The Richard R. Brettell Lecture Series

Notable scholars of 19th- and 20th-century European art present new research and fresh interpretations of the Museum's modern masterworks. 

Caillebotte Matters

Dr. George T. M. Shackelford, Deputy Director of the Kimbell Art Museum and co-curator of the exhibition Gustave Caillebotte: The Painter's Eye, discusses the critical issues raised by Caillebotte's innovative paintings - those issues that make understanding him and looking closely at his work essential to the appreciation of Impressionism. Drawing from this recent retrospective of the artist's work and the DMA's own Yellow Roses in a Vase, Shackelford addresses Caillebotte's impact on the Impressionist movement and his legacy in the history of art.

Painting Techniques of the Impressionists

In conjunction with the DMA's exhibition Impressionist Paintings from the Reves Collection, join Dr. Anthea Callen, an internationally renowned specialist on the history of artists' materials and techniques, for a lecture on the origins, novelty, and meanings of the impressionist painters' methods. She will discuss the plein air oil painting techniques of landscapists and their impact on figure painting, studio practice, and display.

February 19, 2015
Horchow Auditorium

Impressionism and Post-Impressionism at the Dallas Museum of Art

In celebration of the publication Impressionism and Post-Impressionism at the Dallas Museum of ArtRichard R. Brettell and Dorothy Kosinski discuss two works acquired during their tenure at the DMA.  Dr. Maxwell L.  Anderson, the Eugene McDermott Director, and Olivier Meslay, the Barbara Thomas Lemmon Curator of European Art, then join them for a conversation about the process of building the DMA’s collection of European art from the 1980s to the present and prospects for the future growth of the collection. 

The Harmony of Labor: Camille Pissarro’s Apple Harvest

Impressionist painter Camille Pissarro worked at once at an atomic and a planetary level. His use of small points or dots of color suggests an understanding of the world as being made of small, particular elements that collide and interact without system or plan, while his compositions often suggest that the earth must be understood as an ecological and social totality. Dr.

Brick by Brick: Cézanne's "Abandoned House near Aix-en-Provence"

Dr. André Dombrowski, Assistant Professor of Art History at the University of Pennsylvania and author of Cézanne, Murder, and Modern Life,  considers Cézanne's Provençal landscapes, especially the Dallas Museum of Art's ownAbandoned House near Aix-ex-Provence, in relation to the architectural metaphors embedded in the painter's practice.
February 21, 2013
Horchow Auditorium

Double Lecture: Edouard Vuillard: Exploring the Limits of Intimism; Henri de Toulouse-Lautrec's Femmes de Maison: The "Back" Story


Dr. Belinda Thomson, independent art historian and Honorary Fellow at the University of Edinburgh, considers the works by Edouard Vuillard in the Dallas Museum of Art's collections and examines to what extent the effectiveness of these works depends upon Vuillard's relationship with each subject.

Monet's Seine at Lavacourt: What Is A Modernist Artist to Do in France in 1880?

Claude Monet’s iconic painting The Seine at Lavacourt was completed in 1880 and shown at the Salon, the regressive, state-sponsored exhibition that had prompted the impressionists to found their own independent exhibitions beginning in 1874. Dr. Paul Hayes Tucker, the Paul Hayes Tucker Distinguished Professor of Art, University of Massachusetts, Bostonwill consider this stunning painting and whether it was, in fact, Monet’s “turncoat” picture—a retreat to more traditional painting strategies.  

February 19, 2010

Horchow Auditorium