The Morgan Library & Museum, New York, is home to one of the most important collections of historic book art and drawings in the USA. Since renovation and the re-opening of the extension designed by Renzo Piano in Spring of 2006, the institution - created 80 years ago to house the collection belonging to art patron John Pierpont Morgan has played a prominent role in New York's museum world. The Staatliche Graphische Sammlung Munich will be hosting a display of 1 00 masterpieces from five centuries in its exhibition rooms at the Pinakothek der Moderne. This will be the first time that The Morgan Library & Museum presents its collection of drawings of world renown in Germany. Exhibition and catalog are sponsored by Ernst von Siemens Kunststiftung and Deutsche Bank Stiftung.

""Rick Barton should have been a San Francisco legend," wrote author and artist Etel Adnan in a 1998 essay. Barton (American, 1928-1992) was born and raised in New York and settled in the Bay Area in the 1950s. Working primarily in pen or brush and ink, in a kaleidoscopic linear style, Barton ceaselessly recorded the world around him. His intricate sheets capture the intimate interiors and social spaces, lovers and friends, and architectural and botanical subjects that fascinated him. Bringing together more than sixty drawings, two accordion-folded sketchbooks, and printed books and portfolios, this catalogue presents the work of a significant and, until now, unheralded figure of the Beat era. Complementing the images are a deeply researched essay by Rachel Federman, curator of the accompanying exhibition at the Morgan Library & Museum, and an excerpt of Adnan's essay, the first and previously the only published account of Barton"--

This exhibition is a once-in-a-lifetime opportunity to see around 100 exceptional drawings created using the exquisite metalpoint technique. It features works by some of the greatest artists working from the late 14th century to the present including Rogier van der Weyden, Petrus Christus, Leonardo da Vinci, Raphael, Albrecht Dürer, Hans Holbein the Elder, Lucas van Leyden, Rembrandt, Edward Burne-Jones, William Holman Hunt, Otto Dix, Jasper Johns and Bruce Nauman. Works drawn from the British Museum's superb collection of metalpoint drawings sit alongside major loans from European and American museums as well as private collections, including four sheets by Leonardo da Vinci from the Royal Collection.--British Museum website.

"The story of literature in sixteen acts, from Alexander the Great and the Iliad to ebooks and Harry Potter, this engaging book brings together remarkable people and surprising events to show how writing shaped cultures, religions, and the history of the world"--

This lavishly illustrated book considers Romanticism as a truly international phenomenon by bringing together for the first time nearly two hundred British, French, German, Danish, and Dutch drawings from the outstanding collection of Charles Ryskamp. Taking its cue from David Wilkie's appeal in 1824 "to show that the arts are cosmopolitan and that all national prejudice is foreign to them," the book demonstrates the diversity inherent in the phenomenon called Romanticism; it also highlights the common concerns and approaches shared by British and Continental artists. Alongside important British works by artists such as J.M.W. Turner, Cornelius Varley, William Blake, and Henry Fuseli, the book also includes drawings by key Continental artists including Caspar David Friedrich, Camille Corot, Eugène Delacroix, and Edgar Degas, and works by Danish Golden Age artists, including C. W. Eckersberg, Christen Købke, and Johan Thomas Lundbye. Truly comprehensive in scope, the book helps to explore the varieties of Romantic experience and the place of British art in a Continental milieu. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (2/4/10 - 4/25/10)

This book gives an excellent overview of Flemish art from the Hermitage in St Petersburg. A large proportion was acquired in the eighteenth century by Catherine the Great, from superb collections such as those of Crozat and Brühl, which she bought up in their entirety. Many of these paintings originally hung in churches and monasteries in Antwerp and other European cities. Most attention focuses on the 'big three': Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens. Rubens was the most important, the most talented, and the most influential seventeenth-century Flemish painter. He was also a phenomenon in his day, a true homo universalis. The portraits produced by Van Dyck for the court of King Charles I of England also share the limelight, along with impressive history paintings by Jordaens, exuding the vibrant atmosphere in which he excelled. Exhibition: De Nieuwe Kerk - Hermitage, Amsterdam, 17.9.2011 to 16.3.2012.

Anyone who has admired Gainsborough's Blue Boy of the Huntington Collection in California, or Rembrandt's Aristotle Contemplating the Bust of Homer at the Metropolitan Museum of Art in New York owes much of his or her pleasure to art dealer Joseph Duveen (1869–1939). Regarded as the most influential—or, in some circles, notorious—dealer of the twentieth century, Duveen established himself selling the European masterpieces of Titian, Botticelli, Giotto, and Vermeer to newly and lavishly wealthy American businessmen—J. P. Morgan, John D. Rockefeller, and Andrew Mellon, to name just a few. It is no exaggeration to say that Duveen was the driving force behind every important private art collection in the United States. The first major biography of Duveen in more than fifty years and the first to make use of his enormous archive—only recently opened to the public—Meryle Secrest's Duveen traces the rapid ascent of the tirelessly enterprising dealer, from his humble beginnings running his father's business to knighthood and eventually apeerage. The eldest of eight sons of Jewish-Dutch immigrants, Duveen inherited an uncanny ability to spot a hidden treasure from his father, proprietor of a prosperous antiques business. After his father's death, Duveen moved the company into the riskier but lucrative market of paintings and quickly became one of the world's leading art dealers. The key to Duveen's success was his simple observation that while Europe had the art, America had the money; Duveen made his fortune by buying art from declining European aristocrats and selling them to the "squillionaires" in the United States. "By far the best account of Joseph Duveen's life in a biography that is rich in detail, scrupulously researched, and sympathetically written. [Secrest's] inquiries into early-twentieth-century collecting whet our appetite for a more general history of the art market in the first half of the twentieth century."—John Brewer, New York Review of Books