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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?

This installation features a selection of oil sketches which, despite their small size, achieve such grand effect, creating the impression that the viewer is granted direct access to the artist’s entire field of vision.

Eighteenth- and nineteenth-century landscape artists often sketched outdoors in oil paint on paper to capture nature from direct observation. Yet as natural as these scenes look, the vantages were chosen or augmented to draw the viewer into the composition.

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.

The exhibition will include thirty-seven works that represent the two central elements of the Romantic conception of landscape: close observation of the natural world and the importance of the imagination.

Medieval Money, Merchants, and Morality charts the economic revolution that took place at the end of the Middle Ages and the early Renaissance.

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.

Surveying the finest Northern European drawings in the Morgan's collections, this exhibition featured over one hundred works spanning the Gothic through the Flemish Baroque periods.

As part of a commitment to build a representative collection of works on paper by twentieth-century artists, the Morgan acquired two major works by the American painter and draftsman Stuart Davis (1892–1964): his earliest known diary, used by the artist between 1920 and 1922, and a sketchbook dated 1926. To celebrate these acquisitions, the Morgan presented Stuart Davis: Art and Theory, 1920–31.

Three Gutenberg Bibles allows visitors to see important differences in copies of the first substantial printed book in the Western world, an epoch-making technological innovation, yet also a highpoint in the art of graphic design.