THE WILDENSTEIN PLATTNER INSTITUTE

If you missed "The Women of 1874" with National Gallery of Art curator Kimberly Jones, the webinar is now available to view in full on our YouTube channel!? ? The women who carved a path in the Parisian art scene in the latter half of the 19th century is composed, of course, of names we recognize today — Mary Cassatt, Eva Gonzalès, and Berthe Morisot — but there are many other woman artists whose impressive work is due recognition, and whose practice was in defiance of the day's standards. Jones' presentation underscores what remains to be discovered of these women's lives and work. ? ----------- Image: Berthe Morisot, Le Berceau, 1872, Oil on canvas, 56 x 46.5 cm ? Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt?

Excited to participate in the annual ICRA conference in London on January 9, when I’ll be speaking about the new protocols for catalogue raisonné research and production.

We are delighted to see WPI's forthcoming digital catalogue raisonné on Eva Gonzalès featured in Karen Chernick's article "Have You Seen This Missing Artwork" for ARTnews! Gonzalès' "Les Oies" figures among several other significant and lost works, including Josef Albers' self portrait, Isamu Noguchi's avant-garde neon tube sculpture "Power House," and "...one of my best pictures" according to Dorothea Tanning: "Tempest in White."

The WPI is pleased to announce a major addition to the Digital Archives! This collection of over 3,000 phototypes were among the archival holdings gifted to the WPI by the former Wildenstein Institute in 2016, at which point little was known about the collection’s provenance and inventory. As WPI archivists processed and reviewed the collection’s contents, their work revealed the activities of a French photography studio and agency, Bernès, Marouteau et Cie, during the first half of the twentieth century. Of particular interest to fellow art historians is Series I: Photographic reproductions of artworks (which contains reproductions of works by major artists including Jean-Marc Nattier, Auguste Rodin, Germaine Richier, Abel Warshawsky, as well as works that have yet to be identified). Other series in the collection include: Portrait photography, Architectural and landscape photography, Decorative and functional objects, and Reproductions of printed and handwritten materials...constituting a treasure trove of historical images and vital pieces of cultural history. Images have been indexed and organized for increased discoverability. We invite you to explore the Bernès, Marouteau et Cie Photography Collection on our website here: https://bit.ly/3O8Okte

Mark your calendars for the next installment of our WOMEN OF THE IMPRESSIONIST CIRCLE webinar series on Tuesday November 19 at 12:00 PM ET (18h CET) with the co-curator of "Paris 1874: The Impressionist Moment" at the National Gallery of Art Kimberly Jones!? ? While Berthe Morisot is perhaps the most famous of the Impressionist women painters alongside Mary Cassatt and Eva Gonzalès, she was but one of the women active in the Parisian art scene in 1874. This presentation will consider the women artists whose works were on display during that pivotal year both at the first impressionist exhibition and the official Salon.? ? Registration link available here: https://bit.ly/4fvoMlR ? Kimberly A. Jones joined the curatorial staff of the National Gallery of Art in 1995 as assistant curator of French paintings. A former museum fellow at the Musée national du chateau de Pau (1990–1991) and the Musée d'Orsay, Paris (1993–1994), she has been curator of nineteenth-century French paintings at the Gallery since 2016.? -------- Image (detail): Berthe Morisot, Le Berceau, 1872, Oil on canvas, 56 x 46.5 cm ? Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt?

Join us next Tuesday, October 29 at 12 PM ET for an exciting virtual event, "Ensuring the Legacy of Significant Women Artists: The Importance of Catalogues Raisonnés," with Dr. Barbara Bloemink! ? ? Florine Stettheimer was an important, innovative artist, whose work was highly sought after during the 1920s-40s. Her work and repute then virtually disappeared for almost seventy-five years. The new catalogue raisonné underway at WPI with lead scholar Barbara Bloemink is an opportunity to reestablish her work alongside the major artists of the 20th century, and, we hope, will spur more catalogue raisonné projects of significant women artists. ? ? This virtual event is free and open to the public with registration: https://bit.ly/4eIO2ET ? Dr. Barbara Bloemink is the international expert on the work of the modernist artist Florine Stettheimer. In 1995, she published her Ph.D. dissertation on the artist and co-organized a retrospective of Stettheimer’s work at the Whitney Museum of American Art. Her 2021 Florine Stettheimer: A Biography was chosen by the New Yorker as “One of the best books of 2021.” As an art historian, Bloemink is the author of over 20 books on international modern and contemporary art and design.? ----------- Photo: Peter A. Juley & Sons,?Photograph of Florine Stettheimer, ca. 1917-20, Florine Stettheimer Papers, Rare Book and Manuscript Library, Columbia University in the City of New York, Gift of the estate of Ettie Stettheimer.

Many thanks to all who attended our webinar with Dr. Wouter van der Veen on October 8th! If you would like to revisit the presentation, or if you were unable to join us, the webinar was recorded in full and is now available on our YouTube channel. Highlights include his fascinating discovery of the location of Vincent Van Gogh’s final masterpiece?"Tree Roots," and a deep dive into the WPI Digital Archives, particularly the?Paul Ferdinand Gachet and Paul Louis Gachet Papers?and the?Eugène Murer Papers. If your own research has benefited from the material in WPI Digital Archives, we would love to hear from you! Write us at [email protected]

TOMORROW, October 8, at 12 PM ET, renown Van Gogh scholar Dr. Wouter van der Veen will be presenting "Unveiling Van Gogh: Insights from Archival Discoveries"!? ? Identifying the location of Van Gogh's final work was the culmination of extensive archival research. Dr. Wouter van der Veen will present us with the work that preceded this discovery and a tour of the resources most helpful to his research, including WPI's Digital Archives.? ? This virtual event is free and open to the public. Register here! https://bit.ly/47rbVOR ?Dr. Wouter van der Veen is an independent researcher, CEO of Boussod, Valadon & Cie, author, and associate researcher at the University of Strasbourg. He received his doctorate from the University of Utrecht. His published works include Van Gogh in Auvers (Monacelli, 2009), Le Capital de Van Gogh (Actes Sud, 2018), and Attacked at the Very Root (Arthénon, 2020), which recounts his discovery of the location where Van Gogh painted his last masterpiece, Tree Roots.? ? As a former collaborator of the Van Gogh Museum in Amsterdam, he was subsequently the scientific director of the Van Gogh Institute in Auvers-sur-Oise from 2012 to 2022. He is also the founder of the Van Gogh Academy, a non-profit dedicated to the preservation of Van Gogh’s legacy.? ? ?#vangogh?#americanarchivesmonth

Happy American Archives Month! Throughout October, we will be highlighting collections in WPI’s Digital Archives in advance of several exciting new releases including the Bernès, Marouteau & Cie Photography Collection and a series of postcards written by Henri Matisse to his dear friend Albert Marquet. WPI Digital Archives includes research documents, photographic reproductions, administrative files, ephemera, portraits, periodicals of interest, correspondence, and more, totaling: ?? 228,000+ digitized items ?? 41.8 terabytes of data ?? 20 archival collections This is a continuously-expanding resource freely available to art historians and the general public. Explore these collections and more on our website at: https://lnkd.in/e283xZgh #americanarchivesmonth

*Mark your calendars for Tuesday, October 29 at 12 PM ET for a webinar on the critical importance of catalogue raisonné projects of women artists* ? ? Barbara Bloemink will consider modern American artist Florine Stettheimer and her trajectory to near-obscurity despite the laudatory recognition of her work in the 1920s - 40s. While there is renewed interest in Stettheimer today, the long disestablishment of her work means that the art continues to be misrepresented even at major cultural institutions. ? ? This virtual event is free and open to the public, but registration is required. Register here: https://bit.ly/4eIO2ET ? Barbara J. Bloemink is the international expert on the work of the modernist artist Florine Stettheimer. In 1995, she published her Ph.D. dissertation on the artist and co-organized a retrospective of Stettheimer’s work at the Whitney Museum of American Art. She authored “Florine Stettheimer: A Biography,” a New Yorker "Best Books of 2021." Bloemink is also the author of over 20 books on modern and contemporary art and design.? ? --------? ? Images:? ? (Upper Right) The Cathedrals of Fifth Avenue, 1931, Oil on canvas, 60 x 50 in. (152.4 x 127 cm.) The Metropolitan Museum of Art, New York, Gift of Ettie Stettheimer? ? (Lower Left) Spring Sale at Bendel's, 1921, Oil on canvas, 50 × 40 inches (127 × 101.6 cm) Philadelphia Museum of Art, Gift of Miss Ettie Stettheimer?