Notations/Revolutions of the Real: Painting the Figure, 1960s to Now
Gallery 176, first floor
View paintings by Chuck Close, Alice Neel, Alex Katz, Sidney Goodman, and other contemporary artists, and compare their varied approaches to depicting the human figure in everyday life, from painterly and intimate works to photographic or panoramic visions.
Zoodram 5 (Recollection)
Gallery 179, first floor
This installation is temporarily closed for maintenance. We apologize for any inconvenience. Experience a live aquatic dreamscape staged by contemporary artist Pierre Huyghe. Contemplate the distinction between nature and museum while pondering the presence of a giant red hermit crab (which inhabits a life-size replica of Constantin Brancusi’s sculpture Sleeping Muse) and several arrow crabs within an aquarium in the galleries.
Silver and Gold Fashions Since 1960
Costume and Textiles Study Gallery
In the mood for a bit of razzle-dazzle? Then come explore this presentation of glamorous and glittering dresses and accessories that utilize metallics in fashion-forward ways. See how designers Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Geoffrey Beene, Paco Rabanne, Rudi Gernreich, and others have used sparkling fabrics, embroidery, sequins, beads, and linked rings to put a twinkle in your eye.
Rohrer—Walton—Andrade: On Paper
Korman Galleries 121–123, first floor
Take a closer look at works by Warren Rohrer, Bill Walton, and Edna Andrade, each of whom spent more than three decades as artists and teachers in Philadelphia. See groups of drawings recently acquired by the Museum—many exhibited here for the first time—and explore the importance of their roles as draftsmen.
Forms of Elegance: Chinese Ceramics from the Ninth to Fourteenth Centuries
Gallery 235, second floor
Examine Chinese ceramics from a period considered by many to be the highest achievement in the art form. Magnificent wares created by Song dynasty (960–1279) potters would later inspire others—from eighteenth-century Chinese emperors to twentieth-century Western artists—to appreciate, collect, and emulate them. Also presented in this gallery are large-scale, abstract photographs by Eric Zetterquist highlighting these elegant and dynamic forms.
On the Leading Edge: Decorative Arts in Philadelphia, 1720–1880
Gallery 286, second floor
Silver, porcelain, furniture, and other objects in this gallery illustrate the originality and innovation of Philadelphia’s decorative arts during the city’s first two hundred years of settlement. Vibrant trade and a growing population encouraged the flow of new ideas and inspired artists to create designs unique to Philadelphia, which by 1772 was the second largest city in the British Empire after London.
American Impressionism and Realism in Pennsylvania
Gallery 49, first floor
In the 1880s and 1890s a group of painters at the Pennsylvania Academy of the Fine Arts embraced an art based on modern American life, both urban and rural. Inspired by the light, color, and contemporary subject matter of the French Impressionists and the dark realism of Dutch and Spanish Old Masters, they developed an approach based on painting from life, often “en plein air” (in the open air).
The Peacock and the Cobra: James Prosek among the Arts of South Asia
Gallery 227, second floor
Explore a portfolio by contemporary artist and naturalist James Prosek amid a variety of painted pages and other objects from India and Pakistan. Presented as an oversize, colonial-era matchbox, The Peacock and the Cobra portfolio invokes ideas and images from the subcontinent while playfully inverting the documentary tradition of natural history painting.
The Path and the Fruit: Tibetan Buddhist Art of the Sakya Lineage
Gallery 232, second floor
Discover paintings and sculpture created for the Sakya lineage, one of the four main traditions of Tibetan Buddhism. Founded more than a thousand years ago in southern Tibet, the Sakya lineage held tremendous political power in the region during the thirteenth century. The Lamdre (literally “the path and the fruit”) is the principal teaching of this lineage.
Guardians Galore: Protecting the East
Galleries 241-243, second floor
Grotesque creatures, ferocious lions and tigers, and warriors with divine powers are brought together in a diverse grouping of guardian figures from China, Japan, Korea, and Burma. Discover imposing religious imagery enlivened with characters from folk art traditions, and explore the exchange of artistic styles between the sacred and seemingly mundane.
Painting and Reading in the Dutch Golden Age
Gallery 273, second floor
The John G. Johnson Collection includes significant holdings of art from the Dutch Golden Age, including numerous paintings that depict books and reading. These paintings illuminate connections between the visual and verbal arts.
Joan Miró and Arshile Gorky: In Dialogue
Gallery 48, ground floor
Explore paintings by Joan Miró (Spanish, 1893–1983) and Armenian-born Arshile Gorky (c. 1902–1948), two artists who developed their signature styles following the same guiding lights—Paul Cézanne and Pablo Picasso. Created in the 1920s through the 1940s, the works in this focused installation demonstrate the artists’ parallel transitions from a firm footing in reality toward a new world of evocative abstraction.
From Money to Marriage: Miser’s Purses from the Museum’s Collection
Gallery 271, second floor
Miser’s purses were ubiquitous accessories used to store coins and other small objects of value in the nineteenth and early twentieth centuries. This new installation shows more than two dozen examples from the Museum’s collection, alongside period illustrations and English artist James Collinson’s painting For Sale, from about 1855–60, which features a young woman holding a miser’s purse.
Objects of Desire
Gallery 268, second floor
Objects of Desire is a series of gallery installations that proposes to create alternative narratives within the Museum’s collection. This first installment, against the backdrop of Hôtel Le Tellier’s salon, takes its cue from Elaine Cameron-Weir’s sculpture Blue Black (2011), which is inspired by a Charles Baudelaire poem titled La Chevelure (Of Her Hair) of 1859.