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This exhibition will include more than ninety drawings created between 1900 and 2013 by artists from Matisse, Mondrian, and Schiele to Pollock, Warhol, Lichtenstein, Twombly, and—more recently—Kippenberger and Dumas.

Guercino: Virtuoso Draftsman continues a series of exhibitions focused on highlights from the Morgan’s collection.

Jacopo Tintoretto (1518–1594) was among the most distinctive artists of the Italian Renaissance, but his drawings have never received the attention they deserve and remain unfamiliar even to many scholars.

In a letter written near the end of his life, Giovanni Battista Piranesi (1720–1778) explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.”

The Morgan’s collections continually grow and evolve. This presentation features a selection of drawings newly acquired by the Department of Drawings and Prints, which focuses on work created before 1900.

This show is the first-ever museum exhibition devoted to Matthew Barney's drawings and includes approximately 100 works.

Bringing together more than 160 works on paper by such iconic artists as Salvador Dalí, Max Ernst, Leonora Carrington, and Joan Miró, this is the first major exhibition to explore the central role of drawing in surrealism, one of the most important movements in twentieth-century art.

In 2021, the Morgan acquired twenty-eight drawings by American artist George Condo (b. 1957) that offer an overview of his career over the last forty-five years. Drawing, or “visual thinking” as he calls it, is central to Condo’s practice, which centers around the figure.

A modern art pioneer, renowned Swiss painter Ferdinand Hodler (1853–1918) created works that range from vast symbolist compositions to intimate, realist portraits and nearly abstract landscape paintings.

Fragonard and the French Tradition celebrated the artist's brilliant accomplishments as a draftsman in the context of the prevailing currents of eighteenth-century French art.