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By the mid-eighteenth century, the Grand Tour, a study trip through Europe with a period of residence in Italy, had become a fixture in the education of European aristocrats and the training of artists.

Designing a set for the theater stage presents a unique challenge: How does the artist visually transport live performers into the fictional world of the performance?

Rivers and Torrents highlights works from the collection of oil sketches given jointly to the Morgan and to the Metropolitan Museum of Art in 2009 and 2016 by Eugene V. Thaw and his wife, Clare.

Blaise Cendrars, born Frédéric Louis Sauser, was a catalyst in some of the explosive artistic innovations of the early twentieth century.

Objects on view in J. Pierpont Morgan’s library reflect the past, present, and future of building collections in four curatorial departments, comprising illuminated manuscripts from the medieval and renaissance eras, five hundred years of printed books, correspondence and literary manuscripts, as well as printed music and autograph manuscripts by composers.

This previously unknown waltz, written in Chopin’s hand and very likely composed by him, is the first newly identified work by the Polish composer since the 1930s.

Saul Steinberg: Illuminations featured more than one hundred drawings, collages, and sculptural assemblages by the artist whom many regard as not only a comic genius but among the greatest draftsmen of the modern era.

This exhibition celebrates the extraordinary loan from the Galleria Borghese in Rome of the painting Boy with a Basket of Fruit, an important early work by Michelangelo Merisi, known as Caravaggio (1571–1610).

Objects on view in J. Pierpont Morgan’s library reflect the past, present, and future of building collections in four curatorial departments, comprising illuminated manuscripts from the medieval and renaissance eras, five hundred years of printed books, correspondence and literary manuscripts, as well as printed music and autograph manuscripts by composers.

The temporary installation of three sculptures by Mark di Suvero in the Gilbert Court was prompted by the friendship and mutual admiration between di Suvero and Renzo Piano, the architect who designed the court.