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In the late 1650s, when he was at the summit of his career, Rembrandt van Rijn drew a series of "creative copies" after Mughal Indian portraits.

The Morgan will be seen in a new light! An important part of our project to restore the 1906 McKim, Mead, & White-designed library and improve the site surrounding it is a lighting design by New York City-based lighting designer Linnaea Tillett.

When Franz Kafka died of tuberculosis at the age of forty, in 1924, few could have predicted the influence his relatively small body of work would have on every realm of thought and creative endeavor over the course of the twentieth century and into the twenty-first.

Joel Smith discusses the ways that various artistic media can overlap and intersect. In this case, we examine photography, drawing, and sculpture.

To celebrate the exhibition Van Eyck to Mondrian: 300 Years of Collecting in Dresden, join distinguished cellist and director of the Dresden Music Festival Jan Vogler, and accomplished violinist Mira Wang, in highlights of a concert featuring Alessandro Rolla's Duo for violin and cello i

In 2018 the Morgan acquired eleven drawings from the Souls Grown Deep Foundation, an organization dedicated to supporting Black Southern artists and their communities. The artists represented in the acquisition are Thornton Dial, Nellie Mae Rowe, Henry Speller, Luster Willis, and Purvis Young.

The author of more than three thousand folk songs, Woody Guthrie (1912–1967) is one of the most influential songwriters and recording artists in American history.

Co-curators Dale Stinchcomb and Juliette Wells show some of their favorite letters by Jane Austen in the exhibition A Lively Mind: Jane Austen at 250.

Sir Nicholas Penny, former director of the National Gallery, London, and the Thaw Senior Fellow at the Morgan Drawing Institute for 2018, gave the annual Thaw Lecture on “The Zoomorphic Mask.” He explores the fantastic in Renaissance design, with reference to many other episodes in the history of

It’s not just a façade! The façade of our J. Pierpont Morgan Library building uses a complex ancient Greek building technique that enables the stone to have no visible mortar. The architects, McKim, Mead & White, adapted this technique to account for the variable climate in New York city.