On Prints, from Fragonard to the Legacy of the Harlem Renaissance
Date, time, location:
Feb 13, 2025, 6:30 PM – 8:00 PM
Hauser & Wirth, 443 W 18th St, New York, NY 10011, USA
Full Program:
Fragonard’s Bacchanals
Ewa Lajer-Burcharth, William Dorr Boardman Professor of Fine Arts, Department of History of Art and Architecture, Harvard University
Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. She specializes in eighteenth- and nineteenth-century French art and has also written extensively on contemporary art. Her books include Necklines: The Art of Jacques-Louis David after the Terror (Yale University Press, 1999; Ebook A&AePortal, 2022), Chardin Material (Sternberg Press, 2011), and The Painter’s Touch: Boucher Chardin Fragonard (Princeton University Press, 2018; paperback ed., 2022). She also co-authored Interiors and Interiority, (De Gruyter, 2015); Painting Beyond Itself: A Medium in the Post-Medium Condition (Sternberg Press, 2016), and Drawing: The Invention of the Modern Medium (Harvard Art Museums, 2017; Ebook A&Ae Portal, 2018). She is currently working on a book project on 18th-century drawing titled Drawing in The World.
Jean Honoré-Fragonard, Plate One: Nymph Stepping Over the Arms of Two Satyrs, c. 18th Century, etching.
Printing Totality: Étienne Trouvelot’s Chromolithograph of a Total Solar Eclipse
Rachael Z. DeLue, Christopher Binyon Sarofim ’86 Professor in American Art and Director of the Princeton Humanities Initiative, Princeton University
Rachael Z. DeLue is the Christopher Binyon Sarofim ’86 Professor in American Art at Princeton University, jointly appointed in Art & Archaeology and the Effron Center for the Study of America. She also serves as the Director of the Princeton Humanities Initiative. Her most recent work explores intersections between art and science and the significance of the visual within the history and theory of knowledge. She serves as the editor-in-chief of the Terra Foundation Essays and edited Picturing (2016), the first volume in the series. She has also published George Inness and the Science of Landscape (2004), Landscape Theory (2008, co-edited with James Elkins), and Arthur Dove: Always Connect (2016).
Étienne Leopold Trouvelot, Total Eclipse of the Sun. Observed July 29, 1878, at Creston, Wyoming Territory, The Trouvelot Astronomical Drawings (New York: Charles Scribner’s Sons, 1881-1882), chromolithograph.
Henri-Gabriel Ibels, Circus Fan
Ashley Dunn, Associate Curator of Drawings and Prints, The Metropolitan Museum of Art
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Ashley Dunn is an associate curator in the Department of Drawings and Prints at The Metropolitan Museum of Art, where she is responsible for nineteenth-century French works on paper. Her exhibition projects at The Met include Manet/Degas (2023), Devotion to Drawing: The Karen B. Cohen Collection of Eugène Delacroix (2018), and Rodin at The Met (2017). She has also contributed to publications at the RISD Museum, the Art Institute of Chicago, and the Block Museum of Art at Northwestern University, where she received her PhD in 2019 with a dissertation titled, Urban Etching: The Printmaking of Modern Paris, 1850–80.
Henri-Gabriel Ibels, Circus Arena with the Clown and Ballet Dancer, ca. 1893–95. Lithograph on silk fan leaf. Harris Brisbane Dick Fund, 1938 (38.91.98).
Zinc, Copper, Sponges, and Rags: Degas’s Early Monotype Bathers
Michelle Foa, Associate Professor of European Art, Tulane University
Michelle Foa is associate professor of European art in the Art Department of Tulane University. Her first book, Georges Seurat: The Art of Vision, was published in 2015 by Yale University Press. Her second book, Edgar Degas and the Matter of Art, is under contract with Yale, and articles on the artist have been published or are forthcoming in The Art Bulletin, Art History, and West 86th, among other places. Last year, she co-curated the exhibition Edgar Degas: Multi-Media Artist in the Age of Impressionism at the Clark Art Institute. Her work has been supported by numerous fellowships and grants, including from the Center for Advanced Study in the Visual Arts at the National Gallery of Art, the Sterling and Francine Clark Art Institute, the Institut national d’histoire de lart (INHA), and the National Endowment for the Humanities. She is Vice President of the National Committee for the History of Art and on the organizing committee for the quadrennial conference of the Comité international d’histoire de l’art (CIHA). She also serves as the Programs Chair for the Association of Historians of Nineteenth-Century Art.
Edgar Degas, Woman Drying Herself after the Bath, 1876-77, Pastel over monotype on laid paper, The Norton Simon Foundation.
Francis Scott King’s "The Bookplate of the Printer’s Devil"
Rena M. Hoisington, Curator of Old Master and Nineteenth-Century Prints, National Gallery of Art
Rena M. Hoisington is the Curator and Department Head of Old Master and Nineteenth-Century Prints at the National Gallery of Art, Washington DC. Prior to this, Dr. Hoisington worked at the Baltimore Museum of Art, the Wadsworth Atheneum, the Philadelphia Museum of Art, the Metropolitan Museum of Art, and the Morgan Library & Museum. In addition Dr. Hoisington has taught art history courses at The Johns Hopkins University and Stony Brook University. She is the author of Aquatint: From Its Origins to Goya (2021), a recipient of the IFPDA Foundation Book Award, and has contributed articles to Print Quarterly as well as essays to Camille Corot: Natur und Traum (2012), Artists and Amateurs: Etching in 18th-Century France (2013), and Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700-1830 (2024).
Francis Scott King, The Bookplate of the Printer's Devil,1895, engraving on wove paper.
Reliving the Great Plague of Marseille
Meredith Martin, Professor of Art History, New York University
Meredith Martin is Professor of Art History at New York University and a founding editor of Journal18. A specialist in early modern French art and empire, she is the co-author (with Gillian Weiss) of the prizewinning book The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV’s France (Getty, 2022; French edition 2022), which is related to an exhibition that she and Dr. Weiss are organizing for the Institut du monde arabe. Martin is also the author of Dairy Queens: The Politics of Pastoral Architecture from Catherine de’ Medici to Marie-Antoinette (Harvard, 2011), and a co-author of Meltdown: Picturing the World’s First Bubble Economy (2020), which is related to an exhibition she co-curated for The New York Public Library. Together with Phil Chan, Martin reimagined and restaged a lost 18th-Century ballet known as the Ballet des Porcelaines, which premiered at The Metropolitan Museum of Art in 2021 and was performed throughout the U.S. and Europe in 2022. She is currently working on a multimedia collaborative project that explores links between the French colony of Saint-Domingue (Haiti) and the Paris art world, and in 2023 she made a related film with the National Gallery in London.
Jacques Rigaud, View of Marseilles during the Plague of 1720, c. 1720, etching and engraving.
Charles Sallée’s "Swingtime": Printmaking, Race, and Community circa 1938
Britany Salsbury, Curator of Prints and Drawings, Cleveland Museum of Art
Britany Salsbury is curator of prints and drawings at the Cleveland Museum of Art and a specialist in modern and contemporary works on paper. Her exhibitions and publications include Altered States: Etching in Late 19th-Century Paris (2016); Nineteenth-Century French Drawings from the Cleveland Museum of Art (2023); Degas and the Laundress: Women, Work, and Impressionism in Late 19th-Century Paris (2023); and, with Erin Benay, Karamu Artists Inc.: Printmaking, Race, and Community (forthcoming 2025). Previously, she was Associate Curator of Prints and Drawings at the Milwaukee Art Museum; a postdoctoral Mellon Curatorial Fellow at the RISD Museum; and held research and fellowship positions at the Metropolitan Museum of Art, the Morgan Library & Museum, and the Art Institute of Chicago.
Salsbury’s research and publications focus on 19th-century European works on paper, emphasizing technical art history and the history of collecting. She coedited the book Collecting Prints, Posters, and Ephemera: Perspectives in a Global World (2019) and has contributed to journals including Nineteenth-Century Art Worldwide and Print Quarterly. Salsbury cofounded the Association of Print Scholars and serves on the boards of the Print Council of America and the Association of Historians of Nineteenth-Century Art. She works with students through the CMA and Case Western Reserve University’s joint doctoral program in art history, where she is an adjunct Associate Professor.
Charles Sallée, Swingtime, c. 1938, etching and aquatint; The Cleveland Museum of Art, Created by the Federal Art Project, Works Progress Administration, and lent by the Fine Arts Collection of the US General Services Administration, 4215.1942.