In celebration of the publication Impressionism and Post-Impressionism at the Dallas Museum of Art, Richard R. Brettell and Dorothy Kosinski discuss two works aquired during their tenure at the DMA. Dr. Maxwell L. Anderson, the Eugene McDermott Director, and Olivier Meslay, the Barbara Thomas Lemmon Curator of European Art, then join them for a conversation about the process of building the DMA’s collection of European art from the 1980s to the present and prospects for the future growth of the collection.
Impressionist painter Camille Pissarro worked at once at an atomic and a planetary level. His use of small points or dots of color suggests an understanding of the world as being made of small, particular elements that collide and interact without system or plan, while his compositions often suggest that the earth must be understood as an ecological and social totality. Dr.
Dr. André Dombrowski, Assistant Professor of Art History at the University of Pennsylvania and author of Cézanne, Murder, and Modern Life, considers Cézanne's Provençal landscapes, especially the Dallas Museum of Art's ownAbandoned House near Aix-ex-Provence, in relation to the architectural metaphors embedded in the painter's practice.
Dr. Jill Lloyd, author and curator, discusses Ernst Ludwig Kirchner’s Four Wooden Sculptures as an excellent example of how he evolved a unique and highly original type of animated still-life painting in the years leading up to the First World War.
Lise Tréhot was Pierre-Auguste Renoir’s companion between 1866 and 1872 and one of his favorite models during that time. Distinguished art historian John House explores Renoir’s paintings of Lise, including two important works in the DMA’s Wendy and Emery Reves Collection, and the varied guises in which he represented her.
In 1880 sculptor Auguste Rodin was asked to create a monumental decorative portal, The Gates of Hell. Antoinette Le Normand-Romain, former curator of the Musée Rodin in Paris, discusses three important sculptures by Rodin in the DMA’s Wendy and Emery Reves Collection that are products of this creative process.
Dr. Belinda Thomson, independent art historian and Honorary Fellow at the University of Edinburgh, considers the works by Edouard Vuillard in the Dallas Museum of Art's collections and examines to what extent the effectiveness of these works depends upon Vuillard's relationship with each subject.
Claude Monet’s iconic painting The Seine at Lavacourt was completed in 1880 and shown at the Salon, the regressive, state-sponsored exhibition that had prompted the impressionists to found their own independent exhibitions beginning in 1874. Dr. Paul Hayes Tucker, the Paul Hayes Tucker Distinguished Professor of Art, University of Massachusetts, Bostonwill consider this stunning painting and whether it was, in fact, Monet’s “turncoat” picture—a retreat to more traditional painting strategies.
Manet's friendship with Isabelle Lemonnier, the model for the bold portrait at the Dallas Museum of Art, led to an extraordinary series of formal and informal portraits of her in the latter phase of his career. Dr. Nancy Locke, Associate Professor of Art History, Penn State University, will highlight the role of portraiture in Manet’s modern-life project and will offer fresh insights into the panache of the Museum’s remarkable portrait of Isabelle Lemonnier.
Dr. Richard Kendall discusses the work of Degas, known as “painter of dancers,” and investigates the creativity and artistic innovation he employed in the creation of over a thousand images of ballet dancers, in their studios and on stage, throughtout his career.
October 22, 2009
The Dallas Museum of Art is supported in part by the generosity of DMA Partners and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.