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X-WR-CALNAME:The Drawing Foundation
X-ORIGINAL-URL:https://thedrawingfoundation.org
X-WR-CALDESC:Events for The Drawing Foundation
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DTSTART;VALUE=DATE:20260416
DTEND;VALUE=DATE:20260921
DTSTAMP:20260729T173606Z
CREATED:20260622T193710Z
LAST-MODIFIED:20260729T173606Z
UID:10000180-1776297600-1789948799@thedrawingfoundation.org
SUMMARY:Early Netherlandish drawings
DESCRIPTION:In the 1400s and 1500s\, the Low Countries were a powerhouse of artistic innovation. This was a transformative period for Netherlandish drawings\, as they evolved from preparatory studies to works of art in their own right. \nFeaturing around 120 works by artists including Rogier van der Weyden\, Lucas van Leyden\, Pieter Bruegel the Elder and Hendrick Goltzius\, this exhibition charts the development of drawing in the Low Countries (present-day Belgium\, Luxembourg and the Netherlands) before 1600. The exceptional breadth and quality of the British Museum’s holdings provides a unique opportunity to present a comprehensive account of drawing from this region. \nEarly Netherlandish drawings are extremely rare\, as they were made as functional objects in the workshop and were not typically retained. This was unlike Italy or the German-speaking lands\, where the taste for collecting drawings in the 1500s ensured the survival of a higher number of works from this period. Drawings were central to the design and production of works of art in different media\, including tapestries\, paintings\, stained glass and prints – and surviving examples shed light on the creativity and collaboration of Netherlandish artists. \nBased on a research project and supported by a grant from the International Music and Art Foundation\, the exhibition highlights new findings that have come from combining curatorial and conservation expertise along with scientific analysis. New research into drawings previously only connected to Rogier van der Weyden and his circle\, for instance\, reveals they originate directly from Rogier’s workshop and must have been drawn by his pupils as part of their training. \n \nFlaminio Torre (Italian\, Bologna 1620–1661 Modena)\, The Virgin Appearing to Saint Jerome (recto); Head of a Young Woman with Braided Hair\, 1621–61. Red chalk on brownish paper. The Metropolitan Museum of Art\, New York\, Rogers Fund\, 1960 (Object Number: 61.3).
URL:https://thedrawingfoundation.org/event/early-netherlandish-drawings/
LOCATION:The British Museum\, Great Russell Street\, London\, WC1B 3DG\, United Kingdom
CATEGORIES:Current,Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260614
DTEND;VALUE=DATE:20260921
DTSTAMP:20260623T014644Z
CREATED:20260622T182726Z
LAST-MODIFIED:20260623T014644Z
UID:10000178-1781395200-1789948799@thedrawingfoundation.org
SUMMARY:Willem de Kooning Drawing
DESCRIPTION:Willem de Kooning (1904–1997) was one of the most celebrated and prolific draftsmen of the 20th century. \nWillem de Kooning Drawing is the first exhibition to examine the expansive drawing practice of this renowned American artist who immigrated to New York from the Netherlands at the age of 22. While many Art Institute visitors may be familiar with de Kooning’s monumental painting Excavation (1950)\, a cornerstone of our collection\, this exhibition marks the first solo presentation of the artist’s work at our museum since 1969. \nThis major gathering of works from across the globe reveals how the act of drawing was foundational to de Kooning’s entire artistic process and production—his paintings\, sculptures\, and printmaking\, as well as his drawings—and showcases the totality of his graphic production\, from his earliest existing works to his late calligraphic paintings. \nRigorously trained at the Academy of Visual Arts and Technical Sciences in Rotterdam\, de Kooning achieved a remarkable command of traditional drawing techniques while still in his teens. In 1926\, he stowed away on a freight ship bound for the United States to pursue his dream of becoming an illustrator. Eventually arriving in New York City\, de Kooning found work as a house painter\, freelance commercial artist\, and window display designer. At the same time\, he became immersed in the New York art world\, befriending artists such as Stuart Davis\, Arshile Gorky\, and John Graham and ultimately becoming a key figure of the movement that would be known as “Abstract Expressionism” or the “New York School” with such contemporaries as Jackson Pollock\, Lee Krasner\, Barnett Newman\, and Mark Rothko. \nAmbiguity would become a distinguishing feature of de Kooning’s practice\, as his work increasingly dissolved the boundaries between representation and abstraction\, male and female figures\, “high” and “low” art forms\, and\, in particular\, the disciplines of drawing and painting. He stated\, “I draw in paint\, and usually I don’t feel so much difference between drawing and painting.” Compelled to continually innovate and surprise even himself\, de Kooning began experimenting with unconventional drawing methods (such as working with his eyes closed)\, which opened up new directions for his art. He also often reused forms from his earlier artworks and adapted tools and techniques from his career as a commercial artist\, resulting in a body of work that is both self-referential and inventive. \nWillem de Kooning Drawing features more than 200 artworks from public and private collections around the world. The exhibition presents iconic works like the Art Institute’s Excavation and the Museum of Modern Art’s Woman I (1950–52)\, as well as significant and lesser-known drawings\, paintings\, sculptures\, and prints\, many of which have rarely—if ever—been seen by the public. \nThis landmark exhibition offers an unprecedented opportunity to experience the full scope of de Kooning’s drawing practice\, shedding light not only on its evolution over seven decades but also on the ways it redefined the possibilities of modern and contemporary art. \nWillem de Kooning Drawing is organized by the Art Institute of Chicago\, in collaboration with the Rijksmuseum\, Amsterdam\, and in consultation with The Willem de Kooning Foundation. The exhibition’s curatorial team includes the Art Institute of Chicago’s Kevin Salatino\, Chair and Anne Vogt Fuller and Marion Titus Searle Curator\, Prints and Drawings; Mel Becker Solomon\, associate research curator\, Prints and Drawings; and Charlotte Healy\, senior research associate\, Prints and Drawings\, with contributions from Margaret Holben Ellis\, exhibition paper conservator. \n \nTwo Women’s Torsos\, 1952\, Willem de Kooning. The Art Institute of Chicago\, John H. Wrenn Memorial Collection. © 2026 The Willem de Kooning Foundation / Artists Rights Society (ARS)\, New York
URL:https://thedrawingfoundation.org/event/willem-de-kooning-drawing/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Current,Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260627
DTEND;VALUE=DATE:20261116
DTSTAMP:20260812T031010Z
CREATED:20260625T001632Z
LAST-MODIFIED:20260812T031010Z
UID:10000193-1782518400-1794787199@thedrawingfoundation.org
SUMMARY:ELLSWORTH KELLY - AT THE EDGE OF WATER
DESCRIPTION:From 27 June to 15 November 2026\, the Fondation Maeght will present a major exhibition devoted to the American artist Ellsworth Kelly. Ellsworth Kelly – At the Edge of Water\, curated by Éric de Chassey\, explores for the first time the role of water in Kelly’s work\, offering a new perspective on both his practice and his working method. \nA major figure in American art\, Kelly (1923–2015) is renowned for his large-scale abstract works\, which maintain a precise relationship with the visible world. Throughout his life he was drawn to aquatic environments — from Belle-Île and the Côte d’Azur to New York and the Caribbean — where experiences of looking at water gave rise to drawings\, collages\, paintings and sculptures. Rather than depicting landscapes\, Kelly translated the perception of water itself: its shifting colour\, light and surface. \nThe exhibition also recalls Kelly’s early and lasting connection with the Maeght family. After returning to France in 1948\, he exhibited at Galerie Maeght in Paris and stayed regularly with the family in Saint-Paul-de-Vence\, forging a friendship with Adrien Maeght that continued throughout his life. \n \nEllsworth Kelly\, Long Bay Beach (study for White and Dark Gray Panels I)\, 1977\, postcard collage\, 9.8 × 14.9 cm\, © Ellsworth Kelly Studio.
URL:https://thedrawingfoundation.org/event/ellsworth-kelly-at-the-edge-of-water/
LOCATION:Fondation Maeght\, 623 Chem. des Gardettes\, Saint-Paul-de-Vence\, 06570\, France
CATEGORIES:Current,Exhibitions
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ORGANIZER;CN="Fondation Maeght":MAILTO:info@fondation-maeght.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260714
DTEND;VALUE=DATE:20261019
DTSTAMP:20260805T170637Z
CREATED:20260113T215529Z
LAST-MODIFIED:20260805T170637Z
UID:10000154-1783987200-1792367999@thedrawingfoundation.org
SUMMARY:Odilon Redon: Otherworldly Visions
DESCRIPTION:Odilon Redon (1840–1916) is known for his enigmatic art that celebrated the beauty of nature and mined the dreamlike depths of the imagination. Featuring an exceptional group of charcoal drawings\, lithographs\, and pastels from Getty’s collection\, this exhibition presents the French artist’s fantastical world of haunting darkness and luminous color. Discover Redon’s singular vision and his diverse sources of inspiration\, from religion and mythology to literature and modern science. \n \nImage credit: Odilon Redon (1840 – 1916)\, Baronne de Domecy\, about 1900. Pastel and graphite\, on light brown laid paper. The J. Paul Getty Museum\, Los Angeles\, 2005.1
URL:https://thedrawingfoundation.org/event/odilon-redon-otherworldly-visions/
LOCATION:Getty Center\, 1200 Getty Center Drive\, LOS ANGELES\, CA\, 90049\, United States
CATEGORIES:Current,Exhibitions
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ORGANIZER;CN="Getty Museum Drawings Dept":MAILTO:1200 Getty Center Drive, Los Angeles, CA 90049
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