Verso: Bearden Oral Histories and Women of the Impressionist Circle

April 2024 |

Women of the Impressionist Circle: An Ongoing Series

Join us for the next events in the series as we continue to celebrate the women artists, collectors, philanthropists, and advisors who shaped the international success of one of the most important movements in art history. More information about the series and recordings of past events are available on our website.  

Impressionism and Its Overlooked Women with Dorthe Vangsgaard Nielsen

This talk presents an overview of the exhibition, “Impressionism and Its Overlooked Women,” currently on view at Ordrupgaard through May 20, 2024. The exhibition brings to the fore five women artists whose roles have been given less attention in the popular narrative of Impressionism: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond, and Marie Bashkirtseff.

Dorthe Vangsgaard Nielsen is Senior Curator at Ordrupgaard, Charlottenlund, in Denmark, which holds one of northern Europe’s most important collections of French Impressionism. She specializes in nineteenth-century French art and has edited catalogues and curated exhibitions on French Impressionism, Post-Impressionism, and contemporary art, including Impressionism and Its Overlooked Women (2024, in collaboration with the National Gallery of Ireland); Ai Weiwei: Water Lilies #1 (forthcoming 2024); Enigmatic Underworlds: Jean Gauguin and Klara Lilja (2023); Gauguin and His Friends (2022); and Monet: Beyond Impressionism (2016).

Le Thé par Eva Gonzalès et le Portrait d’Eva Gonzalès par Edouard Manet: un dialogue pictural animé par Marie-Caroline Sainsaulieu et Sophie Pietri (in French / en Français)

Jeudi, Mai 2, 12pm ET (18h CET)
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L’élégance exceptionnelle de Le Thé par Eva Gonzalès impressionna Manet, le déterminant sans doute à accepter comme élève une jeune artiste formée dans l’atelier de Charles Chaplin, le “peintre délicat des grâces féminines”. D’ailleurs, à l’évidence, le Portrait d’Eva Gonzalès par Manet constitue un discret hommage à ce tableau.

En outre, Le Thé manifeste que la jeune femme commence à s’écarter des leçons de Chaplin, le peintre du “pays du rose”.  En acceptant de poser pour le “scandaleux” Manet, puis en le choisissant comme nouveau mentor dans l’art, elle fit preuve d’une rare audace qui ne fut pas sans conséquence dans le jugement que la critique porta sur son œuvre. 

Eva Gonzalès, Tea Time, 1865−69, Oil on canvas, 94 × 60 cm. Private collection (Left). Édouard Manet, Eva Gonzalès, 1870, Oil on canvas, 191.1 × 133.4 cm. The National Gallery, London. In partnership with Hugh Lane Gallery, Dublin (Right).

New in the Oral History Archive

Sheila Rohan on Romare Bearden

The Wildenstein Plattner Institute’s Romare Bearden Oral History Series explores Bearden’s life, career, and legacy through interviews with scholars, collectors, collaborators, and family members. These accounts are a companion to the forthcoming Romare Bearden Digital Catalogue Raisonné, offering significant insight into Bearden’s personal and professional life.

Sheila Rohan was a principal dancer of the Dance Theatre of Harlem before joining the Nanette Bearden Contemporary Dance Theatre as a soloist and Ballet Mistress. She was instrumental in the development of the Romare Bearden Foundation and serves on the board of directors.

Rohan reflects on, among many things, the creative dynamic between Romare and Nanette, memories of the Bearden house in St. Maarten, and the Romare Bearden Foundation’s future projects.

Available on Spotify and Apple Podcasts.

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