Tag: Dr. Richard Brettell

Director’s Welcome

Richard R. Brettell, Ph.D.; Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

We have had an unusually busy spring term—even by our own usually busy standards. Our Senior Visiting Research Fellow, Professor Suzanne Blier from Harvard University, not only delivered a stimulating public lecture at the Dallas Museum of Art on newly identified sources for Picasso’s Les Demoiselles d’Avignon, but also has guided seminar students through the technological marvels of Harvard’s WorldMap project. She has even proposed a long-term relationship between Harvard and UT Dallas on this latter project.

We also held major public lectures by three distinguished art historians: Dr. Abigail Solomon-Godeau, the historian of photography; Dr. Yve-Alain Bois, art historian at the Institute of Advanced Study in Princeton; and Dr. Thomas Gaehtgens, the recently retired Director of the Getty Research Institute. Two of the lectures were held at our partner institution, the Dallas Museum of Art.

Another important partner of EODIAH is our sister institution in California, the Getty Research Institute, the largest and wealthiest art history research center in the world. Its Director, German-born Dr. Thomas Gaehtgens, has been so impressed by our progress at the O’Donnell Institute that he brought his National Advisory Council and key staff members to visit us in Dallas, starting their trip at UT Dallas to the Institute’s headquarters and learn about our plans for the future. With their blessing, we are sure to head in the right direction.

Former Getty Director Dr. Thomas Gaehtgens, seated, left, with his National Advisory Council staff members visit EODIAH

Our two international partnerships in Naples and Nanjing are humming along. Dr. Kozlowski will soon be able to announce the names of the first group of research residents at our new center in Naples, and in this newsletter I will report on the extraordinary series of research trips arranged for Drs. GAO Xin and LIU Yi, our two Visiting Research Fellows from Nanjing University, organized with real aplomb by Lauren LaRocca with the collaboration of our Amon Carter Museum partners.

My news is that my wife Carol and I, after nearly half a century in academic life, have each been granted a one-year leave from our respective universities and will be away from UT Dallas for the academic year 2018-2019. Dr. Sarah Kozlowski will serve as Acting Director of the Institute. Dr. Max Schich, our large-data art historian who is returning to Dallas after a leave of absence in Munich, will be Acting Assistant Director and will be in charge of our Nanjing University partnership.

While on leave, I will concentrate on the completion of my longest-term research project, the Catalogue Raisonné of the Paintings of Paul Gauguin, which will be published by the Wildenstein-Plattner Institute.  I will be ably assisted by one of our own, Dr. Elpida Vouitsis, who completed her Ph.D. in Art History in 2016 and who will work with me as a Senior Research Associate. Of course, I will make myself readily available to my colleagues for Wallace Athenaeum matters as needed.

 

The Wildenstein-Plattner Library

The Institute’s library consultant, Mr. Milan Hughston, recently retired Director of Libraries and Archives at the Museum of Modern Art, has been negotiating a formal memorandum of understanding between UT Dallas and the Wildenstein-Plattner Institute in New York, Paris, and Berlin, for the digitization gift of the entire Paris-based art library to UT Dallas. It too will be housed in its own named building and form part of the Wallace Athenaeum.

The Wallace Athenaeum

After more than a year of planning and meeting, the team of consultants hired by the Institute to envision and program an Athenaeum for UT Dallas concluded their work in March. Members included Peter Walker, the University’s landscape architect; Gary Cunningham, the architect of the O’Donnell Institute’s UT Dallas headquarters and our architectural consultant; Ginger Geyer, an Austin-based artist who has worked extensively in fine arts programming including at the DMA; Milan Hughston, retired Director of Libraries and Archives at the Museum of Modern Art, who served as library consultant; Dr. Anne Balsamo, Dean of the School of Arts, Technology, and Emerging Communication at UT Dallas, as our technology consultant; Lucy Buchanan, as the Institute’s Director of Development; and EODIAH Distinguished Scholar in Residence Bonnie Pitman as our museum consultant.

As the chair of the committee for its many meetings in Massachusetts, Austin, New York, and Dallas, I can say that we have completed our work and have planned an ambitious complex of buildings for UT Dallas, the first phase of which will include the Wildenstein-Plattner Library (with other private libraries), and a building to house all the public and scholarly activities of the Wallace Athenaeum. This process of careful team-based planning is unusual in any university, but to my mind it was essential to programming a building that will be completely new to American campus life. The only functioning Athenaeum at any American university is the Athenaeum at Caltech, founded in 1929 and now used as a faculty club and event center.

The very first public presentation of the Athenaeum occurred at “the mother ship,” The University of Texas at Austin, in a fascinating conference organized around the idea of the destruction of archives, books, and thus history. Attended by a wide cross section of faculty and students, particularly art historians, the symposium was the direct result of the evisceration of the Fine Arts Library at UT Austin by the College of Fine Arts’ own Dean. The faculty and students were impressed by the efforts of a science and technology university to put the arts–and related libraries—at the very center of its campus.

Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Carolyn Brown donates photographic archives to the Edith O’Donnell Institute of Art History, University of Texas at Dallas

Carolyn Brown at the EODIAH Research Center at the Dallas Museum of Art

At the very beginning of the Edith O’Donnell Institute of Art History nearly four years ago, Dallas’ most important documentary photographer, Carolyn Brown, indicated that she would like to make the Institute a major bequest: the photographs, negatives, and digital rights for her fifty-year career as a documentary photographer in the Middle East, Latin America, and Texas. For two years, she has worked with our own Lauren LaRocca to select from her body of work a comprehensive group for digitization on a state-of-the-art Hasselblad digital scanner acquired for her use by the Institute.

This process has yielded work for three exhibitions at the Institute’s DMA space and others throughout the state. Carolyn has also identified works of art and decorative art from the Middle East and Mexico in her personal collection, which she will bequeath to the Institute for the use of our students and for the enlivening of our seminar rooms and offices.

My own collaboration with Carolyn began almost two decades ago, and her bequest will give us the basis for an important collection of digitized images and prints that poetically record major ancient Roman, Islamic, pre-Hispanic, and viceregal sites in the Middle East and Mexico, as well as important series of photographs of Fair Park, Texas A&M, South Creek Ranch, the abandoned slaughter houses of northern Fort Worth, Lake Caddo, and other major architectural and natural sites.

We celebrate her in this issue and thank her for her profound generosity. Below, she describes her career and the gift in her own words.

Richard R. Brettell, Ph.D.

Founding Director

The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Carolyn Brown and beloved dog Leroy

In 2016 I made the decision to will my extensive archive of still photography to the Edith O’Donnell Institute of Art History. The archive comprises roughly 75,000 photographs (transparencies, digital scans, digital photographs, and prints) of architectural sites in the Middle East, Mexico and Central America, Dallas (including Fair Park), and the campus of Texas A&M University, College Station. In collaboration with the O’Donnell Institute, we are currently organizing and digitizing the archive, and over time will make the archive accessible through an online research portal. While old photographers finally pass on, their photographs can live on for hundreds of years.

 

My journey with photography began in 1969 when I lived in Cairo, Egypt for three years to study Islamic Art and Architecture at Cairo American University. We made weekly group field trips to ancient Fatimid and Mameluke mosques. I bought a Nikon 35mm camera to document each site, and discovered the thrill of photographing ancient buildings—a beginning of what would became not only a livelihood, but an obsession.

 

Many of these early photographs were hand-held slide images of Egyptians at the pyramids, colorful markets, religious feasts, and along busy streets among the remnants of ancient Cairo. After returning to the United States, I honed my skills, invested in high-end equipment and worked commercially as an architectural photographer–often returning to my beloved Middle East with my medium format Hasselblad to build a large image collection of some of the world’s most historic ancient sites. Over a period of fifteen years I travelled and photographed throughout Egypt, Syria, Lebanon, Jordan, Palestine, Israel, Iraq, Yemen and Turkey.

 

As the Middle East archive grew, in 1991 I began to photograph pre-Hispanic archaeological sites, viceregal churches, and natural landscapes in Mexico. Within ten years I had documented locations in more than twenty Mexican states, and throughout Guatemala. I began photographing church exteriors in bright sun for full color and sharpness. Then I discovered the interior. This space lives with a vitality of its own, breathing and moving in a tangle of decorated ceilings, altars, and walls of golden richness and delicately crafted forms. The explosive display of texture, color, and meaning within the church interior is but a portion of that ten year journey. The Snow-capped volcanoes of Popocateptl and Iztaccíhuatl perch outside the churches in Puebla and Tlaxcala, and the clear blue waters of the Gulf of Mexico caress wide beaches of Veracruz and the Yucatan Peninsula, all bear witness to God’s majesty. At the end of winding dirt roads, across rich farmland and sometimes fog covered mountains, nestle pristine villages, each with a unique church in the village center or overlooking the world from a hilltop.

 

Carolyn Brown’s photographs installed at the Great Hall Entrance at Fair Park

 

With direction and inspiration from my dear friend Dr. Richard Brettell, in 2000 the Institute for the Study of Earth and Man at Southern Methodist University sponsored the historic exhibition of my photography, Sacred Space: Man and the Divine in Mexico, Guatemala and Southwest United States. Rick curated a selection of 300 photographs, many enlarged to thirty feet in length, filling the Hall of State at Fair Park during the State Fair. Thousands of fair-goers, school, and organization tours visited this exhibit during its six week run.

 

Rick and I worked together again in 2005 on Crafting Traditions: The Architecture of Mark Lemmon for the Meadows Museum. I photographed Lemmon’s contemporary Dallas buildings for the exhibit and catalogue, and Rick curated the large format exhibit, designed by David Gibson.

 

Carolyn Brown, Triumphal Arch at Roman city of Palmyra, Syria, 1989, photograph

Today I continue to exhibit and produce photographs for books, most recently Dallas: Portrait of a City (2014), Visions of a Southern Cypress Lake co-authored with Thad Sitton TAMU Press (2015), and Architecture that Speaks: The Legacy of SCP Vosper, Texas A&M University 1928-1932 with David Woodcock FAIA and Nancy McCoy FAIA by TAMU Press (2017). Since 2015, I’ve produced rotating exhibitions of my work at the Edith O’Donnell DMA Research Center, curated by Lauren LaRocca, including The Middle East,The Tiled Churches of Puebla, and Pattern in Islamic Art. I also regularly exhibit at Craighead Green Gallery in Dallas.

 

Carolyn Brown, Workmen: San Francisco Acatepec, Puebla, Mexico, 1995

The beauty of photography is that by looking at a photograph, one can immediately experience long-ago moments. The places and people I photograph will always be remembered exactly as they were that day the image was made. These experiences are an important part of incredible memories and will forever be in my heart—they are an important part of who I am today.

Carolyn Brown

A Tale of Two Cities and Two Symposia

The Edith O’Donnell Institute of Art History is casting its net widely so as to benefit from the best possible partners. The past month has seen two superb scholarly symposia, one held in Dallas and the other in New York, in which EODIAH has played crucial intellectual and sponsorship roles.

Islamic Sympsosium

Close to home, we worked with our distinguished Visiting Associate Professor, Dr. Melia Belli, to create a partnership with the Islamic Art Revival Series and the Aga Khan Council for the Central United States and our permanent partner, the Dallas Museum of Art. The result was entitled INTERSECTIONS: THE VISUAL CULTURE OF ISLAMIC COSMOPOLTIANISM. Held over two days on May 4 and 5, the symposium brought scholars from the US, Canada, and Europe to Dallas, forming intellectual and social bonds over lectures, discussions, meals, and bus rides in the Margaret McDermott Suite at UTD’s McDermott Library as well as the Dallas Museum of Art (details included below).

Tour of the Keir Collection at the Islamic Art Symposium

Musical Performance, Bahman Panahi, Musicalligraphy: the relationship
between calligraphy and music

The idea of the symposium results from the latest methodological shifts in inter-cultural studies by stressing the interactions among artists, patrons, and institutions from the Medieval world to the present. The aim of the symposium was to demonstrate the many ways in which “Islamic” art maintained active relationships with other cultural and religious traditions throughout the millennium and a half of Islamic cultural traditions. With powerful short papers, discussion sections, and longer keynote address by world-renowned scholars, the symposium was a resounding proof of EODIAH’s local partnerships and international ambitions.

The second symposium was held in New York at the Frick Collection under the partnership of EODIAH and the Frick’s distinguished Center for the History of Collecting. The topic was the early collecting of Impressionist paintings, and the keynote speaker was our own Rick Brettell, who, with the close collaboration of the Frick’s wonderful Inge Reist and her staff, presided over a group of scholars from England, France, Germany, and the United States to discuss the early collectors of Impressionism in the United States, Europe, and Japan.

Held in the Frick’s beautiful oval auditorium, the scholars spoke to a full house, and we were lucky enough that UTD’s Provost, Dr. Inga Musselman, was able to attend the second of two days, May 11 and 12. We were even luckier that our friends at Christie’s made possible a very collegial dinner at the Restaurant d’Orsay and that Northern Trust, with offices in Dallas, Chicago, and New York helped us with the costs.

Both symposia were so bristling with intellectual energy and new research that it is likely that one if not both of them will result in books.

(L-R) Lionel Pissarro and Joachim Pissarro (great grandsons of Camille Pissarro), George Schnerck, Rick Brettell

Laura D. Corey, Metropolitan Museum of Art and Paul-Louis Durand-Ruel

(L-R) Inge Reist, Director of The Frick Collection’s Center for the History of Collecting at the Frick Art Reference Library; Chris Riopelle, Curator of French Paintings at the National Gallery London; and George Shackelford, Deputy Director of the Kimbell Art Museum

L: Lionel Pissarro and Andrea Nasher at dinner at the Frick Collection. R: Joachim Pissarro and Anne Distel, Musée d’Orsay.

 

 

 

More about Intersections: Visual Cultures of Islamic Cosmopolitanism

A collaboration between the Edith O’Donnell Institute of Art History, Islamic Art Revival Series and Aga Khan Council for the Central United States in partnership with the Dallas Museum of Art, a monumental Islamic Art Symposium Intersections: Visual Cultures of Islamic Cosmopolitanism was held Friday, May 4 – Saturday, May 5, 2018.

Intersections: the Visual Cultures of Islamic Cosmopolitanism was an innovative Islamic Art Symposium in Texas; the first major academic symposium to investigate art of various media (architecture, painting, textiles, calligraphy, photography and music) born of contact between Islamic and non-Islamic societies. Papers and presentations addressed artworks from a wide temporal (eighth century to present) as well as geographic (North Africa, Europe, Middle East, Central and South Asia) scope.

Calligraphy presentation at the Islamic Art Symposium

The first session was held at the UT Dallas Edith O’Donnell Arts and Technology Building. Opening remarks were given by Dr. Richard Brettell, Symposium Co-Chairs Dr. Melia Belli and Samina Hooda, and Dr. Amyn Sajoo. Panels included Islam, Art and the Medieval World and Early Modern Conversations with panelists Marcus Milwright, Cathleen Fleck, Alia Sandouby, William Toronzo and Alicia Walker, Jennifer Pruitt, Manuela Ceballos, Heghnar Waterpaugh, Mika Natif, Saleema Waraich, and Chanchal Dhadlani, and Vivek Gupta. The Keynote Address was given by Dr. Jonathan Bloom on “Fatimid Objects in European Churches”.  The day concluded with a musical performance by Bahman Panahi on “Musicalligraphy: the relationship between calligraphy and music” on the tar/sitar.

Sessions at the DMA featured keynote speaker artist Shahzia Sikander discussing her multicultural past and our future. Sikander has received many prestigious awards, including the Asian Society Award for Significant Contributions to Contemporary Art and the Inaugural Medal of Art from the US Department of State (AIE), Washington, DC. A scholarly panel on Modern and Contemporary Islamic Art and a presentation by Jason Moriyama, a Senior Partner with Moriyama and Teshima Architects in Canada were followed by a special tour of the DMA’s Keir Collection of Islamic Art. Other presenters included Jenifer Pruitt, Michelle Craig, Nada Shabout, and Vivek Gupta.

The Islamic Art Revival Series, the Dallas Museum of Art, and the Crow Collection of Asian Art presented events at the DMA on the Thursday prior to the Symposium including a lecture and calligraphy workshop with Bahman Panahi, Islamic Art Presentations, and a Code of Ethics Workshop with Dr. Azra Aksamija.

Download the full Symposium program here.

EODIAH Celebrates Four Years

The Edith O’Donnell Institute of Art History at the University of Texas at Dallas celebrated its fourth academic year by honoring Edith O’Donnell, its inspirational founder, at a special dinner on Wednesday, November 29, 2017 in the Ann and Jack Graves Ballroom of the Davidson-Gundy Alumni Center located at UT Dallas.

The evening was hosted by Dr. Richard C. Benson, President of the University, and the Founding Director of the Institute, Dr. Richard R. Brettell.  Following a film tribute to Mrs. O’Donnell for her generosity and commitment to the arts, Dr. Brettell announced that major gifts have been received to begin plans to build the W. Ray Wallace Athenaeum which will house a new art library and major art collection that have been promised to the University.

In addition, he shared that the new headquarters of the O’Donnell Institute will be housed in the Wallace Athenaeum, which will be surrounded by gardens designed by Peter Walker, the world-renowned landscape architect behind the landscaping master plan funded by the University’s most important donor, Margaret McDermott.  With these gifts received, UT Dallas is poised to create The Wallace Athenaeum at the very center of its campus and to provide a place of inspiration and intellectual exchange in the arts on a campus dedicated to STEAM.

Attendees of the Fourth Annual Dinner included: Edith and Peter O’Donnell; Dr. Richard C. Benson, President, University of Texas at Dallas, and Leslie Benson; Dr. Richard R. Brettell, Founding Director of The Edith O’Donnell Institute of Art History, and Dr. Caroline Brettell; Gay and Bill Solomon; Mr. Richard Barrett; Carol Kradolfer; Ruth O’Donnell Mutch; Mrs. Margaret McDermott; Beatrice Carr Wallace; Caren Prothro; Dr. Hobson Wildenthal; Wendy and Jeremy Strick; Nancy Dedman; Rachael and Bob Dedman; Elizabeth Boeckman; Ann and Gabriel Barbier-Mueller; Roger Horchow; Mary McDermott Cook and Dan Patterson; Dr. Kern Wildenthal and Marnie Wildenthal; Mrs. Nancy Shutt; Mrs. Peter Denker; and Ms. Pat Patterson.

EODIAH thanks its many generous friends and supporters. We look forward to working with all of you to achieve our future plans. Stay tuned for more information and ways you may wish to support this ambitious project.

Edith O’Donnell; back row (left to right) Carol Kradolfer, Peter O’Donnell, Jill Wilkinson, Ruth Mutch, Travis Andres, Mary Gorter

Mary McDermott Cook and Dan Patterson

Margaret McDermott, Richard Barrett, and Dr. B. Hobson Wildenthal

(Left to right) Richard Barrett, Mrs. Ray Wallace, Dr. Richard Brettell

Dr. Caroline Brettell, Mrs. Ray Wallace, and Caroline Brown

Dr. Richard C. Benson, President of UT Dallas; and Mrs. Leslie Benson

Rachael and Bob Dedman, and Mrs. Nancy Dedman

Gay and Bill Solomon, and Ms. Salle Stemmons

To support EODIAH, please click here.

Your gift at any level helps fund our many collaborations, scholarly seminars, lectures and art history programs that provide an unparalleled resource to our community and beyond.

For more information, call Lucy Buchanan at (972) 883-2472 or email at lucy.buchanan@utdallas.edu.

Sincerely,

Lucy M. Buchanan

Director of Development

The Edith O’Donnell Institute of Art History

Director’s Welcome

Richard Brettell – AH – Margaret M. McDermott Distinguished Chair in Aesthetic Studies – Art History

 

Fall 2017 marks the beginning of the fourth full year of the Edith O’Donnell Institute of Art History. We have already done a good deal for the discipline of art history in North Texas—sponsored and co-sponsored symposia, scholars’ days, lectures, workshops, and festive gatherings for art historians in museums, universities, colleges, and galleries—and beginning to fulfill the mission encouraged by Mrs. O’Donnell of bringing the scattered community of art historians in Dallas-Fort Worth together as often as possible. We have also done very well in providing a nurturing environment for UT Dallas doctoral students, and six newly minted “Drs.” have been sent out into the world. We have brought scholars to Dallas from Switzerland, Italy, and Canada and are about to welcome a new colleague for a year-long visit from Harvard University. All in all, we can look back with pride on three action-packed and exciting years.

We will hold our Fourth Annual Dinner this Fall, and it will be our first to be held at UT Dallas rather than at the wonderful home of our partner, the Dallas Museum of Art. At the dinner we will honor our founder with a premier of a newly commissioned film about her philanthropy and we will let our inner circle in on our ambitious plans for the future. This Fall, we will also inaugurate two international partnerships which we hope to grow into long-term scholarly programs—the first with our colleagues at Nanjing University in China and the second with the Capodimonte Museum in Naples. Who knows—when we begin to think about Africa, perhaps will add Nairobi to Nanjing and Naples!

This Fall, we said a fond, if reluctant, “goodbye” to two esteemed colleagues, Dr. Sabiha Al Khemir, who plans to start an ambitious new foundation for Islamic Art in New York, and Dr. David McPhail, who is returning to London after launching our Conservation Science Program, a partnership with the Department of Chemistry in the School of Natural Sciences and Mathematics at UT Dallas and its Dean, Dr. Bruce Novak. Look forward to news on both of those fronts.

Dr. Suzanne Preston Blier
Allen Whitehill Clowes Chair of Fine Arts and of African and African American Studies
Department of History of Art & Architecture and Department of African and African American Studies, Harvard University

We extend a big Texas welcome to Dr. Suzanne Preston-Blier, the Allen Whitehill Clowes Professor of Fine Arts and of African and African-American Studies at Harvard University. Dr. Blier will be with us for a full academic year, has rented an apartment in the heart of downtown Dallas, and is trying to figure out how to live in Dallas without knowing how to drive! She will work both on campus and in an office at EODIAH-DMA (the latter a short walk from “home”), and her plan this year is to complete a new book and to develop an interactive digital map of Africa throughout human history (the longest of any continent). She will work with our colleagues in Arts and Humanties and ATEC as well as with Dr. Roslyn Walker, Acting Chief Curator at the DMA and curator in charge of the museum’s superb collection of African Art.

As for faculty news, Dr. Mark Rosen is in the throes of completing an important new book on the representation of cities from above from its beginnings in the fifteenth century through the era of hot-air balloons in the late eighteenth century—a study which links the arts and the sciences of observation. Dr. Charissa Terranova has completed an edited series of articles, and is hard at work on her third scholarly book, all of which are involved with the history of the visual arts in their intense interaction with the sciences. Dr. Sarah Kozlowski has pursuing projects on fourteenth-century diptychs in Naples and on fictive porphyry versos in Italian panel painting, and will soon be promoted to Associate Director of EODIAH.

This semester we look forward to a series of workshop talks, a study day in collaboration with the DMA, a co-sponsored symposium around the Meadows Museum’s Zurbaràn exhibition, and a number of site visits to Dallas collections.

 

Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Cultural Developments in North Texas with Dr. Richard Brettell and Mark Lamster: Presented by the Dallas Architecture Forum

The Dallas Architecture Forum Presents:

Cultural Developments in North Texas  

Richard BRETTELL, Ph. D in conversation with Mark LAMSTER

 

10 October 2017

Tuesday, 7 pm, with informal reception and check-in beginning at 6:15 pm

Horchow Auditorium, Dallas Museum of Art

Free Admission for UT Dallas students, faculty and staff (with ID)

No reservations needed, Join us!

The last two decades have seen dramatic developments in the cultural fabric of North Texas. In Dallas, the Arts District saw the addition of the Nasher Sculpture Center, the Wyly Theater, the Winspear Opera House, the Moody (formerly City) Performance Hall, and the completion of the Booker T. Washington campus. Fort Worth has added the Modern Art Museum and the Piano Pavilion at the Kimbell among its new signature buildings.

Much has happened besides the completion of these signature buildings. Galleries, artist labs, new musical and theatrical organizations have also come into existence or increased their reach across North Texas. Academic centers such as UT Dallas and non-profits such as The Dallas Architecture Forum have expanded their cultural reach and raised awareness and dialogue on issues important to all of us. In addition to the Arts District in Dallas and the Cultural District in Fort Worth, there are emerging centers of creative activity across many North Texas cities.

Join us for a lively discussion with Rick Brettell and Mark Lamster as we examine some of these major accomplishments over the last twenty years. Dr. Brettell and Mr. Lamster will also discuss what needs to occur over the next two decades to enhance the arts and cultural opportunities for all North Texas residents.

Fall Symposium in Naples: A collaboration between the O’Donnell Institute and the Museo di Capodimonte

Napoli e il Museo e Real Bosco di Capodimonte

in un contesto mondiale  

12-14 Ottobre 2017

 

 

Giovedì 12 Ottobre

Museo e Real Bosco di Capodimonte

 

9.00                 Punto di incontro al museo (cortile adiacente la biglietteria)
registrazione partecipanti con distribuzione materiale e pass

9.45                 Partenza shuttle per il Cellaio

 

IL CELLAIO

10.00               Caffè di benvenuto

10.30               Saluti introduttivi

                        Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

                        Sarah Kozlowski (Assistant Director, The Edith O’Donnell Institute of Art History)

                        Barthélémy Jobert (Presidente Università Paris-Sorbonne)

                        Pietro Spirito (Presidente Autorità di Sistema Portuale del Tirreno Centrale)

11.00-11.40     Il porto di Napoli nel Mediterraneo

Olaf Merk (Administrator Ports and Shipping at the International Transport Forum (ITF) of the

OECD)

Sergio Arzeni (President, International Network for SME, Rome; Executive Member, Global

Coalition for Efficient Logistics, Geneva; Former Director, OECD)

11.40-11.50     Breve introduzione alla storia del Bosco di Capodimonte

                        Carmine Guarino e Salvatore Terrano (Università degli Studi del Sannio)

12.00               Shuttle dal Cellaio verso il Giardino Torre

                         Passeggiata guidata nel Bosco di Capodimonte fino al Giardino Torre

                        Carmine Guarino e Salvatore Terrano (Università degli Studi del Sannio)

12.45-13.45     Pranzo al Giardino Torre

13.45               Ritorno al Cellaio con shuttle

14.00               Caffè

14.15               Inizio lavori

Introduce e coordinano Sarah Kozlowski (The Edith O’Donnell Institute of Art History) e

                       Elizabeth Ranieri (The Edith O’Donnell Institute of Art History)

14.30-15.00    La Chiesa di San Gennaro a Capodimonte

                       Maria Gabriella Pezone (Università della Campania “Luigi Vanvitelli”)

15.00-15.30     Spain, Rome, and the Planning of Capodimonte

                         Robin Thomas (Pennsylvania State University)

15.30-16.00     The Royal Palace of Capodimonte: A Symbol of Power in its Urban Context

                         Alba Irollo (Bruxelles)

16.30               Ritorno al Museo di Capodimonte (con shuttle) o visita a San Gennaro e La Capraia (a piedi)

16.45               Visita facoltativa al Museo di Capodimonte (aperto fino alle 19.30)

 

 

Porto

 

19.30               Cena di benvenuto al Porto, con saluti delle autorità:

Antimo Cesaro (Mibact, Sottosegretario)

                       Vincenzo de Luca (Regione Campania, Presidente)

                        Luigi De Magistris (Comune di Napoli, Sindaco)

 

Saluti e ringraziamenti, Richard Brettell (Director, The Edith O’Donnell Institute of Art History)

 

 

Venerdì 13 Ottobre

Museo di Capodimonte

 

GALLERIA NAPOLETANA/2° piano

 

9.00                 Saluti: Sarah Kozlowski (The Edith O’Donnell Institute of Art History)

 

9.05                 Introduce e coordina Pierluigi Leone de Castris (Università degli Studi Suor Orsola Benincasa)

 

9.15-9.45         Fragments of Liturgy: the Jonah Slab and the Paschal Candlestick in of Capodimonte’s Collection in  

                         their Context

                        Manuela Gianandrea (Roma, Università La Sapienza) e Elisabetta Scirocco (Roma, Bibliotheca

Hertziana)

9.45-10.15       Stranieri a Napoli: il trittico di Sant’Antonio Abate di Niccolò di Tommaso

                        Teresa D’Urso (Università della Campania “Luigi Vanvitelli”)

 

10.15-10.45     Valencia, Naples, and the Netherlands: Colantonio’s Vincent Ferrer Altarpiece as a Product of

                          Cultural Transfer and Visual Translation Adrian Bremenkamp (Roma, Bibliotheca Hertziana)

 

SALA BURRI/2° piano sezione arte contemporanea

 

10.45               Caffè

 

11.00-11.30     L’Arte Contemporanea al Museo di Capodimonte

                        Andrea Viliani (Napoli, Museo MADRE)

 

11.30-12.00     Black Porosity: On Alberto Burri’s Grande Cretto

                        Riccardo Venturi (Parigi, Gerda Henkel Stiftung)

 

GALLERIA NAPOLETANA/Sala 102/2° piano

 

12.00-12.30     Silver: Surface and Substance

                         Helen Hills (York, University of York)
13.00-14.30     Pranzo, Trattoria da Luisa

 

 

APPARTAMENTO REALE/Sala 44 /1° piano

 

15.00-15.30     Foreigners and their Role in the Neapolitan Crêche

                        Carmine Romano (Université Paris-Sorbonne)

 

GALLERIA FARNESE/Sala 19/1° piano

 

15.30-16.00     Monstrorum historia: Agostino Carracci’s Arrigo peloso, Pietro matto, Amon nano

                           and the court of Cardinal Odoardo Farnese

Mary Vaccaro (University of Texas at Arlington)

 

WUNDERKAMMER/Galleria Farnese/1° piano

 

16.00-16.30     Collecting and the Circulation of Goods in Fifteenth-Century Naples

                         Leah Clark (The Open University)

16.30-17.00     La Circolazione delle Merci e delle Opere d’Arte nel Porto di Napoli del XVII Secolo

                        Gian Giotto Borrelli (Università degli Studi Suor Orsola Benincasa)

17.00               Visita facoltativa al Museo di Capodimonte (aperto fino alle 19.30)

 

Sabato 14 Ottobre

Museo di Capodimonte

                          

APPARTAMENTO REALE/Sala 60/1° piano

 

9.45                 Saluti: Sarah Kozlowski (The Edith O’Donnell Institute of Art History)

 

9.50                 Introduce e coordina Tanja Michalsky (Bibliotheca Hertziana)

 

10.00-10.30     Out of context: il tabernacolo di S. Patrizia come metafora dell’arredo                                

                           sacro tra committenza, tutela, commercio e musealizzazione

                         Sabina de Cavi (Universidad de Córdoba)

 

GALLERIA NAPOLETANA/Sala 104/2° piano

 

10.40-11.10     Emulation, Vainglory, and Failure: Paolo de Matteis’s Self-Fashioning

                        James Clifton (Museum of Fine Arts, Houston / Sarah Campbell Blaffer Foundation)

11.10-11.30     Caffè
GALLERIA NAPOLETANA/Sala 91/2° piano

 

11.30-12.00     Rustic Tidings: Reconsidering the Master of the Annunciation to the Shepherds

                        Jesse Locker (Portland State University)
12.00-12.30     Spaniards in Naples: Mobility and Identity in a Contact Zone

                          Fernando Loffredo (Washington, National Gallery of Art / Center for Advanced Study in the

Visual Arts)

13.00-14.30     Pranzo, Trattoria da Luisa
SALONE DEI CAMUCCINI/1° piano Appartamento Reale

 

15.00-15.30     Napoli e Cina

                         Lucia Caterina (L’Università degli Studi di Napoli “L’Orientale”)

15.30-16.00     Mattia Gasparini and the Salottino di Porcellana in a European Context

                         Tobias Locker (Universitat Pompeu Fabra, Barcelona)

16.00-16.30     Maria Amalia e il Salottino di Porcellana tra le corti di Sassonia, Polonia, e Italia

Agnese Pudlis (Royal Castle, Warsaw)

16.30-17.30     Visita facoltativa al Museo di Capodimonte (aperto fino alle 19.30)

 

CORTILE

 

17.30               Cocktail di chiusura

Saluti

Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

 

                        Conclusioni

                       Richard Brettell (The Edith O’Donnell Institute of Art History)

 

 

 

Greetings from the Assistant Director

To launch the new year, on Saturday, January 13 the O’Donnell Institute partnered for the first time with the Crow Collection of Asian Art to present a symposium on the global histories of ceramics. Called Talavera and Ceramic Connections: East Asia, West Asia, and the Americas, the symposium brought together an all-star team of distinguished scholars to study and respond to the Crow’s stunning new exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles. The exhibition’s curator Farzaneh Pirouz was joined by Denise Leidy (Curator of Asian Art at Yale University Art Gallery), Guy Thomson (Professor Emeritus of Latin American History at University of Warwick), Jessica Hallet (Researcher in Art History at the Universidade Nova de Lisboa), Ronda Kasl (Curator of Latin American Art at the Metropolitan Museum), and William Sargent (Curator Emeritus of Asian Export Art at the Peabody Essex Museum) for three morning lectures held at the Dallas Museum of Art and an afternoon of gallery-based break-out sections at the Crow. Like the exhibition itself, presentations and conversations were truly global in scope, ranging from sixth-century China to ninth-century Basra to sixteenth-century Mexico to circa-1900 New York. Our own Sabiha Al Khemir presided over the morning session, and Rick Brettell and Crow curator Jacqueline Chao moderated a closing panel in the afternoon.

 

Participants in the Crow's international symposium “Talavera and Ceramic Connections:  East Asia, West Asia, and the Americas”

Participants in the Crow’s international symposium “Talavera and Ceramic Connections: East Asia, West Asia, and the Americas”

 

By all accounts the symposium was a great success, and it’s precisely the kind of program that we are passionate about presenting: collaborative, object-led conversations with broad art historical implications. At the same time that speakers treated specific art historical questions like the origins of the use of cobalt blue in ceramics, the day raised larger questions with broad art historical significance: How is a complex technology transferred across space, time, and culture? How do objects made in one medium like clay dialogue with other mediums like glass and silver? How do local industries like that of Talavera in Puebla intersect with histories of class, race, and national politics? And how do our art histories of porcelain, for example, shape our practices of collecting—and vice versa? These and other questions that emerged from conversations and close looking will chart the course for future research.

Jar with Chinese double curved handles, Puebla de los Angeles, New Spain, 17th century, tin glaze earthenware with cobalt blue on white glaze, Museo Franz Mayer

Jar with Chinese double curved handles, Puebla de los Angeles, New Spain, 17th century, tin glaze earthenware with cobalt blue on white glaze, Museo Franz Mayer

 

If you were among the many friends and colleagues who joined us on Saturday, thank you for coming! If you were not able to attend, there is still time to see the exhibition before it closes in Dallas on February 12 and travels to Puebla, Mexico. It’s not to be missed!

Dr. Sarah K. Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History

Report of the Director

Richard Brettell - AH - Margaret M. McDermott Distinguished Chair in Aesthetic Studies - Art History

Dr. Richard R. Brettell

The fall semester of 2016 has been almost volcanic with activity at the Edith O’Donnell Institute of Art History. We have welcomed a new visiting scholar from the University of Victoria, Professor Allan Antliff, who is in Dallas for the 2016-2017 academic year to work on a new book dealing with contemporary art and anarchist philosophy. Allan and I became friends through our mutual study of Camille Pissarro, whose anarchism is well known, and my students and I have learned a great deal from his imaginative and morally bracing kind of art history. His presence at UT Dallas will result not only in a major book but also in a long-term collaboration with the superb art history faculty at the University of Victoria, a collaboration which will be enriched by the presence on campus of Dr. Melia Belli-Bose of the University of Victoria in the spring term of 2017.

Most recently we co-organized with the Ackerman Center a symposium on the School of London, the post-WWII painters of Britain that included Freud, Bacon, Kossoff, Auerbach, Andrews, and Kitaj. The symposium coincided with a major exhibition of the group at the Getty. We have also planned a symposium with our colleagues at the Crow Collection of Asian Art devoted to the global ceramics trade centered in seventeenth- and eighteenth-century Puebla, Mexico. The markets of Puebla linked the Islamic ceramic tradition via Spain with the Chinese tradition via the Mexican-ruled Phillipines and the Manila galleons.

Our goal of making our DMA headquarters a “Living Room” for art historians in Dallas-Fort Worth continues to advance, and later this month we will welcome as many of our metroplex colleagues as possible to meet the DMA’s new director, Agustín Arteaga. Our schedule of workshops masterminded by Lauren LaRocca continues apace, involving O’Donnell Institute scholars and fellows as well as distinguished guests.

This fall, we have also had a good many distinguished visitors to the Institute’s UT Dallas home, including Mr. and Mrs. O’Donnell, UT Dallas’s new President, Dr. Richard Benson, and the French Ambassador, Gérard Araud.

French Ambassador Gérard Araud (middle) and Consul General of France Sujiro Seam (right) visit EODIAH

French Ambassador Gérard Araud (middle) and Consul General of France Sujiro Seam (right) visit EODIAH

 

For me, the semester is filled with preparations for the lectures in what might well be the largest course in UT Dallas’s history, Introduction to the Visual Arts, taught to an eager group of almost 350 undergraduates in the lecture hall of the Edith O’Donnell Arts and Technology building. Using works of art in Dallas-Fort Worth museums as portals onto other places and other times, I endeavor to excite UT Dallas’s supremely intelligent undergraduates, the vast majority of whom major in sciences, technology, management, or social sciences, to pause and think about human history and its artistic and architectural heritage.

We have also progressed this term in our partnerships with the Wildenstein Institute in Paris, the Capodimonte Museum in Naples, the Swiss Institute of Art History in Zurich, the University of Victoria, and, soon, a new Institute for the Study of American Art at the University of Nanjing in China.

Not bad for a little more than two years.

 

Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Report of the Director

Richard Brettell - AH - Margaret M. McDermott Distinguished Chair in Aesthetic Studies - Art History

Dr. Richard R. Brettell

In the land of art history, summer was the time to travel to research sites and work on projects before the busy fall at the O’Donnell Institute. EODIAH’s faculty, fellows, and graduate students have done just that as we continue to make an impact on art history throughout the country and the world. Two of our fellows, James Rodriguez and Kristine Larison, have been launched into the world, bringing news of EODIAH to their new homes in Indiana and Pennsylvania. Fellow Fabienne Ruppen from the University of Zürich visited museums and collections in the U.S. and Europe and spent time with her family in the Swiss Alps before returning to Dallas refreshed and ready to tackle her dissertation on Cézanne’s drawings. And Fellow Paul Galvez spent the summer in Princeton with trips to New England and California museums in his quest to finish his book on Gustave Courbet’s landscapes.

Our biggest achiever since our last newsletter was UT Dallas Distinguished Scholar in Residence Bonnie Pitman, who worked with EODIAH and DMA colleagues to create a pathbreaking conference at the Museum of Modern Art in New York. Its focus was on partnerships between art museums and medical schools to cultivate the art of observation in medical students and physicians. By all accounts it was a great success. Congratulations, Bonnie–we await the story in the New York Times!

Assistant Director Dr. Sarah Kozlowski and I worked hard to further two of the Institute’s international partnerships. Sarah made an important trip to Naples to meet with our partner, Dr. Sylvain Bellenger, Director of the Capodimonte Museum in that extraordinary city and to make headway on a multi-year project of collaboration between EODIAH, the Museum in Naples, and the Sorbonne in Paris. She reveals more below. I had a bracing tour of our new Swiss partner’s headquarters, The Swiss Institute for Art Research (www.sik-isea.ch/en-us). Located in a stunningly restored and expanded villa in the hills above Zürich, the Swiss Institute is the most important place globally for advanced research on Swiss Art.

Giacometti plasters in the Kunsthaus Zürich

Giacometti plasters in the Kunsthaus Zürich

Our ATEC-EODIAH faculty member Dr. Max Schich had a summer of global travel in his quest to make UT Dallas a world center for large data art history. He also is working on a promising partnership with the Zentralinstitut für Kunstgeschichte in Munich, whose former Director Dr. Wolf Tegethoff spoke at our founding. Under Max’s leadership we will see a steady stream of visitors from Munich to Dallas in the 2016-2017 academic year.

In one year, we have established alliances with important museums and institutes in three European cities. These are multi-year commitments that will insure that EODIAH has an important foothold in the places where our discipline was born.

This fall we welcome the return of Drs. Mark Rosen and Charissa Terranova, who each had academic leaves in 2015-2016 and are returning to the fold refreshed by a solid year of research. Each of their reports is below. While they were away, we constructed exciting new offices for these important scholars in the EODIAH complex at UT Dallas so that they can say farewell to their old offices in the Jonsson Building and come to be with us. This fall, we will ALL be together in the ATEC Building for the first time since our founding two years ago. We thank the new Dean of ATEC, Dr. Anne Balsamo, for allowing the Institute’s expansion in her wonderful building.

One of our most important accomplishments this past year has been to dramatically increase the Institute’s collection of scholarly books about art. This effort was begun at our founding with the gift of New York and London auction catalogues by the New York collectors Mr. and Mrs. Ivan Phillips. This gift has truly started an avalanche of books from institutional and private donors. The first was a complete set of contemporary auction catalogues from the Museum of Modern Art in New York, and this was followed by the American auction catalogues and private library of the late Perry Rathbone, the distinguished museum administrator and scholar who recently died at his home in Connecticut. From this followed the gift of substantial parts of the art libraries of S. Roger Horchow and the late Nash Flores, each important collectors of art books in areas not covered seriously at UT Dallas. All of this material was capably catalogued and organized on our Cunningham-designed book shelves by students from The Greenhill School. We have also just acquired a private library devoted to Islamic art formed by Dr. Oliver Watson, the I.M. Pei Professor of Islamic Art and Architecture at Oxford. This library will support ongoing study and research focused on the Keir Collection at the DMA.

About one 20th of the Comini library

About one 20th of the Comini library

And, if all of this was not enough, an Institute mailing that featured photographs of our book-lined offices so inspired the great art historian Dr. Alessandra Comini, Professor Emerita at SMU, that she has decided to bequeath her extraordinary library devoted to German, Austrian, and Scandinavian art as well as art produced by women artists to the Institute. When Sarah Kozlowski and I went with Alessandra through this private library, which approaches 30,000 volumes, we were in complete awe. The Comini library will be the largest gift of scholarly books in UT Dallas’s history.

This fall, our wonderful new staff member Lauren LaRocca is going to bring EODIAH-DMA alive. Lauren is curating an exhibition of Carolyn Brown’s architectural photographs of the Mexican Baroque city of Puebla and made possible a joint installation of global works of art in the DMA’s collection that use trade beads, the latter co-curated by the DMA’s superb Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art, and myself. Both installations will open this fall. Lauren has also worked with us and the DMA to create an incredible fall lineup of programs for the Institute at both the DMA and UT Dallas. And she worked with the DMA so that its new mobile app was conceived and worked through in EODIAH’s research center.

The DMA is our full partner, and it is exciting that we will do so much more in the Museum this year than we did in the months after the opening of our wonderful mirror-ceilinged space. We eagerly await the DMA’s new Director, Augustín Arteaga, so that we can work together even more. And we thank the departing Olivier Meslay for working so well with us thus far.

In the short two-year period since the Institute was founded, we have tried to become THE place for art history in North Texas and to make a global footprint as well. This next year will be devoted to hiring another O’Donnell Chair and to launching our Master’s Program in Art History. As we move forward, we are sprinting, not walking! What has made me the happiest is the number of individual donors who have decided to join us on our race toward excellence. Our wonderful Director of Development, Lucy Buchanan, will tell you all about our new friends!

 

Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Become a Friend

More than three years ago, the Edith O’Donnell Institute of Art History was founded with a $17 million gift from Mrs. O’Donnell, one of the largest single donations in the history of UT Dallas. With her largesse and under the leadership and vision of Dr. Richard Brettell, an exciting future is ahead for the Institute.

To expand the Institute’s work, a new Master’s in Art History will be launched in Fall 2017. This new initiative for the University will prepare a select and highly qualified group of students for careers in art research, education, museums and conservation. With the Institute’s headquarters in the Edith O’Donnell Arts and Technology Building at UT Dallas and the Dallas Museum of Art, future scholars will be inspired and motivated to learn about art in museum settings, taking advantage of an abundance of resources in our regional collections.

Other initiatives include an innovative international research partnership with the Museo di Capodimonte in Naples led by Dr. Sarah Kozlowski, Assistant Director, and a major art conservation initiative led by Dr. David McPhail, Distinguished Chair of Conservation Science. Both are the genesis of new collaborations with museums throughout the world.

We thank the following donors for their support of the O’Donnell Institute.  We invite you to join us as a “Friend” and be a part of Dr. Brettell’s vision to make EODIAH one of the world’s great art institutes and one of the greatest assets to UT Dallas and the cultural life of Texas.

FOUNDING DONOR
Edith O’Donnell

MAJOR DONORS
The State of Texas
Mrs. Eugene McDermott
The Hamon Charitable Foundation

O’DONNELL CIRCLE
The Harry W. Bass, Jr. Foundation

DIRECTOR’S CIRCLE
Salle Stemmons

PATRON
Mr. Harlan Crow
Communities Foundation of Texas
Carolyn and Bob Dickson
Mr. and Mrs. John Ridings Lee
Legett Foundation

SCHOLAR
Ms. Ruth Mutch
George A. and and Nancy P. Shutt Foundation

PARTNER
The Dallas Foundation – Mr. and Mrs. William T. Solomon, Sr.
Mrs. Nancy M. Dedman
Ms. Patricia Patterson

SPECIAL RECOGNITION
Winifred and Ivan Phillips
Mr. Peter Rathbone and the Estate of Perry Rathbone
Eve Reid
Roger S. Horchow
Mrs. I.D. “Nash”  Flores III

You may make a gift at www.utdallas.edu/arthistory.

Please call me at (972) 883-2472 or email me at lucy.buchanan@utdallas.edu. I look forward to discussing the many significant ways you can help support the Institute and become a part of our exciting future.

Sincerely,

Lucy M. Buchanan
Director of Development
The Edith O’Donnell Institute of Art History

Report from the EODIAH Research Center

Paul Cézanne, Still Life with Apples on a Sideboard, 1900–1906, Dallas Museum of Art

Paul Cézanne, Still Life with Apples on a Sideboard, 1900–1906, Dallas Museum of Art

We are excited to offer a full slate of programs for the coming semester. Fall workshops by guest speakers include the newly appointed curators at the Crow Collection of Asian Art, Dr. Jacqueline Chao and Dr. Qing Chang; Dr. Davide Gasparotto, Senior Curator of Paintings at the Getty; and Dr. Julian Henderson, Professor and Chair of Archaeology at the University of Nottingham.  As a testament to the richness of local scholarship, a number of workshops will be given by UT Dallas and UT Arlington affiliates including Dr. Roger Malina, Dr. Mary Vaccaro, and Dr. David McPhail in his new conservation lab at the UTD Bioengineering and Science Building. Our very own fellow, Fabienne Ruppen, will lead a discussion on Cezanne’s Still Life with Apples on a Sideboard in the DMA study room.

In September, fellows have the special opportunity to tour the contemporary art collection and library of art curator and collector Charles Dee Mitchell. October promises a lively conversation between Dr. Brettell and Dr. Alessandra Comini to discuss the making of cultural capitals as illustrated by Paris and Vienna. The semester will culminate with an enlivening lecture in late November by Dr. Phillipe de Montebello followed by our annual EODIAH dinner.

Carolyn Brown, Workmen: San Francisco Acatepec, Puebla, Mexico, 1995

Carolyn Brown, Workmen: San Francisco Acatepec, Puebla, Mexico, 1995

The Research Center will host two new exhibitions this fall; both explore the global trade of ideas and materials.  Carolyn Brown’s photography captures the innovative brilliance of Talavera tiled churches in Puebla, Mexico. I curated the installation in conjunction with the Crow Collection’s special exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles. Our second vitrine installation, a collaborative effort between Dr. Brettell and DMA Curator Dr. Roslyn Walker, showcases the museum’s vast collections of beaded objects.  The international trade of artworks like beads introduced a vivacity of color and design into works of art.

Finally, we’re thrilled to announce that DMA Curator Dr. Anne Bromberg will teach a UT Dallas graduate seminar at the Research Center in Spring 2017 on Indian Art. Dr. Bromberg will use the superb collections at the DMA, much of which has been acquired under her leadership. This is a unique opportunity for students to study with one of the foremost scholars of Indian Art.

Our institutional partnership with the DMA continues to thrive and develop in new ways.  We hope you’ll join us this fall for our many exciting programs!

 

Lauren LaRocca
Coordinator of Special Programs
The Edith O’Donnell Institute of Art History

Reports from the Dallas Museum of Art

DMA_Logo_Print_CMYK_2Color

Photo credit Paloma Torres

Photo credit Paloma Torres

Welcome Agustín Arteaga

In July, the DMA announced the exciting appointment of the Museum’s new Eugene McDermott Director, Agustín Arteaga. Arteaga, who officially joined the Museum in September, most recently served as director at the Museo Nacional de Arte (MUNAL) in Mexico City, one of Mexico’s largest and most prominent cultural institutions, presenting work from the mid-16th through the mid-20th centuries. Prior to his tenure at MUNAL, Arteaga was the director of the Museo de Arte de Ponce (MAP) in Puerto Rico and the founding director of the contemporary art museum Museo de Arte Latinoamericano de Buenos Aires (MALBA) Fundación Costantini in Argentina. Arteaga has organized more than one hundred exhibitions over the course of his career, including major monographic presentations of Andy Warhol, Roy Lichtenstein, and Diego Rivera; survey exhibitions of French Impressionism and old master works; and thematic exhibitions that have stretched across centuries and cultures. Born in Mexico City, Arteaga received an MA (1999) and PhD (2006) from Universidad Nacional Autonoma de Mexico (UNAM) and a BS in architecture (1980) from Universidad Autonoma Metropolitana, both in Mexico City.

Diviners headdress (nkaka), Tabwa peoples, mid–20th century, Democratic Republic of the Congo, Africa, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation 1999.62

Diviners headdress (nkaka), Tabwa peoples, mid–20th century, Democratic Republic of the Congo, Africa, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation 1999.62

Bead It

Dr. Richard Brettell and Dr. Roslyn A. Walker, the DMA’s Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art, with assistance from her colleague Dr. Kimberly Jones, The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas, collaborated on the art installation in the Institute’s DMA Research Center vitrine. The idea for the installation stems from the extraordinary gift by Dallas jewelry designer Velma Davis Dozier (1901–1988) of thousands of trade beads to the Museum. The beads have their origins in Europe but were traded in Africa, the Americas, Asia, and the Pacific. The historic objects on view convey the geographic breadth of such “trade beads,” along with the continued abundance of commercial beads today. The beaded objects from the DMA’s collection range from the mid-19th century through the 20th century. Selected by Dr. Walker, these wearable artworks come from Indonesia, Africa, South and North America. They represent the impact of European traders across other continents of the world.

 

Flora and Fauna

In December, the DMA will present Art and Nature in the Middle Ages, an exhibition featuring extraordinary works of art from the 12th through the 16th century that emphasize the vital union between humans and nature. The exhibition, organized by the Musée de Cluny, musée national du Moyen Âge, Paris, and on view exclusively in the U.S. at the DMA, is composed of more than one hundred objects reflecting the wide range of styles, techniques, and iconography that flourished during this period. Accompanying the exhibition is a publication featuring thematic essays available for the first time in English and a fully illustrated checklist. Edited by Dr. Nicole R. Myers, the DMA’s Lillian and James H. Clark Curator of European Painting and Sculpture, the catalogue celebrates nature’s constant presence in the immediate environment and spiritual life of men and women in the Middle Ages.

Scene of chivalry from the Seigniorial Life tapestry cycle, Southern Netherlands, c. 1510–1520, wool and silk, Musée de Cluny, musée national du Moyen Âge, Paris, CL 2179 Photo © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Franck Raux

Scene of chivalry from the Seigniorial Life tapestry cycle, Southern Netherlands, c. 1510–1520, wool and silk, Musée de Cluny, musée national du Moyen Âge, Paris, CL 2179 Photo © RMN-Grand Palais (musée de Cluny – musée national du Moyen-Âge) / Franck Raux

 

Across the Pond

The Museum’s The Seine at Lavacourt by Claude Monet is currently on a brief European tour. The painting is part of an exhibition exploring the work of Charles-Francois Daubigny and his influence on French landscape painting, with a focus on the work of Daubigny, Monet, and van Gogh. Monet’s 1880 water landscape is on view at the Scottish National Gallery through early October as part of the Inspiring Impressionism: Daubigny, Monet, Van Gogh before traveling to the Van Gogh Museum in late October. The painting will return to the DMA following the final presentation in Amsterdam in late January 2017.

Claude Monet, The Seine at Lavacourt, 1880, oil on canvas, Dallas Museum of Art, Munger Fund 1938.4.M

Claude Monet, The Seine at Lavacourt, 1880, oil on canvas, Dallas Museum of Art, Munger Fund 1938.4.M

 

On View at the DMA This Fall

Nicolas Party: Pathway
Through February 12, 2017
Concourse
DMA organized; exclusively at the DMA

Concentrations 60: Lucie Stahl
September 16, 2016–March 12, 2017
Hoffman Galleries
DMA organized; exclusively at the DMA

Waxed: Batik from Java
September 25, 2016–September 10, 2017
Level 3
DMA organized; exclusively at the DMA

Divine Felines: Cats of Ancient Egypt
October 9, 2016–January 8, 2017
Chilton Gallery I

Shaken, Stirred, Styled: The Art of the Cocktail
November 18, 2016–November 12, 2017
Focus Gallery II
DMA organized; exclusively at the DMA

Art and Nature in the Middle Ages
December 4, 2016–March 19, 2017
Chilton Gallery II
U.S. exclusive venue