Yona Benjamin's blog

Now that we're all doing, well . . . everything from home we are faced with a few tricky issues. Getting along with our roommates and families, having personal space, and maybe worst of all, having to expose your boring (messy?) abode to your coworkers on Zoom!

In June of 2019, around sixty of the Morgan's most treasured medieval manuscripts were sent to Cleveland and Austin as part of the tour for our exhibition Terrors, Aliens, Wonders. Lending these treasures is a great way for us to share our collection with a wider audience, especially those far afield from New York City, but we miss them nonetheless.

Chalk, pen, wash, paper. Simple materials that create an overwhelmingly complex picture. Until February 2, 2020, the Morgan Library & Museum will exhibit Guercino: Virtuoso Draftsman, a reflection on choice pieces from the Morgan’s collection by Giovanni Francesco Barbieri, known as Guercino (1591–1666), who was “arguably the most interesting and diverse draftsman of the Italian Baroque era.”

On October 4th, 2019, John Singer Sargent: Portraits in Charcoal opened at the Morgan Library & Museum, showcasing heretofore underappreciated aspects of Sargent’s iconic oeuvre. Because he was known primarily as a painter of early-twentieth-century European and American elite, the public is most familiar with his highly-finished representations of the grand and great.

The Morgan's Exhibitions on Verdi and Sendak as Explorations of Collaboration and Creativity

One might consider the Morgan’s current exhibitions Verdi: Creating Otello and Falstaff—Highlights from the Ricordi Archive and Drawing the Curtain: Maurice Sendak’s Designs for Opera and Ballet to have little in common, save for a shared connection to opera. But in fact, there is much linking these two exhibitions, which explore similar themes of artistic resurgence and the power of collaboration and adaptation.