This program is co-presented by the Dallas Museum of Art and the Edith O’Donnell Institute of Art History at the University of Texas at Dallas.
In conjunction with the DMA’s current exhibition The Impressionist Revolution from Monet to Matisse, this panel will explore the future of Impressionist studies: What is trending in the field today? What topics or perspectives remain unexplored? What avenues of research are most promising for new discoveries?
Panelists:
Nicole R. Myers, Ph.D., the DMA’s Chief Curatorial and Research Officer and The Barbara Thomas Lemmon Senior Curator of European Art
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In addition to moderating the panel, Dr. Myers will discuss new research avenues on Impressionist paintings through a conservation lens, touching on her ongoing work at the DMA and her exhibitions Berthe Morisot, Woman Impressionist and Van Gogh and the Olive Groves.
André Dombrowski, Ph.D., Frances Shapiro-Weitzenhoffer Associate Professor of 19th Century European Art, Department of the History of Art, University of Pennsylvania
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Dr. Dombrowski will focus on the current state and future direction of Impressionist studies, drawing from his recent experience editing A Companion to Impressionism, a major academic reassessment of Impressionism for the 21st century.
Mary-Dailey Desmarais, Ph.D., Chief Curator, Musée des beaux-arts de Montréal
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Focusing on Monet's painting of his wife on her deathbed, Camille sur son lit de mort (1879), Dr. Desmarais will discuss Monet's works that do not fit neatly within the standard Impressionist paradigm, aiming to turn attention to the complexities and contradictions inherent in Monet's quest to capture light.
Genevieve Westerby, University of Delaware doctoral candidate
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Westerby will discuss her ongoing doctoral work on ecology and Impressionism, introducing one of the hottest new directions for Impressionist studies.
About The Impressionist Revolution from Monet to Matisse
This exhibition explores the fascinating story of Impressionism from its birth in 1874 to its legacy in the early 20th century. Told almost entirely through the DMA’s exceptional holdings, this exhibition reveals the rebellious origins of the independent artist collective known as the Impressionists and the revolutionary course they charted for modern art.
Image: The Seine at Chatou, 1874. Pierre-Auguste Renoir. Oil on canvas. Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.62.