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From the Director

Dear Meadows Museum Members and Friends,

These are indeed exciting times at the Meadows. Construction is under way on the much-anticipated renovation of the Museum’s plaza and staircase. There will soon be even more welcoming areas to congregate and enjoy our collection of modern sculpture amid shady trees and green grass. The installation of a new terrace overlooking Santiago Calatrava’s Wave will invite visitors to contemplate this monumental work as never before (see page 10). Please bear with us through this phase of growth; the transformation of the Museum’s exterior spaces is well worth the wait and, as members, you will be the first to know about the opening events.

This fall, we are pleased to present From Manet to Miró: Modern Drawings from the Abelló Collection in the Jake and Nancy Hamon Galleries. Organized by the Museo Thyssen-Bornemisza in Spain and the Meadows Museum, this exhibition includes some of the best drawings from the collection of Juan Abelló, including examples by such modern masters as Goya, Degas, Van Gogh, Schiele, Klimt and Dalí. From Manet to Miró marks the first time an exhibition devoted to this prominent Spanish private collection will be presented in the United States (see page 2). Complementing this exhibition is an installation of master drawings from the Meadows Museum’s permanent collection, also featured in our upstairs spaces (see page 6). Please join us for the exclusive members’ opening on September 12.

We are also celebrating two important, albeit very different, anniversaries this fall. The first is the 50th anniversary of the invention of the microchip by the remarkable Texas Instruments engineer Jack Kilby, which we are commemorating with an exhibition of his photography. The second is the 200th anniversary of an uprising of the Spanish people against Napoleon in 1808, sparking Spain’s War of Independence. Goya’s well-known and moving documentation of the conflict in his print series titled The Disasters of War, along with a rarely exhibited volume of engravings by Brambilla and Gálvez illustrating the Ruins of Zaragoza after a devastating siege by French troops, will be on view in our downstairs galleries (see page 8).

When visiting the Meadows please also be sure to stop and see our latest acquisition, a set of 29 miniatures depicting members of the family and court of Spain’s King Charles IV. Most of these fine works, the first of their kind ever to be accessioned into the Meadows collection, were created by Francisca Meléndez, a highly regarded member of a well-known dynasty of artists active in Spain throughout the 18th century (see page 18).

I am also pleased to highlight the Museum’s ongoing scholarship and permanent collection research projects. Over the last four years we have been documenting all of the Museum’s paintings, sculpture, drawings and prints with digital photography. This enormous task is about to be finalized and will bring us a step closer to our goal of making our entire collection available to broader audiences on our website. This photography is part of an ongoing project to publish an in-depth raisonné catalogue of Meadows holdings, which has been tentatively scheduled for publication in 2012.

All these exhibitions are enriched by ample and stimulating educational programming, including lectures by prominent scholars, gallery talks, and workshops (see page 20). We hope you will enjoy these unique opportunities. Also, as of this fall, the Meadows Museum has wireless internet access throughout the building.

Finally, I am pleased to announce that our previous events manager, Catherine Baetz, will now be heading the membership office as its new manager. The events position is now being filled by Marin Fiske, who started working at the Museum in June.

I hope that you take full advantage of your membership, and, as always, I am thankful for your ongoing support of the institution. See you at the Meadows!

Mark A. Roglán, Ph.D. Director, Meadows Museum Adjunct Associate Professor of Art History 2 |CURRENT EXHIBITIONS

September 14–December 2, 2008 From Manet to Miró: Modern Drawings from the Abelló Collection

his special exhibition features 64 drawings by some of Tthe most important artists of the last two centuries, including Manet, Degas, Dalí and Miró. The drawings are from the extensive holdings of one of Spain’s most important private collections, that of Juan Abelló and his wife, Anna Gamazo. The Meadows exhibition will mark the first time the Abelló collection has been shown in the United States.

For centuries, drawing was a medium used for and seen as preparatory work. Sketches from life provided sources of inspiration for a painter to elaborate upon, while compositional studies were used to determine the overall arrangement of a work. Drawing was the scaffolding that supported a work at its genesis and while in progress, a structure that could later be “dismantled” or hidden. Even with the birth of modern art and its conscious distaste for and departure from academic traditions, drawing’s preparatory function did not disappear; artists continued to draw in order to record or outline their ideas before executing them. Simultaneously, drawing as a medium began to command greater esteem, earning respect as an independent artistic medium. The appreciation of drawing as an art form in itself likewise fueled the development of a wide range of techniques and styles.

The selection of works featured in From Manet to Miró spans the history of modern and contemporary drawing, starting with Goya and ending with Lucien Freud. The exhibition is particularly strong in its focus on the last third of the 19th century and first half of the 20th century, covering the epic period of avant-garde movements from roughly Post-Impressionism to Surrealism. In addition, Spanish artists from this period are well-represented in the exhibition. Many of them, including Juan Gris, Miró, Julio González, Dalí and Óscar Domínguez, achieved international renown; others, though perhaps not of such international standing, were undoubtedly cosmopolitan in their outlook, including Iturrino, Gargallo, Manolo Francisco de Goya Hugué and María Blanchard. The artists Joaquín Torres Bust Portrait of Josefa Bayeu, 1805 García and the Cuban Wifredo Lam also are featured in Pencil on paper Photography courtesy The Abelló Collection the exhibition and, although not of Spanish birth, they Photographer: José Loren established strong artistic ties with the country. froM MaNeT To MirÓ| 3

As the title of this exhibition suggests, Abelló’s holdings are particularly strong in the work of the French Impressionists, with drawings by Manet, Degas (including a splendid pastel of a woman drying herself after a bath), Cassatt, Pissarro and Renoir. Although the pioneers of this movement left tradition behind with their broken brushstrokes, depictions of everyday life and careful rendering of light with paint, most had still undertaken rigorous academic training and were excellent draughtsmen; they were equally skilled with pencil and brush, paper and canvas. This wide-ranging talent is also evident in the exhibition through the great pioneers of 20th-century art, beginning with the Post-Impressionists Gauguin and Van Gogh, and moving forward to include Toulouse-Lautrec, Bonnard, Klimt, Schiele, Matisse and Van Dongen. A testament to artistic versatility, Van Gogh’s pencil and black chalk drawing titled Head of a Peasant Woman is a particularly beautiful and empathetic display of the artist’s skill as a draughtsman and in a technique that differs significantly from his thick, energetically swirling paintings. Meanwhile the delicately drawn fragile female nudes of Klimt, Schiele, Matisse and Modigliani offer a glimpse of the confrontational abstraction to come with modern art as the 20th century progressed.

Vincent van Gogh Joan Miró Head of a Peasant Woman, 1884 Homage to Pollock, 1978 Pencil, conté crayon and black chalk on paper Mixed media on paper Photography courtesy The Abelló Collection Photography courtesy The Abelló Collection Photographer: José Loren Photographer: José Loren © 2008 Successió Miró/Artists Rights Society (ARS), New York 4 |CURRENT EXHIBITIONS

With the aforementioned outstanding group of names, the exhibition encourages visitors to appreciate principal avant-garde movements such as Cubism, Expressionism and Abstraction in a different way. A series of drawings by great sculptors (Maillol, Brancusi, González, Moore and Giacometti) reveal that, as Degas claimed, drawing is not form but the way of seeing form. From Manet to Miró is in keeping with the Meadows Museum’s commitment to fostering visitors’ appreciation of varied media, including works on paper and drawing, as exemplified by the 2003 exhibition Spanish Master Drawings from Dutch Collections (1500–1900), which featured works by Ribera, Murillo and Goya, among others. That exhibition, organized by the Boijmans- Van Beuningen in Rotterdam and the Meadows Museum, set a standard for fruitful international collaborations, of which the present exhibition is a result. Through the installation of intimate works by modern masters, often featuring subjects rarely seen in the artists’ paintings, the visitor is invited to meet familiar figures with new eyes and connect to the artists’ personal rather than public or commercial endeavors, their training, skill, versatility, spontaneity and creative process. From Manet to Miró offers a synthesized but clear summary of the richness and complexity of modern art. 

This exhibition was organized by the Museo Thyssen- Bornemisza, the Meadows Museum, and the Abelló Collection and has been brought to Dallas by a generous gift from The Meadows Foundation. froM MaNeT To MirÓ| 5

Related Programs

Fe a t u r e d Le c t u r e s In the Dr. Bob Smith Auditorium.

September 13, 3:00 p.m. From Manet to Miró: Modern Drawings from the Abelló Collection Dr. Guillermo Solana Chief Curator, Museo Thyssen-Bornemisza, Madrid Details on page 20

September 25, 6:00 p.m. Drawing the Line: Memory, Transformation and Duration in Modern European Art Practice Dr. Janis Bergman-Carton Associate Professor and Chair of Art History, Meadows School of the Arts, SMU Details on page 20

Ga ll e r y Ta l k s In the Jake and Nancy Hamon Galleries.

October 17, 12:15 p.m. How to Behave Around Drawings Mary Vernon Professor of Art, Altshuler Distinguished Professor, Meadows School of the Arts, SMU Opposite page, top: Édouard Manet Reclining Woman, 1862-63 October 24, 12:15 p.m. Brush, ink and wash on paper A Subject of Modern Life: Degas’ “After the Bath,” c. 1895 Photography courtesy The Abelló Collection Scott Winterrowd Photographer: José Loren Assistant Curator of Education, Meadows Museum, SMU Opposite page, bottom: Edgar Degas Bather Drying Herself or After the Bath, c. 1895 October 31, 12:15 p.m. Pastel on paper Adventures in Collecting Drawings, or How to Stay Married Photography courtesy The Abelló Collection Photographer: José Loren When He Wants One and You Want the Other Kevin and Cheryl Vogel This page: Egon Schiele Private Collectors and Gallery Owners, Crouching Woman, 1917 Valley House Gallery and Sculpture Garden Pencil on paper Photography courtesy The Abelló Collection Photographer: José Loren

Pr o g r a m s f o r Me m b e r s In the Galleries and Education Studio.

November 8 and 15, 10:00 a.m.–12:00 p.m. Family Workshop: Drawing with the Masters Details on page 23 6 |Current Exhibitions

September 14–December 2, 2008 Master Drawings from the Meadows Collection

he Meadows Museum is well known for its collection of paintings by TSpanish Old Masters. Lesser known, perhaps, are our holdings of drawings by Spanish artists from the 17th through 21st centuries. The collection is particularly strong in works from the second half of the 19th century and first half of the 20th, with pencil, ink and chalk drawings and pastels by such artists as Mariano Fortuny, Raimundo de Madrazo, José Jiménez Aranda, Joaquín Sorolla, Julio González and Joan Miró. Together they represent a significant part of our holdings of modern art and greatly inform our understanding of Spanish artists who are perhaps better known for their paintings. To accompany the current exhibition From Manet to Miró: Modern Drawings from the Abelló Collection, three of our second-floor galleries will be devoted to an installation of the Meadows’ excellent collection of drawings.

Although many were intended as preliminary or preparatory sketches, they stand alone as impressive and accomplished works of art. Of particular note is the sculptor Antonio Primo’s Roman Sketchbook, completed in Italy in 1765, it is a rare example of an artist’s sketchbook. Also among our holdings is a pair of Old Master drawings, each depicting two of the cardinal virtues—Fortitude and Temperance, Prudence and Justice—by Vicente López y Portaña (1772–1850). Represented in the Meadows collection by two portrait paintings and an oil sketch, this Valencian artist was director of the Prado Museum and served as Pintor de Cámara (Royal Court Painter) under King Ferdinand VII (r. 1813–1833), a title he shared for a time with Goya and continued under Queen Isabella II (r. 1836– 1904). The delicate drawings represent a distinct aspect of López y Portaña’s talent and creative process, demonstrating the excellent training in draughtsmanship he received at both the Real Academia de Bellas Artes de San Carlos in his hometown of Valencia and the Real Academia de San Fernando in Madrid.

Top: Mariano Fortuny i Marsal Portrait of a Girl, n.d. Pencil and watercolor on paper Meadows Museum. Algur H. Meadows Collection. MM.68.25

Bottom: Vicente López y Portaña The Cardinal Virtues (Prudence & Justice), n.d. Pencil and brown wash on paper Meadows Museum. Meadows Museum Purchase. MM.72.01

Photography pages 6-7 by Michael Bodycomb. master drawings from the meadows collection| 7

The 19th-century holdings are particularly strong in the area of drawings. They include Mariano Fortuny’s sketchy rendition of a halberdier (military guard) in black and white chalk and an empathetic pencil and watercolor portrait of a girl wearing oriental garb, who looks wantonly out at the viewer. Raimundo Madrazo’s pastel portrait of a lady proves the artist was as accomplished with pastels as he was with paint. Two works in ink by Fernando Villodas, circa 1910, highlight popular contemporary traditions of the time. Moving into the 20th century, there are three drawings, two of which are double-sided, by prominent sculptor Julio González, representing the artist’s preparatory sketches for some of his best- known sculptures. They offer insight into how the artist formulated and developed three-dimensional forms on paper.

All in all, Master Drawings from the Meadows Collection perfectly complements the drawings from the Abelló collection by some of the modern period’s most important artists, featured in adjacent galleries. As in that great private collection, Spanish artists appear within the context of their international colleagues with whom they worked. 

Top: Raimundo de Madrazo y Garreta Portrait of a Lady, late 19th c. Pastel on cardboard Meadows Museum. Algur H. Meadows Collection. MM.65.28

Bottom: Joan Miró Flyleaf to the Book Miró Cartones, 1967 Crayon on paper Meadows Museum. Gift of Dr. William Jordan. MM.99.11.01 8 |Current Exhibitions

September 28–December 2, 2008 Spain’s War of Independence: 1808–1814 The Ru i n s o f Za r a g o z a and Goya’s Th e Di s a s t e r s o f Wa r

o commemorate the 200th anniversary of the start of Spain’s War of Independence in May of 1808, the Meadows Museum has T installed in its first-floor galleries two groups of period prints depicting the war’s devastation: a selection of Goya’s The Disasters of War along with Brambilla and Gálvez’s Ruins of Zaragoza, which is exhibited for the first time in the new building.

In spite of Spain’s tenuous alliance with Napoleon Bonaparte’s France, in early February of 1808 French Imperial troops marched into Spain and began seizing its fortresses. By February 29 they had taken Barcelona. Meanwhile, following a coup d’état, Spain’s King Charles IV was deposed and replaced by his son Ferdinand, whom Napoleon soon ousted in favor of his own brother, Joseph Bonaparte. Though a puppet Spanish Council approved the appointment, Spaniards soon defied their French occupiers. On the infamous 2nd and 3rd of May, the citizens of Madrid rose up in rebellion and were shot by the hundreds in retaliation. The events, which were famously immortalized in paint by Francisco de Goya in huge canvases now in the collection of the Prado Museum, sparked guerilla uprisings across the country. (The word for “little war,” guerilla has been used in English ever since to describe less formal, spontaneous combat.) The Spanish guerillas were soon aided by the Portuguese and their mighty allies, the British, who took their bitter battle against Napoleon to Spain. The war would rage on for another six years before the French were finally defeated, thanks to a series of successful battles headed primarily by Arthur Wellesley, the first Duke of Wellington, whom Goya portrayed during the last years of the war.

The ruined infrastructure and horrific loss of life that resulted from a peninsula-wide war of the Spanish, Portuguese and British against Napoleon’s France served as the sad inspiration for a number of the period’s artists, the most prominent of which was Goya. Though his energetic and moving paintings proved formal if controversial monuments to the devastation of some of the war’s most tragic events, it was through the medium of prints that the artist’s first-hand vision of the dark horror of Spain’s War of Independence touched broader audiences. The first edition of Goya’s series of 80 aquatint plates, titled posthumously Los Desastres de la Guerra, SPAIN's WAR OF INDEPENDENCE: 1808–1814| 9

or The Disasters of War, was printed in 1863, long after the war had come to an end and some 35 years after his death. Though the images of piles of dead bodies and of blind inhuman cruelty speak for themselves, thought-provoking captions are included, which were likely composed by the artist’s friend Ceán Bermúdez. The prints’ empathetic, ironic and dark account of war seems to take no sides or find any glory in either the heinous or traditionally heroic, and perhaps because of this, generations of viewers have found in them a chilling brutal honesty. Indeed, the sense of hopelessness, harsh irony, and waste that permeates Goya’s images of his nation at war continues to have resonance today.

Goya was not the only artist to capture the toll that Spain’s War of Independence took on the country’s land, architecture and people. Long before the first run of the The Disasters of War, and, indeed, even before the end of the war, Fernando Brambilla and Juan Gálvez produced a bound volume of 27 prints illustrating scenes of the battle and resulting ruins following the siege of Zaragoza by Napoleonic forces in 1808, titled Ruinas de Zaragoza (Ruins of Zaragoza). These prints, of which the Meadows Museum has a set, are early examples of the use of aquatint in intaglio printing, later used by Goya in his bold explorations of the medium. The Meadows prints once belonged to Lord and Lady Holland, the representatives of Opposite page: Francisco Goya the English crown in Madrid during the The Disasters of War, “Rightly or Wrongly,” executed c. 1812-15, published 1863 Etching and lavis peninsular wars who were eyewitnesses Meadows Museum. Algur H. Meadows Collection. MM.67.08.02 to the siege of Zaragoza. The prints’ This page, top: Francisco Goya depiction of the vast destruction suffered The Disasters of War, “Bitter Presence,” executed c. 1810-11, published 1863 in Goya’s hometown is telling of the state Etching and lavis in which Spain was left upon the war’s Meadows Museum. Algur H. Meadows Collection. MM.67.08.13 conclusion; it signals the waning power This page, bottom: Francisco Goya of a country that, by the end of that same The Disasters of War, “May the Rope Break,” executed c. 1815-20, published 1863 Etching and aquatint century, would lose what remained of its Meadows Museum. Algur H. Meadows Collection. MM.67.08.77 empire in yet another war.  Photography pages 8-9 by Michael Bodycomb. 10 | mUseum nEWS

15 large movable planters on a rail system create a multitude of possible layouts within the Sculpture Garden. This flexibility in design will accommodate the different types of exhibitions envisioned by museum curators. It constitutes a unique Perspective views of the Meadows Museum Sculpture Garden. Thomas Krähenbühl, TKTR Architects, PLLC. design feature, which has never before been realized in a sculpture garden.

PERSPECTIVE VIEW SMU MEADOWS MUSEUM SCULPTURE GARDEN 109 STONE PLACE, SUITE 203 DALLAS, TX 75201 PHONE: 214.855,9344 03 Dec. 2007 FAX: 214.855.9346 renovation of the plaza at the meadows museum| 11

Renovation of the Plaza at the Meadows Museum An update on our new Entrance to the Museum

he new design conceived by Dallas architect Thomas TKrähenbühl, will create an inviting space for SMU students and the community and will provide a site to showcase the Meadows Museum’s important collection of modern outdoor sculptures. The plaza will offer an additional space for outdoor events.

FACTS ABOUT THiS nEw entrance

• New access stairs from Bishop Boulevard, including a water feature and 14 planters leading up to the Sculpture Garden. • 9,000 square feet of lawn area. • 15 large movable planters on a rail system, creating a multitude of possible layouts within the Sculpture Garden. This flexibility in design will accommodate the different types of exhibitions envisioned by museum curators. It constitutes a unique design feature, which has never before been realized in a sculpture garden. • An additional 4 large stationary planters, as well as 8 large stationary planters with trees. • A large terrace overlooking the Calatrava Wave, which will be protected and covered during the renovation. • 4 strategically located overlooks, connecting the Sculpture Garden with the SMU campus at large. • Carefully chosen materials and finishes, emphasizing longevity, natural finishes and the harmony with the materials of the existing museum building.

We are excited about the renovation of the Museum’s plaza and staircase and work will continue throughout the Fall. During this time, the front stairway will be demolished and members and visitors will be able to access the Museum via the underground parking garage. We apologize for the inconvenience and appreciate your patience.  Jacques Lipchitz La Joie de Vivre, 1927 Bronze Meadows Museum. Elizabeth Meadows Sculpture Collection. MM.69.04 12 |FUTURE EXHIBITIONS

January 25–May 17, 2009 From the Temple and the Tomb Etruscan Treasures from Tuscany

s part of next spring’s Dallas-wide celebration of ancient A civilizations of the Mediterranean, the Meadows Museum will honor the 15th anniversary of SMU professor P. Gregory Warden’s groundbreaking archaeological excavation in Poggio Colla, Italy with an exhibition dedicated to the great ancestors of Rome: the Etruscans. From the Temple and the Tomb will be the most comprehensive exhibition of Etruscan art ever undertaken in America, with more than 300 objects spanning the 9th through 1st centuries B.C.

The Etruscans were legendary in the ancient world for their wealth, their religiosity, and the extraordinary freedom and power of their women. They were also, along with the Greeks and Phoenicians, one of the three great powers of the ancient Mediterranean until all were conquered by the Romans in the 3rd and 2nd centuries B.C. This ancient civilization also greatly influenced the Romans. Yet, at least in the popular imagination, the Etruscans remain shrouded in mystery. While their language has been deciphered, there is still lively debate about where the Etruscans themselves originated. Another reason for the mystery surrounding them is that almost all surviving materials come either from funerary context, giving the impression that the Etruscans were obsessed with death and the afterlife, or from sanctuaries, reinforcing the idea that the Etruscans were, as the historian Livy put it, “the most religious of peoples.” What remains of this vibrant civilization literally comes from “the temple and the tomb.” FROm THE TEMPLE and THE TOMB| 13

The Florence Archaeological Museum holds what is arguably the finest collection of Etruscan art in the world, and some of the choicest objects from its collection will come to the Meadows. These extraordinary objects illustrate every aspect of Etruscan life and afterlife over almost a thousand years. The Etruscans were ruled by a theocratic elite that controlled every aspect of Etruscan life; priest/magistrates were believed to be skilled at interpreting the will of the gods. The exhibition will include ritual objects, such as votive bronzes offered to the gods in sanctuaries, or objects used for interpreting the will of the gods, such as the still-mysterious Magliano lead disc. The exhibition also will include an entire temple pediment – the terracotta decoration for the front of an Etruscan temple – showing that the Etruscans were masters at working terracotta as well as bronze (the Etruscan skill at creating decorative objects in bronze was much admired by the Greeks, and adapted by the Romans). Additionally, a multitude of objects will be shown from Etruscan tombs: sarcophagi and ash urns, guardian animals and demons, as well as the splendid gold, silver, bronze, ivory, and ceramic objects that were deposited in the tombs of the wealthy. Especially impressive is the gold jewelry, so technically advanced that it is difficult to reproduce today.

Opposite page: “Canopic” Urn with Throne, 6th c. B.C., Clay. Florence, National Archaeological Museum

This page, top: Diadem, Late 4th c. B.C., Gold. From Populonia. Florence, National Archaeological Museum

This page, bottom: Caryatid Stemmed Bowl, Last quarter of 7th c. B.C., Bucchero. Florence, National Archaeological Museum 14 |FUTURE EXHIBITIONS

Etruscan art reveals an incredible variety of styles, ranging from naturalistic depictions that foreshadow later Roman portraits to abstracted figures that look so remarkably un-classical they might have been done in the 20th century A.D. rather than the 6th century B.C. This important collaboration with the Florence Archaeological Museum will introduce Meadows visitors to the liveliness and vigor of Etruscan art, bringing to life a vibrant but lost culture at the heart of the Mediterranean tradition. 

This exhibition has been organized by the Meadows Museum in association with the Florence Archaeological Museum, Italy, the Italian Ministry of Culture, the Soprintendenza of Archaeology for Tuscany, and Centro Promozioni e Servizidi Arezzo. This exhibition has been funded by a generous gift from The Meadows Foundation.

Top: Helmet, Middle of the 7th c. B.C., Bronze. From De Populonia, Necrópolis della Porcareccia, Tomb of the Bronze Fans. Florence, National Archaeological Museum

Middle: Pair of "bauletto" Earrings, Middle of 6th c. B.C., Gold. Florence, National Archaeological Museum

Bottom: Ritual Cart, second quarter of 7th c. B.C., Bronze. From Vetulonia, "Circolo dei Lebeti." Florence, National Archaeological Museum FROm THE TEMPLE and THE TOMB| 15

Top: Urn, End of the 3rd c. B.C., Alabaster. From Sarteano (Siena). Siena, National Archaeological Museum

Bottom: Urn, middle of the 6th c. B.C., Bucchero. Florence, National Archaeological Museum 16 |FUtURE Exhibitions

June 21–September 20, 2009 Diego Rivera: The Cubist Portraits, 1913–1917

his focused exhibition and study will Texplore Rivera’s artistic production during the formative years he spent in literary and art circles in Paris during World War I, providing a new perspective on this lesser- known and crucial period of the Mexican artist’s career.

The exhibition was inspired by a key piece from the Meadows permanent collection, the Portrait of Ilya Ehrenburg (1915). Algur Meadows purchased this portrait of a Russian writer for the museum in 1968. It is one of the only paintings by a non-Spanish artist he bought for the museum, and it remains one of only a handful of Cubist portraits by Rivera in an American collection. The painting demonstrates Rivera’s attentiveness to Cubism, especially in its second, synthetic phase in which the use of flatly colored and clearly defined shapes and varied textures combine to emphasize the two-dimensional perception of the image. At the same time, the artist seems to defy his painting’s two- dimensionality by giving each of its colors and shapes its own, frequently three-dimensional, texture. This is particularly evident in his depiction of Ehrenburg’s pipe and pen, the prominently displayed symbol of the writer’s profession, whose modeled gesso protrudes from the surface of the painting. In this way, the work demonstrates that through oblique and simultaneous fragmentation of the picture plane and the transformation of perspective, Rivera opted for a hybridization of processes (Orphism, pointillism, futurism, abstraction) and, occasionally, of techniques steeped in a creative use of materials—including sand, sawdust, and paper—in oil paintings. The rusty red pigments of this canvas are pocked with sticky sand and Ehrenburg’s hair is formed by greasy ridges of black paint.

With this exceptional painting as the perfect starting point, the aim of this exhibition is to re-establish and highlight the emotional connections, as well as the professional and ideological ties, that bound Diego Rivera to the circles he frequented on a daily basis during his tenure in Paris. In his Montparnasse studio, many close friends posed for him, including Ilya Ehrenburg, who in DIeGO RIVERA| 17

his memoirs referred to sitting for the portrait. Through his illustrious models, it is possible to reconstruct a chapter of Rivera’s biography and, at the same time, a marginal aspect of cosmopolitan Paris during the period between the wars, with the artistic, historical, political, and literary references it encompassed. In particular, Paris’s Russian emigré community, of which Ehrenburg was a part, emerges among Rivera’s Cubist portraits, demonstrating his close acquaintance with them by way of his Parisian lovers (artists Angelina Beloff and Marevna Vorobieva-Stebelska). This community was primarily made up of Bolsheviks who continued an underground struggle while living in exile after the failed St. Petersburg insurrection of 1905; Ehrenburg himself was a fugitive from the czar’s prisons. Others included the burly poet Maximilien Volochine, the sculptor Oscar Mietschaninof, the painter Alexandre Zinoviev as well as Lithuanian sculptor Jacques Lipchitz and the capitalist patron of the arts, Michel Ossip Zeitlin, not to mention several of their wives and companions such as Bertha Kristosser Volkovitsky, Marie Zeitlin and Mme. Marcoussis.

When Diego Rivera traveled to study in Paris in the first decades of the 20th century and found himself in these fertile surroundings he developed a distinct Cubist visual language, which he used to create empathetic and moving portraits of some of the era’s most important figures. Diego Rivera: The Cubist Portraits, 1913-1917 therefore celebrates not only the Meadows’ Cubist portrait by the artist, but places Rivera within a broader framework of the European and avant-garde artistic traditions upon which he would later draw in the development of his own unique style. The exhibition will be curated by prominent Mexican scholar Sylvia Navarrete. She and other Rivera specialists from France and the United States will contribute to the scholarly catalogue. 

Diego Rivera: The Cubist Portraits, 1913-1917 is presented by Wachovia. Major funding is also provided by The Meadows Foundation. This exhibition is organized by the Meadows Museum.

Opposite page: Diego Rivera This page: Diego Rivera Portrait of Ilya Ehrenburg, 1915 Jacques Lipschitz (Portrait of a Young Man), Paris 1914 Oil on canvas Oil on canvas Meadows Museum. Algur H. Meadows Collection. MM.68.12 The Museum of Modern Art, New York. Gift of T. Catesby Jones, 1941 Photography by Michael Bodycomb. 18 | RECENT ACQUISITION

Twenty-nine Miniatures by Francisca Ifigenia Meléndez (1770–1825)

he Meadows Museum is pleased to announce the recent acquisition of an important series of 29 ivory miniatures by Francisca TIfigenia Meléndez representing members of the court and family of King Charles IV of Spain (r. 1788–1808), under whom she served as official painter of portrait miniatures. The paintings are accompanied by a letter from the secretary of Queen María Luisa de Parma dated February 26, 1795, which outlines the queen’s order for new miniatures from the artist. The paintings depict diverse personages from the royal family and the Court during the latter decades of the 18th century, many of them the very same figures portrayed by Goya. The miniatures remained in the Meléndez family and a number of them are unfinished, suggesting that the portraits were never delivered.

The tiny individual portraits represent the artist’s exceptional skill in a specialized genre, combining official portraiture and the rendering of each sitter’s individual features with assured and refined detail while providing insight into their psychologies. Francisca Meléndez came by her talent naturally, perhaps; she was the daughter of miniature painter José Agustín Meléndez, and the niece of famed Spanish still-life painter Luis Meléndez. In 1790, when she was 20 years old, Francisca painted a Virgin and Child and presented it to the Royal Academy of San Fernando. The technical refinement of the Raphaelesque devotional subject probably led to her being named Académica de Mérito (Honorary Member of the Academy), an unusual honor for a woman artist at the time. Her court career as a painter of portrait miniatures of the king and the royal family mirrored that of her grandfather, Francisco Antonio Meléndez. On the strength of her portrayals of Charles IV and Queen María Luisa de Parma, in 1794 she was made salaried Pintora y Retratista de Cámara (Royal Court Portrait Painter). The following year her annual salary was raised to 15,000 reales and she was also paid individually for her works. The tiny paintings Francisca did while in that capacity, of which these are excellent examples, testify to her extraordinary skill and refinement in her specialty.

The addition of a representative work by Francisca Meléndez, member of an important dynasty of Spanish artists and, like Goya, one who painted portraits of the royal family, has helped to enhance our collection of late 18th-century paintings. The acquisition adds to our holdings of royal portraiture, which include Velázquez’s Philip IV, making it a welcome addition to discussions on official portraiture between the Hapsburg and Bourbon royal court families. It marks the Meadows’ first example of the genre of miniatures, which played an important role in court relations, distinct from that of larger-scale canvases. More significant still, Francisca Meléndez is the first female painter to be represented in the Meadows collection.

In addition, the delicate paintings and their accompanying letter provide context for court portraiture at the time while opening related areas of interest, including the role of women in the court of Charles IV and in the Royal Academy of San Fernando and the function of portable royal portraiture in establishing and maintaining political and personal relationships. A special lecture will be presented related to this exciting acquisition (see page 20).  Francisca Ifigenia Meléndez| 19

Twenty-nine Miniatures by Francisca Ifigenia Meléndez (1770–1825)

Opposite page left: Portrait of Infante Antonio Pascual de Borbón (?) Opposite page right: Portrait of a lady with coral jewelry Tempera on ivory, diameter 2 inches [actual size] Tempera on ivory, 2 ¼ x 1 7/8 inches [actual size] Meadows Museum. Museum purchase with funds from Meadows Museum. Museum purchase with funds from The Meadows Foundation. MM.08.01.23. The Meadows Foundation. MM.08.01.16.

Opposite page center: Portrait of a Gentleman This page: Members of the Court and Family of King Charles IV of Spain, Tempera on ivory, diameter 3 1/4 inches [actual size] late 18th century-1808 (1795?) Meadows Museum. Museum purchase with funds from Tempera on ivory, various sizes The Meadows Foundation. MM.08.01.17. Meadows Museum. Museum purchase with funds from The Meadows Foundation. MM.08.01.1-30.

Photography pages 18-19 by Dmitri Skliris. 20 | PuBLic PRoGRAMs

Public Programs October 9, 6:00-7:30 p.m. Pair of lectures celebrating the Meadows Museum’s recent acquisition of royal portrait miniatures by Francisca Ifigenia Fe a t u r e d Le c t u r e s Meléndez (1770–1825). Reception to follow in the Gene and Jerry Jones Great Hall. All Featured Lectures take place in the Dr. Bob Smith Auditorium. 6:00-6:45 p.m. Painting the Spanish Monarchs: 1789 to 1820 August 28, 6:00 p.m. Dr. Janis Tomlinson Trends in 20th-Century Photography Director of University Museums, University of Delaware and Jack Kilby’s Eye of Genius Anne E. Peterson This lecture will examine the transformation in the representation Curator of Photographs, DeGolyer Library, SMU of Charles IV and María Luisa and their son and successor, Fernando VII. Artists to be examined include Francisco Goya, This lecture is held in conjunction with the exhibition Jack Kilby: Mariano Maella and Vicente López. The Eye of Genius—Photographs by the Inventor of the Microchip. Well-known for his scientific invention of the microchip, 6:45-7:30 p.m. Kilby was also an accomplished photographer. He brought to Women Artists in Spain During the 18th Century his photography the same creativity he used in engineering, Dr. Maite Alvarez exploring different subjects, angles and printing techniques. Project Specialist, J. Paul Getty Museum Through reading Camera magazine, catalogues and books and seeing photography exhibits in galleries and museums in New In honor of the new acquisition, Dr. Alvarez will discuss the York and the Dallas/Fort Worth Metroplex, Kilby was exposed other female artist in the Meadows collection, sculptor Luisa to images by the best contemporary photographers such as Roldán, and the role of women artists within their families and Henri Cartier-Bresson, Harry Callahan, Ansel Adams, Frank workshops, and as employees of the royal court. Gohlke, Paul Strand, Bernhard and Hilla Becher and many others. Peterson will discuss Kilby’s work and the 20th-century October 23, 6:00 p.m. photographers with whom he was familiar as he distilled that Manuel de Falla and Claude Debussy: Musical Connections knowledge and developed his own style. Between France and Spain at the Turn of the 20th Century Dr. Donna Mayer-Martin September 13, 3:00 p.m. Associate Professor and Chair of Music History, From Manet to Miró: Meadows School of the Arts, SMU Modern Drawings from the Abelló Collection Dr. Guillermo Solana Connections between Spanish and French composers and Chief Curator, Museo Thyssen-Bornemisza, Madrid musical styles at the beginning of the 20th century were significant. Debussy and Ravel wrote works for the piano This lecture is held in conjunction with the exhibition From influenced by Spanish rhythms and dances; most of their piano Manet to Miró: Modern Drawings from the Abelló Collection, on works were premiered in Paris by the Spanish virtuoso, Ricardo view at the Meadows Museum Sept. 14–Dec. 2, 2008. Dr. Vinès. Dr. Mayer-Martin is a scholar and popular lecturer on Solana will discuss the holdings of the Abellós’, who are among music in France, with special interest in medieval music in Spain’s most distinguished and important private collectors of France, and music in Paris at the turn of the 20th century. Her art, with special emphasis on their modern drawings. Dr. Solana lecture will be illustrated by Meadows student performances of is a distinguished scholar of 19th-century and modern art and works by Debussy, de Falla and Ravel. the principal contributor to the catalogue that accompanies the exhibition. RSVP for the lecture is required and space is limited. November 18, 6:00 p.m. For more information and to register call 214.768.4771. Topic to be announced Dr. Gabriele Finaldi September 25, 6:00 p.m. Deputy Director of Conservation and Research, Drawing the Line: Memory, Transformation and Prado Museum, Madrid Duration in Modern European Art Practice Dr. Janis Bergman-Carton Associate Professor and Chair of Art History, Meadows School of the Arts, SMU

From Manet to Miró: Modern Drawings from the Abelló Collection provides the occasion to examine the transformation of modern European drawing practices from a Renaissance academic model that emphasized copy and preparatory work to a vital arena of experimentation in the 19th and 20th centuries. public programs| 21

December 4, 6:00 p.m. Co m i n i Le c t u r e s New Evidence for Etruscan Ritual: The Excavations at the Sanctuary of Poggio Colla Thursday Evenings Dr. Greg Warden Professor of Art History and Associate Dean Presented by the Division of Art History at SMU’s Meadows of Academic Affairs, Meadows School of the Arts, SMU School of the Arts, the Comini Lecture Series in Art History is named in honor of Alessandra Comini, University Distinguished SMU’s excavations at the acropolis sanctuary of Poggio Colla, Professor of Art History Emerita, whose 30-year legacy of vital about 20 miles northeast of Florence, are providing dramatic scholarship and lecturing at SMU has set the standard for evidence for Etruscan votive religion and the ritual destruction compelling and insightful programs. of an Etruscan temple. The evidence includes a series of ritual deposits consisting of architectural elements of the destroyed This series features scholars and museum professionals temple, gold jewelry, coins, bronzes, and statue bases, one presenting unique perspectives on works in the Meadows of which bears a rare Etruscan inscription. These finds are Museum and other area collections, as well as topics that are testament to Etruscan rituals previously reconstructed from varied in period, culture and place. More information on these historical sources and support the view that the Etruscans lectures is available by calling the Division of Art History at were the most religious of peoples, ruled by a theocratic elite 214.768.2698. NOTE: These programs are free, but tickets are that held power through control of religion. RSVP for the required. Please contact the Meadows School of the Arts Ticket lecture is required and space is limited. Priority will be given to Office at 214.768.2787 to obtain tickets. Seating is limited and Museum Members. 214.768.4771or [email protected]. available on a first-come, first-served basis. All lectures will take place in the Dr. Bob Smith Auditorium.

October 16, 5:30 p.m. Ga ll e r y Ta l k s Andrew Wyeth’s Christina's World: Normalizing the Paralyzed Body All Gallery Talks take place in the Jake and Nancy Hamon Dr. Randall Griffin Galleries. Professor of Art History, SMU

October 17, 12:15 p.m. This talk will examine Wyeth’s iconic 1948 portrait of Christina How to Behave Around Drawings Olson, arguing that, although the scene appears utterly divorced Mary Vernon from the modernity of postwar American culture, it reflected Professor of Art, Altshuler Distinguished Professor, widespread anxiety over a polio epidemic. The painting also Meadows School of the Arts, SMU illuminates Wyeth’s own stated ambivalence about Christina’s “abnormal” body, which was radically reconfigured in the October 24, 12:15 p.m. picture. A Subject of Modern Life: Degas’ “After the Bath,” c. 1895 Scott Winterrowd October 30, 5:30 p.m. Assistant Curator of Education, Meadows Museum, SMU Christianity, Idolatry and the Question of Figural Painting in Hebrew Illuminated Manuscripts October 31, 12:15 p.m. Dr. Katrin Kogman-Appel Adventures in Collecting Drawings, or How to Stay Professor of Art History, Married When He Wants One and You Want the Other Ben Gurion University of the Negev, Israel Kevin and Cheryl Vogel Private Collectors and Gallery Owners, November 13, 6:00 p.m. Valley House Gallery and Sculpture Garden The Changing Image of Beethoven: A Study in Mythmaking Dr. Alessandra Comini University Distinguished Professor of Art History, SMU

To celebrate the reissuing this year of her “magisterial” study of Beethoven’s imagery across two centuries, Comini examines the contradictory portrayal of the composer in contemporary verbal accounts and in dozens of paintings, prints, sculptures and monuments across the decades. She constructs a collective image of Beethoven from peevish recluse to Promethean hero as reflected by mythmakers from Wagner, Berlioz, Nietzsche and Brahms to Rolland, D’Annunzio, Mahler and Klimt. 22 |PUBLIC PROGRAMS

Vi s i t i n g Ar t i s t s ' Le c t u r e Se r i e s September 24, 6:30–8:00 p.m. Nicole Eisenman Presented by the Division of Art at SMU’s Meadows School of the Arts, this FREE series features artists and scholars discussing Nicole Eisenman’s exhibitions have taken the shape of paintings, topics that are varied in period, culture and place. Unless noted, drawings, collages, assemblages, found objects and murals. reservations are not required. Seating is limited and available on Including piles and spills, wall-bound works on paper and a first-come, first-served basis. All lectures will take place in the canvas, and things hanging from ceilings, her installations Dr. Bob Smith Auditorium. seem to be transported from the room of a very talented teenager whose moods shift effortlessly from nice to nasty. September 11, 6:30–8:00 p.m. In addition to an upcoming solo exhibition at the Tang Hildur Bjarnadóttir Museum at Skidmore College, Eisenman has exhibited her work at Barbara Weiss Gallery in Berlin, Leo Koenig Hildur Bjarnadóttir is internationally admired for her skills Gallery in New York, The Reina Sofiá in Madrid, and the in weaving, needlework and crochet, yet she introduces new New Museum, the Whitney Museum and PS1 in New York. materials and incorporates humor in her work to challenge traditional conceptions of drawing and painting. In her own November 6, 6:30–8:00 p.m. words, “The line between art and craft is hazy, and is based Marco Breuer on context as well as concept. In my art I explore this fine line between decorative, usable crafts and conceptual art. My work Marco Breuer has published and exhibited widely in the United takes the focus from the usefulness and beauty that textiles are States and Germany and is represented in numerous museum generally connected with and places it more on simple techniques collections, including the Museum of Modern Art in New York, and the inherent properties of the materials I work with as well the Baltimore Museum of Art and the Museum of Fine Arts in as against the materials and traditional textile rules.” Houston. He has made camera-less photographs since the early 1990s. His images—created without a camera or computer—are the result of direct manipulation of the photograph’s surface. A professor at Bard College, he is a recent recipient of a John Simon Guggenheim Memorial Foundation Fellowship (2006).

Wachovia Gift, Imagine U @ SMU

The Meadows Museum and Meadows School of the Arts at Southern Methodist University received a $174,000 gift from the Wachovia Foundation to design and implement Imagine U @ SMU, a program involving sixth grade students from select under-served communities and SMU student mentors from different schools across campus. Through a combination of museum gallery visits, interdisciplinary activities, studio projects, and presentations by SMU students, junior high participants will be introduced to life at a university and be inspired to think creatively and explore educational opportunity. The Wachovia gift made possible a newly conceived position of Education Coordinator, who will work with communities on and off campus to realize this innovative program. public programs| 23

Pr o g r a m s f o r Me m b e r s

Special Class for Members 13 Wednesdays: September 3–December 3 (class will not meet on November 26) 10:00–11:30 a.m. Cultural and Social History of Spain Dr. Luis Martín Professor Emeritus of History, SMU

This lecture course, offered exclusively to Meadows Museum members, will examine the fall and disintegration of the Spanish Empire: the Spanish civil wars of the 19th century, the Spanish American War (La Guerra de Cuba), “La Generación del 98” and the Clash of the “Two Spains,” the fall of the monarchy, and the failure of the Second Republic to unify the Two Spains. Free; no advance registration necessary. The class meets in the Dr. Bob Smith Auditorium.

Reading and Discussion Group for Members 13 Wednesdays: September 3-December 3 (class will not meet on November 26) 3:30–5:00 p.m. Titles to be announced Dr. Luis Martín Professor Emeritus of History, SMU

Free, advance registration required. For more information and to register, please call 214.768.4677.

Family Workshop: Drawing with the Masters November 8 and 15 10:00 a.m.–12:00 p.m. Galleries and Education Studio

Be inspired by the masters in this program designed for children ages 5–12 and their parents or grandparents. Through a combination of gallery visits and studio activities, participants will explore a variety of different drawing media and techniques. Free; advance registration required. One adult per two children, please. To register, please contact the Education Department at 214.768.2740 or [email protected]. News from Guided Tours The Meadows Museum offers guided tours of its outstanding The Gates Restaurant permanent as well as temporary exhibitions. Tours are available for student and adult groups of 10 to 60 participants. Docent- led tours cost $1.50 per person for student groups and $5 Please note that The Gates Restaurant will re-open for per person for adult groups. Reservations are required three service August 26, 2008. We hope you will visit The Gates weeks in advance. Tours are offered Tuesday through Saturday and enjoy some of the fabulous new menu items created between 10:30 a.m. and 3:30 p.m. Please contact the Education for you by our award-winning chef! Coordinator, at 214.768.2740 or [email protected], for more information and to schedule tours. Free public tours are Hours of operation at The Gates are Tuesday through offered on Sundays at 2:00 p.m. with museum admission, and on Thursdays at 6:00 p.m. when museum admission is free. Friday, 11:30 a.m.-2:00 p.m. For more information please call 214.768.3928. 24 |PUBLIC PROGRAMS

Co n t i n u i n g St u d i e s

Non-credit informal liberal arts courses for adults are taught by professional educators and experts. For enrollment information, please call 214.768.8446 or visit www.learn.smu.edu.

3 Thursdays, September 4–25 (class will not meet on September 18) 6:00-7:30 p.m. Bad Boys: Modern Masters From Manet to Miró Nancy Cohen Israel Art Historian; Owner: Art à la Carte

Sheer bravado and self-confidence propelled some of the art world’s greatest personalities into the pages of art history. They rocked the boat of the establishment with swagger and unleashed bold ideas in their art. Through illustrated lectures and gallery talks in conjunction with the upcoming Meadows Museum exhibition, From Manet to Miró, discover how these artists’ radical visions changed the world. Gustav Courbet, Édouard Manet, Amadeo Modigliani and Jackson Pollock are among those we will discuss. 2 Saturdays, September 27–October 4 Saturday, September 13 11:00 a.m.–12:30 p.m. 1:00–2:30 p.m. and Sunday, Oct. 11 SMU Sculpts: A Campus Walking Tour 4:00–6:30 p.m. Gail Sachson, MFA, SMU Food & Culture of Continental Mexico Owner: ASK ME ABOUT ART; Maria Teresa Cline, M.A. Commissioner of Cultural Affairs for Dallas; Spanish Literature, SMU Vice Chair, Dallas Public Art Committee Experience the richness of Mexican culture and cuisine through In celebration of the 25th anniversary of the Texas Sculpture conversation and cooking. Build vocabulary and language Association, together with the TSA, the Nasher Sculpture skills while learning about Hispanic culture—and enjoy the Center and the State of Texas, the City of Dallas has proclaimed results over a Mexican feast at the Central Market Cooking September 2008 to be “Sculpture Month.” SMU has long been a School! We’ll explore classic recipes, the tradition of preparing leader in encouraging a love of sculpture and boasts a myriad of food according to the rhythm of the seasons, the delights of major works throughout the campus. Discover this rich history shopping outdoor food markets, and more. No prerequisites or on a campus walking tour of these sculptural gems that includes text. Two class meetings held at the Meadows Museum on the SMU-trained talents James Surls and George Tobolowsky. Meet SMU campus; the third offers a private cooking class at Central at the Meadows Museum for a short introduction. Market in Dallas.

4 Saturdays, September 20–October 11 4 Thursdays, October 2-30 1:00–4:00 p.m. (class will not meet on October 9) Discovering Drawing 6:00–7:30 p.m. Jane G. Cross Of Milkmaids, Cavaliers, and Canals: Artist, Creativity Facilitator The Golden Age of Dutch Painting Nancy Cohen Israel This introductory drawing course uses step-by-step exercises, Art Historian; Owner: Art à la Carte developed from scientific research on right-brain creativity, to teach anyone to draw proficiently. The course shows you When the Netherlands freed itself from Spanish rule in the late how to break old perception patterns and overcome the fear of 16th century, it presaged a unique golden age. Creating a new failing to “do it right.” Included: shapes, soft and hard edges, voice in art, free of royalty and Catholicism, Dutch painters values and illusions, letting go of inhibitions and shedding old, developed a vocabulary that would appeal to a prosperous, counterproductive attitudes. Protestant middle class. Through genre and history painting, portraits and still lives, Dutch painters gave the world a fresh and vibrant look at everyday life in 17th-century Holland. Through richly illustrated slide lectures, visit the works of masters such as Antonis Mor, Jan Steen, Johannes Vermeer, Judith Leyster, Rembrandt van Rijn, and Frans Hals, among many others.