The Morgan Library & Museum over the last few years has added some small wonders to its collections, and now for the first time a sampling of these miniature books is on public view. Opened last month, Miracles in Miniature: The Art of the Master of Claude de France celebrates one of the last greats of the illuminated manuscript — who happened to work at a doll-size scale.
The Romantic landscape artists of the 18th and 19th century were so obsessed with nature and the skies above that in 1856 critic John Ruskin called the frenzy “modern-day cloud worship.”
The Morgan Library & Museum announced today that it has completed the digitization of its entire collection of Rembrandt etchings.
The Morgan Library and Museum has received much favorable attention in recent years for its drawings-focused and literary exhibitions. But in March 2012, the institution named Joel Smith its first ever curator of photography, and now, nearly two years later, it will open its first exhibition organized by the new department.
For the first time, the dark manifestations of the Spanish drawings held by the Morgan Library and Museum are seeing the gallery lights. Visions and Nightmares: Four Centuries of Spanish Drawings opened last month as the museum’s inaugural foray into the overlooked history of drawing in Spanish art.
You might know how essential it is to keep your asteroid free from baobab tree infestations and how integral it is to sweep your volcanoes but still have no idea that Antoine de Saint-Exupéry’s The Little Prince was created in New York City.
The centerpiece of the stunning new exhibition at the Morgan Library & Museum, Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin, is “Head of a Young Woman,” which Bernard Berenson, the renowned authority on Italian Renaissance art, called “one of the finest achievements of all draughtsmanship.”
The elaborately baroque art of Matthew Barney puts some people off, and I count myself among them. His Olympian athleticism, symbol-laden costume dramas and obsession with petroleum jelly can be fascinating, but they can also feel chilly and remote.
“Proust? No one is less dead than he is,” said Suzy Proust, Marcel’s niece.
Right she was. Is.
Everything about this one-room exhibition (all the one-room exhibitions at the Morgan seem grand to me, just the right size and feeling) is perfectly chosen and described.
Tomorrow, Patti Smith will turn 66. The day before yesterday, on the 27th, her longtime guitarist Lenny Kaye reached the same age. “We’re three days apart,” Smith announced last week in the atrium of the Museum of Modern Art at her “walk-in” concert celebrating the birthday of the French writer Jean Genet.
If you’re in the mood for a little hardcore strangeness, head over to the Morgan Library & Museum and check out Rosso Fiorentino’s “Holy Family with the Young Saint John the Baptist,” an unfinished oil on panel currently on loan from the Walters Art Museum in Baltimore.
Josef Albers’ paintings and prints have always left me cold. Maybe it’s because I’ve never been that much of a color guy. I instinctively side with Florentine disegni over Venetian colori (though I routinely melt in front of a Titian or Tintoretto), and I would take an Analytical Cubist Braque or Picasso over a Fauvist Matisse or Derain, a Frank Stella pinstripe over a Frank Stella protractor, any day.