​This fall, the Barnes Foundation in Philadelphia will present the US debut of a landmark exhibition exploring the significant yet under recognized contributions of Berthe Morisot (1841–1895), one of the founders of impressionism. The first monographic exhibition of the artist to be held in the US since 1987, Berthe Morisot: Woman Impressionist provides new insight into a defining chapter in art history and the opportunity to experience Morisot’s work in context of the Barnes’s unparalleled collection of impressionist, post-impressionist, and early modernist paintings.
​The internationally touring exhibition is co-organized by the Barnes Foundation, Dallas Museum of Art, Musée national des beaux-arts du Québec, and the Musées d’Orsay et de l’Orangerie, Paris. It will be on view at the Barnes from October 21, 2018, through January 14, 2019, before heading to Dallas.
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Berthe Morisot was celebrated in her time as a leader of the movement, and her innovative works were coveted by dealers and collectors alike. Despite her accomplishments, today she is not as well-known as her impressionist colleagues, a group that includes Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. Co-curated by Sylvie Patry, Consulting Curator at the Barnes Foundation and Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, Paris, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art, Berthe Morisot: Woman Impressionist will both illuminate and reassert Morisot’s role as an essential figure within the impressionist movement and the development of modern art in Paris in the second half of the 19th century.
“We look forward to fleshing out the story of impressionism represented in our holdings with the presentation of this groundbreaking exhibition,” says Thom Collins, executive director and president of the Barnes Foundation. “This international collaboration introduces important new scholarship that contributes to a more complete understanding of impressionism and Berthe Morisot as a revolutionary figure within the movement.”
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Berthe Morisot: Woman Impressionist focuses on the artist’s figure paintings and portraits, with approximately 70 paintings from public and private collections on view. The exhibition traces the exceptional path of a female painter who, in opposition to the norms of her time and social background, became an important member of the Parisian avant-garde from the late 1860s until her death in 1895. Through her portrayal of the human figure, Morisot was able to explore the themes of modern life that came to define impressionism, such as the intimacy of contemporary bourgeois living and leisure activities, the importance of fashion and the toilette, and women’s domestic work, all while blurring the lines between interior and exterior, public and private, finished and unfinished. 
“Though Berthe Morisot held an important place at the heart of the impressionist movement, she has historically enjoyed far less acclaim than her male counterparts,” says Patry. “Through this landmark exhibition, together with colleagues at our partner museums around the world, we are thrilled to bring renewed international attention to the significant work of Morisot.”
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​Organized semi-chronologically, the exhibition will examine Morisot’s painterly innovations and fundamental position within impressionism across the arc of her productive yet relatively short life. The exhibition explores the following periods and themes of Morisot’s work:

• Becoming an Artist – The introductory section looks at Morisot’s formative years, when she left behind the amateur artistic practice associated with women of her upbringing and established herself as both a professional artist and a key contributor to the emerging impressionist movement in the late 1860s and early 1870s.
• Painting the Figure en plein air – A selection of Morisot’s plein air paintings of figures in both country and coastal settings highlights her innovative treatment of modern themes and immersive approach that integrates her subjects within their environments through brushwork and palette.
• Fashion, Femininity, and la Parisienne – The importance of fashion in constructing modern femininity forms a central part of the artist’s paintings of the 1870s and 1880s. This interest is revealed in Morisot’s creations and adaptations of quintessential impressionist subjects, such as elegant Parisian women shown at the ball or dressing in their homes.
• Women at Work – Morisot’s depictions of domestic servants—the majority of whom she employed in her household—parallel her own status as a working professional woman. Her interest in painting these women raises questions about bourgeois living and the intimacy of the shared domestic setting. 
• Finished/Unfinished – The increasing immediacy of Morisot’s technique, and her radical experimentation with the concept of finished and unfinished in her work, exposes the process of painting and furthers the indeterminacy between figure and setting introduced in her plein air work.
• Windows and Thresholds – Morisot’s interest in liminal spaces is revealed in her paintings of subjects such as doorways and windows. Within these often spatially ambiguous settings, Morisot’s masterful evocation of light and atmosphere, the most ephemeral of her subjects, serves to anchor the human figure in a transitory space. 
• A Studio of Her Own – Morisot’s late-career paintings from the 1890s often depict her personal domestic space, which served as both studio and setting. During this period, Morisot reached a new expressiveness in her painting as figures become increasingly enveloped by their surroundings. The vibrant, saturated palette and sinuous brushwork that she adopted in these final works demonstrate their visual affinities with the emerging symbolist aesthetic of the time.

Exhibition Organization:
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Berthe Morisot: Woman Impressionist is organized by the Barnes Foundation, Dallas Museum of Art, Musée national des beaux-arts du Québec, and the Musées d’Orsay et de l’Orangerie, Paris. The exhibition is co-curated by Sylvie Patry, Consulting Curator at the Barnes Foundation and Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, Paris, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art.

 Exhibition Tour:

• Musée national des beaux-arts du Québec, Québec (June 21–September 23, 2018)
• The Barnes Foundation, Philadelphia (October 21, 2018–January 14, 2019)
• Dallas Museum of Art, Dallas (February 24–May 26, 2019)
• Musée d’Orsay, Paris (June 18–September 22, 2019) 

Exhibition Catalogue:

The exhibition is accompanied by a fully illustrated catalogue that emphasizes the importance of understanding Morisot’s work in light of her dialogue with contemporary artistic movements—impressionism, but also post-impressionism and symbolism. Berthe Morisot: Woman Impressionist makes an important contribution to the field, with interdisciplinary scholarship and a specific focus on Morisot’s pioneering developments as a painter first, woman second. An English- and French-language catalogue will be co-published by Rizzoli International Publications, Inc. and the Barnes Foundation, Philadelphia, in association with the Dallas Museum of Art and the Musée national des beaux-arts du Québec. A separate French-language catalogue will be published by the Musée d’Orsay, Paris. The book contains essays by Morisot scholars including the exhibition co-curators Sylvie Patry and Nicole R. Myers; Cindy Kang, Barnes Foundation; Marianne Mathieu, Musée Marmottan Monet; and Bill Scott, Pennsylvania Academy of the Fine Arts, as well as a chronology by Amy Wojciechowski with additional research by Monique Nonne (hardcover, $55).

 Denver Art Museum is the sole venue for Rembrandt: Painter as Printmaker, opening Sept. 16. Coinciding with the 350th anniversary of the Dutch artist’s death (1606–1669), the exhibition will offer fresh insight into the life and career of the masterful printmaker.

About 100 prints from Rembrandt van Rijn’s career spanning from 1625 to 1665 will be showcased, including biblical, portrait, allegory, still life, landscape and genre artworks that demonstrate the mastery that cemented Rembrandt as one of the greatest artists in history.
The exhibition will show how Rembrandt used his view of the world around him to fuel his artistic journey, and will give a deeper understanding of his working habits as an artist and, more specifically,
as a printmaker.

Rembrandt: Painter as Printmaker will take a close look at Rembrandt’s innovative approach to printmaking that combined the three principle methods of intaglio: etching, drypoint and engraving. While the exhibition focuses on Rembrandt's exploration of printmaking, 17 drawings and several paintings also will be on view to provide additional context about his creative process in all media.
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An exhibition catalog will be available in The Shop at the Denver Art Museum and online in the fall of 2018.


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A record half a million people visited the Eugène Delacroix retrospective at the Louvre, which has closed before its reopening at the Metropolitan Museum of Art in the fall. In Paris, 180 works gave a full view of the French painter’s ouevre, while slightly fewer works will be shown in New York. Some 540,000 visitors made this the most-visited show in Louvre history.


From the end of March to July 23, the Louvre drew crowds with about 7,200 people flocking to the show per day in the past month. A big draw was the artist's well-known 1830 painting Liberty Leading the People, which will not travel from the Louvre collection for the New York iteration. A number of other masterpieces will shown in New York, marking the first major survey of Delacroix in the U.S.

Eugène Delacroix (1798-1863) was one of the giants of French painting, but his last full retrospective exhibition in Paris dates back to 1963, the centenary year of his death. From the young artist’s big hits at the Salons of the 1820s to his final, lesser-known, and mysterious religious paintings and landscapes, the exhibition showcases the tension that characterizes the art of Delacroix, who strove for individuality while aspiring to follow in the footsteps of the Flemish and Venetian masters of the 16th and 17th centuries.

The exhibition aims to answer the questions raised by Delacroix’s long, prolific, and multifaceted career while introducing visitors to an engaging character: a virtuoso writer, painter, and illustrator who was curious, critical, and cultivated, infatuated with fame and devoted to his work. 

Delacroix is on view from Sept. 17 to Jan. 9, 2019, at the Metropolitan Museum of Art.

Culturespaces and the Musée Jacquemart-André are presenting a major retrospective devoted to Mary Cassatt (1844–1926) in Paris through July 23 2018. Considered during her lifetime as the greatest American artist, Cassatt lived in France for more than sixty years. She was the only American painter to have exhibited her work with the Impressionists in Paris.
The exhibition focuses on the only American female artist in the Impressionist movement; she was spotted by Degas in the 1874 Salon, and subsequently exhibited her works alongside those of the group. This monographic exhibition will enable visitors to rediscover Mary Cassatt through fifty major works, comprising oils, pastels, drawings, and engravings, which, complemented by various documentary sources, will convey her modernist approach — that of an American woman in Paris.
Born into a wealthy family of American bankers with French origins, Mary Cassatt spent a few years in France during her childhood, continuing her studies at the Pennsylvania Fine Arts Academy, and eventually settled in Paris. Therefore, she lived on both continents. This cultural duality is evident in the distinctive style of the artist, who succeeded in making her mark in the male world of French art and reconciling these two worlds.
Just like Berthe Morisot, Mary Cassatt excelled in the art of portraiture, to which she adopted an experimental approach. Influenced by the Impressionist movement and its painters who liked to depict daily life, Mary Cassatt’s favourite theme was portraying the members of her family, whom she represented in their intimate environment. Her unique vision and modernist interpretation of a traditional theme such as the mother and child earned her international recognition. Through this subject, the general public will discover many familiar aspects of French Impressionism and Post-impressionism, along with new elements that underscore Mary Cassatt’s decidedly American identity.
The exhibition brings together a selection of exceptional works loaned from major American museums, such as Washington’s National Gallery of Art, the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Philadelphia Museum of Art, and the Terra Foundation in Chicago; works are also loaned by prestigious institutions in France — the Musée d’Orsay, the Petit Palais, INHA, and the BnF (French National Library) — and in Europe, such as the Bilbao Museum of Fine Arts, the Calouste Gulbenkian Foundation in Lisbon, and the Bührle Foundation in Zurich. There are also many works from private collections. Rarely exhibited, these masterpieces are brought together in the exhibition for the first time.

​Opening January 30 at The Metropolitan Museum of Art, the exhibition Thomas Cole’s Journey: Atlantic Crossings will examine, for the first time, the artist’s transatlantic career and engagement with European art.

Click here to watch a video introduction to Thomas Cole's Journey: Atlantic Crossings, narrated by Sting.
Click here to watch a video that reveals the findings of a technical examination conducted by The Met's conservation team on Thomas Cole's The Oxbow and The Course of Empire: The Consummation of Empire.
Celebrated as one of America’s preeminent landscape painters, Thomas Cole (1801–1848) was born in northern England at the start of the Industrial Revolution, emigrated to the United States in his youth, and traveled extensively throughout England and Italy as a young artist. He returned to America to create some of his most ambitious works and inspire a new generation of American artists, launching a national school of landscape art.
With Cole’s masterworks The Course of Empire series (1834–36) and The Oxbow(1836) as its centerpiece, the exhibition will feature more than three dozen examples of his large-scale landscape paintings, oil studies, and works on paper. Consummate paintings by Cole will be juxtaposed with works by European masters including J. M. W. Turner and John Constable, among others, highlighting the dialogue between American and European artists and establishing Cole as a major figure in 19th-century landscape art within a global context. The exhibition marks the 200th anniversary of Cole’s arrival in America.
The exhibition follows the chronology of Cole’s journey, beginning with his origins in recently industrialized northern England, his arrival in the United States in 1818, and his embrace of the American wilderness as a novel subject for landscape art of the New World. Early works by Cole will reveal his prodigious talent. After establishing himself as the premier landscape painter of the young United States, he traveled back to Europe.
The next section will explore in depth Cole’s return to England in 1829–31 and his travels in Italy in 1831–32, revealing the development of his artistic processes. He embraced the on-site landscape oil study and adopted elements of the European landscape tradition reaching back to Claude Lorrain. He learned from contemporary painters in England, including Turner, Constable, and John Martin, and furthered his studies in landscape and figure painting in Italy. By exploring this formative period in Cole’s life, the exhibition will offer a significant revision of existing accounts of his work, which have, until now, emphasized the American aspects of his formation and identity. The exhibition will also provide new interpretations of Cole’s work within the expanded contexts of the history of the British Empire, the rise of the United States, the Industrial Revolution and the American wilderness.
Upon his return to America, Cole applied the lessons he had learned abroad to create the five-part series The Course of Empire (1834–36), warning the American public that the rise and decline of ancient civilizations could be a potential fate for the young nation. Cole also provided a definition of the new American Sublime that comes to its fullest expression in The Oxbow (1836). Finally, the exhibition concludes with an examination of Cole’s legacy in the works of the next generation of American landscape painters whom Cole personally mentored, notably Asher B. Durand and Frederic E. Church.
The exhibition will be accompanied by a catalogue suitable for both scholars and the general public. With new information on Cole’s life and revisionist interpretations of his major works, the publication will also feature research by The Met’s conservation team into Cole’s methods as a painter, illuminating this previously neglected area. The catalogue will be available for purchase in The Met Store (hardcover, $65).
A series of Education programs will complement the exhibition. MetLiveArts Sting: Atlantic Crossing will feature an intimate, acoustic performance by Sting in the Museum’s Grace Rainey Rogers Auditorium on April 24, 25, and 26 (7:30 p.m.). Prior to each concert, ticket holders will enjoy a special viewing of the exhibition with curators Elizabeth Kornhauser and Tim Barringer. The April 24 performance is for Members only.
On April 8 (2 p.m.), as part of MetSpeaks, American artist Ed Ruscha will discuss his seminal five-part Course of Empireseries (1992 and 2003–5) with his friend, the author and artist Tom McCarthy, who resides in London. Tickets for this event will be available for purchase. 
Met curator Elizabeth Kornhauser and paintings conservator Dorothy Mahon will explore Cole’s work methods and techniques with artist Stephen Hannock on February 7 (6:00 p.m.), revealing the layers of meaning in Cole’s iconic painting, The Oxbow. This program is part of the Conversations With… series.
Elizabeth Kornhauser will moderate a Sunday at The Met discussion on April 15 (2 p.m.) on Cole’s role as a proto-environmental artist with scholars Alan Braddock and Rebecca Bedell and artist Michel Auder. (Auder’s 2017 work The Course of Empire was shown at the Documenta exhibition in Kassel, Germany.) These programs are free with Museum admission.

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​In January 2018, the Royal Academy of Arts, in partnership with Royal Collection Trust, will present Charles I: King and Collector, a landmark exhibition that will reunite one of the most extraordinary and influential art collections ever assembled.

During his reign, Charles I (1600-1649) acquired and commissioned exceptional masterpieces from the fifteenth to the seventeenth century, including works by Van Dyck, Rubens, Holbein, Titian and Mantegna, amongst others.
Charles I was executed in 1649 and just months later the collection was offered for sale and dispersed across Europe. Although many works were retrieved by Charles II during the Restoration, others now form the core of collections such as the Musée du Louvre and the Museo Nacional del Prado. Charles I: King and Collector will reunite around 150 of the most important works for the first time since the seventeenth century, providing an unprecedented opportunity to experience the collection that changed the appreciation of art in England.
In 1623, two years prior to his ascension to the throne, Prince Charles visited Madrid. The Habsburg collection made a lasting impression on the future king and he returned to England with a number of works, including paintings by Titian and Veronese. Intent on creating his own collection, he acquired the esteemed Gonzaga collection, which had been accumulated by the Dukes of Mantua. He also commissioned important artists, most notably Anthony van Dyck, who was appointed ‘principalle Paynter in Ordenarie to their Majesties’ in 1632. In collaboration and competition with other collectors close to the Stuart court, namely Thomas Howard (1586-1646), Earl of Arundel, and George Villiers (1592-1628), Duke of Buckingham, Charles I amassed a collection unrivalled in the history of English taste.
By 1649, the collection of Charles I comprised around 1,500 paintings and 500 sculptures. An inventory compiled by Abraham van der Doort (c.1580-1640), first Surveyor of The King’s Pictures, recorded the contents of the collection, providing a detailed account of the artistic tastes and high level of connoisseurship within the king’s circle.
Charles I: King and Collector will include over 90 works generously lent by Her Majesty The Queen from the Royal Collection. Major lenders will also include The National Gallery, London, the Musée du Louvre, Paris, the Museo Nacional del Prado, Madrid, as well as numerous other public and private collections.
Anthony van Dyck’s monumental portraits of the king and his family will form the core of the exhibition: his first major commission upon his arrival in England, Charles I and Henrietta Maria with Prince Charles and Princess Mary (‘The Greate Peece’), 1632 (The Royal Collection), and his two magnificent equestrian portraits, Charles I on Horseback with M. de St. Antoine, 1633 (The Royal Collection), and Charles I on Horseback, 1637-38 (The National Gallery, London). They will be shown together with Van Dyck’s most celebrated and moving portrait of the king, Charles I (‘Le Roi à la chasse’), c.1635 (Musée du Louvre, Paris), which will return to England for the first time since the seventeenth century.
Charles I commissioned some of the most important artists of his day, and the exhibition will include Peter Paul Rubens’s Minerva Protects Pax from Mars (‘Peace and War’), 1629-30 (The National Gallery, London) and his Landscape with Saint George and the Dragon, 1630-5 (The Royal Collection) as well as Van Dyck’s spectacular Cupid and Psyche, 1639-40 (The Royal Collection).
Particular attention will be given to the patronage of Queen Henrietta Maria, including works by Orazio Gentileschi and Guido Reni. In addition, the exhibition will present the most important Renaissance paintings from the collection, including Andrea Mantegna’s monumental series, The Triumph of Caesar, c.1484-92 (The Royal Collection), which will command a dedicated gallery within the exhibition, as well as Titian’s Supper at Emmaus, c.1530 (Musée du Louvre, Paris), and Charles V with a Dog, 1533 (Museo Nacional del Prado, Madrid).
Other Renaissance artists represented are Correggio, Agnolo Bronzino, Jacopo Bassano, Tintoretto and Paolo Veronese as well as Albrecht Dürer, Jan Gossaert, Hans Holbein the Younger and Pieter Bruegel the Elder. Further highlights will be the celebrated Mortlake tapestries of Raphael’s Acts of the Apostles, c.1631- 40 (Mobilier National, Paris), arguably the most spectacular set of tapestries ever produced in England, as well as the precious works formerly kept in the Cabinet at Whitehall Palace, including paintings, statuettes, miniatures and drawings.
Christopher Le Brun, President, Royal Academy of Arts, said: ‘Charles I is one of history’s greatest collectors, the Royal Collection is one of the world’s greatest collections and the Royal Academy’s galleries are amongst the finest in the world. With such a combination this exhibition provides the perfect launch for our 250th anniversary celebrations in 2018’.
Charles I: King and Collector is organised by the Royal Academy of Arts in partnership with Royal Collection Trust. The exhibition is curated by Per Rumberg, Curator, Royal Academy of Arts, and Desmond Shawe-Taylor, Surveyor of The Queen’s Pictures.
Charles I: King and Collector will be accompanied by a comprehensive catalogue edited by Per Rumberg and Desmond Shawe-Taylor; further authors include David Ekserdjian, Barbara Furlotti, Erin Griffey, Gregory Martin, Guido Rebecchini, Vanessa Remington, Karen Serres, Lucy Whitaker and Jeremy Wood.

The Musée national des beaux-arts du Québec (Québec City, Canada), the Barnes Foundation (Philadelphia, PA), the Dallas Museum of Art (Dallas, TX), and the Musée d’Orsay (Paris, France) have announced an internationally touring exhibition dedicated to one of the revolutionary artists of the French Impressionist movement, Berthe Morisot (1841–1895).

​Co-organized by the four institutions, Berthe Morisot, Woman Impressionist will focus on the artist’s figure paintings and portraits through approximately 50 to 60 paintings from both public institutions and private collections. This tour will be the first dedicated presentation of Morisot’s work to be held in the United States since 1987, the very first solo exhibition of her work to be mounted in Canada, and the first time since 1941 that a French national museum will devote a monographic show to this important painter. 
One of the founding members of the French Impressionists, Berthe Morisot was celebrated in her time as one of the leaders of the group, and her innovative works were coveted by dealers and collectors alike. Despite her accomplishments, today she is not as well-known as her Impressionist colleagues, such as Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. Co-curated by Sylvie Patry, Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, Paris and Consulting Curator at the Barnes Foundation, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art, Berthe Morisot, Woman Impressionist will both illuminate and reassert Morisot’s role as an essential figure within the Impressionist movement and the development of modern art in Paris in the second half of the 19th century.
The exhibition traces the exceptional path of a female painter who, in opposition to the norms of her time and social background, became an important member of the Parisian avant-garde from the late 1860s until her untimely death in 1895. Through her portrayal of the human figure, Morisot was able to explore the themes of modern life that came to define Impressionism, such as the intimacy of contemporary bourgeois living and leisure activities, the importance of female fashion and the toilette, and women’s domestic work, all while blurring the lines between interior and exterior, public and private, finished and unfinished. 
Organized semi-chronologically, the exhibition will examine Morisot’s painterly innovations and fundamental position within Impressionism across the arc of her productive, yet relatively short life. The exhibition explores the following periods and themes of Morisot’s work:

• Becoming an Artist – The introductory section looks at Morisot’s formative years, when she left behind the amateur artistic practice associated with women of her upbringing and established herself as both a professional artist and a key contributor to the emerging Impressionist movement in the late 1860s and early 1870s.
• Painting the Figure en plein air – A selection of Morisot’s plein-air paintings of figures in both urban and coastal settings highlights her innovative treatment of modern themes and immersive approach that integrates her subjects within their environments through brushwork and palette.
• Fashion, Femininity, and la Parisienne – The importance of fashion in constructing modern bourgeois femininity forms a central part of the artist’s paintings of the 1870s and 1880s. This interest is revealed in Morisot’s creations and adaptations of quintessential Impressionist subjects, such as elegant Parisian women shown at the ball or dressing in their homes, and the leisure activities associated with suburban parks and gardens.
• Women at Work – Morisot’s depictions of the domestic servant—the majority of whom she employed in her household—reflect her own status as a working professional woman. Her interest in painting these women raises questions about bourgeois living and the intimacy of the shared domestic setting.  
• Finished/Unfinished – The increasing immediacy of Morisot’s technique, and her radical experimentation with the concept of finished and unfinished in her work, exposes the process of painting and furthers the indeterminacy between figure and setting begun in her plein-air work.
• Windows and Thresholds – Morisot’s interest in liminal spaces is revealed in her paintings of subjects such as doorways and windows. Within these often spatially ambiguous settings, Morisot’s masterful evocation of light and atmosphere, the most ephemeral of her subjects, serves to anchor the human figure within these transitory spaces. 
• A Studio of Her Own – Morisot’s late career paintings from the 1890s often depict her personal  domestic space, which served as both studio and setting. During this period, Morisot reached a new expressiveness in her painting as figures become increasingly enveloped by their surroundings. The vibrant, saturated palette and sinuous brushwork that she adopted in these final works demonstrate their visual and symbolic affinities with the emerging Symbolist aesthetic of the time.

​
Exhibition Organization:
Berthe Morisot, Woman Impressionist is organized by Musée national des beaux-arts du Québec, the Barnes Foundation, the Dallas Museum of Art, and the Musées d’Orsay and de l’Orangerie. The exhibition is co-curated by Sylvie Patry, Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, Paris and Consulting Curator at the Barnes Foundation, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art.
Exhibition Tour:

• Musée national des beaux-arts du Québec, Québec (June 21–September 23, 2018)
• The Barnes Foundation, Philadelphia (October 21, 2018–January 14, 2019)
• Dallas Museum of Art, Dallas (February 24–May 26, 2019)
• Musée d’Orsay, Paris (June 17–September 22, 2019)

Exhibition Catalogue:
The exhibition is accompanied by a fully illustrated catalogue that emphasizes the importance of understanding Morisot’s work in light of her dialogue with contemporary artistic movements—Impressionism, but also Post-Impressionism and Symbolism. Berthe Morisot, Woman Impressionist makes an important contribution to the field, with interdisciplinary scholarship and a specific focus on Morisot’s pioneering developments as a painter first, woman second. Edited by Sylvie Patry, an English- and French-language catalogue will be co-published by Rizzoli International Publications, Inc. and the Barnes Foundation, Philadelphia, in association with the Dallas Museum of Art and the Musée national des beaux-arts du Québec, Québec. A separate French-language catalogue will be published by the Musée d’Orsay, Paris. The book contains essays by Morisot scholars including the exhibition co-curators Sylvie Patry and Nicole R. Myers; Cindy Kang, Barnes Foundation; Marianne Mathieu, Musée Marmottan; and Bill Scott, Pennsylvania Academy of the Fine Arts, as well as a chronology by Amy Wojciechowski with additional research by Monique Nonne (hardcover, $55).

​In what will surely be one of the biggest blockbusters in the Middle East next year, Qatar Museums will stage the first exhibition in the region focused on the two legendary 20th-century artists Pablo Picasso and Alberto Giacometti.

​The show, which will take place at Fire Station Artist in Residence in Doha, is a collaboration between Qatar Museums, Paris’ Musée National Picasso, and the Fondation Giacometti. The first leg of the show, in fact, is currently on at the Parisian museum.
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Gathering over 80 works by these two emblematic artists, some of the highlights that will be included in the exhibition are Self Portrait (1901), Woman Throwing a Stone (1931) and The She Goat (1950) by Picasso; and Flower in Danger (1932), Tall Woman (1960), and Walking Man (1960) by Giacometti.

The exhibition, curated by Catherine Grenier, director of the Fondation Giacometti, will take place from February 22 to May 21, 2017, and represents the culmination of over two years of research.
One of Grenier’s main tasks of was to shine a light on the similarities and relationship between these two artists, who are seemingly disparate in their approaches to art making, and had a 20-year age gap.
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Launched in 2005 and led by Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, Qatar Museums continues its ambitious plans to turn Qatar into a top art destination—not only in the Middle East, but also beyond.

Thanks to Lorena Muñoz-Alonso

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The museum will also host a show drawing parallels between the self-portraits of Claude Cahun and Gillian Wearing
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by Hannah McGivern
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​The National Portrait Gallery in London is to stage its first exhibition of abstract works in 2017, dedicated to the unorthodox portraiture of the British painter Howard Hodgkin.

The show, Howard Hodgkin: Absent Friends (23 March-18 June 2017), focuses on an enduring yet relatively overlooked aspect of Hodgkin’s work. More than 55 works from 1949 to the present will explore “his important contribution to our understanding of what constitutes a portrait”, according to a statement from the gallery.

Hogkin’s apparently abstract paintings “represent memories and emotions rather than literal appearances”, says the exhibition’s curator, Paul Moorhouse. “But these wonderfully sensuous and often intimate images are nevertheless entirely about people.” The artist has described himself as a “representational painter”, a maker of “representational pictures of emotional situations”.
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​The gallery has also announced an exhibition of more than 100 works drawing parallels between the slippery self-portraits of the French Surrealist Claude Cahun (1894-1954) and the British photographer and video artist Gillian Wearing. Despite being born 70 years apart, both artists have played with the themes of masquerade and gender identity in their work.

The show, Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask (9 March-29 May 2017), “seems particularly timely” in light of the 50th anniversary of the decriminalisation of homosexuality in 2017, says its curator, Sarah Howage.

The National Portrait Gallery’s spring season is sponsored by the law firm Herbert Smith Freehills.