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DTSTART;VALUE=DATE:20251220
DTEND;VALUE=DATE:20260518
DTSTAMP:20260512T205907
CREATED:20260113T223752Z
LAST-MODIFIED:20260113T223752Z
UID:10000156-1766188800-1779062399@thedrawingfoundation.org
SUMMARY:Five Centuries of Works on Paper: The Grunwald Center at 70
DESCRIPTION:Since its establishment in 1956 with a gift of prints from Los Angeles collector Fred Grunwald\, the UCLA Grunwald Center for the Graphic Arts has evolved into one of the nation’s foremost collections of works on paper. Over the decades\, the Grunwald Center’s holdings have expanded through donations and acquisitions\, and now comprise more than 45\,000 prints\, drawings\, photographs\, and artists’ books dating from the Renaissance to the present. Housed at the Hammer Museum since 1994\, the Grunwald Center fosters learning and discovery through its collection\, which is regularly presented in exhibitions and made accessible in its dedicated study room. This exhibition marks the 70th anniversary of the Grunwald Center\, celebrating its history through a selection of significant works that reflect the collection’s breadth and diversity. It will feature nearly 100 works by over 90 artists\, including Andrea Mantegna\, Albrecht Dürer\, Hendrick Goltzius\, Rembrandt van Rijn\, George Cruikshank\, Jose Guadalupe Posada\, Henri de Toulouse Lautrec\, Vassily Kandinsky\, Käthe Kollwitz\, Pablo Picasso\, Grant Wood\, Ansel Adams\, Norman Lewis\, Elizabeth Catlett\, Charles White\, Corita Kent\, Ruth Asawa\, Bridget Riley\, David Hockney\, Ed Ruscha\, Analia Saban\, and Toba Khedoori. \n \nImage credit: Ruth Asawa\, Desert Plant (TAM.1460)\, 1965. Printed by John Rock. Published by Tamarind Lithography Workshop. Lithograph. Sheet: 18 x 18 in. (45.7 x 45.7 cm). UCLA Grunwald Center for the Graphic Arts\, Hammer Museum. Gift of the UCLA Art Council. © 2025 Ruth Asawa Lanier\, Inc.\, Courtesy David Zwirner. 
URL:https://thedrawingfoundation.org/event/five-centuries-of-works-on-paper-the-grunwald-center-at-70/
LOCATION:Hammer Museum\, 10899 Wilshire Blvd\, Los Angeles\, 90024\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/01/Asawa_0.jpg.jpeg
ORGANIZER;CN="Hammer Museum":MAILTO:info@hammer.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260108
DTEND;VALUE=DATE:20260622
DTSTAMP:20260512T205907
CREATED:20260113T213633Z
LAST-MODIFIED:20260113T213751Z
UID:10000152-1767830400-1782086399@thedrawingfoundation.org
SUMMARY:Painters\, Ports\, and Profits: Artists and the East India Company\, 1750-1850
DESCRIPTION:This exhibition tells the story of artists from India\, Britain\, and China who worked in the era of one of the most powerful corporations in history. The British East India Company began in 1600 as a private trading enterprise but grew into a military and political force during the eighteenth and nineteenth centuries. It waged war to rule India and sell opium in China. To support its commercial and imperial goals\, the Company encouraged its agents to commission art. Works of art depicted commodities\, functioned as gifts to ease trade deals and build alliances\, and visually recorded the places and societies where the Company traded and governed. \nThe artists featured here trained in Indian courts\, in art and military institutes in Britain\, and in Chinese workshops. In their artistic exchanges\, they combined regional methods with new materials and techniques. This exhibition\, of more than one hundred objects\, is mostly drawn from the YCBA’s rich collection of works from Asia\, including rich opaque watercolors\, large-scale oil portraits\, evocative architectural drafts and a spectacular thirty-seven-foot-long scroll. It takes visitors on a journey through port cities and into the worlds of artists\, showing how artists shaped\, and were shaped by\, the Company’s ruthless ventures while creating artworks of great beauty and innovation.
URL:https://thedrawingfoundation.org/event/painters-ports-and-profits-artists-and-the-east-india-company-1750-1850/
LOCATION:Yale Center for British Art\, 1080 Chapel Street\, New Haven\, CT\, 06510\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/01/01_lucknow_from_the_gomti.jpg
ORGANIZER;CN="Yale Center for British Art":MAILTO:ycba.info@yale.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260124
DTEND;VALUE=DATE:20260803
DTSTAMP:20260512T205907
CREATED:20260122T182318Z
LAST-MODIFIED:20260212T162329Z
UID:10000168-1769212800-1785715199@thedrawingfoundation.org
SUMMARY:Drawn to Venice
DESCRIPTION:Spanning the Renaissance to the Rococo period\, this exhibition celebrates the vitality and originality of the arts in Venice and the Veneto region through more than 30 drawings and prints. In the 16th century\, Venice became a thriving artistic center rivaling Rome and Florence. Patronage fostered creative competition among family workshops\, such as the Bassano and Tintoretto families. After a period of decline\, Venice experienced a second golden age in the 18th century. This was illustrated with dazzling bravura by humorous scenes from contemporary life by Giovanni Battista Tiepolo (1696–1770) and his son Giovanni Domenico Tiepolo (1726–1804)\, as well as alluring portraits by Rosalba Carriera (1673–1757). Glistening maritime views by Francesco Guardi (1712–1793) and Canaletto (1697–1768) crystallized the imagery of the Venetian landscape for centuries to come. From landscapes and figure studies to designs for sumptuous decorations\, the works presented in this exhibition offer a fresh look at this memorable place in history and art. \nThis exhibition is designed in dialogue with Monet and Venice\, on view March 21\, 2026–July 26\, 2026 at the de Young. \n \nImage: Giovanni Domenico Tiepolo\, La Furlana (The Friulian Dance) (detail)\, no. 31 from the series Divertimento per li regazzi (Entertainment for Children)\, ca. 1790–1800. Pen and brown ink and brown wash over black chalk\, 13 15/16 x 18 1/2 in. (35.4 x 47 cm). Fine Arts Museums of San Francisco\, Museum purchase\, Georges de Batz Collection\, Achenbach Foundation for Graphic Arts Endowment Fund\, 1967.17.133
URL:https://thedrawingfoundation.org/event/drawn-to-venice/
LOCATION:Legion of Honor\, Fine Arts Museums of San Francisco\, Lincoln Park\, 100 34th Avenue (at Clement Street)\, San Francisco\, CA\, 94121\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/webp:https://thedrawingfoundation.org/wp-content/uploads/2026/01/giovanni-domenico-tiepolo-la-furlana-1790-1800.webp
ORGANIZER;CN="Legion of Honor%2CFine Arts Museums of San Francisco":MAILTO:contact@famsf.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260128
DTEND;VALUE=DATE:20260525
DTSTAMP:20260512T205907
CREATED:20250806T173130Z
LAST-MODIFIED:20260212T162346Z
UID:10000114-1769558400-1779667199@thedrawingfoundation.org
SUMMARY:Viollet-le-Duc Drawing Worlds
DESCRIPTION:Viollet-le-Duc Drawing Worlds is the first major U.S. exhibition dedicated to the life and work of visionary architect\, designer\, and theorist Eugène-Emmanuel Viollet-le-Duc (1814–1879). Bringing together nearly 150 drawings and objects\, the majority of which have never before been on view in the U.S.\, the exhibition highlights Viollet-le-Duc’s prolific work as a draftsman and the centrality of drawing to his practice. A transformative figure in the history of modern architecture\, today he is best known for his restoration of the Cathedral of Notre-Dame de Paris. \nViollet-le-Duc endeavored to restore not only the buildings but also the spirit and vitality of an idealized Middle Ages\, which meant that he never felt confined to merely reproduce what once stood. The exhibition—which includes stunning sketches from the architect’s travels to Italy and through the Alps—reveals how his art was inextricably intertwined with his social and political beliefs rooted in a strong sense of national and ethnic identity. Offering a chronological path through Viollet-le-Duc’s career\, the exhibition examines his body of work from early drawings imagining bygone worlds in their golden age; to his mid-career restoration campaigns that defined the modern experience of Gothic France; and to his late drawings that blur the lines between geology and architecture. \n \nViollet-le-Duc Drawing Worlds is organized by Bard Graduate Center in partnership with the Médiathèque du patrimoine et de la photographie\, a department of the French Ministry of Culture. \nCurated by Barry Bergdoll\, Meyer Schapiro Professor of art history in the Department of Art History and Archaeology at Columbia University; and Martin Bressani\, William MacDonald Professor at the Peter guo-hua Fu School of Architecture at McGill University; with project coordination by Emma Cormack\, BGC Associate Curator. \nSupport for Viollet le Duc Drawing Worlds is generously provided by the Achelis and Bodman Foundation\, the Gladys Krieble Delmas Foundation\, the Tavolozza Foundation with additional support by Furthermore: a program of the J. M. Kaplan Fund\, Camilla Dietz Bergeron\, Ltd.\, and other donors to Bard Graduate Center. \nImage: Eugène-Emmanuel Viollet-le-Duc (French\, 1814–1879)\, view of the antique theatre at Taormina\, restoration project\, 1840. Pencil\, watercolor and gouache on paper. Médiathèque du patrimoine et de la photographie\, Charenton-le-Pont\, F/1996/83/HF-4715.
URL:https://thedrawingfoundation.org/event/viollet-le-duc-drawing-worlds/
LOCATION:Bard Graduate Center Gallery\, 18 West 86th St\, New York City\, NY\, 10024\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2025/08/VLDTEST2.jpg
ORGANIZER;CN="Bard Graduate Center Gallery":MAILTO:gallery@bgc.bard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260128
DTEND;VALUE=DATE:20260521
DTSTAMP:20260512T205907
CREATED:20250929T154629Z
LAST-MODIFIED:20260212T162337Z
UID:10000124-1769558400-1779321599@thedrawingfoundation.org
SUMMARY:A View of One's Own: Landscapes by British Women Artists\, 1760-1860
DESCRIPTION:A View of One’s Own showcases landscape drawings and watercolours by British women artists working between 1760 and 1860\, whose work represents a growing area of The Courtauld’s collection. These artists range from highly accomplished amateurs to those ambitious for more formal recognition. They have remained mostly unknown\, and their works largely unpublished. \nWhen the Royal Academy was founded in 1760\, its members included two women\, yet there would not be another female academician until Dame Laura Knight was elected in 1936. Despite this institutional exclusion\, women artists in Britain continued to train\, practice\, and exhibit during this period\, particularly in the field of landscape watercolours. \nThis exhibition and its accompanying catalogue shed new light on these artists\, working within a heavily male dominated era in the arts. Some of the artists achieved recognition during their lifetimes\, while others’ work remained private\, until later discovered. \n10 artists are featured in the exhibition. They include Harriet Lister and Lady Mary Lowther\, who were among the first to depict the Lake District; Amelia Long\, Lady Farnborough\, one of the first British artists to travel to France following the Napoleonic Wars; and Elizabeth Batty – whose works appearing in the show were only rediscovered a few years ago. \n \nImage: Fanny Blake (1804-1879)\, A rainbow over Patterdale Churchyard\, Cumbria\, 1849\, Watercolour and opaque watercolour over graphite\, with scratching out\, on wove paper. Jointly owned by the Samuel Courtauld Trust and the Wordsworth Trust. Gift from a private collection in memory of W. W. Spooner\, 2025. Photo © The Courtauld
URL:https://thedrawingfoundation.org/event/a-view-of-ones-own-landscapes-by-british-women-artists-1760-1860/
LOCATION:The Courtauld Gallery\, The Courtauld Institute of Art\, Somerset House\, Strand\, London\, WC2R 0RN\, United Kingdom
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2025/09/Screenshot-2025-09-29-at-11-42-29-A-View-of-Ones-Own-Landscapes-by-British-Women-Artists-1760-1860-The-Courtauld.png
ORGANIZER;CN="The Courtauld Gallery":MAILTO:galleryinfo@courtauld.ac.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260131
DTEND;VALUE=DATE:20260602
DTSTAMP:20260512T205907
CREATED:20260113T230009Z
LAST-MODIFIED:20260212T162424Z
UID:10000158-1769817600-1780358399@thedrawingfoundation.org
SUMMARY:Carroll Dunham: Drawings\, 1974–2024
DESCRIPTION:Over the course of five decades\, Dunham has engaged in wide-ranging formal and thematic experimentation across various media\, yet his drawings represent a distinct\, interconnected body of work. \nDunham’s mature artistic career began in 1970s New York amid a scene dominated by Minimalist aesthetics. Using simple elements such as line\, shape\, and color\, he made a tremendous impact with work that nevertheless signaled a return to subject matter. In the intervening decades\, Dunham has continued to produce drawings that test\, and ultimately collapse\, the porous boundaries between abstraction and figuration: bodies shapeshift into buildings\, trees pose like models\, the cellular resembles the cosmic\, and internal organs or private parts are made very public. \nWorking in series\, Dunham methodically tests out every possible outcome of a drawing’s composition or content. This approach seems to spontaneously yield new imagery and ideas that link one body of work to the next. His influences are likewise wide-ranging—art history\, philosophy\, psychoanalysis\, and evolutionary science as well as science fiction and comic books—all of which inform his explorations of the tension between male and female\, nature and culture\, self and other. \nDunham foregrounds the development of his work by precisely dating each drawing. This practice is evidenced in the thousands of drawings he has organized into an archive\, from which this show is derived. \nDeveloped in conversation with the artist\, this comprehensive survey is the first museum presentation focused exclusively on Dunham’s drawings. Encompassing a 50-year period and featuring many drawings making their public debut\, it celebrates the medium central to Dunham’s expansive practice. \nCarroll Dunham: Drawings\, 1974–2024 is curated by Thea Liberty Nichols\, associate research curator\, Modern and Contemporary Art. \nSupport for Carroll Dunham: Drawings\, 1974–2024 is provided by an anonymous donor\, Joel Wachs\, and the Allan McNab Endowed Fund. \n \nImage credit: Untitled (4/22/93)\, 1993\, Carroll Dunham. Courtesy of the artist.
URL:https://thedrawingfoundation.org/event/carroll-dunham-drawings-1974-2024/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/01/Screenshot-2026-01-13-at-17-58-19-Carroll-Dunham-Drawings-1974–2024-The-Art-Institute-of-Chicago.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260303
DTEND;VALUE=DATE:20260608
DTSTAMP:20260512T205907
CREATED:20260113T214815Z
LAST-MODIFIED:20260113T224234Z
UID:10000153-1772496000-1780876799@thedrawingfoundation.org
SUMMARY:Virtue and Vice: Allegory in European Drawing
DESCRIPTION:This rotation from Getty’s collection explores how European artists from the 16th to 19th centuries made drawings to criticize bad behavior as well as praise virtuous deeds. Drawings of proper and improper conduct range from straightforward examples (charity\, lust\, and greed) to complex allegories (virtue\, decadence\, and friendship). Whether warning against sinful ways or celebrating how one should behave\, drawings visualized moral codes\, political ideologies\, and social norms. \n \nImage credit: The Mirror of Virtue\, about 1594\, Cornelis Ketel. Pen and brown ink\, brown wash\, heightened with white. Getty Museum.
URL:https://thedrawingfoundation.org/event/virtue-and-vice-allegory-in-european-drawing/
LOCATION:Getty Center\, 1200 Getty Center Drive\, LOS ANGELES\, CA\, 90049\, United States
CATEGORIES:Exhibitions,Upcoming
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/01/Screenshot-2026-01-13-at-16-47-05-Virtue-and-Vice-Allegory-in-European-Drawing-Getty-Exhibitions-scaled.png
ORGANIZER;CN="Getty Museum Drawings Dept":MAILTO:1200 Getty Center Drive, Los Angeles, CA 90049
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260329
DTEND;VALUE=DATE:20260629
DTSTAMP:20260512T205907
CREATED:20260113T222630Z
LAST-MODIFIED:20260113T224110Z
UID:10000155-1774742400-1782691199@thedrawingfoundation.org
SUMMARY:Raphael: Sublime Poetry
DESCRIPTION:Dive into the artistic process of one of history’s most beloved and influential artists. A true titan of the Italian Renaissance\, Raffaello di Giovanni Santi (1483–1520)—better known as Raphael—matched ambition with lyricism to create works with both intellectual heft and emotional depth\, a necessary skill in the complex political landscape of Renaissance courts. In his short life of only 37 years\, he achieved such profound success as a painter\, designer\, and architect that he was regarded as the pinnacle of artistic perfection for centuries after his death. \nRaphael: Sublime Poetry is the first comprehensive exhibition on Raphael in the United States\, bringing together more than 200 of the artist’s greatest masterpieces and rarely seen treasures to illuminate the brilliance of Raphael’s extraordinary creativity. The son of a painter and poet\, Raphael engaged with the foremost writers and thinkers of his age in Rome\, displaying a poetic sensibility that captivated his peers and generations that followed. Follow the full breadth of his life and career\, from his origins in Urbino to his rise in Florence\, where he began to emerge as a peer of Leonardo da Vinci and Michelangelo\, to his final\, prolific decade at the papal court in Rome. \nTo underscore the range of his genius\, this presentation brings together important drawings\, paintings\, and tapestries from public and private collections across Europe and the United States\, many of which have never been shown together. With particular attention to Raphael’s portrayal of women—from his use of nude female models for the first time in Western art to his tender depictions of the Madonna and Child—and recent scientific discoveries made using state-of-the-art technology\, this exhibition offers a rare opportunity to experience the genius of an artist who helped shape the course of art history. \n\n\n\n\nMajor funding is provided by Kenneth C. Griffin and Griffin Catalyst\, and Jessie and Charles Price. \nSignificant support is provided by the Richard Riney Family Foundation\, the Ing Foundation\, and Anthony W. and Lulu C. Wang. \nAdditional support is provided by Jim Breyer\, the Fay Etta and Irving Flax Foundation\, Julie and David Tobey\, Barbara A. Wolfe\, Gilbert and Ildiko Butler\, Debra and Leon Black\, Mark Gorenberg and Cathrin Stickney\, the Robert Lehman Foundation\, Dinah Seiver and Thomas E. Foster\, Ann M. Spruill and Daniel H. Cantwell\, and The Coby Foundation\, Ltd. \nThe catalogue is made possible by Katharine Rayner and the Wolfgang Ratjen Stiftung\, Liechtenstein. \nAdditional support is provided by the Tavolozza Foundation\, Allston Chapman\, Katherina Minardo Macht and William Strong Barrett\, Matthew and Ann Nimetz\, The Schiff Foundation\, Christopher Bishop Fine Art\, and Robert M. Buxton. \n \nImage credit: Raphael (Raffaello di Giovanni Santi)\, The Virgin and Child with Infant Saint John the Baptist in a Landscape (The Alba Madonna) (detail)\, ca. 1509–11. Oil on canvas (transferred from wood). National Gallery of Art\, Washington\, D.C.\, Andrew W. Mellon Collection 1937.1.24 \n 
URL:https://thedrawingfoundation.org/event/raphael-sublime-poetry/
LOCATION:The Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York City\, NY\, 10028\, United States
CATEGORIES:Exhibitions,Upcoming
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/01/Screenshot-2026-01-13-at-17-25-16-Raphael-Sublime-Poetry-The-Metropolitan-Museum-of-Art-scaled.png
ORGANIZER;CN="The Met":MAILTO:DrawingsandPrints@metmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260416
DTEND;VALUE=DATE:20260720
DTSTAMP:20260512T205907
CREATED:20260119T215550Z
LAST-MODIFIED:20260119T215550Z
UID:10000165-1776297600-1784505599@thedrawingfoundation.org
SUMMARY:Gothic by Design: The Dawn of Architectural Draftsmanship
DESCRIPTION:Long before the towers of Gothic cathedrals could pierce the sky\, architects outlined their vision and ambitions by creating intricate designs. The Gothic era\, known for soaring structures like Notre-Dame in Paris\, produced some of the Western world’s most breathtaking buildings. Their overall height\, tall spires\, pointed arches\, and light-filled spaces were a striking departure from the more rounded and fortress-like features of the preceding Romanesque period. These innovative elements resulted from a new focus on the design process that is documented in original architectural drawings. \nGothic by Design: The Dawn of Architectural Draftsmanship reveals how master masons and other artists began to visualize and communicate their complex ideas for cathedrals and other architecture-inspired structures in drawings and\, later\, prints. Between the 13th and 16th century\, these little-known artworks on parchment and paper became a significant factor in the stylistic evolution of Gothic architecture and art at large. \nThis rare presentation of more than 90 works of art—drawings and prints alongside goldsmith works\, architectural elements\, sculpture\, and painting—sheds new light on the artistic choices and expansive knowledge that informed the Gothic building practice. Explore the vision\, imagination\, and skillful artistry embedded in the carefully drawn plans of medieval architects and other artists of the day. \n\n\n\n\n\nThe exhibition is made possible by the Placido Arango Fund and the Gail and Parker Gilbert Fund. \nAdditional support is provided by The Schiff Foundation\, Gilbert and Ildiko Butler\, and The Michael and Patricia O’Neill Charitable Fund. \nThe catalogue is made possible by the Diane W. and James E. Burke Fund. \nAdditional support is provided by Hubert and Mireille Goldschmidt\, and Ann M. Spruill and Daniel H. Cantwell. \n \nImage: Possibly by Wenzel Roriczer (German\, born Bohemia\, died 1419). Design for the Entrance Portal of Regensburg Cathedral (detail)\, ca. 1390–1410. Pen and black ink\, over blind ruling with stylus\, guided by compass and straightedge\, on parchment\, Sheet: 53 3/16 × 22 3/8 in. (135.1 × 56.9 cm). Kupferstichkabinett\, Akademie der Bildenden Künste Wien (HZ-16871r)
URL:https://thedrawingfoundation.org/event/gothic-by-design-the-dawn-of-architectural-draftsmanship/
LOCATION:The Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York City\, NY\, 10028\, United States
CATEGORIES:Exhibitions,Upcoming
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/01/Screenshot-2026-01-19-at-16-54-21-Gothic-by-Design-The-Dawn-of-Architectural-Draftsmanship-The-Metropolitan-Museum-of-Art-scaled.png
ORGANIZER;CN="The Met":MAILTO:DrawingsandPrints@metmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260513T110000
DTEND;TZID=America/New_York:20260514T150000
DTSTAMP:20260512T205907
CREATED:20260401T015856Z
LAST-MODIFIED:20260401T015856Z
UID:10000174-1778670000-1778770800@thedrawingfoundation.org
SUMMARY:The History of Drawings Conservation and Its Ethics​​​
DESCRIPTION:This two-day symposium explores the history and ethics of drawings conservation\, from early restoration methods to contemporary approaches in professional practice. By examining how drawings have been repaired\, stabilized\, and preserved over time\, the sessions consider the evolving standards of care and address ethical questions of intervention. They also reflect on the role of material evidence in art-historical interpretation and the changing responsibilities of artists\, conservators\, curators\, and collectors over a drawing’s lifetime. \nSpeaker and subject schedule will be shared in mid-April 2026. \nCo-organized by the J. Paul Getty Museum and the Rijksmuseum\, the symposium will feature presentations spanning four centuries of drawing from an international slate of speakers. \n         \nImage: Albrecht Dürer (1471-1528)\, Stag Beetle\, 1505. Watercolor and gouache; upper left corner of paper added\, with tip of left antenna painted in by a later hand\, 5 9/16 × 4 1/2 in. The J. Paul Getty Museum\, 83.GC.214
URL:https://thedrawingfoundation.org/event/the-history-of-drawings-conservation-and-its-ethics/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events,Upcoming
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/03/Screenshot-2026-03-31-at-9.50.29-PM.png
ORGANIZER;CN="Getty Museum Drawings Dept":MAILTO:1200 Getty Center Drive, Los Angeles, CA 90049
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260519T180000
DTEND;TZID=America/New_York:20260519T193000
DTSTAMP:20260512T205907
CREATED:20260413T144437Z
LAST-MODIFIED:20260413T171329Z
UID:10000175-1779213600-1779219000@thedrawingfoundation.org
SUMMARY:Drawing out the Gothic: Curator Conversation
DESCRIPTION:Join us for a discussion about the gothic and Gothic architectural drawings as we enter the final week of one exhibition (Viollet-le-Duc Drawing Worlds) and the early weeks of another (Gothic by Design: The Dawn of Architectural Draftsmanship). This program\, organized as a partnership between The Drawing Foundation\, Bard Graduate Center\, and the Metropolitan Museum of Art\, will begin with a critical response to the two exhibitions by Basile Baudez (Princeton)\, followed by a conversation with curators Barry Bergdoll and Femke Speelberg. \nSpeakers: \nBasile Baudez is associate professor of architectural history in the department of art and archaeology at Princeton University. His latest single-authored book\, Inessential Colors: Architecture on Paper in Early Modern Europe (Princeton University Press\, 2021)\, was awarded the Alice Davis Hitchcock Medallion by the Society of Architectural Historians of Great Britain. He has recently coedited Textile in Architecture: From the Middle Ages to Modernism (Routledge\, 2023)\, which explores the interconnections between soft and hard architecture in the longue durée from diverse geographical contexts\, and Carceral Architecture: From Within and Beyond the Prison Walls (Jovis\, 2025)\, the first account of prison design and its effects centered on the voices of justice-impacted people alongside activists\, designers\, scholars\, artists\, and students. He is currently finalizing a book project on textiles in eighteenth-century Venetian urban spaces. \nSince 2011 Femke Speelberg\, MPhil\, is curator of historic ornament\, design\, and architecture in the department of drawings and prints at the Metropolitan Museum of Art\, New York. In this capacity\, she oversees all drawings\, prints\, and illustrated books pertaining to the history of design and architecture\, dating from the Gothic period to the first half of the twentieth century. Her research is focused on the role of works on paper in processes of artistic ideation\, creation\, and exchange. As such\, her exhibitions and publications are inherently interdisciplinary in scope and connect art objects with the worlds in which they were created and functioned. \nBarry Bergdoll is Meyer Schapiro Professor of Art History and Archaeology at Columbia University\, New York. His interests center on modern architectural history\, with a particular emphasis on France and Germany since 1750. Trained in art history rather than architecture\, he has an approach most closely allied with cultural history and the history and sociology of professions. Bergdoll has organized exhibitions at the Canadian Centre for Architecture\, Montreal\, and at the Museum of Modern Art\, New York\, where he served as Philip Johnson Chief Curator from 2007 to 2013. \n___ \nThis lecture is free to SUBSCRIBERS of The Drawing Foundation. If you are not already on our mailing list\, please join today and contact hello@thedrawingfoundation.org.  \n___ \nThis event is organized by The Drawing Foundation in partnership with The Bard Graduate Center Gallery and The Department of Drawings and Prints at The Metropolitan Museum of Art.  \n  \n                     \n  \nImage: Maurice Ouradou (1822–1884)\, painted decor of Chapel of Saint Charles for Notre-Dame de Paris\, preparatory drawing for plates 4 and 5 in Peintures murales de chapelles de Notre-Dame de Paris (Wall paintings in the chapels of Notre-Dame de Paris; Paris\, Morel 1870) (Detail)\, ca. 1870. Ink and watercolor with gouache and gold highlights on tracing paper\, mounted on card stock. Musée d’Orsay\, Paris\, Achat\, 2013\, ARO 2013 10 3.
URL:https://thedrawingfoundation.org/event/drawing-out-the-gothic-curator-conversation/
LOCATION:Bard Graduate Center\, 38 West 86th Street\, New York City\, 10024\, United States
CATEGORIES:Events,Upcoming
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260714
DTEND;VALUE=DATE:20261019
DTSTAMP:20260512T205907
CREATED:20260113T215529Z
LAST-MODIFIED:20260113T223938Z
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: La Bataille des Os (The Battle of the Bones)\, about 1881\, Odilon Redon. Charcoal\, 14 3/8 x 17 11/16 in. Getty Museum\, 2024.17
URL:https://thedrawingfoundation.org/event/odilon-redon-otherworldly-visions/
LOCATION:Getty Center\, 1200 Getty Center Drive\, LOS ANGELES\, CA\, 90049\, United States
CATEGORIES:Exhibitions,Upcoming
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ORGANIZER;CN="Getty Museum Drawings Dept":MAILTO:1200 Getty Center Drive, Los Angeles, CA 90049
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270119
DTSTAMP:20260512T205907
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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