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2016 DCA Art Lecture Series Series Sponsor Between Modernity and Tradition:

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Series admission: Pierre-Auguste Renoir, Girl with a Fan, 1879. Oil on canvas, Includes 4 lectures with gourmet luncheons 65.4 x 54 cm. Sterling and Francine Clark Art Institute $175 DCA members, $195 public A Passion for Renoir: Sterling Single lecture with gourmet luncheon Clark and the Impressionists $50 DCA members, $55 public Thursday, October 13th Single lecture-only admission (walk-ins welcome) $20 DCA members, $25 public 11:00am Prepayment is required for all lunch reservations Kathleen Morris, Interim Senior by noon on the Friday preceding each lecture, and may be purchased at dariendca.org or through the Pierre-Auguste Renoir, Child with a Bird (Mademoiselle Fleury in Curator, Marx Director of Algerian Costume), 1882. Oil on canvas, 126.4 x 78.1 cm. Sterling and Francine Clark Art Institute DCA office at 203-655-9050 ext. 10. Collections and Exhibitions, Curator of Decorative Arts Specially designed luncheons by Diane Browne Presented by Williamstown, MA Curators: Catering. Luncheons follow the lecture. Beginning in 1916 with the purchase of his first Jay A. Clarke P E N T H O E R Renoir A Girl Crocheting, Sterling Clark embarked on S T Kathleen Morris A T I A N what would become a lifelong passion for collecting E Sterling and Francine Clark Art Institute paintings by Renoir and other Impressionist artists. browne & co. 865 Boston Post Road, Darien, Connecticut 203.656.1920 dbrowneandco.com

H Over the first half of the 20th century, both he and O G M N E I Kevin M. Murphy R O F TE D A his wife Francine amassed a major collection of IA C NE BROWNE works by the artist and his contemporaries. Despite Museum of Art

the eventual large scale of their collection, the NOTES Clarks always remained highly selective in their Lucy and House, Renoir in the Barnes Foundation. New Haven: & William H. Gerdts Yale University Press, 2012. Introductory Essay, John House, Professor Emeritus of Art History, purchasing choices and had specific time periods, Renoir: Between Modernity and Tradition subjects, and themes that they favored. This lecture Graduate School of The City University

will discuss both how the Clarks came to accumulate 274 Middlesex Road of such a spectacular array of Impressionist works and Darien, CT 06820 also how the Clark’s present collection reflects the 203-655-9050 [email protected] interests of its founders. dariendca.org , Entrance of the Masked Dancers, 1879. Pastel on Maurice Prendergast, Beach Scene, Maine, 1910-1913. Oil on Paul Georges, Portrait of a Curator, 1960’s. Oil on canvas, gray wove paper, 49 x 64.7 cm. Sterling and Francine Clark Art canvas, 77.5 x 87.6 cm. Williams College Museum of Art 36” x 48” approximate. Whereabouts unknown. Institute The Impressionist Line Uncommon Modern: Maurice Confessions of an Historian of Thursday, October 6th Prendergast and American Art American Impressionist Art 11:00am Thursday, October 20th Thursday, October 27th 11:00am 11:00am Jay A. Clarke, Manton Curator of Kevin M. Murphy, Eugénie Prendergast William H. Gerdts, Professor Emeritus Prints, Drawings, and Photographs Curator of American Art at WCMA of Art History, Graduate School of The In the late nineteenth century, artistic visionaries At the turn of the 20th century, Maurice Prendergast City University of New York saw the drawn and printed line as a signpost of produced some of the most avantgarde art in Author of “the best book ever written on the modernity. Long overshadowed by oil paintings, America. In watercolor and oil, Prendergast created subject” Artforum --- and over 25 books on prints and drawings created from the 1860s to the dazzling, mosaic-like scenes of people enjoying American art. The lecture will explore the latent 1890s have a different story to tell, one of artistic parks, the seashore, and other public places through development of interest in American art, moving spontaneity and experimentation. This talk will his use of divided brushwork and bright, arbitrary toward recognition of the accomplishments of the consider the hallmarks of the “Impressionist line” colors. However, while Prendergast’s American American Impressionists, equal to their peers on by looking at works from the Clark’s collection, version of French Post-Impressionism garnered the continent. Incorporating a “fair number of including watercolors by Honoré Daumier and critical acclaim and financial success for the artist, anecdotes along the way,” we will share a front , drawings by , it also seemed out of step with most American art row seat to the arc of a career that shaped the mysterious color woodcuts by Paul Gauguin, of his era, neither fitting in with the gritty urban levels of connoisseurship of both curators and improvisatory etchings by Édouard Manet, pastels realism of the Ashcan School nor the modernism of collectors alike in the second half of the 20th by Edgar Degas and , and luminous artists associated with Alfred Stieglitz. This talk will century, enduring into the 21st. color lithographs by Henri de Toulouse-Lautrec. use the extensive collection of the Williams College Museum of Art to explore how we might understand • Abigail Booth Gerdts, Director, Record of Works Prendergast’s place in American art, addressing his by (in five volumes) will also give convergence and divergence from his peers. “A Brief Talk on Winslow Homer and Darien.”