British

Renaissance Memento Mori Signet, British, ca. 1600. Gold. Weight: 12.2 g.; circumference: 51.3 mm.; size: US 6.5, UK M ½. Griffin Collection, L.2015.72.34 © 2000–2017 The Metropolitan Museum of Art.

Skull Memento Mori Locket Ring, British, 17th century. Gold, enamel, diamonds, and ruby. Weight: 11.3 g.; circumference: 59.5 mm.; size: US 9, UK R ½. Griffin Collection, L.2015.72.33 © 2000–2017 The Metropolitan Museum of Art.

Medieval Episcopal Ring “Joye Sans Fyn”, British, 15th century. Gold. Bezel 9 x 9 x 2 mm.; circumference 63/64 mm.; weight 13.3 g.; US size 10 ½; UK size U ½. Griffin Collection, L.2015.72.22 © 2000–2017 The Metropolitan Museum of Art.

Robe à l'Anglaise, British, ca. 1770-1775. Metropolitan Museum of Art. © 2000–2016 The Metropolitan Museum of Art. Women with coquettish airs were imposing in robes à la française and robes à l'anglaise throughout the period between 1720 and 1780. The robe à l'anglaise developed with a fitted back after the style of dress worn in England. The silhouette, composed of a funnel-shaped bust feeding into wide rectangular skirts, was inspired by Spanish designs of the previous century and allowed for expansive amounts of textiles... [Lire la suite]

Court dress, British, ca. 1750, silk, metallic thread. Length at CB (a): 49 in. (124.5 cm). Length at CB (b): 37 in. (94 cm). Length (c): 11 in. (27.9 cm). Purchase, Irene Lewisohn Bequest, 1965. C.I.65.13.1a–c. The Metropolitan Museum of Art © 2000–2016 The Metropolitan Museum of Art. In the eighteenth century, formal dress was so closely associated with Versailles and the French court that it was universally described as the robeà la française. As illustrated here, the robe à la... [Lire la suite]

Dress, British, ca. 1725, silk. Length at CB: 55 in. (139.7 cm). Purchase, Irene Lewisohn Bequest, 1964. C.I.64.14. The Metropolitan Museum of Art © 2000–2016 The Metropolitan Museum of Art A Spitalfields silk dress with a dome-shaped skirt conforms not only to the silhouette of the 1730s but also to the interaction between silks and laces during that time, especially evident in Spitalfields manufacture. The silk pattern is like that of lace. While such interaction seems hard to imagine between worker... [Lire la suite]

Waistcoat and Frockcoat, detail of suit, 1775-80, British, silk. Metropolitan Museum of Art.

Robe à la Polonaise. French, 1774–93. Silk. Length: 53 in. (134.6 cm) Width: 46 1/2 in. (118.1 cm). Dodge Fund, 1934. 34.112a, b. © 2000–2013 The Metropolitan Museum of Art. Robe à la Polonaise, British, ca. 1775, silk, cotton. Length: 54 1/2 in. (138.4 cm). Hoeschst Fiber Industries Fund, 1981. 1981.313.2. © 2000–2013 The Metropolitan Museum of Art. Robe à la Polonaise, British, ca. 1780, linen. Length at CB: 72 in. (182.9 cm). Purchase, Gifts from Various Donors, 1998. 1998.314a, b. © 2000–2013 The Metropolitan Museum of... [Lire la suite]

Damien Hirst, Chicken, 1999, from The Last Supper; screen print, published by Paragon Press, edition of 150, 60 x 40 inches; Bebe and Crosby Kemper Collection, Museum Purchase, Enid and Crosby Kemper and William T. Kemper Acquisition Fund, 2003.18.1–13 KANSAS CITY.- Love, death, life, suffering, loyalty, and betrayal are among the ambiguities of the human condition explored in the provocative, unconventional and, at times, controversial works of British artist Damien Hirst. The exhibition Focus: Damien Hirst is on view July... [Lire la suite]