Dr. Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture, explores Vincent van Gogh's Sheaves of Wheat. The wheat harvest was frequently depicted by van Gogh over the course of his brief but prolific career. Yet beyond its symbolic association with cycles of nature and human life, Sheaves of Wheat belongs to a mysterious group of thirteen canvases united by their unusual rectangular format. In this talk, curator Dr. Nicole R.
Art historian Dr. Nancy Troy examines how Dutch painter Piet Mondrian's signature style of abstract art was made newly visible to broader and more diverse audiences than ever before after it was appropriated by couturier Yves Saint Laurent as the basis for his Mondrian Look of 1965. Troy asks how the posthumous exhibition, circulation, publication, and appropriation of Mondrian's paintings allowed them to take on new meanings - both for Pop artists such as Roy Lichtenstein and Tom Wesselmann and for popular audiences - more than twenty years after the artist's death in New York in 1944.
Dr. George T. M. Shackelford, Deputy Director of the Kimbell Art Museum and co-curator of the exhibition Gustave Caillebotte: The Painter's Eye, discusses the critical issues raised by Caillebotte's innovative paintings - those issues that make understanding him and looking closely at his work essential to the appreciation of Impressionism. Drawing from this recent retrospective of the artist's work and the DMA's own Yellow Roses in a Vase, Shackelford addresses Caillebotte's impact on the Impressionist movement and his legacy in the history of art.
In conjunction with the DMA's exhibition Impressionist Paintings from the Reves Collection, join Dr. Anthea Callen, an internationally renowned specialist on the history of artists' materials and techniques, for a lecture on the origins, novelty, and meanings of the impressionist painters' methods. She will discuss the plein air oil painting techniques of landscapists and their impact on figure painting, studio practice, and display.
In celebration of the publication Impressionism and Post-Impressionism at the Dallas Museum of Art, Richard R. Brettell and Dorothy Kosinski discuss two works acquired 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.
The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.