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When you visit the Brooklyn Museum, you can use our app to ask us questions or chat about the artwork you see.

You’ll be connected with a team of art historians and educators who know our collection, can answer your questions, and can give you recommendations on what to see next. 

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Explore our permanent collection or a special exhibition on a guided group tour led by one of our friendly and experienced Museum Guides, or on your own with a self-guided group tour. These tours are for adult groups with at least 10 people, last about one hour, and can be tailored to meet the interests and needs of your group.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

We're renovating our second floor to bring you a better experience, which means the Libraries and Archives are closed to the public until fall 2017. If you're a researcher who would like to access our resources, send us an email and we'll do our best to assist you.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Fifth Floor

Rest rooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor rest rooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor rest rooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Fourth Floor

Rest rooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor rest rooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor rest rooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Third Floor

Also on the Third Floor: Iris and B. Gerald Cantor Auditorium

Rest rooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor rest rooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor rest rooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Our Second Floor galleries are currently closed for renovations.

Also on the Second Floor

Rest rooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor rest rooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor rest rooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Parking
Parking is available in the lot behind the Museum, off Washington Avenue. On Target First Saturdays, there's a flat rate of $6 starting at 5 p.m. Park your bicycle in the rack behind the building, next to our sculpture garden.

Shopping
Our Shop offers an eclectic mix of gifts, jewelry, books, clothing, crafts, and foods from around Brooklyn and around the world. Shop hours

Dining
Have small plates, dinner, or drinks at The Norm restaurant and bar, led by Michelin-starred Chef Saul Bolton. Or stop by the BKM Café or Bowl. Planning a group tour? Consider a catered lunch for your group.

Rest Rooms
Rest rooms are on the first and third floors (floor plan), are wheelchair accessible, and have baby-changing tables. A family rest room is located just off the main lobby.

Coat Check
A free coat check is available on the first floor, where you can leave any packages, large bags, umbrellas, or strollers.

Wheelchairs
Complimentary wheelchairs are available at the coat check on the first floor. Our entrances and rest rooms are wheelchair accessible. For more information, visit our Accessibility page.

Strollers
You're welcome to use strollers throughout the building (although from time to time there are certain areas where we might need to restrict their use, on account of small spaces, especially fragile art, or other circumstances). If necessary, leave your stroller at the coat check.

Wireless Access
We offer free wireless access throughout our galleries and grounds. During your visit, we encourage you to switch to wifi (BrooklynMuseum) for faster download speeds. The wireless project was created by the Brooklyn Museum Technology Department, with help from NYCWireless.

Go Mobile
Need information on the go? Planning your next visit? Access www.brooklynmuseum.org from your mobile phone to view our mobile-friendly website.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

We're committed to making our galleries and facilities accessible to everyone.

  • We are fully wheelchair accessible. Check our online and printed floor plan for details.
  • If you need a wheelchair during your visit, they're available for free at the coat check in the lobby.
  • Companions of people with disabilities are admitted for free.
  • The parking lot behind the Museum is fully accessible. There's a free, 15-minute grace period for pickups and dropoffs.
  • If you need an assistive-listening device, they're available for free at our Admissions Desk, on the first floor.

We also offer a wide range of services for our visitors of all ages with special needs.

  • For those who have low or no vision, guided visits that include verbal descriptions can be scheduled for both adult and school groups, with advance notice. We also offer Sensory Tours, monthly public tours designed to accommodate and engage both sighted and non-sighted visitors. Verbal descriptions of collection highlights are available via Art Beyond Sight.
  • For those who are deaf or hard-of-hearing, American Sign Language interpretation for both adult and school group tours can be arranged, with advance notice.
  • For those with intellectual disabilities or other special needs, we offer specially tailored guided gallery visits to adult and school groups.

We hope that you'll get in touch with us via email or at 718.501.6229 if you have questions about any of the above services, or if you'd like to make advance arrangements.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

No matter what your interest, there's a tour for you:

  • Join our Museum Guides for daily public tours (free with admission) focusing on a variety of themes, eras, and movements in art.
  • Book a group tour for ten or more adults.
  • Explore tours and programs for school groups, all designed to help students and teachers construct meaningful experiences with works of art.
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the First Floor

Also on the First Floor

  • Admissions Desk
  • Museum Shop
  • Dining (The Norm restaurant and bar; BKM Café and Bowl)

Rest rooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor rest rooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor rest rooms.

Pick up Assistive Listening Devices at the Admissions Desk.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

By Subway

2/3 to Eastern Parkway/Brooklyn Museum. Transfer to 2/3 from 4/5 (at Nevins Street) and B, D, Q, N, R, and LIRR (at Atlantic Terminal-Barclays Center). See a subway map. Make sure to check with the MTA for any service changes, especially on the weekend.


By Bus

The closest bus stops are:

B41 and B69 at Grand Army Plaza

B45 at St. Johns Place and Washington Avenue

Check with the MTA for the most up-to-date bus information.


By Car

From Manhattan:

Brooklyn Bridge; left at Tillary Street; right on Flatbush Avenue for about 1.5 miles to Grand Army Plaza; about 2/3 around Plaza; right on Eastern Parkway. We're at the first intersection (Eastern Parkway and Washington Avenue). Or: Manhattan Bridge enters directly onto Flatbush Avenue.

From Westchester, the Bronx, Queens, or Connecticut:

Robert F. Kennedy Bridge (Triborough) to Brooklyn Queens Express (BQE); Manhattan Bridge exit to Tillary Street; left onto Flatbush Avenue and proceed according to the directions from Manhattan.

From Staten Island and southern or central New Jersey:

Verrazano-Narrows Bridge to Gowanus Expressway (Route 278 towards Manhattan); exit to 38th Street; left on Fourth Avenue for about 2 miles; right on Union Street; 5 blocks to Grand Army Plaza; go 1/2 around Plaza; right on Eastern Parkway. We're at first intersection (Eastern Parkway and Washington Avenue).

From northern or north central New Jersey:

George Washington Bridge/Holland or Lincoln Tunnel to Manhattan; follow directions from Manhattan.

From Long Island:

Grand Central Parkway to Jackie Robinson Parkway; exit at Bushwick Avenue; left at third traffic light to Eastern Parkway; about 3 miles to Washington Avenue. We're across intersection at left.


Parking

On-site parking is available in the lot behind the Museum, off Washington Avenue. On Target First Saturdays there's a flat rate of $5 beginning at 5 p.m.


Bikes

Park your bicycle at the racks behind the Museum, next to the Sculpture Garden. Bikes are parked at your own risk; we don't accept responsibility for vandalism or theft.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Were these weapons ceremonial, or functional?
It is likely that this was a ceremonial blade due to the high artistic quality of the object. Both ceremonial and functional objects like this would be placed in the tomb of the deceased for use in the afterlife.
Do you know who the couple was and what they did?
Mr. and Mrs. Milton Weil were a Jewish couple who lived on Park Ave in an apartment that housed the room you see in the Museum today. The Weil family was and still is a prominent banking family.
After Mr. Weil passed, Mrs. re-married a man by the name of Raymond Worgelt, who donated the room to the Museum in 1970.
Alavoine was the firm that the Weil's hired to decorate the room. The firm manufactured furniture and woodwork out of offices in NY and Paris.
Would this dining room really be painted blue when it was built in 1758?
Yes, that blue, known as "Prussian Blue," was the most expensive color used in 18th century woodwork paneling. While this color is a modern reproduction, it is true to the color it would have been.
If you look in the parlor, the walls there are also Prussian Blue, and the furniture is bright yellow - it was in fashion at the time to have high contrast colors in home decor.
You can also see the Prussian Blue in the "Nicholas Schenck House," another period room located on the 4th floor.
What style is this room? It looks incredible!
The Moorish style was reserved for masculine spaces such as billiards and smoking rooms as well as halls. It is a Western style influenced by the architecture and decorative arts of the Muslim inhabitants (the Moors) of north-west Africa and (between 8th and 15th centuries) of southern Spain.
The style was popular in the West for the person seeking an eclectic design style and design elements included flat, geometric patterns, arches, patterned walls and fabrics and dark woodwork. It fell out of fashion by the early twentieth century.
How quickly did Monet have to paint to capture the light at this moment?
Monet worked on this painting over the course of three winters. During these painting campaigns from 1899 to 1901, Monet stationed himself on the balcony of Saint Thomas’ Hospital, across the river from his subject, substituting one canvas for another—nineteen in all—as changing weather and light conditions dictated.
He worked frantically, attempting with each change of light and atmosphere to find the canvas which most closely resembled what he saw.
However, he also took the pictures back to his studio in Giverny, France and continued working on them. The goal was to have the paintings work together harmoniously in the series. To give you a sense of Monet's process, in 1903, he wrote to his dealer Durand-Ruel: "I cannot send you a single canvas of London...It is indispensable to have them all before me, and to tell the truth not one is definitely finished. I develop them all together."  It is therefore actually quite hard to say exactly how long he spent on an individual canvas.
What is the significance of the genie if not to grant wishes?
Scholars suggest that in the Assyrian culture the idea of the "genie" refers to winged protectors. They can be identified as supernatural beings by their horned helmets and/or wings. They are also thought to have acted as personal attendants to the king.
What makes it interesting to the museum curators?
The point of interest of this piece is that it is really representative of pieces known as "scholar objects". Or objects that scholars in China would place on their desks to use for meditative experiences, to get lost in thought. In East Asia, old trees are admired for their resilience and endurance. To the scholar who displayed this tree, it was a reminder of the wisdom that comes from experience. 
Also, coral is a very valuable and beautiful material.
Coral is a hard material to work with and requires some practice and skill. The carver selected this piece for its form and shaped it to look more like a weathered tree. The finished piece was polished, too.       
Is this considered a Fauvist painting?
Yes it is. With its undisguised vivid brushstrokes and high-keyed, vibrant colors directly from the tube, this is a typical fauvist painting. 
Henri Matisse painted it just one year after debuting his new style at the 1905 Salon d'Autumn in Paris. (It was during that exhibition that the witty critic Louis Vauxcelles called such paintings "fauves," meaning "wild beasts," in his review for the magazine Gil Blas.) This picture still shows the influence of neo-impressionism (also sometimes called pointillism), with its short dabs of color in the lower left and on the nude herself. As the years went by, Matisse moved to a greater focus on powerful line and flat color.
Interestingly this picture was the first work by Matisse to enter an American art collection. The American painter and frame-maker George F. Of purchased it from the expatriate Mrs. Michael Stein, the sister-in-law of Gertrude Stein.
Why is it called Avarice?
"Avarice" means "extreme greed," and this work, by Fernando Mastrangelo deals with the idea of greed.
The depiction of corn-based products draws attention to Mexico’s mass cultivation of corn to meet energy needs and foreign consumer demands.
Mastrangelo uses one of Mexico’s national symbols, the Aztec Calendar Stone, which dates from about 1500 and symbolizes the creation of the Aztec universe. Unchanged is the Aztec sun god Tonatiuh, who looks out from the stone’s center – his knife-like tongue is stuck out in a representation of his hunger for the human sacrifice. We can infer the image of the implacable imperial force with which the United States achieves its economic agenda in the Americas.
What does the skirt pattern represent?
 The pattern on the skirt is a reference a specific to a specific king's reign. You may have read this on the label, but "A motif on the figure's kilt depicting an elephant, whose trunk ends in a human right hand, identifies this work with the reign of the oba Esigie, who ruled from 1504 to 1550."
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.