Morgan Library Showcases Renaissance Tarot As Art, Not Fortune Telling

(MENAFN- USA Art News) An exhibition at the Morgan Library and Museum in New York argues for the art-historical significance of tarot cards, moving beyond their modern association with fortune-telling. Titled“Tarot! Renaissance Symbols, Modern Visions,” the show is on view through October 4.

The exhibition features the 15th-century Visconti-Sforza deck, which is the most complete tarot deck preserved from that era. Financial titan J.P. Morgan, who harbored a strong interest in mysticism and astrology, acquired 35 cards from this deck in 1911. These cards are now displayed alongside approximately two dozen more from the Accademia Carrara in Bergamo, Italy. This marks the first time this combined selection has been exhibited together in North America.

Director of the Conservation Center Frank Trujillo emphasized the artistic merit of the objects. In a video call, he stated,“These are not objects that should be marginalized. They deserve to be front and center... Tarot is very famous, but the cards themselves really need to get the attention that they serve as spectacular works of art.”

Overlooked History

Originally known as Triumphs, or trionfi, the card images were profoundly shaped by Petrarch's 14th-century allegorical poems of the same name. Unlike dice, which were considered undignified, this game was a suitable pastime for royal courts, viewed as a test of intellect and skill rather than pure chance.

The adoption of tarot as a divinatory tool centuries after its creation has often overshadowed its historical and artistic value. To address this oversight in the art-historical canon, the Morgan's exhibition is structured into two complementary sections. The first,“Renaissance Symbols,” focuses exclusively on the Renaissance period, when these cards first appeared. This section was co-curated by Trujillo and Joshua O'Driscoll, the Morgan's department head of medieval and Renaissance manuscripts.

O'Driscoll explained that the cards“were created by the leading artists of the period, commissioned by the highest-level patrons.” Unlike today's mass-produced playing cards, Renaissance cards were individually crafted. The Visconti-Sforza deck is attributed to the workshop of Bonifacio Bembo. O'Driscoll noted that the concept of medium specificity was different in the Renaissance, with artists like Bembo creating diverse items for their patrons, including wedding decorations, chess sets, and room decor. Renaissance artists were adept problem-solvers, integrating artistic traditions with new techniques.

The“Renaissance Symbols” section highlights that tarot cards were an integral part of Italian Renaissance visual culture, alongside panel paintings, illuminated manuscripts, and sculpture.

Artistic Interpretation and Modern Visions

Before the advent of modern mass production, artisans employed sophisticated techniques and luxurious materials, such as gold leaf and specially pigmented glazes, to create these cards. They also developed early forms of what is now known as cardstock. The intricate details of the cards exemplify Renaissance ingenuity, combining various creative processes.

Early tarot decks in“Renaissance Symbols” demonstrate diverse approaches in both materials and composition. Trujillo remarked,“The novelty aspect is important to underscore because we tend to think of old art as being stale and monotonous, and that's very much not the case in this period. They are strikingly modern, cutting edge, and that's important.”

Initially, the exhibition was planned to focus solely on the Renaissance. However, during preparations, Claire Gilman joined the museum to lead its modern and contemporary drawings department. Unaware of the ongoing tarot exhibition development, Gilman proposed a show on contemporary engagements with tarot, also inspired by the Visconti-Sforza deck. This led to the creation of the second part of the exhibition,“Modern Visions,” curated by Gilman and curatorial assistant Esther Levy. This section explores how Renaissance deck makers influenced subsequent generations.

Artists like Pamela Colman Smith, who created the iconic Rider-Waite-Smith tarot deck in the early 20th century under the influence of the Golden Dawn secret society, and Surrealists such as Remedios Varo and Leonora Carrington, utilized tarot imagery. For the current exhibition, Gilman commissioned Chris Ofili to create a new deck, drawing inspiration from the tradition of Trinidadian Carnival.

The Morgan's exhibition demonstrates that the tarot deck and its imagery remain a fertile area for artistic exploration.

Source: Artnet News

MENAFN27082026005694012507ID1111590451