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The Legal Lives of Things: The Metropolitan Museum of Art at the Boundary Between Public and Private.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Legal Lives of Things: The Metropolitan Museum of Art at the Boundary Between Public and Private./
作者:	Hilker, Anne.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	625 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-11, Section: A.
Contained By:	Dissertations Abstracts International82-11A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28413967
ISBN:	9798728223207

The Legal Lives of Things: The Metropolitan Museum of Art at the Boundary Between Public and Private.
Hilker, Anne.

The Legal Lives of Things: The Metropolitan Museum of Art at the Boundary Between Public and Private. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 625 p.

Source: Dissertations Abstracts International, Volume: 82-11, Section: A.

Thesis (Ph.D.)--Bard Graduate Center: Decorative Arts, Design History, Material Culture , 2021.

This item must not be sold to any third party vendors.

Collectors and curators fill the public's museums with things. This study looks at the process by which the Metropolitan Museum of Art in New York City converted private things to public benefit over the years from its founding in 1870 through 1970, when it acquired collections that included those of department store magnate Benjamin Altman, industrialist J. Pierpont Morgan, and financier Robert Lehman. A distinctive mix of legal, art historical, cultural, and archival evidence shows that the Museum most fully serves the public when it acts as collector, free to make choices in acquisition and display.State tax laws, in flux between 1885 and 1915, encouraged the institution's acquisitions by determining that the Museum educates by its display of things. The recruitment and negotiation of collections for the Museum for the period from 1902 through 1925, paired with contemporaneous standards of taste, value, and curatorial responsibility, show the factors that permitted donors to impose conditions on the display of their gifts to it. At the same time, similarities between the Museum and some private homes could privilege those former owners in its displays. The course of selected collections after their arrival in the Museum through 2015 shows their later integration within the Museum's holdings as well as the kinds and scope of limitations on the display of several of them, some applicable in perpetuity.The Museum has wide discretion in the fulfillment of its educational mission. This study argues that it carries out that mission most fully when it can arrange and rearrange its things without limit, when it can behave with the freedoms of an individual collector.

ISBN: 9798728223207Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Art Collection

The Legal Lives of Things: The Metropolitan Museum of Art at the Boundary Between Public and Private.
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245 1 4 $a The Legal Lives of Things: The Metropolitan Museum of Art at the Boundary Between Public and Private.
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300 $a 625 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-11, Section: A.
500 $a Advisor: Whalen, Catherine.
502 $a Thesis (Ph.D.)--Bard Graduate Center: Decorative Arts, Design History, Material Culture , 2021.
506 $a This item must not be sold to any third party vendors.
520 $a Collectors and curators fill the public's museums with things. This study looks at the process by which the Metropolitan Museum of Art in New York City converted private things to public benefit over the years from its founding in 1870 through 1970, when it acquired collections that included those of department store magnate Benjamin Altman, industrialist J. Pierpont Morgan, and financier Robert Lehman. A distinctive mix of legal, art historical, cultural, and archival evidence shows that the Museum most fully serves the public when it acts as collector, free to make choices in acquisition and display.State tax laws, in flux between 1885 and 1915, encouraged the institution's acquisitions by determining that the Museum educates by its display of things. The recruitment and negotiation of collections for the Museum for the period from 1902 through 1925, paired with contemporaneous standards of taste, value, and curatorial responsibility, show the factors that permitted donors to impose conditions on the display of their gifts to it. At the same time, similarities between the Museum and some private homes could privilege those former owners in its displays. The course of selected collections after their arrival in the Museum through 2015 shows their later integration within the Museum's holdings as well as the kinds and scope of limitations on the display of several of them, some applicable in perpetuity.The Museum has wide discretion in the fulfillment of its educational mission. This study argues that it carries out that mission most fully when it can arrange and rearrange its things without limit, when it can behave with the freedoms of an individual collector.
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650 4 $a Museum studies. $3 2122775
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653 $a Charitable gift tax implications
653 $a Metropolitan Museum of Art
653 $a Museum
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