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The archive · Business Models · Strategic decision · 2017

The Met frees 375,000 public-domain images under CC0 open access

The Met stopped selling image licences and put 375,000 public-domain scans under CC0 — free to copy, remix and sell anywhere.

The Metropolitan Museum of Art

The ideaGive away what the museum used to license: put every public-domain image under CC0, free for scholarship and commerce, and spread it via Wikimedia and partners.substantial

What it had to solve

The Met's 2014 Open Access for Scholarly Content let researchers download images for non-commercial study, but everyone else still had to license scans through Art Resource, and the collection barely circulated where digital audiences actually lived. The museum framed its audience as its 6.7 million annual visitors plus the three billion people online.

How it works

The Metropolitan Museum of Art had spent 147 years building one of the world's great encyclopedic collections — 1.5 million objects spanning 5,000 years — and had digitized and photographed it for over a century. But its 2014 Open Access for Scholarly Content allowed reuse only for non-commercial study, while commercial and general use still ran through Art Resource licensing fees.

On February 7, 2017 the Met announced a new model: every image of a public-domain artwork — more than 375,000 high-resolution scans — was released under Creative Commons Zero, waiving all copyright claims. Anyone could copy, share, remix and sell the images without asking permission, and basic catalogue data for 440,000 digitized works was published on GitHub for developers.

The museum treated the release as a distribution problem, not a charity gesture. It partnered with Creative Commons, Wikimedia, Artstor, the Digital Public Library of America and Pinterest, and hosted a Wikimedian-in-Residence to move the collection onto Wikipedia and its sister projects. Digital director Loic Tallon said the museum's audience was not only its 6.7 million visitors but the three billion internet-connected people who would never walk through its doors.

Open Access changed what the collection was for: images became raw material for products, education, art and research, and other institutions followed the pattern the Met's page now lists as peer organizations — Cooper Hewitt, the Art Institute of Chicago, the Cleveland Museum of Art, the National Gallery of Art and the Smithsonian. The portal has since grown past 492,000 open images, with an API and 3D models built on the same release.

Why it lands

  • CC0 removed every permission barrier at once, so scholars, hobbyists and commercial users all got the same simple right to reuse.
  • Publishing data on GitHub invited developers to build on the collection rather than wait for a museum website.
  • Partnering with Wikimedia and Pinterest let the Met reach audiences that would never visit its own domain.
  • Keeping Art Resource licensing only for works under copyright showed the change was about public-domain access, not abandoning image stewardship.

What it did

The policy shifted the collection from a licensed archive to open material the whole web could carry: images flowed into Wikipedia, Pinterest, art databases, classrooms and commercial projects, free to copy, remix and sell. The Met's open-access portal now reports more than 492,000 public-domain images available without restriction, with an API, datasets and 3D models built on the same decision.

Their siteThe Met's Open Access portal

What you can take

When access is the product, per-image fees cap the audience: giving the collection away put the Met on every platform its audience already uses — licensing became a footnote, not the point.

Since then

The 2017 decision kept compounding. The Met's Open Access portal now offers more than 492,000 public-domain images plus downloadable datasets, a JSON API, and 3D models and VR experiences made from the collection, and it lists peer museums that adopted the same open approach. The images circulate freely through Wikipedia, education platforms and commercial products, and the policy is cited as a reference point whenever cultural institutions debate whether to license or release their collections.

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