Go behind the scenes of our pilot #MetKids Animation Lab, exploring the theme of 'Jumping into the Met.'

Met curator Joseph Scheier-Dolberg on journeying in Shitao's Returning Home, c. 1695. This gemlike work demonstrates both Shitao's mastery of the album format and his ability to innovate within it. Landscape scenes alternate with tightly...

Met curator Cora Michael on awkwardness in Edgar Degas's Little Girl Practicing at the Bar, c. 1878-80. [2:17]

Met curator Diana Craig Patch on language without words in Cult Image of the God Ptah, dating from Egypt's Third Intermediate Period, c. 945-600 B.C.E. [2:40]

Met curator Luke Syson on faith in Antonio Rossellino's Madonna and Child with Angels, c. 1455-60. [2:28]

Met curator Charles Little on miraculous beauty in Relief of the Betrayal and Arrest of Jesus, made in Amiens, Picardy, France. [2:24]

Met curator Bradley Strauchen-Scherer on intuition in Bartolomeo Cristofori's Grand Piano, 1720. [2:35]

Met curator Asher Miller on improvisation in Eugene Delacroix's The Abduction of Rebecca. Throughout his career, Delacroix was inspired by the novels of Sir Walter Scott, a favorite author of the French Romantics. This painting depicts a...

Met curator Catharine Roehrig on realism in Statue of an Offering Bearer dating from Egypt's Middle Kingdom, c. 1981-1975 B.C.E. [2:27]

Met curator Andrea Bayer on liberation in Jacopo Bassano's The Baptism of Christ, c. 1590. [2:45]

Met curator Keith Christiansen on timelessness in Berlinghiero's Madonna and Child. [2:53]

Met curator Barbara Drake Boehm on the bigger picture in Plaque with Censing Angels from medieval France, c. 1170-80. [2:45]

Met curator Soyoung Lee on contemplation in Pensive Bodhisattva from Korea's Three Kingdoms period, mid-7th century. [2:42]

Met curator Dita Amory on originality in Rembrandt van Rijn's The Last Supper, after Leonardo da Vinci, 1634-35. [2:43]

Met curator Andrew Bolton on extreme fashion in Alexander McQueen's No. 13 [Collection], spring/summer 1999. [2:27]

Met curator Donald La Rocca on cultural continuity in Saddle (gser sga) from Derge, Tibet, c. 1942-46. [2:42]