Five Centuries of European Art and other exhibits

A Grand Legacy: Five Centuries of European Art at The Baltimore Museum of Art features the monumental Rinaldo and Armida, one of the world's finest paintings by Sir Anthony van Dyck, as well as masterpieces by Frans Hals, Rembrandt van Rijn, and Jean Baptiste Siméon Chardin.

Gaia (Site-specific installation)

For this unique indoor project, Baltimore-based street artist Gaia created portraits of individuals living in the BMA’s neighboring Remington community, inspired by the Museum’s iconic painting Vahine no te vi (Woman of the Mango) by Paul Gauguin. Working from Baltimore and San Francisco to Amsterdam and Seoul, Gaia's distinctive hand-drawn images have explored immigration and segregation, the need to foster green spaces, and the economics and politics of urban development. 

Gaia recently received a BFA in Interdisciplinary Sculpture from Maryland Institute College of Art and curated Open Walls Baltimore, where acclaimed street artists from around the world mounted an outdoor exhibition of extraordinary murals throughout the Station North community in Baltimore.

Sarah Oppenheimer - Architectural intervention

The BMA is the first major museum to commission and acquire a site-specific installation by award-winning artist Sarah Oppenheimer. For the dramatic two-part work, the artist opens sightlines between the 2nd and 3rd floors of the Contemporary Wing and through the wall between the contemporary and Cone collections, inserting meticulously crafted aluminum and reflective glass.

Matisse's Dancers

This elaborate exhibition of more than 30 dance-themed prints, drawings, and sculptures by the great French artist Henri Matisse spans three decades of the artist’s career—from sculptures created in 1909-11 to delicate drawings of dancers sketched in 1949

The centerpiece is a rarely shown series of 11 transfer lithographs of a dancer/acrobat moving through various positions that evolve into an abstraction of reality, movement, and shape. These prints, drawn as lithographs in 1931-32, but published after Matisse’s death, are among the most eloquent examples of the artist’s way of seeing. It also includes an earlier series of prints of dancers by Matisse from 1926-27, two of his later series of drawings from 1949, and two sculptures by artists who were equally fascinated with dancers, Auguste Rodin and Edgar Degas.