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“Titus’s Roman Triumph” (detail from the Titus dish from the Aldobrandini Tazze) at The Met


Famous Figures

By Sahar Khan

Photos © The Metropolitan Museum of Art, New York: Image courtesy of Victoria and Albert Museum, London, Dr. W.L. Hildburgh Bequest | Rodin photo by Justin Van Soest, courtesy of the Brooklyn Museum, Gift of the Iris and B. Gerald Cantor Foundation | Cartier-Bresson photo © Henri Cartier-Bresson/Magnum Photos


Metallic sculptures and arresting photos make an impression on the arts scene.

Reunited after almost 200 years, the Aldobrandini Tazze (known as the “standing cups”) are a set of 12 silver-gilt cups made circa 1587-99 that are said to have been owned by Cardinal Ippolito Aldobrandini, a nephew of Pope Clement VIII. The cups are more than a foot high and topped with statuettes representing each of the 12 Imperial Roman emperors. The figures are encircled by four scenes from their namesake’s lives taken from Roman historian Suetonius’ biographies of the rulers, including Julius Caesar. The set managed to stay together until 1861—an impressive feat given that surviving silver from the Renaissance is rare, as it was often melted down for cash—after which it was divided beween multiple private collections. Now, The Metropolitan Museum of Art reunites the cups once again with The Silver Caesars: A Renaissance Mystery. The show will be accompanied by ancient Roman and Renaissance coins, medals and paintings, as well as later decorative arts the tazze inspired, to explain their unique place in history. Dec. 12, 2017-March 11, 2018, 1000 Fifth Ave.

Henri Cartier-Bresson, “An astrologer’s shop in the mill workers’ quarter of Parel” (1947), 13.8 inches by 20.7 inches

In January 1948, Mahatma Gandhi met with a then-little-known French photographer who captured the Indian leader’s last few hours before he was assassinated. The resulting photos of the day and Gandhi’s funeral catapulted Henri Cartier-Bresson to international stardom. As co-founder of Magnum Photos, Cartier-Bresson had pioneered street photography, and for that genre, there was no better place for his eye to thrive than the chaotic streets of India. Don’t miss your last chance to see India in Full Frame at The Rubin Museum, which through 69 black-and-white images investigates the photographer’s seminal work that came out of the subcontinent. The photographs capture the breadth of his time in India, from refugees exercising in a Delhi camp and a maharani closing the clasp on her husband’s pearl necklace to thousands crowded around Gandhi’s funeral pyre as the flames licked away at his body. Through Jan. 29, 2018, 150 W. 17th St. 

Auguste Rodin, “Large Left Hand” (before 1912, bronze), 11.63 inches by 4.5 inches by 5.5 inches

This year marks the 100th anniversary of Auguste Rodin’s death, an occasion that Rodin at the Brooklyn Museum: The Body in Bronze marks by gathering 58 of the master sculptor’s works from the museum’s collection. The show explores Rodin’s signature fluid contours in bronze, one of the most expensive materials to sculpt given the difficult process of making it, which come alive with kinetic tension and emotional depth, as well as fragments of ancient sculptures similar to ones that inspired Rodin. Body in Bronze represents each phase of Rodin’s career, from early days when he made “Gates of Hell” (1880) to “Monument to Balzac” (1891-98) that was rejected by the Société des Gens de Lettres for being too nontraditional, a recurring theme for the artist now considered the father of modern sculpture. Through April 22, 2018, 200 Eastern Parkway, Brooklyn