Thursdays, November 11 – December 9, 1 – 3pm
About the Class
The Barnes has one of the most important collections of Cézanne paintings in the world— 61 oils on canvas and eight works on paper. Join us for a very special course taught by an international team of Cézanne experts as we celebrate the publication of our much-anticipated collection catalogue, Cézanne in the Barnes Foundation (Rizzoli Electa, New York; October 2021; available for preorder). All the instructors for this course are contributing authors for the book. This is a rare opportunity to learn directly from the scholars, curators, and conservators who have spent years studying this world-class collection of paintings and drawings.
Each of the four sessions will focus on a different category of subject matter—still lifes, bathers, card players, and landscapes—and will elaborate on Cézanne’s innovations against the broader history of French art. Students will also learn about the fascinating discoveries made in the Barnes conservation lab during this major research project.
Nina M. Athanassoglou-Kallmyer
Athanassoglou-Kallmyer, author of Cézanne and Provence: The Painter in his Culture (University of Chicago Press, 2003) has published extensively on the arts of 19th-century France. She is professor emerita of art history at the University of Delaware, was editor-in-chief of Art Bulletin (2017–2020), and was Kirk Varnedoe Visiting Professor at the Institute of Fine Arts, New York.
Armstrong, professor of the History of Art at Yale University, teaches and writes about 19th-century French painting, the history of photography, the history of art criticism, feminist theory, and representations of women and gender. She has published books and essays on Edgar Degas, Edouard Manet, Paul Cézanne, 19th century photography, and modern women artists. Her most recent book is Cézanne’s Gravity, which won the 2019 Robert Motherwell Book Award.
Senior director of conservation and chief conservator of paintings at the Barnes, Buckley enjoys the study of artist materials and techniques. She has published on the history of stretchers and the working methods of artists, including Joshua Reynolds, Horace Pippin, Pierre-Auguste Renoir, Henri Matisse, Amedeo Modigliani, and Paul Cézanne.
Dombrowski is Frances Shapiro-Weitzenhoffer associate professor of 19th-century European art at the University of Pennsylvania. His 2013 book Cézanne, Murder, and Modern Life won the Phillips Book Prize. He is currently at work on a new book that explores the relationship between the impressionist movement and contemporary technologies of timekeeping.
Riopelle is the Neil Westreich Curator of Post 1800 Paintings at the National Gallery, London, and acting curator of French 18th-century paintings. He has held curatorial positions at the J. Paul Getty Museum, Los Angeles, and the Philadelphia Museum of Art, and taught at the American University in Paris and New York University. Recent exhibitions include Gauguin Portraits (Ottawa and London, 2019), Sorolla: Spanish Master of Light (London and Dublin, 2019), and Ed Ruscha: Course of Empire (London, 2018).
Shutova has served as a painting conservator at the Barnes Foundation since 2010. Prior to joining the Barnes, she worked for several private studios in Pennsylvania and taught undergraduate courses in painting and frame conservation at the University of Delaware. She holds an MS from the Winterthur / University of Delaware Program in Art Conservation and a BA in chemistry and art conservation from the University of Delaware.