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DTSTART;VALUE=DATE:20260627
DTEND;VALUE=DATE:20261116
DTSTAMP:20260812T031010Z
CREATED:20260625T001632Z
LAST-MODIFIED:20260812T031010Z
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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
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:20260929T034953Z
CREATED:20260113T225128Z
LAST-MODIFIED:20260929T034953Z
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:Current,Exhibitions
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ORGANIZER;CN="Cleveland Museum of Art":MAILTO:info@clevelandart.org
END:VEVENT
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
END:VEVENT
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:20261021
DTEND;VALUE=DATE:20261023
DTSTAMP:20260929T181148Z
CREATED:20260821T154252Z
LAST-MODIFIED:20260929T181148Z
UID:10000200-1792540800-1792713599@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - FULL EVENT PROGRAM
DESCRIPTION:The Drawing Foundation invites you to ON DRAWINGS 2026. Join us in New York City on Wednesday\, October 21st and Thursday\, October 22nd for two days of events and conversations among curators\, collectors\, conservators\, and artists focused on historical\, modern\, and contemporary drawings. \nRegistration is required for all events and begins on Wednesday\, September 30th \n ON DRAWINGS program is available only to MEMBERS of The Drawing Foundation.\nThe discussion at the Institute of Fine Arts on October 21st is open to everyone.\n \n_______________________ \nFULL EVENT PROGRAM \n  \n \nEarly Hours Exhibition Tour of The Surrealist Book: Tomorrow Lives in Mirrors\nLed by Jodi Hauptman\, The Robert Lehman Foundation Chief Curator of Drawings and Prints\,\nand Starr Figura\, Senior Curator\, Department of Drawings and Prints\, MoMA \n__ \n       \nCurator- & Conservator-led Exhibition Preview Tour of Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany\nLed by Alice Cooney Frelinghuysen\, Anthony W. and Lulu C. Wang Curator of American Decorative Arts\, and Marina Ruiz Molina\, Conservator\, Paper Conservation Team\,\n The Metropolitan Museum of Art__ \n \nProcess\, Time\, and Technical Discoveries: Reflections on Willem de Kooning Drawing \nFor Willem de Kooning (1904-1997)\, drawing was a direct extension of the mind. He drew constantly\, erasing and redrawing his lines\, tracing them onto vellum\, and transferring them with carbon paper. He also projected\, masked\, and rubbed his images\, while using spray fixative as a medium in its own right to capture the sensation of a fleeting glimps. The recent exhibition Willem de Kooning Drawing offered an opportunity to conduct technical analysis of many of de Kooning’s drawings to reveal his creative process. Join paper conservator Margaret Holben Ellis and art historian Charlotte Healy for a lively conversation about the years of research leading up to the exhibition and the many technical discoveries that help us understand de Kooning’s oeuvre and drawing practice anew. Ellis and Healy will also reflect on the exhibition’s run at the Art Institute of Chicago and its iteration at the Rijksmuseum to consider broader questions about how drawings are treated\, valued\, and exhibited. \nPresented in partnership with the Conservation Center\, NYU IFA\n \n__ \n  \n \nStudy Center visit focused on the drawings of Roy Lichtenstein and\nExhibition Tour of Roy Lichtenstein: 1997\nLed by David Crane\, Curatorial Research Associate\, Nakai Falcón\, Curatorial Assistant\, and Maya Davis\, Curatorial Fellow\, Whitney Museum of American Art \n__ \n  \n \nSpecial Visit and Viewing of Robert Rauschenberg: NASA Artist and Cloud Correspondent\nLed by Helen Hsu\, Associate Curator for Research\, Robert Rauschenberg Foundation \n \n__ \nWe are grateful to our members\, partners\, and various donors and supporters\, including Master Drawings New York\, whose contributions make our programs possible.
URL:https://thedrawingfoundation.org/event/on-drawings-2026/
CATEGORIES:Events,Upcoming
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261021T093000
DTEND;TZID=America/New_York:20261021T103000
DTSTAMP:20260930T030653Z
CREATED:20260929T034558Z
LAST-MODIFIED:20260930T030653Z
UID:10000203-1792575000-1792578600@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Early Hours Exhibition Tour at MoMA
DESCRIPTION:Join us for a special private tour of the recently opened exhibition The Surrealist Book: Tomorrow Lives in Mirrors\, led by Jodi Hauptman\, The Robert Lehman Foundation Chief Curator of Drawings and Prints\, and Starr Figura\, Senior Curator\, Department of Drawings and Prints\, MoMA. Don’t miss this opportunity to view these precious and uniquely surreal objects up close with the exhibition’s curators before the museum opens to the public. \nSpeaker bios: \nJodi Hauptman is The Robert Lehman Foundation Chief Curator of Drawings and Prints. Her many exhibitions include Cézanne Drawing (2021)\, Engineer\, Agitator\, Constructor: The Artist Reinvented (2020)\, Edgar Degas: A Strange New Beauty (2016)\, Henri Matisse: The Cut-Outs (2014)\, and Georges Seurat: The Drawings (2007). Her publications have been recognized by the Association of American Publishers\, the Dedalus Foundation\, and the Smithsonian American Art Museum. Hauptman has lectured widely on modern and contemporary art and has contributed essays to exhibition catalogues\, edited volumes\, and scholarly journals\, on such subjects as Sophie Taueber-Arp\, Medardo Rosso\, Sonia Delaunay-Terk\, and Léopold Survage. An advocate for collaborations between curators and conservators\, Hauptman received the College Art Association/American Institute for Conservation Award for Distinction in Scholarship and Conservation (2019). She holds an AB from Princeton University and a PhD from Yale University. \nStarr Figura is Senior Curator in the Department of Drawings and Prints and a specialist in modern and contemporary prints. Among the many exhibitions she has organized over the years are Félix Fénéon: The Anarchist and the Avant-Garde (2020)\, Gauguin: Metamorphoses (2014)\, German Expressionism: The Graphic Impulse (2011)\, and Lucian Freud: The Painter’s Etchings (2007). Part of the team that reinstalled the Museum’s expanded\, reimagined\, and cross-media collection galleries in 2019\, she is closely involved in the ongoing program of their frequent reinstallation. Prior to joining the Museum in 1993\, Starr worked in the Print Room at the New York Public Library and at the Philadelphia Museum of Art. She holds an MA in art history from Columbia University\, and a BA in art history from Bryn Mawr College. \n__ \nThe Surrealist Book: Tomorrow Lives in Mirrors\nOctober 4\, 2026 – January 23\, 2027\nExhibition Details: \nA 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.” \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \nThis event is organized by The Drawing Foundation in partnership with MoMA as part of On Drawings 2026. \n           \nImage: Unica Zürn (1916-1970)\, artist and author. Orakel und Spektakel\, IV. Buch: Anagramme und Zeichnungen (Oracle and Spectacle\, Book IV: Anagrams and Drawings). 1960. (detail) Book with ink\, colored ink\, pencil\, torn-and-pasted paper\, dried plant material\, feathers\, envelopes\, playing card\, and embroidery-thread winder with thread; pamphlet binding with red paper wrapper with cut-and-pasted paper and drawing in ink on torn-and-pasted papers. The Museum of Modern Art\, New York. Gift of Helen and Sam Zell\nPhoto by Ben Blackwell © Verlag Brinkmann & Bose\, Berlin\, Germany
URL:https://thedrawingfoundation.org/event/on-drawings-2026-exhibition-tour-at-moma/
LOCATION:MoMA\, 11 West 53 Street\, New York\, NY\, 10019\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261021T140000
DTEND;TZID=America/New_York:20261021T153000
DTSTAMP:20260930T032153Z
CREATED:20260929T041952Z
LAST-MODIFIED:20260930T032153Z
UID:10000206-1792591200-1792596600@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Exhibition Preview Tour at The Met
DESCRIPTION:Join curator Alice Cooney Frelinghuysen and paper conservator Marina Ruiz Molina for a private tour of the exciting about-to-open exhibition Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany\, which explores the creative process behind some of Tiffany Studios’ most celebrated works. Frelinghuysen and Ruiz Molina will offer an introduction to the exhibition in the galleries and discuss these rarely seen works on paper and discuss their collaboration\, as well as the extensive conservation project that yielded many new insights to these drawings and questions of collaboration and studio practice for Tiffany Studios. \n*Please note that we hope to offer a similar tour in early February\, during Drawings Week. As space on such tours is limited\, we encourage members based in the New York area to join us for the October tour so we can open as many spots as possible to members from out of town in February. \nSpeaker bios: \nAlice Cooney Frelinghuysen is the Anthony W. and Lulu C. Wang Curator of American Decorative Arts at The Metropolitan Museum of Art. A graduate of Princeton University\, she received her M.A. at the Winterthur/University of Delaware M.A. Program in Early American Culture. She has curated and published widely on a variety of subjects relating to American ceramics\, glass\, stained glass\, late nineteenth-century furniture\, the Gilded Age\, and many aspects of the work of Louis C. Tiffany. Among her numerous exhibitions\, articles\, and publications include Herter Brothers: Furniture and Interiors for a Gilded Age (1994)\, Louis Comfort Tiffany and Laurelton Hall—An Artist’s Country Estate (2006)\, Artistic Furniture of the Gilded Age (2016)\, The Stained Glass Windows of St. Andrew’s Dune Church (2021); Gifts from the Fire: American Ceramics\, 1880-1950 (2021); and Luminous Garden: Agnes Northrop and the Women of Tiffany Studios (2026)\, the latter celebrating a transformative acquisition and installation in The American Wing. \nIn 2014 Frelinghuysen was awarded the Frederic E. Church Award for contributions to American Culture\, and in 2016 she was the Clarice Smith Distinguished Scholar Lecture for the Smithsonian American Art Museum\, Washington\, D.C. Her most recent project\, and the subject of her lecture is an exhibition and catalogue\, Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany\, which opens at The Met in mid-October and closes in early February\, an in-depth look at a selection from the Museum’s extraordinary holdings of this rare material. \nIn addition to her work at The Met\, Frelinghuysen serves on the board of the Charles Hosmer Morse Foundation\, Shelburne Museum\, the Editorial Board of Ceramics in America\, and is an emeritus chair of the American Ceramic Circle\, and emeritus board member of the Princeton University Art Museum Advisory Council\, and the Visiting Nurse Service of New York. \nMarina Ruiz Molina joined the Department of Paper Conservation at The Metropolitan Museum of Art in 2008 to complete a Research Scholarship and became a member of the staff in 2010. She holds an MA from the University of Málaga\, Spain\, and a Graduate degree in Conservation from the Escuela Superior de Conservación y Restauración de Bienes Culturales in Madrid\, Spain. She serves as liaison across diverse museum collections with a focus on South and Southeast Asian art on paper and has contributed significantly to The Met’s ongoing efforts towards the standardization and implementation of best practices for multiband imaging. As an active researcher and mentor\, Ruiz Molina publishes\, presents\, and teaches regularly in the United States\, Europe\, and India. \nSince 2010 Ruiz Molina has worked on the conservation and study of drawings created by the studios of Louis C. Tiffany. Highlights of her research on the subject include the article co-written with Christine Olsen Drawing\, Photography\, and the Design of Tiffany Studios’ Te Deum Laudamus Mosaic Triptych in The Metropolitan Museum Journal 51 (2017) followed by a presentation on the topic at the 56th annual Seminar at The Corning Museum of Glass; and “The Conservation of Tiffany Studio Drawings: Finding New Ways to Reconstruct Complex Paper Loss” in The Book and Paper Group 33 (2014). Ruiz Molina has collaborated closely with Anthony W. and Lulu C. Wang Curator of American Decorative Arts Alice Cooney Frelinghuysen on the exhibition and catalogue Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany. \n__ \nDesigning the Gilded Age: Drawings from the Studios of Louis C. Tiffany\nOctober 22\, 2026 – February 7\, 2027\nExhibition Details: \nThe dazzling stained-glass windows\, lamps\, mosaics\, and interiors from the studios of the visionary American artist Louis Comfort Tiffany—hallmarks of the Gilded Age—began as drawings created by the many talented designers in Tiffany’s studios. Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany showcases rare design drawings to take us behind the scenes of the studios where the drawings were made and ultimately transformed into enduring works of art. Intended for commissions dating from the mid-1880s through the 1920s in the U.S. and internationally\, the nearly 120 luminous watercolor drawings present the first step in the artistic process for interiors and decorations for the grand mansions\, civic and sacred spaces\, and other buildings created during America’s Gilded Age\, the post–Civil War era that saw an unprecedented accumulation of wealth. \nMany of the drawings document works that have since been lost\, damaged\, or destroyed\, while others showcase ideas for designs that were never realized. The exhibition also brings together extraordinary stained-glass windows\, mosaics\, enamelwork\, and examples of the studio’s iconic lamps in side-by-side displays with their original designs\, allowing a rare view of the journey from artistic conception to finished product. Virtually everything produced in Tiffany’s workshops was the result of a collaborative process; the initial steps took place in the studio where artists Tiffany hired—often émigrés and women—realized his vision. \nThe featured drawings\, all from The Met collection\, have never before been studied in depth\, and the exhibition celebrates the decades-long conservation initiative that restored them to their full beauty. Along with new insights into the artists’ process and design inspiration\, the drawings offer a unique opportunity to peel back the layers of some of the most heralded creations produced by Tiffany’s legendary studios. \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \nThis event is organized by The Drawing Foundation in partnership with The Met as part of On Drawings 2026. \n      \nImage: Louis C. Tiffany (1848–1933)\, Design for a Church Interior\, c. 1892-1902. Transparent and opaque watercolor\, metallic paint\, and graphite on paper. The Metropolitan Museum of Art\, Walter Hoving and Julia T. Weld Gifts and Dodge Fund\, 1967.
URL:https://thedrawingfoundation.org/event/on-drawings-2026-exhibition-tour-at-the-met/
LOCATION:The Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York City\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/09/Tiffany_OnDrawings2026-scaled-e1790655427962.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261021T180000
DTEND;TZID=America/New_York:20261021T193000
DTSTAMP:20260930T194200Z
CREATED:20260929T040433Z
LAST-MODIFIED:20260930T194200Z
UID:10000205-1792605600-1792611000@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Process\, Time\, and Technical Discoveries: Reflections on Willem de Kooning Drawing
DESCRIPTION:For Willem de Kooning (1904-1997)\, drawing was a direct extension of the mind. He drew constantly\, erasing and redrawing his lines\, tracing them onto vellum\, and transferring them with carbon paper. He also projected\, masked\, and rubbed his images\, while using spray fixative as a medium in its own right to capture the sensation of a fleeting glimpse. The recent exhibition Willem de Kooning Drawing offered an opportunity to conduct technical analysis of many of de Kooning’s drawings to reveal his creative process. Join paper conservator Margaret Holben Ellis and art historian Charlotte Healy for a lively conversation about the years of research leading up to the exhibition and the many technical discoveries that help us understand de Kooning’s oeuvre and drawing practice anew. Ellis and Healy will also reflect on the exhibition’s run at the Art Institute of Chicago and its iteration at the Rijksmuseum to consider broader questions about how drawings are treated\, valued\, and exhibited. \nWillem de Kooning Drawing was on view at the Art Institute of Chicago June 14 – September 20\, 2026. Willem de Kooning at work is on view at the Rijksmuseum\, Amsterdam October 9\, 2026 – January 17\, 2027. \n \nMargaret Holben Ellis and Charlotte Healy examining Willem de Kooning’s Untitled (c. 1950) in the paper lab at the Art Institute of Chicago\, December 1\, 2022. Photograph by Francesca Casadio. \nSpeaker Bios \nMargaret Holben Ellis is the Eugene Thaw Professor Emerita of Paper Conservation at the Institute of Fine Arts\, New York University\, and former director of the Thaw Conservation Center\, Morgan Library and Museum. She was the Exhibition Paper Conservator for Willem de Kooning Drawing (2026) at the Art Institute of Chicago and a co-editor of the accompanying catalogue. She was awarded fellowships at the American Academy in Rome\, Getty Conservation Institute\, and Menil Drawing Institute. She has published essays on Lucas Samaras\, Jean Dubuffet\, Roy Lichtenstein\, and Jackson Pollock\, and edited Historical and Philosophical Issues in the Conservation of Works of Art on Paper (Getty Conservation Institute\, 2014). Active professionally\, she is a Fellow and past president of the American Institute for Conservation (AIC); a Fellow of the International Institute for Conservation of Historic and Artistic Works (IIC); and an Accredited Conservator/Restorer of the Institute of Conservation (ICon). \nCharlotte Healy is Associate Research Curator for The Willem de Kooning Foundation. Previously\, as a Senior Research Associate in Prints and Drawings at the Art Institute of Chicago\, she co-curated the exhibition Willem de Kooning Drawing (2026) and co-edited the accompanying catalogue. Other recent publications include essays in James McNeill Whistler’s Reception and Artistic Legacy: Inventing Whistlerism (2026) and Ruth Asawa: Retrospective (2025). In 2020–21\, she was a Morgan-Menil Predoctoral Fellow at the Morgan Library & Museum and the Menil Drawing Institute. In 2018–20\, as a fellow and research assistant in Painting & Sculpture at the Museum of Modern Art\, she contributed to the exhibition Sophie Taeuber-Arp: Living Abstraction (2021–22) and co-edited the accompanying catalogue. She received her BA in art history and mathematics from Williams College and her PhD from the Institute of Fine Arts\, New York University\, with a dissertation on Paul Klee. \nModerated by: \nDaniella Berman\, Ph.D.\, Director of Partnerships & Programs\, The Drawing Foundation\nLisa Conte\, Assistant Professor of Paper Conservation and Chair of the Conservation Center \n___ \nThis event is organized by The Drawing Foundation in partnership with Conservation Center\, NYU IFA as part of On Drawings 2026. \n  \n           \nImage: Willem de Kooning (1904-1997)\, Woman and Abstract Figure\, c. 1947–49 (detail). Matte opaque paint (possibly oil) with fine particulate filler\, enamel\, carbon transfer drawing\, and graphite pencil on pressed paper cover stock. Private collection\, Los Angeles\, courtesy of Caroline Schmidt Fine Art LLC\, New York. © 2026 The Willem de Kooning Foundation / Artists Rights Society (ARS)\, New York.
URL:https://thedrawingfoundation.org/event/on-drawings-2026-de-kooning-drawings/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/09/DeKooning-Program-Signature-Image.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261022
DTEND;VALUE=DATE:20270208
DTSTAMP:20260929T042947Z
CREATED:20260929T042847Z
LAST-MODIFIED:20260929T042947Z
UID:10000207-1792627200-1802044799@thedrawingfoundation.org
SUMMARY:Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany
DESCRIPTION:The dazzling stained-glass windows\, lamps\, mosaics\, and interiors from the studios of the visionary American artist Louis Comfort Tiffany—hallmarks of the Gilded Age—began as drawings created by the many talented designers in Tiffany’s studios. Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany showcases rare design drawings to take us behind the scenes of the studios where the drawings were made and ultimately transformed into enduring works of art. Intended for commissions dating from the mid-1880s through the 1920s in the U.S. and internationally\, the nearly 120 luminous watercolor drawings present the first step in the artistic process for interiors and decorations for the grand mansions\, civic and sacred spaces\, and other buildings created during America’s Gilded Age\, the post–Civil War era that saw an unprecedented accumulation of wealth. \nMany of the drawings document works that have since been lost\, damaged\, or destroyed\, while others showcase ideas for designs that were never realized. The exhibition also brings together extraordinary stained-glass windows\, mosaics\, enamelwork\, and examples of the studio’s iconic lamps in side-by-side displays with their original designs\, allowing a rare view of the journey from artistic conception to finished product. Virtually everything produced in Tiffany’s workshops was the result of a collaborative process; the initial steps took place in the studio where artists Tiffany hired—often émigrés and women—realized his vision. \nThe featured drawings\, all from The Met collection\, have never before been studied in depth\, and the exhibition celebrates the decades-long conservation initiative that restored them to their full beauty. Along with new insights into the artists’ process and design inspiration\, the drawings offer a unique opportunity to peel back the layers of some of the most heralded creations produced by Tiffany’s legendary studios. \nThe exhibition is made possible by Tiffany & Co. \nThe catalogue is made possible by the Barrie A. and Deedee Wigmore Foundation. \nAdditional support is provided by the William Cullen Bryant Fellows of The Metropolitan Museum of Art\, The Richard Hampton Jenrette Foundation\, and Arlie Sulka. \n \nImage caption: Tiffany Studios (American\, 1902–32). Design for interior\, First Presbyterian Church\, Poughkeepsie\, New York (detail)\, ca. 1906-08. Transparent and opaque watercolor\, and graphite on transparent paper\, mounted on paper\, 17 ¾ × 25 ½ in. (45.1 × 64.8 cm). The Metropolitan Museum of Art\, New York\, Purchase\, Walter Hoving and Julia T. Weld Gifts and Dodge Fund\, 1967 (67.654.7)
URL:https://thedrawingfoundation.org/event/designing-the-gilded-age-drawings-from-the-studios-of-louis-c-tiffany/
LOCATION:The Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York City\, NY\, 10028\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="The Met":MAILTO:DrawingsandPrints@metmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261022T100000
DTEND;TZID=America/New_York:20261022T120000
DTSTAMP:20260930T033856Z
CREATED:20260929T045150Z
LAST-MODIFIED:20260930T033856Z
UID:10000208-1792663200-1792670400@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Exhibition Tour & Study Room Visit at The Whitney
DESCRIPTION:Focus on Roy Lichtenstein’s drawings: Study Room Visit and Exhibition tour of Roy Lichtenstein: 1997\nLed by David Crane\, Curatorial Research Associate\, Nakai Falcón\, Curatorial Assistant\, and Maya Davis\, Curatorial Fellow\, Whitney Museum of American Art \nJoin us for a morning focused on Roy Lichtenstein’s drawings. We’ll start in the Whitney’s study center to view a stunning selection from the collection. After some close looking and discussion about the artist’s drawing practice and use of materials\, the group will move to the galleries to explore Roy Lichtenstein: 1997\, a newly-opened exhibition of works on paper by the artist installed to coincide with the major Lichtenstein retrospective (Roy Lichtenstein: Like New) also on view in the museum. Visitors will be free to remain at The Whitney after the group visit. \n___ \nRoy Lichtenstein: 1997\nOctober 11\, 2026 – June 1\, 2027\nExhibition details: \n\n\n\nIn 1997\, at the age of seventy-three\, Roy Lichtenstein (1923–1997) was as innovative and productive as ever. In addition to his studio painting practice\, he was working on a variety of adventurous projects\, among them two mural commissions\, several large-scale sculptures\, and a new series of prints. Decades after his paintings inspired by comics and other images of American consumer culture helped usher in the Pop art era\, Lichtenstein began to expand his palette of mostly primary colors\, adding vibrant highlights of mint green and turquoise\, coral and cyan. He also started to make work without his signature bold black outlines\, resulting in images that respond to the aesthetics of the early digital age. At the same time\, he continued to reuse images\, such as pyramids and brushstrokes\, from his own work and to quote an array of visual references\, including iconic works by Leonardo da Vinci and Henri Matisse\, as he had done throughout his career. \nLichtenstein fell ill in August 1997 and died unexpectedly the following month due to complications from pneumonia\, leaving a number of works unfinished. Some were fabricated or completed posthumously\, while others exist only as sketches. By bringing together materials related to these projects\, many from the Whitney’s collection\, Roy Lichtenstein: 1997 offers insight into the range of the artist’s late experimentation and illustrates his ongoing interest in new technologies and their effects on image making. \nRoy Lichtenstein: 1997 runs in conjunction with the major exhibition Roy Lichtenstein: Like New\, on view from October 11\, 2026 – May 10\, 2027. \nThe exhibition is organized by David Crane\, Curatorial Research Associate\, and Nakai Falcón\, Curatorial Assistant\, Whitney Museum of American Art \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \n\n\n\nThis event is organized by The Drawing Foundation in partnership with the Whitney Museum of American Art as part of On Drawings 2026. \n           \nImage: Roy Lichtenstein (1923-1997)\,  Artist’s Studio “Look Mickey” (Study)\, 1973 (detail). Colored pencil\, graphite pencil\, acrylic and collage on paper. Whitney Museum of American Art\, The Roy Lichtenstein Study Collection\, gift of the Roy Lichtenstein Foundation. © Estate of Roy Lichtenstein \n 
URL:https://thedrawingfoundation.org/event/on-drawings-2026-exhibition-tour-study-room-visit-at-the-whitney/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/09/Lichtenstein_OnDrawings2026-e1790656897951.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261022T140000
DTEND;TZID=America/New_York:20261022T150000
DTSTAMP:20260930T160732Z
CREATED:20260929T052414Z
LAST-MODIFIED:20260930T160732Z
UID:10000209-1792677600-1792681200@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Exhibition Tour at the Robert Rauschenberg Foundation
DESCRIPTION:An Exploration of Robert Rauschenberg’s Drawings\nLed by Helen Hsu\, Associate Curator for Research\, Robert Rauschenberg Foundation \nJoin us for this rare opportunity to tour the studio of Robert Rauschenberg (1925-2008). We’ll have the opportunity to look closely at the artist’s drawings and go through the installation Robert Rauschenberg: NASA Artist and Cloud Correspondent\, which explores Rauschenberg’s interest in and use of NASA press photographs across a variety of media that expand our understanding of how the artist used drawings. \n__ \n Robert Rauschenberg: NASA Artist and Cloud Correspondent \nRobert Rauschenberg was an artist who pulled life into his art. As he told his biographer Calvin Tomkins\, “I think I relate more to society than to any idea about art history. I feel the world is here to do something about and with.” In 1969\, when the National Aeronautics and Space Administration (NASA) Art Program invited him to witness the launch of Apollo 11—the first spaceflight to land astronauts on the moon—Rauschenberg jumped at the opportunity. The NASA Art Program had developed in 1962 to supplement the precise scientific photographic documentation with artworks that captured the “inner meaning and emotional impact” of NASA’s space efforts. True to this spirit\, Rauschenberg excerpted\, layered\, and transformed imagery from NASA press photographs into a suite of more than thirty Stoned Moon editions made at Gemini G.E.L. in Los Angeles and an illustrated plan for a book. \nThe works in this exhibition draw out Rauschenberg’s focus on space through evocative artwork titles and skyward focused imagery. In 1988\, he scrawled down his thoughts on an airline ticket sleeve mid-flight to Newark Liberty Airport\, identifying himself as a “cloud correspondent.” As a soaring messenger\, his references to astronauts\, celestial bodies\, and an urge to gaze at—and travel through—the sky permeated beyond his Stoned Moon series\, starting with his earlier transfer drawings of the 1950s and 1960s and his silkscreen paintings (1962–64). The references continued unabated in works from Rauschenberg’s later artwork series\, included in this installation: Gluts (1986–94)\, Rauschenberg Overseas Culture Interchange (ROCI; 1984–91)\, Urban Bourbons (1988–96)\, and Scenarios (2002–06). In 1991 the artist reflected\, “I even feel restricted with the world as small as it is already. I’m trying to take advantage of as much of it as possible. I’m old enough that I probably won’t run out of land\, but I would like to go to the moon.” \nThis installation was curated by Julia Blaut\, Senior Curator and Kristen Clevenson\, Assistant Curator; selections from the Robert Rauschenberg Foundation archives were made by Francine Snyder\, Director of Archives. It complements The Ascent of Rauschenberg: Reinventing the Art of Flight\, curated by Carolyn Russo (Rauschenberg research resident\, 2019)\, opening July 1 at the Smithsonian’s National Air and Space Museum in Washington\, D.C. \nAbout the Robert Rauschenberg Foundation:\n \nThe Robert Rauschenberg Foundation builds on the legacy of artist Robert Rauschenberg\, emphasizing his belief that artists can drive social change. Rauschenberg sought to act in the “gap” between art and life\, valuing chance and collaboration across disciplines. As such\, the Foundation celebrates new and even untested ways of thinking. \nThe Foundation and archive operates out of 381 Lafayette Street\, Rauschenberg’s former studio and home. \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \nThis event is organized by The Drawing Foundation in partnership with the Robert Rauschenberg Foundation as part of On Drawings 2026. \n           \nImage: Robert Rauschenberg (1925-2008)\, Stoned Moon Drawing\, 1969 (detail). Photographs\, typewritten paper\, Polaroids\, printed reproductions\, and crayon on illustration board. © Robert Rauschenberg Foundation
URL:https://thedrawingfoundation.org/event/on-drawings-2026-rauschenberg-foundation/
LOCATION:Robert Rauschenberg Foundation\, 381 Lafayette Street\, New York\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/09/Rauschenberg_Stone-Moon_On-Drawings-Tour-2026.jpeg
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
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/DP815611-scaled.jpg
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
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/William_Blake_-_The_Temptation_and_Fall_of_Eve_Illustration_to_Miltons__Paradise_Lost__-_Google_Art_Project.jpg
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
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Simeon_Solomon_-_Sappho_and_Erinna_in_a_Garden_at_Mytilene.jpg
ORGANIZER;CN="Delaware Art Museum":MAILTO:info@delart.org
END:VEVENT
END:VCALENDAR