"Italian Futurism" Is Coming to the Guggenheim 2013 Artists Rights Society (ARS), New York/Siae, Rome Giacomo Balla's "Automobile in corsa" (1913), to be auctioned at Sotheby's on Nov. 6. The future is on its way at the Guggenheim and at Sotheby's. Following the exhibition "Inventing Abstraction, 1910-1925," the Museum of Modern Art's panoramic exploration of art, music and literature, comes "Italian Futurism, 1909-1944: Reconstructing the Universe," at the Guggenheim Museum in New York. Opening on Feb. 21, 2014, the show will focus on one of Europe's most important 20th-century movements. "It's time to re-evaluate and broaden our notion of what avant-garde means," said Vivien Greene, the Guggenheim's curator of 19th- and early-20th-century art, who has organized "Italian Futurism." Four years in the making, the show will include about 375 works, a majority of them lent by European museums and private collections, and will take over nearly the entire museum. In addition to paintings and drawings, there will be literature, photography, design, music and performance from the period. Ms. Greene said it will be the first exhibition of its kind in the United States that "takes this multidisciplinary view of futurism through all three decades of its lifetime." Sotheby's is also capitalizing on the intense interest in early Modernism by offering a prized collection of artworks from this period at its important Impressionist and Modern art auction on Nov. 6 in New York. An unidentified European family living in Switzerland is selling a group of avant-garde paintings and works on paper. Alain Tarica, the dealer in Geneva known for having helped Yves St. Laurent put together his renowned collection, was an art adviser to the family. Experts at Sotheby's estimate that the 14 works will bring a total of $65.4 million to $92.6 million. Included in the group are works by Gris, Miró and Picabia. But the undisputed star is "Automobile in corsa," from 1913, by the Italian painter Giacomo Balla. A prime example of Balla's Futurist work, the abstract painting is made up of white, gray and black swirls, composed to give the viewer the impression of a speeding car. Estimated to sell for $12 million to $18 million, it has been included in major exhibitions throughout Europe. "Futurism is one of those "isms" where great things rarely come on the market," said Simon Shaw, who runs Sotheby's Impressionist and Modern art department in New York. It was a short movement, and the majority of the best examples are either in Italian private collections or museums. A lot is going on at the Morgan Library & Museum. Officials there want to talk about some of it, but not all. For starters, Linda Wolk Simon, a curator and specialist in Italian Renaissance art who had left the Metropolitan Museum in 2011 to lead the Morgan's department of drawings and prints, has departed. William M. Griswold, its director, confirmed that she is no longer working at the Morgan but declined to comment further. Ms. Wolk Simon said she is now an independent curator. The calendar at the Morgan has changed, too. The museum has canceled its show of the London collector Howard Karshan's Modern and contemporary drawings, scheduled for the end of the month. "We haven't set a new date yet, but it was clear we weren't going to get it together in time," Mr. Griswold said. That gap necessitated some juggling. The museum has extended "Illuminating Faith: The Eucharist in Medieval Life and Art" through Sunday. (It was to have closed on Sept. It has also moved "Edgar Allan Poe: Terror of the Soul," which opens on Oct. 4, to a larger gallery. The biggest surprise of all, however, is that Mr. Griswold himself is organizing a show of more than 100 drawings of 18th-century Venice, drawn from the Morgan's permanent collection. The exhibition, "Tiepolo, Guardi and Their World: Eighteenth-Century Venetian Drawings," on view from Sept. 27 through Jan. 5, will include about 30 of the museum's vast collection of Tiepolo drawings (its holdings number more than 200), including a monumental early drawing of Hercules and dozens of studies in pen and wash for Tiepolo's famed frescoed ceilings. Images of Venice are a guaranteed crowd-pleaser. So is practically anything by Leonardo da Vinci, the subject of another show coming up at the Morgan. "Leonardo da Vinci: Treasures From the Biblioteca Reale, Turin" will be on view from Oct. 25 through Feb. 2. The Biblioteca Reale, known for its outstanding collection of Italian Renaissance drawings, has lent works to other American museums over the years, including the Birmingham Museum of Art and the de Young, part of the Fine Arts Museums of San Francisco. This show will feature two works that have not yet been shown in New York. The first is Leonardo's "Codex on the Flight of the Birds," one of his most celebrated notebooks, which explores art, science and nature. There are architectural sketches and designs for machines, as well as 36 pages devoted to detailed observations of birds in flight. The second is Leonardo's "Head of a Young Woman," a study for one his most famous paintings, "The Virgin of the Rocks." In an effort to foster closer ties between museum curators and academia, the Museum of Modern Art has created a partnership with graduate art history programs at several universities. With financing from the Mellon Foundation, Leah Dickerman, a curator in MoMA's department of painting and sculpture, has created what she is calling a Museum Research Consortium, which will host a series of study sessions twice a year that will focus on important works in the museum's collection. The program will also include fellowships for graduate students, who will work on curatorial projects. An earlier version of this article misspelled the surname of the art dealer in Geneva known for having helped Yves St. Laurent put together his renowned collection. He is Alain Tarica, not Tarcia.