Acknowledgments

Groom, Gloria

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Acknowledgments

Gloria Groom (Editor)

Impressionism, Fashion, and Modernity

~The exhibition Impressionism, Fashion, and Modernity, which was launched four years ago and has managed to bring together some of the world’s most recognized and iconic Impressionist paintings with contemporary costumes and a variety of contextual materials, could not have been realized without the acknowledged expertise of the collaborating...

Author

Gloria Groom (Editor)

PublisherArt Institute of Chicago

Stable URL: https://aaeportal.com/?id=-23649

Acknowledgments

The exhibition Impressionism, Fashion, and Modernity, which was launched four years ago and has managed to bring together some of the world’s most recognized and iconic Impressionist paintings with contemporary costumes and a variety of contextual materials, could not have been realized without the acknowledged expertise of the collaborating institutions and their directors: James Cuno and his successor, Douglas Druick, President and Eloise W. Martin Director, The Art Institute of Chicago; Philippe de Montebello and his successor, Thomas P. Campbell, The Metropolitan Museum of Art, New York; and Guy Cogeval, President, Musée d’Orsay and Musée de l’Orangerie, Paris. Their faith in this project has been unwavering.

Equally important for developing the concept of the exhibition and catalogue were the many discussions among the members of the organizing committee: Douglas Druick, Gary Tinterow (formerly the Engelhard Chairman of Nineteenth-Century, Modern, and Contemporary Art at the Metropolitan Museum, and since February 2012, Director, Museum of Fine Arts, Houston), Curator Susan Alyson Stein of the Metropolitan Museum, and Guy Cogeval and Curator Philippe Thiébaut of the Musée d’Orsay. The multidisciplinary approach we have taken to show how the confluences of photography, literature, textile and fashion industry, fashion illustration, and the history of ready-to-wear made fashion attractive as subject and vehicle for vanguard artists and writers in the second half of the nineteenth century was the subject of a two-day brainstorming session held at the Art Institute in November 2009. We are grateful to the catalogue authors who participated: Heidi Brevik-Zender, Assistant Professor of French and Comparative Literature, University of California, Riverside; Helen Burnham, Pamela and Peter Voss Curator of Prints and Drawings, Museum of Fine Arts, Boston; Justine De Young, Preceptor, Harvard University, Cambridge, Massachusetts; Birgit Haase, Professor of Fashion History and Theory, Hamburg University of Applied Sciences; Elizabeth Anne McCauley, David Hunter McAlpin Professor of the History of Photography and Modern Art, Princeton University, Princeton, New Jersey; Aileen Ribeiro, Emeritus Professor, the Courtauld Institute of Art, London; Valerie Steele, Director and Chief Curator, the Museum at the Fashion Institute of Technology, New York; Françoise Tétart-Vittu, Art and Fashion Historian, former Print Room Curator, Palais Galliera, Paris; Philippe Thiébaut; Gary Tinterow; and David Van Zanten, Mary Jane Crowe Professor in Art and Art History, Northwestern University, Evanston, Illinois. We owe thanks to the other participants as well, including Douglas Druick; Susan Alyson Stein and Rebecca Rabinow of the Metropolitan Museum; Gillion Carrara, Adjunct Professor and Director of the Fashion Resource Center, and Caroline Bellios, Instructor and Assistant to the Director of the Fashion Resource Center; André Dombrowski, Assistant Professor, University of Pennsylvania; Akiko Fukai, Director and Chief Curator, the Kyoto Costume Institute; Robert L. Herbert, Andrew W. Mellon Professor Emeritus of Humanities, Mount Holyoke College; Timothy Long, Curator, Chicago History Museum; Mark Krisco and Debra Mancoff, the School of the Art Institute of Chicago; and Jean Goldman, independent art historian and curator, who sponsored an elegant luncheon for the group. The catalogue evolved to include two additional authors, Stéphane Guégan, Curator, and Sylvie Patry, Chief Curator, Musée d’Orsay, whose contributions we gratefully acknowledge, as we do the descriptive captions written by Michaela Hansen and Caroline Bellios.

Although this is the first major loan exhibition to examine thoroughly the role of contemporary fashion as a catalyst for modern painters, all who have been involved are acutely aware of the debt we owe to scholars whose publications have laid the groundwork that we depended upon as we worked on our project. We recognize, in particular, Ruth E. Iskin, author of Modern Women and Parisian Consumer Culture in Impressionist Painting (2007); Marie Simon, author of Fashion in Art: The Second Empire and Impressionism (1995); and Valerie Steele, author of Paris Fashion: A Cultural History (1988). Other scholars whose work helped us focus our efforts include Therese Dolan, Aruna d’Souza, Dorothee Hansen, Ann Hollander, Peter B. Miller, Aileen Ribeiro, and Françoise Tétart-Vittu.

An exhibition of this scope would not have been possible without the assistance of numerous individuals who helped us to locate specific works, secure loans, identify essential research materials, and collect photographs, and who generously shared their insights and expertise. We owe special thanks to Judith Barter, Cheryl Bell, Caroline Bellios, Joseph Berton, Helen Burnham, Kate Bussard, Yassana Croizat-Glazer, Justine De Young, Fiona Fimmel, Paul Florian, Jean Goldman, Carrie Heinonen, Ann Hoenigswald, Nancy Ireson, Nena Ivons, Michael Korey, Mark Krisco, Anne Leonard, Nancy Mowll Mathews, Patricia McGraff, Charles S. Moffett, David Nash, Janet Olson, Dimitrios Papalexis, Maria-Cristina Pirvu, Patricia Plaud-Dilhuit, Rebecca Rabinow, Dominique Rouet, William Rudolph, Barbara Scharres, Bill Scott, Isabelle Servajean, George T. M. Shackelford, Stephanie Sick, Elizabeth Siegel, Laurie Stein, Eve Straussman-Pflanzer, Ann Summer, Françoise Tétart-Vittu, Richard Thomson, Gayle Tillis, Pala Townsend, Malcolm Warner, Jennifer Thévénot White, Juliet Wilson-Bareau, Matthew Witkovsky, and Peter Zegers. We are also grateful to costume curators Joanne Dolan Ingersoll, Kate Irvin, Kevin L. Jones, Pam Parmal, and Lauren Whitley.

For this ambitious exhibition, which demanded key Impressionist paintings and costumes, we were rewarded by the interest and generosity of institutions around the world. The names of these collections are printed on a separate page, but I would like to thank the following individuals for their role in making these loans possible: Matthew Teitelbaum and Elizabeth Smith, Art Gallery of Ontario; Claude Ghez and Marjorie Klein, Association des Amis du Petit Palais, Geneva; Gary T. Johnson, Russell Lewis, Katherine Ploud, Becca Doll, and Timothy Long, Chicago History Museum; David Franklin, Griffith Mann, and William Robinson, the Cleveland Museum of Art; Deborah Swallow and the late John House, the Courtauld Gallery, London; Lynn Federle Orr and the late John Buchanan, Fine Arts Museums of San Francisco; David Bomford, Scott Schafer, and Scott Allan, the J. Paul Getty Museum, Los Angeles; Richard Armstrong and Vivien Greene, Solomon R. Guggenheim Museum, New York; Hubertus Gassner and Jenns E. Howoldt, Hamburger Kunsthalle; Jean Druesedow, Joanne Fenn, and Sara Hume, Kent State University Museum; Wulf Herzogenrath, Christoph Grunenberg, and Dorothee Hansen, Kunsthalle Bremen; Michael Govan, Clarissa Esquera, Patrice Marandel, and Sharon Takeda, Los Angeles County Museum of Art; Maria Balshaw and Miles Lambert, Manchester Art Gallery, Gallery of Costume; Sylvain Amic, Musée des Beaux-Arts, Rouen; Henri Loyrette and Sébastien Allard, Musée du Louvre, Paris; Jacques Taddei and Marianne Mathieu, Musée Marmottan Monet, Paris; João da Cruz Vicente de Azevedo, Teixeira Coelho, and Eugênia Gorini Esmeraldo, Museu de Arte de São Paulo Assis Chateaubriand; Ute Eskildsen and Mario-Andreas von Lüttichau, Museum Folkwang, Essen; John W. Smith, Ann Woolsey, and Maureen O’Brien, Museum of Art, Rhode Island School of Design, Providence; Malcolm Rogers and George T. M. Shackelford, Museum of Fine Arts, Boston; László Baán, Judit Geskó, and Melinda Erdohati, Museum of Fine Arts, Budapest; Susan Henshaw Jones, Jean-Luc Howell, and Phyllis Magidson, Museum of the City of New York; Earl A. Powell III, Franklin Kelly, Kimberly Jones, and Mary G. Morton, National Gallery of Art, Washington, D.C.; Solfrid Söderlind, Torsten Gunnarsson, Karin Sidén, and Per Hedström, Nationalmuseum, Stockholm; Sandy Nairne and Peter Funnell, National Portrait Gallery, London; Anne-Birgitte Fonsmark, Gry Hedin, and Nanna Kronberg Fredriksen, Ordrupgaard, Copenhagen; Marjorie Scheuer, the Henry and Rose Pearlman Foundation; Gilles Chazal, Isabelle Collet, and Maryline Assante, Petit Palais, Musée des Beaux-Arts de la Ville de Paris; Timothy Rub, Joseph Rishel, and Jennifer Thompson, Philadelphia Museum of Art; James Steward, Princeton University Art Museum; Steven High and John Wetenhall, the John and Mable Ringling Museum of Art, Sarasota; Hartwig Fischer, Dirk Syndram, and Heike Biedermann, Staatliche Kunstsammlungen, Dresden; Caroline Collier, Tate National; Nicholas Serota, Tate, London; Andreas Blühm and Götz Czymmek, Wallraf-Richartz-Museum, Cologne.

The generosity of our institutional lenders was matched by that of the private lenders and agents to whom we are greatly indebted: Vera Wang and Diane B. Wilsey. For those lenders who have opted to remain anonymous, we thank our colleagues who served as intermediaries: Guy-Patrice Dauberville, Bernheim-Jeune et Compagnie, Paris; Waring Hopkins, Galerie Hopkins, Paris; Stephan Wolohojian, Harvard Art Museums/Fogg Museum; David Nash, Mitchell-Innes & Nash, New York; Yasuko Yamada, Sotheby’s Japan; Simon Stock, Sotheby’s London; Benjamin Doller, Sotheby’s New York; and Jayne Warman, New York.

In addition to Susan Alyson Stein, this project enjoyed the essential cooperation of many staff members, both past and present, from the Metropolitan Museum. Gary Tinterow, and his assistant Nykia Omphroy, contributed enormously to shaping and overseeing the genesis of the exhibition, from fall 2009 until their departure in early 2012 for the Museum of Fine Arts, Houston. Laura Corey ably served as the project’s exhibition assistant, dedicating her keen research and organizational skills to all aspects of its planning and realization. The Metropolitan Museum’s Costume Institute played a vital role in ensuring the integrity of the fashion component of the American venues. We are indebted to Harold Koda for his generous support; to Andrew Bolton for the benefit of his curatorial oversight and advice throughout the organization of the project; and to Kristen Stewart and Amanda Garfinkel, respectively, for the benefit of their collections and curatorial expertise. We have also valued the assistance of Joyce Fung, Jessica Glasscock, Julie Le, Bethany Matia, Wong Ng, Glenn Peterson, and Sarah Scaturro. The installation of the Metropolitan Museum’s venue recognizes the talents of exhibition designer Michael Lapthorn and graphic designer Sophia Geronimus. In addition, we gratefully acknowledge the contributions of Jennifer Russell, Director’s Office; Linda Sylling, Design Department; Keith Christiansen, Rebecca Grunberger, and Patrice Mattia in the Department of European Paintings; George Goldner, Cora Michael, and Elizabeth Zanis in Drawings and Prints; Malcolm Daniel, Anna Wall, and Meredith Friedman in Photographs; Kenneth Soehner, Watson Library; Charlotte Hale, Paintings Conservation; Marjorie Shelley and Rachel Mustalish, Paper Conservation; Kathryn Galitz, Education; Julie Zeftel, Digital Media; and Meryl Cohen, Registrar’s Office.

At the Musée d’Orsay, Paris, where we conducted many of our early organizational meetings under the enthusiastic guidance of Guy Cogeval, we wish to thank, in addition to Stéphane Guégan, Sylvie Patry, and Philippe Thiébaut, the other members of the team: Martine Bozon, secretary to Guy Cogeval; Hélène Flon, Exhibitions Director; Marie-Pierre Gaüzès, Head Registrar, Musée d’Orsay, Musée de l’Orangerie, and Musée Hébert; Élise Bauduin, Exhibitions Manager; Scarlett Reliquet, cultural officer in charge of classes, seminars, and lectures; Amélie Hardivillier, Head of Communications; Annie Dufour, Head of Publications; and Doris Grunchec, Exhibitions Manager.

I feel particularly rewarded by the amazing collaborations among my colleagues, each of whom has, in important ways, played a role in the birth, adolescence, and final flowering of this exhibition and catalogue. In the Department of Medieval to Modern European Painting and Sculpture, I give warmest thanks to Stephanie D’Alessandro, Gary C. and Frances Comer Curator of Modern Art; Eve Straussman-Pflanzer, Patrick G. and Shirley W. Ryan Associate Curator of European Painting and Sculpture before 1750; and Martha Wolff, Eleanor Wood Prince Curator of European Painting and Sculpture before 1750; as well as Geri Banik, Department Secretary; Robert Burnier, Departmental Specialist; Florence Cazenave, Research Assistant; Marie-Caroline Dihu, Research Assistant; Christina Giles and Stephanie Strother, Old Masters Society coordinators; Adrienne Jeske, Senior Collections Manager; Marina Kliger, Special Projects Research Associate; Jane Neet, Collection Manager and Research Assistant; Aza Quinn-Brauner, Department Technician; Jill Shaw, Research Associate; Genevieve Westerby, Digital Assets and Research Assistant; and the interns from near and far who have over the years worked on research for the exhibition and catalogue: Kat Baetjer, Elizabeth Benjamin, Sarah Fischel, Michaela Hansen, Blandine Landau, Grace Londono, Brittany Luberda, Elizabeth Oliver, Allison Perelman, Juliette Poggioli, and Austin White. I am particularly grateful to Stacy Kammert and Susanna Rudofsky, both of whom have worked tirelessly over a four-year period to see this project to its completion. Above all I thank Jennifer Paoletti, Exhibitions Manager, whose title in no way covers her total involvement in every aspect and every challenge of this project, which she has coordinated with efficiency, meticulous attention to detail, professionalism, and grace.

From its earliest inception the exhibition has enjoyed the counsel, expertise, and leadership of the Art Institute’s President and Eloise W. Martin Director, Douglas Druick. I am also grateful to Dorothy Schroeder, Vice President for Exhibitions and Museum Administration; David Thurm, Chief Operating Officer; and Maria Simon, Associate General Counsel, who have all been unflappable in the face of escalating budgets and complex loan negotiations.

In the Publications Department I thank Robert V. Sharp, Executive Director, for his support from the outset to make this a catalogue hors pair, and Sarah Guernsey, Director, whose skills, equanimity, and humor kept the project on a positive note. Their efforts were ably assisted by those of Joseph Mohan, Production Coordinator; Lauren L. Makholm, Photography Editor; and Bryan Miller, Manager of Financial and Technical Systems for Publications. For her diligent oversight and many valuable suggestions, I am immensely indebted to editor Susan Weidemeyer, and to her successor on this project, editor Amy R. Peltz, who so commendably took charge of the final stages of its overall completion, consolidated all of its parts, and ensured the consistency of this publication. For their elegant and sensitive translations of the French and German, we wish to acknowledge Jean Coyner and Michael Winkler. My thanks go also to Jack Perry Brown, Marie-Caroline Dihu, Jennifer Paoletti, Jill Shaw, Susan Alyson Stein, and proofreader Christine Schwab for their careful review of the catalogue manuscript; and to Lori Van Deman-Iseri for preparing the index. We are especially indebted to the catalogue’s designer, Roy Brooks, for his fresh and intelligent ideas and for making beautifully simple our ambitious and complex vision; and to color specialist Pat Goley at Professional Graphics, whose dedication to the project included an essential color-correction blitz for the works coming from Paris. Finally, we are grateful for the support of our publishing partners at Yale University Press.

At the Art Institute I would like to acknowledge colleagues who contributed in innumerable and essential ways to the ideas behind and research for the catalogue and the exhibition itself. Supporting our research from the outset was Jack Perry Brown, Director of the Ryerson and Burnham Libraries, who acquired or helped us find important publications, such as the very rare volumes of the periodical La Vie Moderne that he arranged to have shipped to Chicago for our research and imaging. I am also grateful to the dedicated staff of the Ryerson and Burnham Libraries, especially Susan Augustine, Melanie Emerson, Nancy Ford, and Curtis Osmun. For the technical support that allowed members of the team to share all relevant information with our partners, we are grateful to Samuel Quigley, Elizabeth Neely, and Carissa Kowalski Dougherty.

For their ongoing support and generosity, thanks are extended to Suzanne Folds McCullagh, Harriet Stratis, Mark Pascale, Martha Tedeschi, Suzanne Karr-Schmidt, Emily Vokt Ziemba, Chris Conniff-O’Shea, and Kim Nichols in Prints and Drawings; Frank Zuccari, Allison Langley, and Faye Wrubel in Paintings Conservation; Sara Moy, Objects Conservation; and from the Department of Textiles, Daniel Walker, Odile Joassin, and Lauren Chang. From the registrarial team I would like to thank Patricia Loiko; her successor, Jennifer Draffen; and especially Darrell Green, Senior Registrar for Loans and Exhibitions, who so expertly coordinated the many and complex loans and attendant shipping arrangements.

For the construction of the installation at the Art Institute and the production of wall texts, labels, and the multitude of exhibition-related graphic materials, I am indebted to William Caddick, Bernice Chu, Marcus Dohner, Jeff Wonderland, and their staffs. Additional thanks go to renowned opera designer Robert Carsen, the mastermind behind the installation of the exhibition at the Musée d’Orsay who also helped with the Chicago venue’s conception for the exhibition. For the educational and marketing outreach that accompanied the exhibition, I wish to thank Gordon Montgomery, Gary Stoppelman, Erin Hogan, Chai Lee, Nora Gainer, and Oksana Paluch, as well as David Stark and the staff of the Museum Education Department.

Finally, I would like to offer personal thanks to Mary Winton Green and her family for their friendship and support, and to Joseph, Alexander, and Philip Berton, who tolerated the ripple effects of this project on our home life with bemused good nature.

Gloria Groom
David and Mary Winton Green Curator
The Art Institute of Chicago

Note to the Reader: Frequently cited works are listed in short form; for full citations, consult the Selected Bibliography.

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