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.
After finishing my master’s thesis in the history of art and medieval history and working at and with different European museums, I wanted to gain more knowledge about other international collections, their history as well as how their art is handled. My interaction with the Morgan Collection started a few years ago in Germany.
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.”
One of my favorite aspects of my job as a curator at the Morgan Library & Museum is when high school and university classes come to see rare materials. The Morgan is not affiliated with a university, so, like Chaucer’s pilgrims, classes must make a bit of a trek to visit these relics.
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.
This is a guest post by Sam Bussan, a PhD student in the Department of History at the Graduate Center, CUNY.
I spent this summer at the Morgan working with the Literary & Historical Manuscripts Department to catalog the Maria Knox Letters. This collection of sixty-three letters, almost exactly two centuries old, records the life of a British family in India from 1816 to 1822.
This is a guest post by Dawn-Elin Fraser, Associate Arts Professor, Head of Spoken Voice and Speech for the New Studio on Broadway at NYU.
As an Associate Arts Professor at NYU’s Tisch School of the Arts, I teach in the New Studio on Broadway, where our students focus on both musical theater and heightened text. Our student body is talented, eager, and hungry for opportunity. It is also a student population that is overwhelmingly female identified, though the cannon of heightened text (particularly period centered) is primarily written by men with male characters at the heart of the narrative. I wanted to do something to shift that.
This is a guest post by Sean Nortz, a PhD student in the Department of English at the Graduate Center, CUNY.
I was very pleased to be granted a CUNY Graduate Center fellowship this summer to work on the Morgan Library & Museum’s collection of extra-illustrated books from the eighteenth and nineteenth centuries.
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.
This is a guest post by Eric Dean Wilson, writer, educator, and doctoral student in English at the Graduate Center, CUNY.
I’d spent two weeks in the Morgan Library & Museum Reading Room when María Molestina offered to take me to see where they store the Peter Hujar Collection. It’s a humbling experience to see spread before you a life in boxes.