Several Slices of New York History

Located on Fifth Avenue at 103rd Street, the Museum of the City of New York stands guard over Central Park—and over a large piece of the city’s history. Though I’ve been a New Yorker for quite some time, I had never taken the opportunity to explore this charming museum chock full of the city’s life and legacy. On a recent sunny Sunday afternoon, however, I put on my walking boots and headed up Fifth Avenue for a dose of New York history.

After a lovely walk alongside the park, I entered the MCNY and waited on a short line to pay the $9 admission fee before being let loose in the small but well-filled space. The MCNY does not have a permanent collection on display, instead featuring a handful of special exhibitions at any given time (à la Cooper-Hewitt). And I knew which one was first on my list to explore.

“Paris/New York: Design, Fashion, Culture, 1925-1940” was set up in a gallery on the museum’s first floor, where it examined the cultural exchange between New York and Paris during this period of high energy and creative output. Well-organized, the exhibit explored each cultural area in which New York and Paris influenced one another. Photographs, furniture, and decorative objects showed New York’s adoption of the French Art Deco style in architecture and design, as well as the Parisians’ fascination with New York’s soaring skyscrapers and functional, utilitarian styles. There were souvenirs, silver, and other items from the French luxury liner Normandie, which docked in New York throughout the 1930s, alongside paintings, posters, and video clips of American entertainer Josephine Baker, who became a French citizen in 1937.

My favorite part of “Paris/New York” featured a collection of dresses, gowns, suits, shoes, jewelry, and other fashionable pieces from designers like Coco Chanel, Paul Poiret, and Cartier, showing the influence of French haute couture on American fashion, as well as that of American materials and production methods on Parisian styles. All in all, the exhibit was a walk through a creative, flourishing time period—and two of my very favorite cities.

Inspired by the fashions featured in “Paris/New York,” I was excited to find the next exhibit at MCNY, “Valentina: American Couture and the Cult of Celebrity.” An immigrant to New York in the early 1920s, Valentina became a pioneer of the city’s fashion industry, outfitting the likes of Greta Garbo, Katherine Hepburn, and Gloria Swanson in sweeping gowns, classic suits, and Renaissance-inspired styles, a large selection of which are all on display now through May 17.

During a time when boxy shapes, simple styles, and short, flapper-inspired skirts were all the rage, Valentina designed long, gauzy gowns, elegant coats, and full, feminine skirts, nearly all of which I would gladly don today. On display are the gown worn by Katherine Hepburn in The Philadelphia Story, a selection of pieces from Valentina’s personal collection, which she cultivated as carefully as those of her clients, as well as photographs, news clippings, and personal letters and mementos that shed light on Valentina’s role as New York celebrity in addition to that of celebrated fashion designer.

After poring over nearly every item in “Paris/New York” and “Valentina,” I made my way up to the second and third floors of the museum, where I browsed several intriguing exhibits. “Eudora Welty in New York: Photographs of the Early 1930s” featured a comprehensive selection of black-and-white photographs of New York and Mississippi, highlighting the effect of the Great Depression on each state—and showing that the renowned author also had quite an eye for composition. Meanwhile, “Broken Glass” was a selection of gritty yet eye-opening black-and-white photos of the South Bronx taken by Ray Mortenson between 1982 and 1984.

In a departure from the black-and-white photo documentary, “Perform: A History of New York Theater and Broadway” featured a vibrant collection of items from Broadway shows like Beauty and the Beast, Avenue Q, Les Miserables, and Rent, as well as an excellent overview of Times Square and Broadway itself. “New York Toy Stories” displayed a wide collection of toys, games, piggy banks, dolls, puzzles, and more, all either owned or created by New Yorkers over several generations. I found myself fascinated by a series of carefully detailed doll houses, the most elaborate of which was the prominently displayed Stettheimer doll house, which even included miniature replicas of each piece of art in the Stettheimer family’s New York mansion.

Other interesting exhibits included “New York Interiors: 1690-1906,” which featured replicas of rooms in New York homes over the centuries; “Trade: A History of New York City Ports and Commerce;” “Protect,” a history of fire and firefighting in New York City; and “Growing and Greening New York,” a look at how the city can ensure a more sustainable future.

As my feet were beginning to protest in anticipation of the twenty-plus-block walk home, I wasn’t able to devote as much time to each exhibit as I would have liked. Yet I left the MCNY having spent time in the exhibits I was most interested in, taking away some new knowledge and several slices of New York history.

To see all of the exhibits currently on display at the Museum of the City of New York, click here. Is truly has something for everyone—just like the city itself.

Sunflowers and Sangria at Samalita's

Last week, my friend Jess and I were craving Mexican. After mulling over several tried-and-true Mexican go-to spots on the UES—Cilantro, Canyon Road, Blockhead’s, Mustang—we decided to give Samalita’s a try. And what we got was Mexican with a tasty twist.

On the corner of 87th and 1st, Samalita’s stands out with its lively yellow awning and signature sunflower logo on the front door, both of which served as beacons of warmth and welcome on what turned out to be a cold, wet night. Perhaps because of the rather inclement weather, Jess and I had our pick of tables in the spacious yet cozy dining area, which featured warm wood paneling, mellow lighting, and a long, inviting bar. We chose a table alongside the floor-to-ceiling windows toward the front of the restaurant, and our host thoughtfully positioned our chairs so as to give us both prime people-watching views.

Neither of us had had much time to browse the menu online beforehand, so we were surprised—and impressed—to find a wider variety than most Mexican restaurants offer. Samalita’s is, in fact, a Mexican/Californian restaurant, which means that it features cuisine from both northern and southern California. So while there were typical Mexican dishes like burritos, fajitas, and enchiladas on the menu, they were listed alongside entrées that could be classed more Italian than Mexican—pizza, pasta, and the like. Suddenly our craving for Mexican turned into a partial craving for Italian as well.

Unsure whether we were more in the mood for a margarita or a glass of wine, we settled on the perfect combination of both—sangria—and began some serious decision-making. The southern California offerings on the menu included appetizers like fresh guacamole, chile relleno, quesadillas, and a Mexicana salad; and entrées like chicken ranchero, a roasted half-chicken marinated in spices and chiles and topped with almonds and green olives; plus the standard burritos, fajitas, and tacos.

The northern California portion of the menu featured appetizers like beef carpaccio, fried calamari, and mozzarella in carozza, with entrées like a variety of thin-crust pizzas; tortelloni pasta filled with artichoke hearts, black truffles, and parmesan cheese; a honey-glazed roast duckling; pork chop Milanese; and a tuna filet crusted with poppy seeds. Needless to say, the sheer variety of our choices was a bit overwhelming.

Still in the mood for Mexican, I chose rather quickly: the Samalita’s enchiladas, filled with shrimp, mushrooms, and raisins, sautéed in dry sherry, and served with green mole and sour cream. Jess had a bit more trouble with her decision, but finally decided on the chicken breast rollatine filled with ricotta, provolone, spinach, artichoke hearts, and shallots, sautéed with pinot grigio and mushrooms, and served with cheese mashed potatoes. And, so she could still have a taste of Mexican, we ordered the fresh guacamole appetizer.

The guacamole was indeed fresh, though it was a bit heavy on the lemon juice, and we found the tortilla chips to be somewhat on the greasy side. What the guacamole lacked, however, our sangria certainly made up for. Not too strong, not too sweet, it was fresh, fruity, and just right.

Our entrées, meanwhile, proved to be just as unique as the menu. My enchiladas looked like standard Mexican fare, but the added mushrooms, raisins, and sherry gave them a slightly sweet taste in addition to the tanginess of the green mole sauce. They were definitely different, but I ate every bite, as did Jess with her chicken rollatine, which had been artfully arranged on her plate and packed quite a variety of tastes in every bite as well.

While Samalita’s might not have fully satisfied our craving for classic Mexican, its unique variety of California-style fare left us feeling very satisfied indeed.

"Art and Love" at the Met

Last week I finally made my way over to the Met to see an exhibit I’d been eager to see since it was first announced: "Art and Love in Renaissance Italy." Featuring over 150 works, from paintings to sculptures to pieces of jewelry created to celebrate love and marriage during the period from about 1400 to the mid-16th century, the exhibit is not only a tribute to the romantic, but an exploration of the role of love, marriage, and family during the Italian Renaissance.

Upon entering the Special Exhibition Galleries on the 2nd floor, I was immediately struck by the deep red color the exhibit’s entrance had been painted, a color that immediately evokes images of love and romance. I made my way into the first gallery and was pleased to discover that the layout of “Art and Love” had been well-planned, in typical Met fashion. Each gallery focuses on one aspect of Renaissance love, then moves the visitor along fluidly to the next segment of the exhibit.

The first set of galleries deals with the Renaissance wedding, showcasing items used during a ceremony or given as a gift to commemorate a union. Full of pomp and ritual, Renaissance weddings were elaborate social affairs, especially when the bride and groom were members of wealthy merchant or ruling families, such as the de Medicis or the Bentivoglios. The variety of items associated with the Renaissance wedding are all beautifully crafted and highly symbolic, and it was fascinating to see so many on display. There are an assortment of plates, bowls, jugs, and other ceramic pieces, all hand-painted with intricate designs that include the fede motif, a pair of clasped hands representing faith; garlands of myrtle, a symbol of love; various representations of virtue and chastity; as well as images of the couple to be wed, along with their families’ coats of arms. Beautiful gold rings, brooches, and other pieces of jewelry also carry these symbols, as do delicate hand-blown glassware and unique items like an inkstand featuring busts of the couple alongside the fede motif. Particularly interesting is an ornate Jewish betrothal ring, to be worn only on the wedding day, featuring a gabled top that opens to reveal the words “good luck.”

After the wedding comes the start of married life, and this is the focus of the next segment of the exhibit, with a particular emphasis on childbearing. Couples typically had portraits painted after their marriage, featuring both husband and wife, often gazing at each other or seated together and staring out in the same direction. These portraits were meant to commemorate the union while also calling to mind the virtues that each individual brought to the marriage. An especially intriguing work is Fra Filippo Lippi’s “Portrait of a Woman at a Casement,” in which a woman who appears to be dressed in the extravagant garb of a newlywed stares out a window, past a man who is looking in at her from the other side. Because their gazes don’t meet, art history scholars have raised many questions about the nature of their relationship, as well as the purpose of the work.

Another trend involved the decoration of the couple’s bedchamber with a series of paintings in panel form depicting a variety of Biblical and allegorical tales. Marco del Bruno Giamberti’s “The Story of Esther,” featuring the Biblical tale of Queen Esther, evokes images of marriage, faith, and chastity meant to encourage the couple to embrace such virtues. Paintings depicting symbols of fertility were often hung over the couple’s bed, and the room typically contained at least one cassone, or marriage chest, a large, ornately-carved trunk painted with elaborate scenes in much the same style as the panels that adorned the walls. There are several of these on display, and their size, combined with the intricacy of their design, makes them quite impressive.

When a couple bore children, the occasion was commemorated with paintings, ceramic pieces, and other decorative items, the most common of which was the childbirth tray. Large and elaborate, these trays were meant to celebrate the birth of a child during a time in which childbearing could be extremely dangerous for both mother and infant. The selection of trays on display feature highly detailed scenes, some mythical, others depicting the act of birth itself and the very private confinement room. Also on display are several portraits of children and newborns. One particularly beautiful piece is an ornately carved walnut cradle from the 16th century. All of these serve to emphasize the importance of the family during the Renaissance era.

In a departure from the marriage and family theme, two small galleries focus on “erotic love.” The mood in these galleries differs significantly from the others, as much of the work is explicit and was considered pornographic during the time in which it was produced (and could still be classed as such today). While the same level of skill and attention to detail can be seen in these works as in the others, they lack the elevating, inspirational air of the rest of the exhibit, and they detract from the themes at the core of "Art and Love." Note that you’ll definitely want to skip this section if you’re visiting with small children.

The final gallery—and quite possibly my favorite—showcases a selection of paintings meant to represent the highest ideals of love and marriage. Lorenzo Lotto’s “Venus and Cupid” shows a playful Cupid and an idyllic Venus adorned with symbols of marriage and fertility. One particular highlight is a work by Titian featuring a male musician gazing at a reclining Venus, showing the interplay between love and music. Another Titian work, “Venus Blindfolding Cupid,” is also a stunning allegory. In this gallery, the themes that run throughout the rest of the exhibit—love, marriage, beauty, virtue, fertility, family—come together beautifully, providing the perfect ending to a lovely—and love-filled—exhibit.

“Art and Love in Renaissance Italy” is on display at the Met through February 16—which means there is just enough time for a Valentine’s Day visit.