BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//The Drawing Foundation - ECPv6.15.14//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://thedrawingfoundation.org
X-WR-CALDESC:Events for The Drawing Foundation
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20280312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20281105T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20260629
DTSTAMP:20260628T234438
CREATED:20260624T234537Z
LAST-MODIFIED:20260624T234537Z
UID:10000190-1759276800-1782691199@thedrawingfoundation.org
SUMMARY:Matisse in Venice: The Stations of the Cross
DESCRIPTION:Matisse in Vence: The Stations of the Cross brings together more than 80 remarkable drawings that reveal the artist at his most daring\, inventive\, and spiritually profound. Many of these works are leaving France for the first time\, making this presentation a rare opportunity for American audiences. \nTracing Matisse’s bold creative journey\, the exhibition shows how the artist transformed simple\, expressive lines into the monumental Stations of the Cross mural created for the Chapel of the Rosary in Vence\, his only architectural project and one of the defining achievements of his late career. \nStripped of color yet charged with emotion\, these sweeping black lines capture the drama of Christ’s final path in a way only Matisse could imagine. Visitors experience the thrill of watching a masterpiece take shape\, from spontaneous sketches to the commanding final vision. \nFeaturing loans from the Musée Matisse Nice\, the Chapel of the Rosary\, and private collections\, the exhibition offers an intimate look at the artist’s creative process. \n \nHenri Matisse. Detail of The Stations of the Cross\, Chapel of the Rosary\, Vence. All copyright-protected works by Henri Matisse © 2025 Succession H. Matisse / Artists Rights Society (ARS)\, New York. Photo: © Musée Matisse Nice/François Fernandez
URL:https://thedrawingfoundation.org/event/matisse-in-venice-the-stations-of-the-cross/
LOCATION:Baltimore Museum of Art\, 10 Art Museum Drive\, Baltimore\, 21218\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Stations-icons-06-1920x0-c-default.png
ORGANIZER;CN="Baltimore Museum of Art":MAILTO:info@artbma.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260124
DTEND;VALUE=DATE:20260803
DTSTAMP:20260628T234438
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:20260327
DTEND;VALUE=DATE:20260810
DTSTAMP:20260628T234438
CREATED:20260624T233400Z
LAST-MODIFIED:20260624T234712Z
UID:10000189-1774569600-1786319999@thedrawingfoundation.org
SUMMARY:The Gift of Drawing: Cy Twombly
DESCRIPTION:This presentation features twenty-seven works from a gift to the museum by the Cy Twombly Foundation. The works highlighted in the exhibition cover thirty years of the artist’s activity\, from the 1950s to the 1980s and feature a broad range of materials\, from graphite to oil paint; techniques such as drawing and collage; and themes that are fundamental to his entire practice\, such as classical antiquity\, eroticism\, and nature. \nThe works in this show\, a number of which will be on view for the first time\, include a series of abstract landscapes from the 1980s\, two untitled works from 1970 that resemble the artist’s “blackboard paintings” on view at the Cy Twombly Gallery\, and Narcissus\, 1975\, a collage of paper\, with oil\, charcoal\, and wax crayon on paper with the title of the work written in large capital letters across the bottom. \nThe Gift of Drawing: Cy Twombly is curated by Edouard Kopp\, John R. Eckel\, Jr. Foundation Chief Curator\, Menil Drawing Institute. \nMajor funding for this exhibition is generously provided by Sheila Noeth and Ted Dohmen. Additional support comes from Eddie and Chinhui Allen; Clare Casademont and Michael Metz; Suzanne Deal Booth; Hilda Curran; Barbara and Michael Gamson; Janet and Paul Hobby; Leslie and Shannon Sasser; and the City of Houston through Houston Arts Alliance. \n \nCy Twombly\, Untitled\, 1986. Acrylic and oil on handmade paper\, 21 × 28 in. (53.3 × 71.1 cm). The Menil Collection\, Houston\, Gift of the Cy Twombly Foundation. © Cy Twombly Foundation
URL:https://thedrawingfoundation.org/event/the-gift-of-drawing-cy-twombly/
LOCATION:The Menil Collection\, 1533 Sul Ross Street\, Houston\, TX\, 77006\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Screenshot-2026-06-24-at-19-32-00-The-Gift-of-Drawing-Cy-Twombly-Menil-scaled.png
ORGANIZER;CN="The Menil Collection":MAILTO:info@menil.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260329
DTEND;VALUE=DATE:20260629
DTSTAMP:20260628T234438
CREATED:20260113T222630Z
LAST-MODIFIED:20260619T032254Z
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:Current,Exhibitions
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:20260409
DTEND;VALUE=DATE:20260706
DTSTAMP:20260628T234438
CREATED:20260624T204535Z
LAST-MODIFIED:20260624T231316Z
UID:10000187-1775692800-1783295999@thedrawingfoundation.org
SUMMARY:Sandy Rodriguez: Tierra Insurgente
DESCRIPTION:From the moment European mapmakers transformed a continent into abstract\, ownable space\, taxonomy has served as a tool of power in the history of the Americas. By naming\, claiming\, and regulating territory\, maps seek to define the terms by which life and memory are organized\, determining which histories are protected\, whose lives are valued\, and which experiences are rendered visible or invisible. \nThe work of Los Angeles-based Chicana artist Sandy Rodriguez challenges the assumption that visualizing space is a neutral act. Created on handmade amate bark paper with natural pigment and grounded in Indigenous Mesoamerican traditions of mapping\, healing\, and storytelling\, her work insists that every image of land carries ethical weight. Across her practice\, the earth emerges as a living archive—shaped by violence and care\, erasure and survival. References to pandemic-era grief\, Black Lives Matter demonstrations\, migrant detention centers\, and California wildfires appear alongside ancestral symbols\, medicinal plants\, and scenes of hip-hop dance. In Rodriguez’s paintings\, codices\, and maps\, protest becomes a form of memory\, and movement becomes a language of refusal. \nPlaced in dialogue with colonial-era cartography\, allegories of the Americas\, botanical books\, and Indigenous manuscripts from the Hispanic Society’s collection\, these works trace a history of conquest and resistance that continues to unfold. Far from belonging to the past\, the logics embedded in these historic objects still shape contemporary policing\, border regimes\, and environmental sacrifice. \nThe exhibition title Tierra Insurgente positions the land as an active force. Here\, earth is not property but a witness and participant in rebellion. Soil carries grief and care; rivers\, plants\, and winds remember what modern systems seek to erase. In these works\, resistance is enacted not only by people in the streets\, but by the land itself\, holding their histories and bearing their struggle across time. \n \nSandy Rodriguez\, Resistance Map of Gulf of Mexico\, 2025.
URL:https://thedrawingfoundation.org/event/sandy-rodriguez-tierra-insurgente/
LOCATION:Hispanic Society Museum & Library\, 613 W 155th St\, New York\, NY\, 10032\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Sandy_Rodriguez_Resistance_Map_of_Gulf_of_Mexico_White_Background_-BANNER-2048x491-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260412
DTEND;VALUE=DATE:20260823
DTSTAMP:20260628T234438
CREATED:20260622T191732Z
LAST-MODIFIED:20260623T023352Z
UID:10000179-1775952000-1787443199@thedrawingfoundation.org
SUMMARY:Marcel Duchamp
DESCRIPTION:“Why is this art?” is a question often asked by viewers of contemporary art. It is virtually impossible to answer it without referring to the work of Marcel Duchamp (1887–1968). Over a six-decade career\, Duchamp challenged the very definition of the artwork\, ushering in a new era of creative license—the reverberations of which are still felt today. While resistant to “-isms\,” Duchamp had a hand in modern art movements ranging from Cubism to Surrealism to Pop. His pursuits were marked by continuous reinvention and deliberate inconsistency: “I have forced myself to contradict myself in order to avoid conforming to my own taste.” \nWith its fragmentation of the human form\, Duchamp’s painting Nude Descending a Staircase (No. 2) (1912) produced shockwaves when it debuted at the legendary Armory Show in New York in 1913. His invention of the readymade as a form of sculpture forever altered the parameters of art and authorship\, epitomized by his scandalous work Fountain (1917)\, a mass-produced urinal turned on its side and signed with the pseudonym “R. Mutt.” And his monumental painting-on-glass The Bride Stripped Bare by Her Bachelors\, Even (The Large Glass) (1915–23) liberated painting as a medium from both the canvas and the wall. For the next 50 years\, Duchamp continued to innovate in unexpected ways. For his “portable museum\,” The Box in a Valise (1935–41)\, the artist painstakingly reproduced his life’s work to date in miniature. \nFeaturing some 300 artworks\, this exhibition marks the first retrospective of the artist’s work in the United States since 1973. Scholarship mining the artist’s famously enigmatic work has flourished in the intervening half-century—as have myths and misconceptions. This exhibition offers a sweeping account of Duchamp’s multifaceted career across all mediums from 1900 to 1968\, offering today’s audience the first opportunity to view the full breadth of his creative output. \nMarcel Duchamp is organized by The Museum of Modern Art\, New York and the Philadelphia Art Museum\, with the generous collaboration of the Centre Pompidou. \nThe Exhibition is organized by Ann Temkin\, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture\, MoMA; Michelle Kuo\, Chief Curator at Large and Publisher\, MoMA; and Matthew Affron\, The Muriel and Philip Berman Curator of Modern Art\, Philadelphia Art Museum; with Alexandra “Lo” Drexelius\, Curatorial Assistant\, Department of Painting and Sculpture\, MoMA; Helena Klevorn\, Curatorial Assistant\, Department of the Chief Curator at Large\, MoMA; Danielle Cooke\, Exhibition Assistant\, Philadelphia Art Museum; and Julia Vázquez\, Andrew W. Mellon Postdoctoral Fellow\, Philadelphia Art Museum. \n      \nMarcel Duchamp\, Rotoreliefs (Optical Disks)\, 1935\, published 1953. One from a series of six offset lithographs published by Enrico Donati. Dimensions 7 7/8″ (20 cm).  Edition of 1\,000. Gift of Mr. and Mrs. Howard Sumers Conant. Object number 293.1994.3.  Copyright © 2026 Artists Rights Society (ARS)\, New York / ADAGP\, Paris / Estate of Marcel Duchamp \n 
URL:https://thedrawingfoundation.org/event/marcel-duchamp/
LOCATION:MoMA\, 11 West 53 Street\, New York\, NY\, 10019\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Screenshot-2026-06-22-at-15-07-58-Marcel-Duchamp-MoMA-scaled.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260416
DTEND;VALUE=DATE:20260720
DTSTAMP:20260628T234438
CREATED:20260119T215550Z
LAST-MODIFIED:20260619T032236Z
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:Current,Exhibitions
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;VALUE=DATE:20260416
DTEND;VALUE=DATE:20260921
DTSTAMP:20260628T234438
CREATED:20260622T193710Z
LAST-MODIFIED:20260622T193710Z
UID:10000180-1776297600-1789948799@thedrawingfoundation.org
SUMMARY:Early Netherlandish drawings
DESCRIPTION:In the 1400s and 1500s\, the Low Countries were a powerhouse of artistic innovation. This was a transformative period for Netherlandish drawings\, as they evolved from preparatory studies to works of art in their own right. \nFeaturing around 120 works by artists including Rogier van der Weyden\, Lucas van Leyden\, Pieter Bruegel the Elder and Hendrick Goltzius\, this exhibition charts the development of drawing in the Low Countries (present-day Belgium\, Luxembourg and the Netherlands) before 1600. The exceptional breadth and quality of the British Museum’s holdings provides a unique opportunity to present a comprehensive account of drawing from this region. \nEarly Netherlandish drawings are extremely rare\, as they were made as functional objects in the workshop and were not typically retained. This was unlike Italy or the German-speaking lands\, where the taste for collecting drawings in the 1500s ensured the survival of a higher number of works from this period. Drawings were central to the design and production of works of art in different media\, including tapestries\, paintings\, stained glass and prints – and surviving examples shed light on the creativity and collaboration of Netherlandish artists. \nBased on a research project and supported by a grant from the International Music and Art Foundation\, the exhibition highlights new findings that have come from combining curatorial and conservation expertise along with scientific analysis. New research into drawings previously only connected to Rogier van der Weyden and his circle\, for instance\, reveals they originate directly from Rogier’s workshop and must have been drawn by his pupils as part of their training. \n \nFlaminio Torre (Italian\, Bologna 1620–1661 Modena)\, The Virgin Appearing to Saint Jerome (recto); Head of a Young Woman with Braided Hair\, 1621–61. Red chalk on brownish paper. The Metropolitan Museum of Art\, New York\, Rogers Fund\, 1960 (Object Number: 61.3).
URL:https://thedrawingfoundation.org/event/early-netherlandish-drawings/
LOCATION:The British Museum\, Great Russell Street\, London\, WC1B 3DG\, United Kingdom
CATEGORIES:Current
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/END_teaser.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260614
DTEND;VALUE=DATE:20260921
DTSTAMP:20260628T234438
CREATED:20260622T182726Z
LAST-MODIFIED:20260623T014644Z
UID:10000178-1781395200-1789948799@thedrawingfoundation.org
SUMMARY:Willem de Kooning Drawing
DESCRIPTION:Willem de Kooning (1904–1997) was one of the most celebrated and prolific draftsmen of the 20th century. \nWillem de Kooning Drawing is the first exhibition to examine the expansive drawing practice of this renowned American artist who immigrated to New York from the Netherlands at the age of 22. While many Art Institute visitors may be familiar with de Kooning’s monumental painting Excavation (1950)\, a cornerstone of our collection\, this exhibition marks the first solo presentation of the artist’s work at our museum since 1969. \nThis major gathering of works from across the globe reveals how the act of drawing was foundational to de Kooning’s entire artistic process and production—his paintings\, sculptures\, and printmaking\, as well as his drawings—and showcases the totality of his graphic production\, from his earliest existing works to his late calligraphic paintings. \nRigorously trained at the Academy of Visual Arts and Technical Sciences in Rotterdam\, de Kooning achieved a remarkable command of traditional drawing techniques while still in his teens. In 1926\, he stowed away on a freight ship bound for the United States to pursue his dream of becoming an illustrator. Eventually arriving in New York City\, de Kooning found work as a house painter\, freelance commercial artist\, and window display designer. At the same time\, he became immersed in the New York art world\, befriending artists such as Stuart Davis\, Arshile Gorky\, and John Graham and ultimately becoming a key figure of the movement that would be known as “Abstract Expressionism” or the “New York School” with such contemporaries as Jackson Pollock\, Lee Krasner\, Barnett Newman\, and Mark Rothko. \nAmbiguity would become a distinguishing feature of de Kooning’s practice\, as his work increasingly dissolved the boundaries between representation and abstraction\, male and female figures\, “high” and “low” art forms\, and\, in particular\, the disciplines of drawing and painting. He stated\, “I draw in paint\, and usually I don’t feel so much difference between drawing and painting.” Compelled to continually innovate and surprise even himself\, de Kooning began experimenting with unconventional drawing methods (such as working with his eyes closed)\, which opened up new directions for his art. He also often reused forms from his earlier artworks and adapted tools and techniques from his career as a commercial artist\, resulting in a body of work that is both self-referential and inventive. \nWillem de Kooning Drawing features more than 200 artworks from public and private collections around the world. The exhibition presents iconic works like the Art Institute’s Excavation and the Museum of Modern Art’s Woman I (1950–52)\, as well as significant and lesser-known drawings\, paintings\, sculptures\, and prints\, many of which have rarely—if ever—been seen by the public. \nThis landmark exhibition offers an unprecedented opportunity to experience the full scope of de Kooning’s drawing practice\, shedding light not only on its evolution over seven decades but also on the ways it redefined the possibilities of modern and contemporary art. \nWillem de Kooning Drawing is organized by the Art Institute of Chicago\, in collaboration with the Rijksmuseum\, Amsterdam\, and in consultation with The Willem de Kooning Foundation. The exhibition’s curatorial team includes the Art Institute of Chicago’s Kevin Salatino\, Chair and Anne Vogt Fuller and Marion Titus Searle Curator\, Prints and Drawings; Mel Becker Solomon\, associate research curator\, Prints and Drawings; and Charlotte Healy\, senior research associate\, Prints and Drawings\, with contributions from Margaret Holben Ellis\, exhibition paper conservator. \n \nTwo Women’s Torsos\, 1952\, Willem de Kooning. The Art Institute of Chicago\, John H. Wrenn Memorial Collection. © 2026 The Willem de Kooning Foundation / Artists Rights Society (ARS)\, New York
URL:https://thedrawingfoundation.org/event/willem-de-kooning-drawing/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/J11562-int-Press300ppi3000pxsRGBJPEG3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260626
DTEND;VALUE=DATE:20261005
DTSTAMP:20260628T234438
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
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Screenshot-2026-06-23-at-10.26.24-AM.png
ORGANIZER;CN="The Morgan Library & Museum":MAILTO:drawings@themorgan.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260627
DTEND;VALUE=DATE:20261116
DTSTAMP:20260628T234438
CREATED:20260625T001632Z
LAST-MODIFIED:20260625T001632Z
UID:10000193-1782518400-1794787199@thedrawingfoundation.org
SUMMARY:ELLSWORTH KELLY - AT THE EDGE OF WATER
DESCRIPTION:From 27 June to 15 November 2026\, the Fondation Maeght will present a major exhibition devoted to the American artist Ellsworth Kelly. Ellsworth Kelly – At the Edge of Water\, curated by Éric de Chassey\, explores for the first time the role of water in Kelly’s work\, offering a new perspective on both his practice and his working method. \nA major figure in American art\, Kelly (1923–2015) is renowned for his large-scale abstract works\, which maintain a precise relationship with the visible world. Throughout his life he was drawn to aquatic environments — from Belle-Île and the Côte d’Azur to New York and the Caribbean — where experiences of looking at water gave rise to drawings\, collages\, paintings and sculptures. Rather than depicting landscapes\, Kelly translated the perception of water itself: its shifting colour\, light and surface. \nThe exhibition also recalls Kelly’s early and lasting connection with the Maeght family. After returning to France in 1948\, he exhibited at Galerie Maeght in Paris and stayed regularly with the family in Saint-Paul-de-Vence\, forging a friendship with Adrien Maeght that continued throughout his life. \n \nEllsworth Kelly\, Long Bay Beach (study for White and Dark Gray Panels I)\, 1977\, postcard collage\, 9.8 × 14.9 cm\, © Ellsworth Kelly Studio.
URL:https://thedrawingfoundation.org/event/ellsworth-kelly-at-the-edge-of-water/
LOCATION:Fondation Maeght\, 623 Chem. des Gardettes\, Saint-Paul-de-Vence\, 06570\, France
CATEGORIES:Exhibitions,Upcoming
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/EK-D-77.8-scaled-1.jpg
ORGANIZER;CN="Fondation Maeght":MAILTO:info@fondation-maeght.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260630T170000
DTEND;TZID=America/New_York:20260630T180000
DTSTAMP:20260628T234438
CREATED:20260625T114608Z
LAST-MODIFIED:20260625T114608Z
UID:10000196-1782838800-1782842400@thedrawingfoundation.org
SUMMARY:Curator-led tour of "Sandy Rodriguez: Tierra Insurgente"
DESCRIPTION:Join us for a private tour of the incredible exhibition Sandy Rodriguez: Tierra Insurgente with curator Ryan Pinchot. \nRyan Pinchot is Exhibition Co-Curator\, along with artist Sandy Rodriguez\, and Senior Educator at the Hispanic Society. He is also a PhD Candidate at Rutgers University and specialist in Latin American visual culture\, decoloniality\, and environmental humanities. \n___\n\nExhibition Information: \nFrom the moment European mapmakers transformed a continent into abstract\, ownable space\, taxonomy has served as a tool of power in the history of the Americas. By naming\, claiming\, and regulating territory\, maps seek to define the terms by which life and memory are organized\, determining which histories are protected\, whose lives are valued\, and which experiences are rendered visible or invisible.   \n\n\nThe work of Los Angeles-based Chicana artist Sandy Rodriguez challenges the assumption that visualizing space is a neutral act. Created on handmade amate bark paper with natural pigment and grounded in Indigenous Mesoamerican traditions of mapping\, healing\, and storytelling\, her work insists that every image of land carries ethical weight. Across her practice\, the earth emerges as a living archive—shaped by violence and care\, erasure and survival. References to pandemic-era grief\, Black Lives Matter demonstrations\, migrant detention centers\, and California wildfires appear alongside ancestral symbols\, medicinal plants\, and scenes of hip-hop dance. In Rodriguez’s paintings\, codices\, and maps\, protest becomes a form of memory\, and movement becomes a language of refusal.  \nPlaced in dialogue with colonial-era cartography\, allegories of the Americas\, botanical books\, and Indigenous manuscripts from the Hispanic Society’s collection\, these works trace a history of conquest and resistance that continues to unfold. Far from belonging to the past\, the logics embedded in these historic objects still shape contemporary policing\, border regimes\, and environmental sacrifice.  \nThe exhibition title Tierra Insurgente positions the land as an active force. Here\, earth is not property but a witness and participant in rebellion. Soil carries grief and care; rivers\, plants\, and winds remember what modern systems seek to erase. In these works\, resistance is enacted not only by people in the streets\, but by the land itself\, holding their histories and bearing their struggle across time.  \nSandy Rodriguez: Tierra Insurgente opens to the public on April 9 and runs through July 5. \n \nImage: Sandy Rodriguez: Tierra Insurgente Installation shot. Image credit: Alfonso Lozano
URL:https://thedrawingfoundation.org/event/curator-led-tour-of-sandy-rodriguez-tierra-insurgente/
LOCATION:Hispanic Society Museum & Library\, 613 W 155th St\, New York\, NY\, 10032\, United States
CATEGORIES:Events,Upcoming
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Sandy-Rodriguez-Exhibit-61.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260714
DTEND;VALUE=DATE:20261019
DTSTAMP:20260628T234438
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
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/01/Screenshot-2026-01-13-at-16-53-43-Odilon-Redon-Otherworldly-Visions-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:20260918
DTEND;VALUE=DATE:20270118
DTSTAMP:20260628T234438
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
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2026/06/501655402.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260918T143000
DTEND;TZID=America/New_York:20260918T173000
DTSTAMP:20260628T234438
CREATED:20260623T022306Z
LAST-MODIFIED:20260625T115510Z
UID:10000181-1789741800-1789752600@thedrawingfoundation.org
SUMMARY:Symposium - Tarot! Renaissance Symbols\, Modern Visions
DESCRIPTION:In conjunction with the exhibition Tarot! Renaissance Symbols\, Modern Visions\, join artists\, conservators\, curators\, and conservation scientists for an afternoon symposium centered on the making of tarot cards. \nThe first session will examine and discuss the elaborate techniques used to make fifteenth-century tarot cards for the court of the Dukes of Milan. Conservators Frank Trujillo\, Lydia Aikenhead\, and Marie-France Lemay will detail the material techniques of the cards and conservation scientist Elena Basso will convey how cutting-edge technology reveals and confirms the materials used in the Renaissance. A curatorial overview by Joshua O’Driscoll will explore the art historical precedents for tarot cards. The second session will feature a lively conversation between curator Claire Gilman and artist Kim Krans focusing on a contemporary artist’s approach to creating tarot art. \n2:30 PM Frank Trujillo\, Drue Heinz Book Conservator\, and Lydia Aikenhead\, Assistant Book Conservator\, Thaw Conservation Center\, Morgan Library & Museum \n3 PM Marie-France Lemay\, Head of Paper and Photograph Conservation\, Yale University Library \n3:30 PM Elena Basso\, Associate Research Scientist\, Department of Scientific Research\, Metropolitan Museum of Art \n4:00 PM Joshua O’Driscoll\, Melvin R. Seiden Curator and Department Head\, Medieval & Renaissance Manuscripts\, Morgan Library & Museum \n4:30 PM Roundtable Discussion \n5 PM Claire Gilman\, Acquavella Curator and Department Head\, Morgan Library & Museum in conversation with artist Kim Krans \nThis symposium takes place in Gilder Lehrman Hall on the Ground Floor. Doors to the Hall will open 30 minutes before the program begins. Attendees are encouraged to view the exhibition Tarot! Renaissance Symbols\, Modern Visions during their museum visit. The museum is open until 8pm after the Symposium so attendees will have ample time to view the exhibition following the event. \nThis program is presented with support from The Drawing Foundation and The Institute of Fine Arts\, New York University. \n                       \n  \nImage: Bonifacio Bembo\, Death from the Visconti-Sforza Tarot Cards (detail). Italy\, Milan or Cremona\, ca. 1456–58. The Morgan Library & Museum\, MS M.630.12. Remedios Varo (Spanish\, 1908–1963)\, El Otro Reloj (The Other Clock)\, 1957 (detail). Gouache on cardboard\, 15 3/16 × 9 1/8 in. Private Collection\, New York. © 2026 Remedios Varo\, Artists Rights Society (ARS)\, New York / VEGAP\, Madrid. Courtesy of Wendi Norris Gallery
URL:https://thedrawingfoundation.org/event/symposium-tarot-renaissance-symbols-modern-visions/
LOCATION:The Morgan Library & Museum\, 225 Madison Avenue at 36th Street\, New York\, NY 10016\, United States
CATEGORIES:Events,Upcoming
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Screenshot-2026-06-22-at-10.10.39-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270119
DTSTAMP:20260628T234438
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
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/01/698762.png
ORGANIZER;CN="Cleveland Museum of Art":MAILTO:info@clevelandart.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261002
DTEND;VALUE=DATE:20270111
DTSTAMP:20260628T234438
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
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Screenshot-2026-06-24-at-20-00-14-Fag-Puddle-in-Vitrine.jpg-JPEG-Image-1200-×-900-pixels-scaled.png
ORGANIZER;CN="The Courtauld Gallery":MAILTO:galleryinfo@courtauld.ac.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261004
DTEND;VALUE=DATE:20270124
DTSTAMP:20260628T234438
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
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2026/06/Screenshot-2026-06-24-at-20-33-48-The-Surrealist-Book-MoMA-scaled.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261023
DTEND;VALUE=DATE:20270201
DTSTAMP:20260628T234438
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:20260628T234438
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:20260628T234438
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