
most interesting when he chronicles the interminable tugs of war between the
trustees, donors and curators on the one hand and the city authorities on the
other over the institution’s core mission: was the museum’s goal simply to make
insiders feel self-important, or was it also to create in the public a sense of
what great art was and could be? The Met (which has always relied on public
funding) has also always wrestled with the degree to which it is willing to bow
to a more populist approach, as Gross deftly shows, starting with his survey of
the furious debate over whether or not to open the institution’s doors on a Sunday,
the only day the hoi polloi had free and on which they could realistically be
expected to visit. Gross shows how a similar struggle between serving the
public and catering to wealthy donors and trustees has continued to this day,
in everything from its admissions policies to the way it displays its works.
Frequent (ordinary) Met-goers are likely to finish this feeling somewhat
irritated and patronized by the elite who govern the institution.
Rogues’ Gallery: The Secret History of the Moguls and the Money That
Made the Metropolitan Museum does a fantastic job of presenting all of the
colors that created The Met; the black, the white, and the gray. The Met in all
its long years has often given the public an exciting cultural ride. Will this
history continue? And at what price?
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