Wassily Kandinsky

 Palazzo Bonaparte

September 15, 2026, to February 14, 2027

The season opens in Rome with an exhibition of exceptional international significance, dedicated to one of the greatest figures of the 20th century and the father of abstractionism: Wassily Kandinsky.

From September 15, 2026, to February 14, 2027, Palazzo Bonaparte celebrates the most important revolution of the 20th century with a retrospective dedicated to the man who transformed form and color into pure emotion.

Vassily Kandinsky, Dark Coolness (Fraîcheur sombre), January 1927. Oil on canvas mounted on wood, 26.1 x 19.9 x 1.2 cm. Bequest of Nina Kandinsky, 1981. Centre Pompidou Collection. Public domain. Photo © Centre Pompidou, MNAM-CCI/Hélène Mauri/Dist. GrandPalaisRmn.

Rome and Italy have waited over 25 years for the return of the master of abstractionism—a wait that finally comes to an end with an exhibition of exceptional scope, featuring Kandinsky’s masterpieces from major international institutions and the Centre Pompidou. The latter has made an exceptional loan of a substantial body of works, made possible by its temporary closure for restoration.

Wassily Kandinsky, *Gelb-Rot-Blau* (Yellow-Red-Blue), 1925 – Oil on canvas – 128 x 201.5 cm – Gift of Nina Kandinsky, 1976 – Centre Pompidou, Paris, Musée national d’art moderne – Centre de création industrielle

Curated by Angela Lampe, the exhibition brings together over seventy masterpieces from the estate of the artist's wife, Nina Kandinsky. The exhibition layout, divided into five sections, traces the artist's entire journey—from his time as a brilliant lawyer in Moscow to his role as a pioneer of the European avant-garde.

Among the works on display are absolute icons such as *Gelb-Rot-Blau* (1925) and 

*The Black Arc* (1912)—compositions that demonstrate how a painting can resonate like a melody and speak directly to the soul. A fresh and powerfully intense spotlight is cast on Gabriele Münter, whose work is being exhibited in Italy for the first time; long overshadowed by Kandinsky—her life partner—Münter is now being rediscovered as a pivotal figure of Expressionism, a shift reflected in recent international exhibitions.

Enriched by period accounts, photographs, biographical details, intimate letters, and Arthemisia’s signature immersive and lavish exhibition design, the show offers an up-close look at one of the greatest artists of all time.

Video

Dear America: Artists Explore the American Experience

 National Gallery of Art 

April 11 to September 20, 2026

Drawn primarily from the National Gallery’s leading collection of American art, Dear America brings together works on paper by 95 artists. Among the objects on view are photographs by Ansel Adams, Richard Avedon, Margaret Bourke-White, LaToya Ruby Frazier, Tom Jones (Ho-Chunk Nation), Sally Mann, Timothy H. O’Sullivan, Gordon Parks, Alfred Stieglitz, James Van Der Zee, Carleton E. Watkins, and Carrie Mae Weems; drawings by Thomas Moran, Tonita Peña, Eunice Pinney, and John Wilson; artists’ books by Dindga McCannon and Kara Walker; and prints by Emma Amos, Ruth Asawa, Charles Gaines, Jane Hammond, Roy Lichtenstein, Marisol, Robert Rauschenberg, Ed Ruscha, Fritz Scholder, and Juan Sánchez.

“Artists have long helped us see America not just as a place, but as a living idea shaped by many voices,” said Kaywin Feldman, director of the National Gallery of Art. “Through these remarkable works from the National Gallery’s collection, visitors to the nation’s art museum can witness the power of art to illuminate our shared past, illustrate the experiences of our lives, and inspire our collective future.”

“Showcasing exemplary prints, drawings, and photographs made in the last 250 years, this exhibition is a testament to collaboration across curatorial disciplines as well as the strength of our permanent collection,” said E. Carmen Ramos, the National Gallery’s chief curatorial and conservation officer. “Dear America reveals the wide range of subjects, approaches, and techniques through which America’s artists have sought to interpret their own and others’ experiences.”

About the Exhibition

Comprising works that span the breadth of US history and geography, from the nation’s founding through the present, Dear America seeks to explore how artists have considered the question of what is, has been, and could be the nature of the American experience. The exhibition is organized in three thematic sections: Land, Community, and Freedom, each highlighting artists’ expansive interpretations of American culture and iconography.

The first section, Land, explores our collective understanding of America as a place and as a site of wonder and belonging, survival and memory. Works from the 19th century by Thomas Moran, Frances Flora Bond Palmer, William H. Rau, and Carleton E. Watkins capture the variety of natural geographies across the North American continent and the early stages of the expansion of railways and settlements from east to west. Examples by 20th- and 21st-century artists, such as Bernarda Bryson, Leo Limón, Richard Misrach, and Margaret Bourke-White, address the impact of the growing populace, human-built environments, and major cities that comprise America today. This section shows how artists have drawn inspiration from the grandeur of the country’s mountain ranges and canyons, as well as from roadside gas stations, hydroelectric dams, and skyscrapers.

The second section, Community, begins with four large multipart works that fill an entire gallery. Dear America (2002), composed of 16 photographs by contemporary artist Tom Jones (Ho-Chunk Nation), was the inspiration for the title of the exhibition. In this suite, Jones combined scans of historical postcards with lyrics from the song “My Country, ‘Tis of Thee” to incorporate Native American experiences into narratives of American history. Also featured is a set of life-size figure drawings for John Wilson’s unrealized mural Young Americans (1973–1975). These drawings depict the artist’s teenage children and their friends, who hung out at the Wilson home in the 1970s. Their youthful potential represented a hopeful vision of the future to the artist. Nearby is a group of some 30 portraits from a suite of 101 offset lithographs by Sedrick E. Huckaby that are based on sketches he created while he interviewed people living and working in his community. The largest multipart work in this section is Richard Avedon’s The Family (1976), a series of 69 photographs. Made during the Bicentennial, they depict America’s power elite—politicians, media moguls, financiers, and activists. These works and others by artists such as Charles Milton Bell, LaToya Ruby Frazier, Michael Jang, César A. Martínez, and Cara Romero highlight artists’ portrayals of the many types of communities that have shaped the American experience, from politicians and prominent public servants, to friends and family members, neighborhoods, and religious and cultural gatherings.

The exhibition concludes with the section Freedom, weaving histories of revolution and liberation with deeply personal snapshots of American life. The works included here serve as both witnesses to the moments they portray and catalysts to connect us to our own sense of freedom. This section explores artists’ considerations of the freedoms envisioned by the founders of the United States as well as by later generations who have continually sought to protect fundamental rights enshrined in the Constitution and promote greater freedom for all people. Featured are scenes from the American Revolution and Civil War, including Paul Revere’s famous print depicting the Boston Massacre of 1770, an event that was prompted by escalating tensions between the American colonists and Great Britain. Also on view are historical portraits of figures like Frederick Douglass, Sojourner Truth, and George Washington, all of whom advocated for freedom, while portraits of soldiers by artists such as Maya Freelon and James Van Der Zee remind us of the cost of defending that freedom. Other photographs by Lewis Wickes Hine and Alfred Stieglitz capture the early 20th-century mass movement of people who were fleeing oppression and seeking new opportunities. And Faith Ringgold’s screenprints of events from the civil rights movement that accompany Martin Luther King Jr.’s famous “Letter from Birmingham City Jail” and Robert Indiana’s boldly colored screenprint Liberty ’76 (1974–1975), made for the occasion of the country’s 200th anniversary, document and celebrate the continual pursuit of freedom that is fundamental to our democracy

Exhibition Curators

The exhibition is curated by Angélica Becerra, Andrew W. Mellon Postdoctoral Curatorial Fellow; Sarah Greenough, senior curator and head of the department of photographs (retired); Rena Hoisington, curator and head of Old Master prints; and Shelley Langdale, curator and head of modern prints and drawings, all at the National Gallery of Art.

IMAGES

American 20th Century Untitled (Silhouette of couple watching fireworks), 1930s gelatin silver print image: 9.6 x 6.7 cm (3 3/4 x 2 5/8 in.) sheet: 10.3 x 7 cm (4 1/16 x 2 3/4 in.) National Gallery of Art, Gift of Robert E. Jackson, 2008.134.72

Robert Frank Trolley—New Orleans, 1955 gelatin silver print sheet: 21 x 31.6 cm (8 1/4 x 12 7/16 in.) National Gallery of Art, Gift of Maria and Lee Friedlander, 2001.8.1 © The June Leaf and Robert Frank Foundation

 Roy Lichtenstein I Love Liberty, 1982 color screenprint on Arches 88 paper image: 82.2 x 53.7 cm (32 3/8 x 21 1/8 in.) sheet: 97.5 x 68.8 cm (38 3/8 x 27 1/16 in.) framed: 107.3 x 78.1 x 4.4 cm (42 1/4 x 30 3/4 x 1 3/4 in.) National Gallery of Art, Gift of Roy and Dorothy Lichtenstein, 1996.56.110 © Estate of Roy Lichtenstein/DACS 2025

American 19th Century Portrait of a Civil War Soldier, 1860s ambrotype with applied color overall: 21.5 x 16.5 cm (8 7/16 x 6 1/2 in.) National Gallery of Art, Gift of Mary and Dan Solomon, 2008.135.3

Thomas Hart Benton Departure of the Joads, 1939 lithograph in black on wove paper image: 32.54 x 46.99 cm (12 13/16 x 18 1/2 in.) sheet: 36.99 × 50.8 cm (14 9/16 × 20 in.) National Gallery of Art, Reba and Dave Williams Collection, Florian Carr Fund and Gift of the Print Research Foundation, 2008.115.14

Thomas Moran Tower at Tower Falls, Yellowstone, 1872 watercolor and gouache over graphite on blue laid paper sheet: 36.2 x 26.4 cm (14 1/4 x 10 3/8 in.) National Gallery of Art, Florian Carr Fund, 2012.93.1 Dear America: Artists Explore the American Experience 

Object-ID: 5959-038 Rupert García Decay Dance, 1969 color screenprint on wove paper image: 62.87 x 48.26 cm (24 3/4 x 19 in.) sheet: 66.04 x 50.48 cm (26 x 19 7/8 in.) National Gallery of Art, Corcoran Collection (Museum Purchase, Gift of Richard Rodriguez, 1996), 2015.19.3025 Courtesy of the artist and Rena Bransten Gallery, San Francisco 

Roy Lichtenstein The Oval Office, 1992 color screenprint on Rives wove paper image: 75.41 x 99.7 cm (29 11/16 x 39 1/4 in.) sheet: 90.49 x 115.41 cm (35 5/8 x 45 7/16 in.) National Gallery of Art, Corcoran Collection (Gift of Dorothy Lichtenstein, 2001), 2016.23.17

Tonita Peña (San Ildefonso Pueblo/Cochiti Pueblo) Pueblo Parrot Dance, c. 1935 gouache over graphite on wove paper sheet: 35.56 x 55.88 cm (14 x 22 in.) National Gallery of Art, Corcoran Collection (Gift of Amelia E. White, 1937), 2015.19.392 Photo Restrictions: No cropping is permitted.

Jacob Lawrence The 1920's The Migrants Arrive and Cast Their Ballots,1974 color screenprint on wove paper image: 81.28 x 61.6 cm (32 x 24 1/4 in.) sheet: 87.63 x 66.04 cm (34 1/2 x 26 in.) National Gallery of Art, Corcoran Collection (Gift of Lorillard Tobacco Company, 1975), 2015.19.2591

Fritz Scholder Bicentennial Indian, 1975 color lithograph on wove paper sheet: 56.83 x 75.57 cm (22 3/8 x 29 3/4 in.) National Gallery of Art, Corcoran Collection (Gift of Lorillard Tobacco Company, 1975), 2015.19.2595 © Fritz Scholder Estate & LewAllen Galleries, Santa Fe, NM

 

Clare Romano Grand Canyon, 1977 color collagraph on wove paper sheet: 56.52 x 76.2 cm (22 1/4 x 30 in.) National Gallery of Art, Gift of Bob Stana and Tom Judy, 2016.148.44 Photo Restrictions: Partial reproduction will be identified as a detail and accompanied by the complete image in proximity and/or link to the exhibition page.

Carleton E. Watkins Piwyac, Vernal Fall, 300 feet, Yosemite, 1861 albumen print sheet (trimmed to image): 39.9 x 52.3 cm (15 11/16 x 20 9/16 in.) mount: 53.2 x 68.7 cm (20 15/16 x 27 1/16 in.) mat: 66 x 76.1 cm (26 x 29 15/16 in.) National Gallery of Art, Gift of Mary and David Robinson, 1995.35.23

Ed Ruscha Standard Station, 1966 color screenprint on wove paper image: 49.5 x 93.2 cm (19 1/2 x 36 11/16 in.) sheet: 65.1 x 101.5 cm (25 5/8 x 39 15/16 in.) National Gallery of Art, Reba and Dave Williams Collection, Florian Carr Fund and Gift of the Print Research Foundation, 2008.115.257 © Ed Ruscha

Robert Rauschenberg Earth Day, 1970 color lithograph with chine collé on Special Arjomari wove paper sheet: 133.1 x 95.3 cm (52 3/8 x 37 1/2 in.) National Gallery of Art, Gift of Gemini G.E.L. and the Artist, 1981.5.233

Margaret Bourke-White Fort Peck Dam, Montana, 1936 gelatin silver print image: 32.9 x 27.4 cm (12 15/16 x 10 13/16 in.) mount: 54 x 33.9 cm (21 1/4 x 13 3/8 in.) National Gallery of Art, Patrons' Permanent Fund, 2014.113.1

Thomas Moran Mountain of the Holy Cross, 1890 watercolor and gouache over graphite on blue laid paper sheet: 45.2 x 31.5 cm (17 13/16 x 12 3/8 in.) National Gallery of Art, Avalon Fund, Florian Carr Fund, Barbara and Jack Kay Fund, Gift of Max and Heidi Berry and Veverka Family Foundation Fund, 2012.28.1 Dear America: Artists Explore the American Experience 29

Ansel Adams The Tetons and the Snake River, Grand Teton National Park, Wyoming, 1942, printed 1980 gelatin silver print overall: 48.3 x 39 cm (19 x 15 3/8 in.) National Gallery of Art, Gift of Virginia B. Adams, 1986.3.5 © The Ansel Adams Publishing Rights Trust 

Alfred Stieglitz The Steerage, 1907, printed 1915 photogravure on thin beige slightly textured laid Japanese paper image: 33.3 x 26.6 cm (13 1/8 x 10 1/2 in.) sheet: 40.5 x 28.2 cm (15 15/16 x 11 1/8 in.) mount: 50.7 x 38.7 cm (19 15/16 x 15 1/4 in.) National Gallery of Art, Alfred Stieglitz Collection, 1949.3.293 

Alfred Stieglitz From My Window at An American Place, North, 1931 gelatin silver print sheet (trimmed to image): 24.2 x 19.2 cm (9 1/2 x 7 9/16 in.) mount: 56 x 46.5 cm (22 1/16 x 18 5/16 in.) National Gallery of Art, Alfred Stieglitz Collection, 1949.3.1232

Calder | O’Keeffe

Hauser & Wirth

Opening October 3

Informed by research undertaken with the guidance of the Georgia O’Keeffe Museum, the exhibition reflects Hauser & Wirth’s foundational commitment to cultivating new perspectives on canonical artists, fostering original art historical scholarship, and catalyzing cultural dialogue among artists and the public: the inaugural Palo Alto exhibition ‘Calder | O’Keeffe’ harkens in spirit back to the gallery’s very first public exhibition, ‘Alexander Calder. Mobiles and Gouaches’ / ‘Joan Miró. Sculptures and Paintings,’ presented in Zurich in 1992. ‘Calder | O’Keeffe’ is organized by Hauser & Wirth Curatorial Senior Director Alexis Lowry. The exhibition is Hauser & Wirth’s second major presentation of Calder’s work in California—the critically acclaimed exhibition ‘Calder: Nonspace’ was held at the gallery’s downtown Los Angeles complex in 2018.

Developed in close collaboration with the Calder Foundation, ‘Calder | O’Keeffe’ brings together exceptional works by both artists, complemented by archival materials documenting their decades long friendship. 

Exhibition Details 

While Calder and O’Keeffe are celebrated for different contributions to twentieth-century art, as well as their enduring influence on contemporary artists, the resonances between their artistic practices have remained largely unexplored. Through carefully considered pairings of paintings, sculptures, jewelry and archival materials, ‘Calder | O’Keeffe’ invites visitors to contemplate congruities and contrasts in their respective revolutionary approaches to abstraction, movement and the dynamic forces that shape the natural world. Although Calder and O’Keeffe worked in distinct artistic languages, each sought to give form to the unseen energies shaping our experience of the world around us. O’Keeffe distilled the landscapes and organic elements of the American Southwest into painted compositions of remarkable clarity and intensity, while Calder transformed gravity, air currents and immateriality into four-dimensional compositions. Viewed together, their works suggest a shared, defining preoccupation with expanding the poetics of space. 

Alexander Calder

The Flower

1944

The surviving evidence of Calder and O’Keeffe’s relationship points to a friendship grounded in mutual respect and admiration. Photographs from late in their lives document their friendly familiarity, while postcards from Calder suggest a correspondence maintained over many years. Their connection is further embodied in a small number of deeply personal objects. 

In the late 1930s, Calder created a brass brooch for O’Keeffe formed from the initials of her surname. O’Keeffe wore the pin vertically, so that its K hung from the O, as if an abstract, organic shape rather than a readable monogram. The pin’s rounded lines echo the forms in O’Keeffe’s own work as well as the defining dynamism of Calder’s. 

Pelvis with the Moon – New Mexico, 1943

1943

In the early 1940s, O’Keeffe also acquired a lyrical black Calder mobile that became a treasured presence in her Abiquiu, New Mexico home. ‘Untitled’ (1942) was a key component of O’Keeffe’s carefully cultivated domestic environment and appears in many photographs of the artist, including a now famous portrait by photographer Dan Budnick. 

O’Keeffe once remarked that she recognized her own ‘pelvis bone holes’ in Calder’s forms—a striking moment of artistic recognition that speaks to the unexpected links between their practices. 

By offering a fresh perspective on Calder and O’Keeffe’s little-known friendship, this exhibition takes its place alongside a series of presentations organized by Hauser & Wirth over the past 35 years, aimed at revealing new and previously unexplored pathways in the language of modernism and modern cult

Modern Paris: A Century Begins Updated w/More Images

  

McNay Art Museum 

Oct. 30, 2026-Jan. 24, 2027

Amedeo Modigliani, "Girl with Blue Eyes" (detail), 1918. Oil on canvas. Collection of the McNay Art Museum, Bequest of Marion Koogler McNay, 1950.99

When artists from around the world flocked to Paris in the 1900s, they fostered imaginative innovation that shifted the trajectory of visual art. The McNay Art Museum celebrates the creativity that blossomed from their collaboration in “Modern Paris: A Century Begins,” on view Oct. 30, 2026-Jan. 24, 2027. 

 Vincent van Gogh, “Women Crossing the Fields,” 1890. Oil on paper. Collection of the McNay Art Museum, Bequest of Marion Koogler McNay, 1950.49

The exhibition of more than 50 paintings, prints and sculptures draws exclusively from the McNay Art Museum’s permanent collection and showcases a range of artists, including Georges Braque, Marc Chagall, Henri Matisse, Amedeo Modigliani, Berthe Morisot, Pablo Picasso, Chaïm Soutine and Vincent van Gogh.

The exhibition highlights Marion Koogler McNay as the Museum’s founding collector and opens with

 

Alfred Sisley,The Route from Saint-Germain to Marly, 1872. Oil on canvas. Collection of the McNay ArtMuseum, Gift of Dr. and Mrs. Frederic G. Oppenheimer, 1955.2

Alfred Sisley’s “The Route from Saint-Germain to Marly” (1872). Sisley’s painting depicts the quiet villages on the outskirts of Paris and was displayed in the first Impressionist exhibition in 1874. The evolution that followed is evident in works by Paul Cézanne, Henri de Toulouse-Lautrec, Paul Gauguin and Pierre-Auguste Renoir.

“Marion Koogler McNay’s collecting of French modernist works was visionary for South Texas in the 1930s and 1940s. She built this collection with real discernment at a time when many of these artists were not yet the canonical figures they later became,” said Matthew McLendon, Ph.D., director and CEO of the McNay Art Museum and curator of “Modern Paris.” “Much of these holdings have been distributed across the permanent collection galleries in thematic hangs or off view. Bringing key works together in this way illustrates how the McNay’s collection can highlight this important moment in western art history.”

The exhibition invites visitors to explore the rise of Fauvism and Cubism featuring a host of works that challenge what those artists perceived as Impressionism’s limitations in form and boldness.

Picasso upends the history of image making with 

“Guitar and Wine Glass” (1912). The collage features wallpaper, a newspaper clipping, sheet music, a wine glass drawing and paper that mimics the shape and woodgrain of a guitar. The McNay’s Tobin Collection of Theatre Arts includes 

Matisse’s “Robe for the Emperor” costume for the ballet “Le Chant du Rossignol” and Picasso’s maquette for “Le Tricorne.” Both objects in the exhibition emphasize collaborations between visual artists and performing artists.

The exhibition also showcases the McNay’s holdings of prints that cemented Paris as the capital of innovative printmaking in the early 20th century. During that time, dealers and publishers such as Ambroise Vollard produced limited edition prints for major artists, including Braque, Picasso and Georges Rouault. Etchings from “Poésies de Stéphane Mallarmé” invite visitors to examine artwork from Matisse’s first livre d’artiste (artist’s book). Published by Albert Skira in 1932, the book is widely regarded as one of the finest examples of the format, in which artist and poet collaborate as genuine equals.

“Modern Paris” ends with a selection of works by artists collectively referred to as “The School of Paris.” These artists who weren’t native to Paris converged on Montparnasse because of the region’s relative tolerance for difference. Among the works on view is 

Amedeo Modigliani’s “Girl with Blue Eyes” (1918), a standout work in the McNay’s collection that conveys the powerful innovation associated with Modigliani’s painting as well as the feelings of intimacy he was able to produce between subject and viewer.

“The innovations taking place in Paris, that resonated quickly across Europe and beyond in the first decades of the 20th century are why I became an art historian. I think it is one of the most thrilling moments in art history. Marion Koogler McNay clearly felt the same way based on her collecting for the first modern art museum in Texas,” explained McLendon. “‘Modern Paris’ offers visitors a more specific sense of this moment and of one of the strengths of the McNay Art Museum’s collection that was built by a woman and continues to grow following her bold example.”

“Modern Paris: A Century Begins” is organized by the McNay Art Museum and curated by Matthew McLendon, Ph.D., director and CEO of the McNay Art Museum.

Paul Cézanne,Houses on the Hill, 1900-06. Oil on canvas. Collection of the McNay Art Museum, Bequestof Marion Koogler McNay, 1950.23

Paul Gaguin,Sister of Charity, 1902. Oil on canvas. Collection of the McNay Art Museum, Bequest ofMarion Koogler McNay, 1950.47

Vincent van Gogh,Women Crossing the Fields, 1890. Oil on paper. Collection of the McNay Art Museum,Bequest of Marion Koogler McNay, 1950.49

Marion Koogler McNay,Pepita and the Little Pig, ca. 1926-1932. Watercolor on paper. Collection of theMcNay Art Museum, Bequest of Marion Koogler McNay, 1950.355

Henri de Toulouse-Lautrec,Le Divan Japonais, 1893. Lithograph.Collection of the McNay Art Museum,Museum purchase, 1967.6