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To eighteenth- and nineteenth-century European artists, the ephemeral qualities of weather and light were as integral to their landscape paintings as the terrain itself.

Young, handsome, and highborn, Claude III de Laubespine lived in luxury after marrying an heiress and obtaining the favor of King Charles IX.

Marking the two-hundredth anniversary of his death, this exhibition considers the Morgan’s Keats collection through the lens of the library’s first director, Belle da Costa Greene.

This New Yorker bouquet is drawn from the extraordinary collection of over 1300 drawings for the magazine assembled by Melvin R. Seiden.

Conceived in two parts, this double-gallery exhibition explores the origins of Tarot in Renaissance Italy and its ongoing relevance as a source of inspiration for artists in the twentieth and twenty-first centuries.

British artist Bridget Riley (b. 1931) is one of the most celebrated abstract painters of her generation. This exhibition—the first dedicated exclusively to her drawings in over fifty years—provides an intimate view of Riley's studio practice, in which the making of works on paper plays a central role.

A widely connected pioneer of Pop and mail art, Ray Johnson (1927–1995) was described as “New York’s most famous unknown artist.”

This exhibition celebrates the remarkable collection of drawings assembled by the collecting couple Richard Gray, one of America’s foremost art dealers, and art historian Mary L. Gray.

This exhibition, conceived in close consultation with the artist, looks at the relationship between Saar’s finished works and the preliminary annotated sketches she has made in small notebooks throughout her career.

Featuring more than eighty works drawn almost exclusively from the Morgan's exceptional collection of Italian drawings, Rome After Raphael illuminates artistic production in Rome from the Renaissance to the beginning of the Baroque—from approximately 1500 to 1600.