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DTSTART;VALUE=DATE:20260626
DTEND;VALUE=DATE:20261005
DTSTAMP:20260623T142838Z
CREATED:20260622T175244Z
LAST-MODIFIED:20260623T142838Z
UID:10000177-1782432000-1791158399@thedrawingfoundation.org
SUMMARY:Tarot! Renaissance Symbols\, Modern Visions
DESCRIPTION:Conceived in two parts\, this double-gallery exhibition explores the origins of Tarot in Renaissance Italy and its ongoing relevance as a source of inspiration for artists in the twentieth and twenty-first centuries. \nThe first part of the exhibition\, Renaissance Symbols\, focuses on the origins of the three earliest surviving decks from the fifteenth century\, which were commissioned by the Dukes of Milan. It examines the rich court culture from which the cards emerged\, the development of the cards’ imagery\, and how that imagery became the basis for later divination practices. \nModern Visions\, the second part of the exhibition\, takes as its starting point the legendary 1909 Rider-Waite-Smith deck conceived by mystic Arthur Edward Waite and illustrated by artist Pamela Colman Smith\, tracing the influence of this deck and others on later practitioners and the imagery’s adoption by people like André Breton\, Leonora Carrington\, Remedios Varo\, Jess\, Niki de Saint Phalle\, Betye Saar\, and Kerstin Brätsch. For these artists\, Tarot offered an alternative to the strictures of modernist aesthetics\, allowing them to explore other universes and imaginative possibilities. \nRenaissance Symbols is organized by Joshua O’Driscoll\, Melvin R. Seiden Curator and Department Head of Medieval and Renaissance Manuscripts\, and Frank Trujillo\, Drue Heinz Book Conservator. Modern Visions is organized by Claire Gilman\, Acquavella Curator and Department Head of Modern and Contemporary Drawings\, with Esther Levy\, Curatorial Assistant\, Modern and Contemporary Drawings. \nTarot! Renaissance Symbols\, Modern Visions is made possible by the Elaine and Alexandre Rosenberg Charitable Foundation\, an anonymous donor\, in memory of Melvin R. Seiden\, Beatrice Stern\, the Vasari Fund for Exhibitions\, the William Randolph Hearst Fund for Scholarly Research and Exhibitions\, and an anonymous donor. Generous support is provided by Alyce Williams Toonk\, the Lucy Ricciardi Family Exhibition Fund\, and Susanna and Livio Borghese\, in memory of Agnes Gund\, with additional support from Marguerite Steed Hoffman\, Dr. Wendy A. Stein and Mr. Bart Friedman\, and Rachel and Alex Stern. \n \nImage Caption: Strength/Fortitude (detail)\, Visconti di Modrone Tarocchi. Italy\, 1441–42. Beinecke Rare Book & Manuscript Library. Yale University
URL:https://thedrawingfoundation.org/event/tarot-renaissance-symbols-modern-visions/
LOCATION:The Morgan Library & Museum\, 225 Madison Avenue at 36th Street\, New York\, NY 10016\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="The Morgan Library & Museum":MAILTO:drawings@themorgan.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270118
DTSTAMP:20260624T235355Z
CREATED:20260624T235355Z
LAST-MODIFIED:20260624T235355Z
UID:10000191-1789689600-1800230399@thedrawingfoundation.org
SUMMARY:On Location: Drawing the Outdoors
DESCRIPTION:Discover how an intimate and reflective relationship with nature can shape artistic vision. \nMeander through visions of the outdoors to discover how landscapes offered 19th-century European artists freedom\, renewal\, and rediscovery beyond the pressures of society. Placing the natural world at the center of artistic expression and featuring drawings by J. M. W. Turner\, John Constable\, Gustave Courbet\, Edouard Manet\, Berthe Morisot\, Paul Cézanne\, and Vincent van Gogh\, among many others\, On Location: Drawing the Outdoors includes approximately 140 sketches\, watercolors\, and pastels in a showcase of creativity devoted to and inspired by nature. \nOrganized into 10 thematic sections\, the exhibition unfolds like a series of trails through the landscape\, tracing changing perceptions\, the rise of environmentalism\, and shifting national and artistic identities. Along the way\, it introduces the techniques\, formats\, and functions of outdoor drawings and watercolors\, showing how artists employed them to interpret the countryside and portray sites of natural beauty. On Location: Drawing the Outdoors offers visitors a space to reflect on how the experiences and motivations of 19th-century artists still resonate today. \nAn accompanying exhibition catalogue provides an expansive look at the topic through 5 panoramic essays and 10 focused thematic introductions\, by contributors with a range of interests and perspectives. \nCurated by Joachim Homann\, Maida and George Abrams Curator of Drawings\, with Meghan Grady\, Curatorial Assistant for Special Exhibitions and Publications\, Division of European and American Art\, and Susanne Bartels\, Stanley H. Durwood Foundation Curatorial Fellow (2024–26). Contributors include Penley Knipe\, Philip and Lynn Straus Senior Conservator of Works of Art on Paper and Head of the Paper Lab; Miriam Stewart\, Curator of the Collection\, Division of European and American Art; and current and former Harvard graduate student interns and Ph.D. candidates: Kacper Kolęda\, Byron Otis\, Sarah C. Rosenthal (Ph.D. 2026)\, and Erik Zou. \nFunding for the exhibition and related programming was provided by the Stanley H. Durwood Foundation Support Fund\, the Stanley H. Durwood Foundation Support Fund for the Study of Dutch Drawing\, the Melvin R. Seiden and Janine Luke Fund for Publications and Exhibitions\, and the M. Victor Leventritt Lecture Series Endowment Fund. The catalogue was made possible by the Andrew W. Mellon Publication Funds\, including the Henry P. McIlhenny Fund. Additional project support was provided by the Almathea Charitable Foundation. \n \nVincent van Gogh\, “The Blue Cart”\, 1888. Graphite\, black chalk\, oil pastel(?)\, brown ink\, and transparent and opaque watercolor on tan laid paper. Harvard Art Museums/Fogg Museum\, Bequest of Grenville L. Winthrop\, 1943.279.
URL:https://thedrawingfoundation.org/event/on-location-drawing-the-outdoors/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Exhibitions,Upcoming
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270119
DTSTAMP:20260212T155755Z
CREATED:20260113T225128Z
LAST-MODIFIED:20260212T155755Z
UID:10000157-1789862400-1800316799@thedrawingfoundation.org
SUMMARY:Spectacular Freedom: Andrew Wyeth and the Modern American Watercolor
DESCRIPTION:This exhibition is the first to offer an in-depth exploration of American artist Andrew Wyeth’s watercolors—described by one critic as having a “spectacular freedom”—examining his relationship to the medium throughout the early decades of his career. Beginning in the 1930s\, Wyeth built a monumental reputation for his use of watercolor\, depicting the people and places that surrounded him in rural Pennsylvania and Maine in expressive and evocative compositions. His practice varied widely over the years that followed\, resulting in innovative works\, both sketches and finished sheets. These works ranged from vivid\, painterly landscapes to precisely rendered interior scenes and preparatory studies for the tempera paintings he produced alongside his watercolors. \nWyeth began to experiment with watercolor at a time when interest in it exploded throughout the United States\, leading to its promotion as a medium distinctively suited to depicting American experiences. This new climate for making and exhibiting watercolors not only encouraged Wyeth’s practice but also informed the fundamental questions engaged by his work about what it meant to be American and modern at that time. \nSpectacular Freedom: Andrew Wyeth and the Modern American Watercolor presents more than 100 works from the artist’s estate—most of which have never been on view. Featuring watercolors and a selection of the artist’s paintings\, the exhibition highlights a major aspect of Wyeth’s life and art. A richly illustrated accompanying publication includes essays by historians of American art and works on paper. \nSpectacular Freedom: Andrew Wyeth and the Modern American Watercolor is organized by the Cleveland Museum of Art in association with the Wyeth Foundation for American Art\, with support from the Andrew & Betsy Wyeth Study Center of the Brandywine Museum of Art. \n \nImage credit: Maine Fisherman\, 1936. Andrew Wyeth (American\, 1917–2009). Watercolor on paper; 55.9 x 76.8 cm (22 x 30 1/4 in.). Wyeth Foundation for American Art Collection\, P0656. © 2025 Wyeth Foundation for American Art / Artists Rights Society (ARS)\, New York
URL:https://thedrawingfoundation.org/event/spectacular-freedom-andrew-wyeth-and-the-modern-american-watercolor/
LOCATION:The Cleveland Museum of Art\, 11150 East Boulevard\, Cleveland\, OH\, 44106\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="Cleveland Museum of Art":MAILTO:info@clevelandart.org
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261002
DTEND;VALUE=DATE:20270111
DTSTAMP:20260625T000534Z
CREATED:20260625T000534Z
LAST-MODIFIED:20260625T000534Z
UID:10000192-1790899200-1799625599@thedrawingfoundation.org
SUMMARY:Salman Toor: Drawings
DESCRIPTION:‘Painting was something I learned when I moved from Pakistan to the United States\, but drawing I always considered as second nature.’ – Salman Toor (2022) \nFor Salman Toor (b.1983)\, drawing is an integral part of his artistic life. To coincide with the exhibition Salman Toor: Someone Like You\, this focused display of a substantial group of works on paper\, made with ink\, charcoal\, and gouache\, showcases the artist’s mastery of drawing and the way in which it informs his practice as a painter. \nHaving started drawing as a child\, figure-drawing classes were a crucial part of Toor’s undergraduate training. Informed by his close study of art history\, particularly of baroque works\, Toor’s arresting drawings are characterised by his striking treatment of light as well as his rendering of real and implied movement to create pictures charged with a sense of dynamism and inner life. \nToor often works on variations of recurring motifs. Among the works included in this presentation are examples of his distinctive drawings of individuals and groups of figures at border control checks\, as well as still-lifes such as Fag Puddle in Vitrine (2021)\, which capture the fascination and greed connected to histories of accumulation and plundering. At times\, the artist has reworked historical paintings that especially affected him into new narratives and compositions\, such as in his drawing Three Mascots (2023)\, after Pieter Bruegel the Elder’s grisaille The Three Soldiers (1568). \nAlthough they are derived from his imagination\, Toor’s drawings are often based on memories\, especially the faces of friends and acquaintances. Toor has said that drawing someone is a way of connecting\, ‘like praying for someone\, or thinking about them\, creating a fantasy of them’. \nSalman Toor: Someone Like You can also be seen in the Denise Coates Exhibitions Gallery on the third floor from 2 Oct 2026 – 10 Jan 2027. \n \nSalman Toor (b.1983)\, Fag Puddle in Vitrine\, 2021\, The Courtauld\, London (Samuel Courtauld Trust). 
URL:https://thedrawingfoundation.org/event/salman-toor-drawings/
LOCATION:The Courtauld Gallery\, The Courtauld Institute of Art\, Somerset House\, Strand\, London\, WC2R 0RN\, United Kingdom
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="The Courtauld Gallery":MAILTO:galleryinfo@courtauld.ac.uk
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261004
DTEND;VALUE=DATE:20270124
DTSTAMP:20260625T003605Z
CREATED:20260625T003605Z
LAST-MODIFIED:20260625T003605Z
UID:10000195-1791072000-1800748799@thedrawingfoundation.org
SUMMARY:The Surrealist Book
DESCRIPTION:A book bound with shards of shattered glass. A manifesto enshrined in polished metal. Love poems seamlessly merging with solarized photographs. For artists and writers of the Surrealist movement\, the book was a perfect vehicle for subversive experimentation and the promotion of Surrealism’s revolutionary tenets. Working collaboratively to unlock the unconscious\, they transformed the bound volume into a provocative new art form\, an enchanted portal to the unexpected\, the irrational\, and the marvelous. \nThe Surrealist Book features the work of Surrealism’s most fascinating figures\, including André Breton\, Salvador Dalí\, Claude Cahun\, Paul Éluard\, Toyen\, Max Ernst\, and Unica Zürn. It traces the myriad roles of Surrealist books from their foundational impact in the 1920s\, through their convention-defying influence in the 1930s and ’40s\, to the persistent presence of a Surrealist sensibility in volumes produced well into the 1950s and ’60s. \nThe exhibition showcases a transformative gift of rare artists’ books from the Helen and Sam Zell Collection\, presented for the first time at MoMA. This trove of exquisite objects includes special editions printed on unusual papers or enhanced with supplementary materials\, unique maquettes and singular sketchbooks filled with collages and fantastical drawings\, sculptural bindings that turn books into hybrid\, interactive artworks\, and much more. Whether sparking disquiet or delight\, books\, the Surrealists insisted\, “are doors.” Whoever “opens them is immediately thrown into a higher realm.” \nOrganized by Jodi Hauptman\, The Robert Lehman Foundation Chief Curator of Drawings and Prints\, and Starr Figura\, Curator\, with Kolleen Ku\, Curatorial Assistant\, Department of Drawings and Prints. \n \nUnica Zürn\, artist and author. Orakel und Spektakel\, IV. Buch: Anagramme und Zeichnungen (Oracle and Spectacle\, Book IV: Anagrams and Drawings). 1960. Book with ink\, colored ink\, pencil\, torn-and-pasted paper\, dried plant material\, feathers\, envelopes\, playing card\, embroidery-thread winder\, and thread; pamphlet binding with red paper wrapper over paper cover with ink on torn- and cut-and-pasted papers\, pages: 12 13/16 × 9 13/16″ (32.5 × 25 cm). The Museum of Modern Art\, New York. Gift of Helen and Sam Zell. Photo: Ben Blackwell. © Verlag Brinkmann & Bose\, Berlin\, Germany
URL:https://thedrawingfoundation.org/event/the-surrealist-book/
LOCATION:MoMA\, 11 West 53 Street\, New York\, NY\, 10019\, United States
CATEGORIES:Exhibitions,Upcoming
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261023
DTEND;VALUE=DATE:20270201
DTSTAMP:20260624T195729Z
CREATED:20260624T195729Z
LAST-MODIFIED:20260624T195729Z
UID:10000184-1792713600-1801439999@thedrawingfoundation.org
SUMMARY:Rembrandt’s Lions: Art and Exile in the Dutch Republic
DESCRIPTION:Although Rembrandt van Rijn (1606–1669) and his work are now seen as quintessentially Dutch\, in his own time\, the very definition of ‘Dutch’ identity was still being shaped. This exhibition brings together\, for the first time\, a remarkable group of drawings\, etchings\, and paintings to highlight the often overlooked but formative presence of migrants\, immigrants\, exiles\, and refugees in Rembrandt’s world and work. It also foregrounds stories of diaspora that figure prominently in many of his etchings\, newly envisioning the impact of migration on seventeenth-century life around the world. \nIn the seventeenth century\, up to sixty percent of residents in Amsterdam—where Rembrandt lived and worked—hailed from elsewhere in the world\, in part because the Dutch Republic had become a bastion in Continental Europe for religious and political tolerance\, though not all people enjoyed equal freedoms\, especially in Dutch colonial territories. The lion\, a symbol for the fledgling Republic’s people and lands\, also appears in Rembrandt’s etchings\, often in the context of stories about exile\, refuge\, and migration. The aim of the artist is thus the aim of this exhibition: to reveal the many ‘lions’ that irrevocably shaped him and the vast\, emerging Republic in which they all lived and worked. \nThe best impressions from the Morgan’s collection of celebrated\, but rarely exhibited\, etchings by Rembrandt will be presented alongside selected loans to create juxtapositions and unities between artworks that are seldom seen together. \nOrganized by Sarah Mallory\, Annette and Oscar De La Renta Assistant Curator\, Department of Drawings and Prints. \n \nRembrandt van Rijn. St. Jerome Reading in an Italian Landscape\, ca. 1653. Etching and drypoint\, printed on Japanese paper\, 259 x 210 mm. Purchased by J. Pierpont Morgan in 1905. The Morgan Library & Museum (RvR 165).
URL:https://thedrawingfoundation.org/event/rembrandts-lions-art-and-exile-in-the-dutch-republic/
LOCATION:The Morgan Library & Museum\, 225 Madison Avenue at 36th Street\, New York\, NY 10016\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="The Morgan Library & Museum":MAILTO:drawings@themorgan.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270226
DTEND;VALUE=DATE:20270524
DTSTAMP:20260624T194747Z
CREATED:20260624T194747Z
LAST-MODIFIED:20260624T194747Z
UID:10000183-1803600000-1811116799@thedrawingfoundation.org
SUMMARY:William Blake: Paradise Lost
DESCRIPTION:To mark the two hundredth anniversary of the death of visionary artist and poet William Blake (1757–1827)\, this exhibition will be the first in-depth exploration of Blake’s profound and persistent engagement with England’s canonic poet\, John Milton (1608–1674). Milton\, who predates Blake by more than a century\, was a statesman\, polemicist\, and author of the biblical epic Paradise Lost. Yet the legacy of his writings and ideas coursed through Blake’s imagination from youth to old age\, taking form in visions\, poetry\, and the astonishing body of watercolor drawings he produced in the second half of his career. \nThis exhibition will reunite Blake’s most significant works inspired by Milton\, alongside selections by his contemporaries\, including Henri Fuseli and John Flaxman. For the first time in more than a quarter century\, visitors will gain unprecedented access to Blake’s rarely seen Miltonic watercolors\, illuminated books\, and paintings\, drawn from renowned American and British collections and the Morgan’s own formidable holdings by Blake and Milton. \nAfter 1800\, Milton’s poetry rivaled the Bible as Blake’s dominant literary inspiration. Blake’s relationship to the poet and thinker\, however\, was complex. He confronted and wrestled with Milton’s writings and beliefs. This struggle solidified Blake’s own ideas\, yielding his most personal and provocative achievements as a mature artist. Blake’s efforts culminated in his own ambitious epic Milton\, A Poem (c. 1804-1801) and the extraordinary sets of watercolor drawings illustrating Milton’s major works: the early lyric poem “On the Morning of Christ’s Nativity” (1629); the companion poems L’Allegro and Il Penseroso (c.1631); the masque Comus (1634); and the epics Paradise Lost (1667; rev. 1674) and Paradise Regained (1671). \nOrganized by Jennifer Tonkovich\, Eugene and Clare Thaw Curator\, Department of Drawings and Prints\, and Sheelagh Bevan\, Andrew W. Mellon Curator\, Department of Printed Books and Bindings. \n \nWilliam Blake (English\, 1757–1827). The Temptation and Fall of Eve (Illustration to Milton’s “Paradise Lost”)\, 1808. Black ink and watercolor over graphite on paper. Sheet: 49.7 × 38.7 cm (19 9/16 × 15 1/4 in.). Museum of Fine Arts\, Boston\, Museum purchase with funds donated by contribution\, 90.99. Photograph © 2026 Museum of Fine Arts\, Boston
URL:https://thedrawingfoundation.org/event/william-blake-paradise-lost/
LOCATION:The Morgan Library & Museum\, 225 Madison Avenue at 36th Street\, New York\, NY 10016\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="The Morgan Library & Museum":MAILTO:drawings@themorgan.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270313
DTEND;VALUE=DATE:20270628
DTSTAMP:20260624T201223Z
CREATED:20260624T201223Z
LAST-MODIFIED:20260624T201223Z
UID:10000185-1804896000-1814140799@thedrawingfoundation.org
SUMMARY:Simeon Solomon: Queer and Jewish in Victorian London
DESCRIPTION:Simeon Solomon: Queer and Jewish in Victorian London is the first major museum exhibition in the United States devoted to Simeon Solomon (1840–1905)\, one of the most daring and distinctive artists associated with the Pre-Raphaelites. Described by Edward Burne-Jones as “the greatest of us all\,” Solomon used his artistic practice to explore his sexuality and faith. He produced art that brought biblical narrative\, religious ritual\, and queer sensuality into unexpected dialogue. \nAssembling over 180 paintings\, watercolors\, drawings\, prints\, photographs\, and archival material\, Simeon Solomon: Queer and Jewish in Victorian London follows Solomon’s vision across Jewish\, Christian\, and Greco-Roman subjects. These works range from Old Testament scenes to depictions of Sappho\, Bacchus\, and other classical figures—subjects through which Solomon gave form to beauty\, longing\, and same-sex passion. \nSolomon’s career never recovered after his 1873 arrest for attempted sodomy. Rejected by the art establishment in which he had once thrived\, he lived for decades under precarious circumstances marked by alcoholism\, homelessness\, and repeated stays in London workhouses. Yet Solomon did not disappear. He continued to produce an extensive body of work and garnered a new generation of followers and supporters\, even as later histories of Victorian art minimized his achievements or omitted him entirely. \nThis exhibition positions Solomon as a major Victorian artist whose sexuality and faith were central to the power and intensity of his art. Seen anew\, his work emerges as sophisticated and resilient\, using the languages of Pre-Raphaelitism\, Judaism\, and classical antiquity to visualize desire and identity far beyond the constraints of Victorian convention. \nSimeon Solomon: Queer and Jewish in Victorian London is co-curated by Sophie Lynford\, Annette Woolard-Provine Curator of the Bancroft Pre-Raphaelite Collection\, Delaware Art Museum\, and Roberto C. Ferrari\, Curator of Art Properties\, Columbia University\, and will be accompanied by a fully illustrated volume published by Yale University Press. \n \nSappho and Erinna in a Garden at Mytilene\, 1864\, Simeon Solomon. Watercolour on paper 330 x 381 mm. Tate.
URL:https://thedrawingfoundation.org/event/simeon-solomon-queer-and-jewish-in-victorian-london/
LOCATION:Delaware Art Museum\, 2301 Kentmere Parkway\, Wilmington\, DE\, 19806\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="Delaware Art Museum":MAILTO:info@delart.org
END:VEVENT
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