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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250712
DTEND;VALUE=DATE:20260414
DTSTAMP:20260405T021651
CREATED:20250929T151632Z
LAST-MODIFIED:20250929T151632Z
UID:10000122-1752278400-1776124799@thedrawingfoundation.org
SUMMARY:The Bold and the Beautiful 16th-Century Prints and Drawings from the Myron Miller Collection
DESCRIPTION:Artistic invention and adventurous experimentation characterized the art of Europe in the 16th and early 17th centuries. Fueled by the rediscovery of ancient Roman sculpture\, and by a drive to recapture and compete with its grace\, balance\, and energy\, artists experimented boldly with style and composition. Turning to the inherent drama of the human body as a source of inspiration\, they pushed the limits of traditional art in every way. Their innovations spread rapidly\, carried by the thousands of prints that introduced audiences all over Europe to the most avant-garde movements in art. \nThis exhibition—comprised of prints from the Myron Miller collection\, many of which are new gifts to the MFA—captures the energy\, exploration\, and spirit of creativity that thrived in Europe toward the end of the Renaissance. Visitors can explore nearly 70 etchings\, engravings\, woodcuts\, and drawings from a period of Italian\, Dutch\, and Netherlandish printmaking at its most adept and sophisticated. Works like Hendrick Goltzius’s The Wedding of Cupid and Psyche (1587)\, which is one of the largest and most dramatic of all 16th-century prints\, and contains nearly 80 figures in a virtuosic display of technique\, show how artists of the era paid homage to tradition while pushing past its perceived limitations. \nOver the last 25 years\, Myron Miller has assembled an incomparable collection of works on paper dating from the Renaissance to the current day. His gift of works—one of the largest donations of early European prints to the MFA in decades—puts an indelible mark on our collection. \n \nImage: Marcantonio Raimondi\, The Carcass (detail)\, about 1520–27. Engraving. Gift of Myron Miller.
URL:https://thedrawingfoundation.org/event/the-bold-and-the-beautiful-16th-century-prints-and-drawings-from-the-myron-miller-collection/
LOCATION:Museum of Fine Art Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Current,Exhibitions
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2025/09/Screenshot-2025-09-29-at-11-01-52-The-Bold-and-the-Beautiful-Museum-of-Fine-Arts-Boston-scaled.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251220
DTEND;VALUE=DATE:20260518
DTSTAMP:20260405T021651
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:20260405T021651
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:20260405T021651
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:20260405T021651
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:20260405T021651
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:20260405T021651
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260303
DTEND;VALUE=DATE:20260608
DTSTAMP:20260405T021651
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:20260405T021651
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:20260405T021651
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
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ORGANIZER;CN="The Met":MAILTO:DrawingsandPrints@metmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260429T180000
DTEND;TZID=America/New_York:20260429T190000
DTSTAMP:20260405T021651
CREATED:20260119T210425Z
LAST-MODIFIED:20260319T132132Z
UID:10000162-1777485600-1777489200@thedrawingfoundation.org
SUMMARY:French Ornament in the Nineteenth Century; A lecture duet by Ralph Ghoche and Estelle Thibault
DESCRIPTION:A lecture duet by Ralph Ghoche (Barnard College) and Estelle Thibault (École nationale supérieure d’architecture Paris-Belleville)\, moderated by Martin Bressani (McGill University) \nInspired by thirteenth-century gothic architecture\, Eugène Emmanuel Viollet-le-Duc understood ornament as the medium through which the vital energies of the living world became visible. Ornament distilled the anatomical logic of the plants or animals it imitated\, reaching back to primordial\, pagan cults of nature and acquiring a regenerative power for the modern age. In this lecture duet—hosted and moderated by Viollet-le-Duc: Drawing Worlds* co-curator Martin Bressani—Ralph Ghoche and Estelle Thibault explore\, respectively\, the contrasting ornamental philosophies of the Romantic/Eclectic and the Neo-Gothic movements\, and the “natural laws” that guided nineteenth century ornamentation design in industrial arts education. \nA Lee B. Anderson Memorial Lecture Duet \nLee Anderson\, who worked for a time as an arts education teacher\, has been referred to as the godfather of the Gothic revival in America. It is largely because of his impressive personal collection that the style has been rekindled among designers and other tastemakers. Lee passed away in 2010\, but he left a legacy of philanthropic support through the Lee B. Anderson Memorial Foundation\, whose mission is to support programs and organizations that advance an appreciation for the decorative arts. \n*This event is presented in conjunction with Viollet-le-Duc Drawing Worlds\, on view at the BGC Gallery through May 24. \n\n\n\n\nRalph Ghoche is an assistant professor in the Department of Architecture at Barnard College. He is the author of Ornament and Symbol in French Romantic Architecture: Simon-Claude Constant-Dufeux\, published by McGill-Queen’s University Press in 2025. His current research is centered on French colonial architecture in Algeria during the nineteenth century\, with a particular focus on the architectural\, urban and territorial interventions of the Catholic Church in Algiers. \nEstelle Thibault is a professor of architectural history and theory at École nationale supérieure d’architecture Paris-Belleville. Her research focuses on the history of architectural theories and ornament in late nineteeth-century France\, as well as the history of architectural education. She is currently working on the reception of Gottfried Semper in the French-speaking cultural context. \nMartin Bressani is the William C. Macdonald Emeritus Professor at McGill University’s Peter G-H Fu School of Architecture in Montréal. He is the author of Architecture and the Historical Imagination: Eugène-Emmanuel Viollet-le-Duc 1814-1879 (Ashgate\, 2014) and coeditor of Gothic Revival Worldwide. A.W.N. Pugin’s Global Influence (Leuven University Press\, 2017); The Companions to the History of Architecture—Nineteenth-Century Architecture (Wiley Blackwell\, 2017); and Narrating the Globe: The Emergence of World Histories of Architecture (MIT Press\, 2024).\n\n\n\n \nImage: Eugène-Emmanuel Viollet-le-Duc\, Partial elevation of the base of the great lectern for Notre-Dame de Paris\, March 1865. Graphite\, wash\, and gouache on paper. Médiathèque du patrimoine et de la photographie\, Charenton-le-Pont\, G/1996/84-43229. 
URL:https://thedrawingfoundation.org/event/french-ornament-in-the-nineteenth-century-a-lecture-duet-by-ralph-ghoche-and-estelle-thibault/
LOCATION:Bard Graduate Center Gallery\, 18 West 86th St\, New York City\, NY\, 10024\, United States
CATEGORIES:Events,Upcoming
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ORGANIZER;CN="Bard Graduate Center Gallery":MAILTO:gallery@bgc.bard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20260502T100000
DTEND;TZID=America/Chicago:20260502T170000
DTSTAMP:20260405T021651
CREATED:20260318T202951Z
LAST-MODIFIED:20260401T024341Z
UID:10000172-1777716000-1777741200@thedrawingfoundation.org
SUMMARY:The Drawing Competition 2026
DESCRIPTION:All Day Drawing Marathon to Benefit The Drawing Foundation \nJoin up to 100 artists for a full day of drawing from multiple live models. Starting at 10:00 am on Saturday\, May 2nd\, artists can work in the following categories: \n\n\n\n\nFigure Drawing\nPortrait Drawing\nFashion Drawing\n\nWe believe that drawing with others of various skill levels drives us to work at our highest abilities. This marathon is designed to foster camaraderie and inspiration within the community. Artists are not required to submit their work for judging. \n\nMorning Drawing Session 10:00 am – 1:00 pm.\nLunch (not provided) 1:00 – 2:00 pm.\nAfternoon Drawing Session 2:00 – 5:00 pm.\nJudging 5:00 pm.\nWinners Announced 5:30 pm.\n\nArtists may work in dry media only\, including graphite\, charcoal\, and pastel pencils. Loose\, dry pastels are not permitted for health reasons. Artists may work up to 18 x 24″. We do not accept digital art for submission for judging. \nEntry to the space begins at 9:45am in order of arrival. Seating is strictly first come\, first served\, and seats may not be saved for artists who are not present. Each artist will be given two chairs to work with\, allowing them to place their board on the back of one chain and sit on the other. Compact easels are permitted on a case-by-case basis (space permitting). Easels may not occupy the front row of any model area. \n\nThe Judges\nTo be announced.\n\nThe Prizes\nTo be announced.\n\nImportant Information\n\nNo photography is allowed while models are posing. Photographing nude models will result in the immediate removal of attendees\, who will forfeit their ticket\, spot\, and payment and will not be allowed to submit work for judging. The rooms are expected to be quiet while the artists are working. Conversations should take place outside the drawing area. Phone calls and music on speakers are not allowed. We recommend earphones for those who wish to listen to music or for noise cancellation. \nOrganized by The Drawing Foundation in partnership with Drawing New York\, hosted by the National Arts Club. \n\n\n               \nImages:\nBanner – Giampietro Zanotti (Italian\, 1674 – 1765)\, The “Accademia Clementina” Bologna\, with a Nude Being Positioned by the Drawing Master\, the “Farnese Hercules” beyond\, 1739. Pen and brown ink over black chalk; the outlines indented for transfer. The J. Paul Getty Museum.\nHeader –  Photographs of the participants and winners of The Drawing Competition in 2025. Images courtesy The Drawing Foundation and Drawing New York.
URL:https://thedrawingfoundation.org/event/the-drawing-competition-2026/
LOCATION:The National Arts Club\, 15 Gramercy Park South\, New York\, NY\, 10003\, United States
CATEGORIES:Events,Upcoming
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260506T123000
DTEND;TZID=America/New_York:20260506T133000
DTSTAMP:20260405T021651
CREATED:20260401T014452Z
LAST-MODIFIED:20260401T014452Z
UID:10000173-1778070600-1778074200@thedrawingfoundation.org
SUMMARY:Exhibition Tour of Gothic by Design
DESCRIPTION:Don’t miss this opportunity to attend an intimate tour of Gothic by Design. The Dawn of Architectural Draftsmanship with curator Femke Speelberg. \nPacked with loans from collections across Austria\, Belgium\, Germany\, England\, France\, and Switzerland\, the exhibition offers an overview of a drawing tradition that has received little attention within the traditional canon of art history. As evidenced by the Reims Palimpsest – a manuscript containing remnants of architectural designs from ca. 1230-1260 that will open the show – from as early as the thirteenth-century\, Gothic architects had embraced the practice of drawing on parchment (and later paper) to design building projects and manage on-site operations. Soon after\, various architectural workshops across Western and Central Europe also began to archive this graphic output: a fortuitous impulse that has resulted in the survival of a body of around 600 original drawings for churches\, municipal buildings\, monuments\, furnishings\, and other objects. The great majority of these remarkable graphic works reside in European collections\, often not far from the original construction sites for which they were conceived. Principally known among locals and small groups of experts\, their existence can arguably be counted among the better-kept secrets of art history. The exhibition “Gothic by Design” marks the first time that a representative group of this material will travel to the United States. \nThis long-awaited exhibition is on view from Thursday April 16 to Sunday July 19\, 2026. \nAre you interested in learning more about the exhibition from the curator? We invite you to watch the recording of the 2026 Annual Master Drawings Symposium in which Femke Speelberg presents her prize winning research on the rare\, monumental design drawings from the gothic era. \nThis event is organized by The Drawing Foundation. \n             \nImage: Lorenz Lechler and workshop\, Design for a Monumental Sacrament House (detail)\, 1502. Pen and two types of ink (carbon black and iron gall) over blind ruling\, 17th-century inscription in pen and ink\, on parchment. Purchase\, The Cloisters Collection\, Lila Acheson Wallace Gift\, and Harry G. Sperling Fund\, 2022\, The Metropolitan Museum of Art\, New York
URL:https://thedrawingfoundation.org/event/exhibition-tour-of-gothic-by-design/
LOCATION:The Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Upcoming
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260513T110000
DTEND;TZID=America/New_York:20260514T150000
DTSTAMP:20260405T021651
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260714
DTEND;VALUE=DATE:20261019
DTSTAMP:20260405T021651
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270119
DTSTAMP:20260405T021651
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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END:VCALENDAR