Yokohama-e: 19th-Century Prints of Americans in Japan
August 9–October 25, 2008
Gallery 107

Featuring works from the rarely seen Yokohama-e (Pictures of Yokohama) collection of Emily Crane Chadbourne given to the museum in 1926, this exhibition of 30 prints includes portraits of Commodore Perry and his ships, pictures of Americans at the port of Yokohama, and fanciful depictions of American cities that emerged from the imaginations of Japanese artists.

Deft Hands, Discerning Eyes: Chinese and Korean Ceramics from the Harry B. and Bessie K. Braude Memorial Collection
September 18–November 9
Gallery 106

This exhibition features a magnificent selection of Chinese and Korean ceramics collected by Dorothy Braude Edinburg over the past 50 years, including vessels made primarily for burial during China’s Tang dynasty, refined wares from the Song dynasty, and Korean celadons.

Henri Cartier-Bresson and the Art and Photography of Paris
September 20, 2008–January 4, 2009
Gallery 1

To celebrate the centenary of the birth of Henri Cartier-Bresson, the Art Institute is assembling an exhibition that features the artist's photographs and works by his contemporaries in Paris on the 1920s and 1930s.

Drawn to Drawings: The Goldman Collection
October 18–January 18

This distinctive assembly of intimate studies from the renowned Jean and Steven Goldman collection features working drawings, preparatory sketches, and finished compositions by Italian artists from the Renaissance and Baroque periods.

The Divine Art: Four Centuries of European Tapestries
November 1, 2008–January 4, 2009
Regenstein Hall

For the first time in the history of the Art Institute, a major portion of its unparalleled tapestry collection will be featured in a spectacular presentation in Regenstein Hall. The exhibition will feature masterpieces from the 15th through the 18th century that will cover entire walls of gallery space. Subject to an extensive conservation process in Belgium, the tapestries were examined by scholars who made extraordinary discoveries about the collection. These findings are detailed in a fully illustrated catalogue that will accompany the exhibition. This presentation will show these works of art at their best—dazzling the eye beyond expectation.

Impressionist Collection Returns to New Galleries
Opening December 19
Galleries 201, 230, and 240–249

After a nearly six-month absence, 92 works from the museum's world-renowned Impressionist and Post-Impressionist collection will return to the Art Institute this December. The paintings will be reinstalled in beautifully refurbished galleries, completing the renovation of the upper floor of the Allerton Building. Join us for the much-anticipated homecoming of these museum treasures on December 19—another reason to celebrate the holiday season.

Becoming Edvard Munch: Influence, Anxiety, and Myth
February 14–May 10, 2009
Regenstein Hall

Two potent myths have historically defined the work of the artist Edvard Munch: that he was mentally unstable, as his canonical work The Scream suggests, and that he was influenced by the contemporary art of France and Germany to the exclusion of his native Norway. This upcoming exhibition aims to challenge and overturn these entrenched myths by presenting Munch's paintings, prints, and drawings in relation to those of his European contemporaries.

_{Oil Bottle with Flowering Lotus Stems, Koryo dynasty (918–1392), 12th century. Korea. Dorothy Braude Edinburg Collection.
Edvard Munch. The Scream, 1895. Clarence Buckingham Collection.}