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Picasso, Matisse, Chagall

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chagall romeo and juliet
Jim Richerson Sangre de Cristo Arts Center executive director

The Sangre de Cristo Arts Center’s executive director, Jim Richerson, is largely responsible for bringing this collection of prints to Pueblo.

It’s said that greatness attracts greatness, and Paris in the early 20th century was home to many of the greatest artists of the century—people such as Pablo Picasso, Henri Matisse and Marc Chagall. Picasso, arguably the most famous modern artist in the world, even today; Matisse, the only painter Picasso considered a rival and a master of line; and Chagall, a one-of-a-kind artist whose unique style influenced several important art movements. These men not only knew one another, but drew inspiration from each other, an exchange you can witness for yourself at Sangre de Cristo Arts Center’s current exhibit, “Picasso, Matisse, Chagall,” a collection of over 70 prints by all three modern masters.

checking prints for damage is part of the curatorial process

Each piece had to be checked for damage and catalogued before hanging.

Bringing Modern Masters to Pueblo

How did such a major collection come to Pueblo? The credit lies largely with recently appointed executive director Jim Richerson, who was familiar with the anonymous owner of these works. Richerson stated that he was willing to do whatever it took to bring this collection to Pueblo. This first and foremost involved putting the collector at ease by hiring someone the collector knew to perform the initial inventory of pieces, then having the curator, Liz Szabo, personally transport the collection from Illinois back to Pueblo. The 70-plus pieces never left her sight during the approximately 20-hour drive.

On the Sangre’s end, the Arts Center hired more security guards in addition to the number required for American Alliance of Museums certification, installed climate control in the White Gallery, and switched out all the lights in the gallery in favor of bulbs that would not bleach or damage the paper of the prints.

Sangre de Cristo curator Liz Szabo

The Sangre’s curator Liz Szabo hanging prints in the White Gallery

Each piece was inspected before and after shipping for quality. Prints with minor damage were, with the owner’s permission, repaired before being put on display. Unlike with many other shows at the Sangre, the setting up of the gallery was limited to the curator and assistant curator and a few helpers, all of whom wore gloves during the hanging.

fixing damaged prints before showing is part of the curatorial process

Liz Szabo fixes damaged pieces before hanging.

Perhaps more important than how the exhibit came to Pueblo is the why. The collector is not a Rockefeller, trust fund baby, or billionaire industrialist—the type of person one might unthinkingly associate with collecting modern art masters. An optometrist by trade, he comes from a middle-class background and lives in the iconically provincial mid-west city of Peoria. His collection is a reflection of his fascination with the way people see—and indeed, many of the prints in this exhibit play with how people look: at other cultures, other people, and even other artists. As for why he’s willing to share his collection, the collector believes in art’s power to inspire anyone, whether they have an artistic bent themselves or not.

still life with musical instruments picasso

Still Life with Musical Instruments by Pablo Picasso, c. 1920. Pochoir printed in colors.

Picasso

The number and variety of pieces by Picasso in this exhibit is really unprecedented in Colorado. Even the Modern Masters show at the Denver Art Museum only had a single painting representing Picasso, Matisse and Chagall respectively (and not the greatest examples at that); the Sangre currently has nearly 80 pieces, the majority of which are by Picasso and cover most of the major art styles and periods of his long life—including his many affairs and marriages.

Picasso was an odd duck. Short, aggressive, a Spaniard through and through, much of Picasso’s work—and behavior—was a reflection of his machismo. This is why bulls are such a common motif in his work—not only are they a symbol of his native country of Spain and the matador, but of manliness.

the head of a bull by picasso

Tête de taureau, tournée à la droite, Picasso, 1948.
Lithograph print.

The women Picasso loved were also a major theme in his work. His wives, mistresses, girlfriends, and even children were a reflection of his virility and prowess, while at the same time serving as his muses. It’s been said that with every new love affair, he started a new art style. While that’s not exactly true, it is true that Picasso’s paintings, drawings, prints and ceramics served as a diary of sorts, documenting his emotional state and major life events. He rarely painted or drew people from life, particularly as his career advanced—he didn’t need to. Instead, Picasso drew from his extraordinary visual memory and created portraits that reflected how he saw and felt about his subjects, rather than how they actually looked.

dora maar by picasso

Tête de femme no. 4. Portrait de Dora Maar, Picasso, 1939.
Aquatint and scraper.

A perfect example of that is Picasso’s 1939 portrait of Dora Maar, which twists her face around so that we see her from multiple perspectives. Red-faced, Maar looks almost like a bull herself. Picasso’s portraits of Maar were rarely attractive, although she herself was beautiful. A fellow artist and Spaniard, Maar’s troubled, aggressive, and emotionally unstable personality fascinated Picasso from their very first meeting at Les Deux Magots, where Maar cut her own hand multiple times as part of a “knife game.” Picasso kept the blood-soaked glove she wore that day and displayed it on a shelf in his studio. Meanwhile, Maar’s rival for Picasso’s affections, Marie-Thérèse Walter, looks dreamy and soft, wide-eyed and innocent (as she should be; she was only seventeen when they began their affair), nearly the complete opposite of Maar.

Unlike Maar, Picasso’s portraits of Francoise Gilot usually present her as calm, stable, almost imperturbable. You can picture her as her family’s emotional center, a lodestone or Rock of Gibraltar. Some say Gilot was the only woman who ever broke Picasso’s heart, or perhaps it was just his ego. Either way, Picasso’s portraits of Gilot are some of his most fascinating, particularly the beautiful “Françoise” from 1946 that’s part of this collection.

Picasso’s rebound relationship after Gilot was with Jacqueline Roque, a woman almost 50 years his junior. Unlike Maar, Walter, Gilot, or even his daughter, Picasso almost never depicted Roque facing the viewer. Her eyes are always downcast, as they are in the expertly shaded yet deliciously graphic “Jacqueline Reading.” Roque’s and Picasso’s relationship actually stuck; they remained together until his death.

picasso print of his children paloma and claude

Paloma et Claude, Picasso, 1950.
Lithographic print.

By far the most touching and engaging portrait in this collection, however, is the double portrait of Picasso’s children, Claude and Paloma, which he finger painted—literally, he’s telling us, he made them with his own two hands. The portrait is extraordinarily expressive and shows off the childrens’ differing personalities. Paloma is light, airy, the sweeping of Picasso’s fingertips suggesting constant movement. Claude is dark and solid like his mother, Gilot, the firm press of Picasso’s fingers underscoring the child’s more serious personality. The yin/yang characteristic of “Paloma et Claude” gives the portrait a symbolic sensibility that makes it even more compelling. If you look closely, you can see the prints of all ten of Picasso’s fingers.

Below this portrait is an homage created by 13-year-old Maya Jain of Peoria, Illinois, a piece the collector treasures as a symbol of art’s ability to inspire a new generation of artists.

linocuts of minotaurs by matisse

Plates 15, 20, and 17 (2nd versions), by Henri Matisse, 1937-1944.
Linocut prints.

Matisse

This exhibit isn’t all portraits, however. Like many avant-garde artists, Picasso, Matisse, and Chagall all had a fascination for mythological subjects. The minotaur in particular is a motif one finds circulating in the Parisian art community through much of the early 20th century. The minotaur was a potent symbol of men’s more bestial urges, the id hiding at the center of one’s psychological labyrinth. The twisting lines, aggression, and sexual tension in Picasso’s “Minotaur Embracing a Woman” makes it comparable to any of his great paintings. We both fear for the woman and admire the beauty and strength of the minotaur, a feat of visual mastery. Compare Picasso’s depiction of the minotaur to Matisse’s, which seems light and playful, almost as if it’s dancing. Instead of depicting the beast’s violent nature, Matisse uses the unrelenting black background of his linocut print to suggest the dark nature of the subject.

A generation older than either Picasso or Chagall, Matisse started his avant-garde career as a member of the “fauves,” or wild beasts, so-called because of group’s bold use of color. That understanding of color, elegant silhouettes, and effortless use of line became a hallmark of Matisse’s work long after the fauves disbanded. Most people are probably familiar with his series “The Dance,” or his design of the Chapelle du Rosaire de Vence, also known as the Matisse Chapel.

portrait of antillean by matisse

Nouvelle terre, Matisse, c. 1948-53.
Lithographic print.

Most of the prints by Matisse at the Arts Center are portraits of people from the Antilles, which Matisse made for a book of poetry by John-Antoine Nau. Unlike Picasso, Matisse did create portraits directly from a model; unlike most other artists, though, he never looked at the page or canvas as he did so. The result is a balance of simple, effortless lines that seems to capture the personality of each individual. Matisse adored the high cheekbones and aquiline noses that characterized the faces of the Antillean people he captured in these portraits.

chagall romeo and juliet

Charles Sorlier, after Marc Chagall.
Romeo and Juliet, 1964.
Poster after Chagall’s painting for the ceiling of the Paris Opera.
Color lithograph.

Chagall

Compared to Picasso and Matisse, the work of Chagall seems soft and romantic. The most famous Jewish painter of the 20th century, Chagall was born in a Russian shtetl and raised a Hasidic Jew (think “Fiddler On the Roof”—in fact, the title of that musical takes its name from one of Chagall’s own paintings, “The Fiddler”). Jews weren’t allowed to practice art in Russia, though Chagall did so openly for several years before moving to Paris in 1910, when cubism was the “it” art movement. Chagall eschewed cubism—and all other movements and schools—and maintained his own personal style, which was colorful, quirky, and dreamlike, almost fantastical.

A perfect example of that style is the lithograph, “Joy,” the largest Chagall ever printed. Ghostly figures circle a happy couple, reading, playing music, perhaps dancing and laughing. Chagall’s delicate use of color is masterful here. As Picasso once said, “When Matisse dies, Chagall will be the only painter left who understands what color really is.” Color is an emotion, an atmosphere, and a story. But what I really love about this lithograph is the setting: joy isn’t just having someone to love, listening to music, dancing, or a reading good book. Joy is nighttime in Paris.

chagall anointing of saul

Anointing of Saul, Chagall, c. 1956-1958.
Etching with watercolor.

Chagall was also fond of religious subjects. He’d always been interested in the Bible, he said, and even made a trip to Palestine to sketch Old Testament-era sites. But Chagall’s biblical subjects weren’t confined to the Old Testament: he frequently depicted New Testament scenes as well, particularly those of the life of Jesus and the Crucifixion. You can see an example of one of Chagall’s Crucifixion scenes in “Artist on a Black Background.” Although it may seem odd for a Jewish artist to associate himself so strongly with might be called the quintessential Christian scene, Chagall was following in the footsteps of a long line of Jewish artists who reclaimed Jesus as both a historical and religious figure in order to argue against anti-Semitism. Decades earlier, before the outbreak of World War Two, Chagall had painted “Yellow Crucifixion,” where he drew a connection between the prosecution of Jesus and the fate of the Sturma, a ship that carried Jewish refugees who drowned when no country would allow them to disembark. A similar plea for understanding might be found in the Old Testament scenes on view at the Sangre, all of which depict people pleading for help or understanding.

These three men—Picasso, Matisse, and Chagall—shaped and continue to shape our understanding of what art, beauty, and freedom is. They not only shared their own experiences and work, but inspired others to do so. An opportunity to see the works of these masters, especially works as imitate and personal as many of these prints, is precious and not to be missed.

“Picasso, Matisse, Chagall” will be open at the Sangre de Cristo Arts Center through January 11, 2015. The first Friday of every month will be free to the public starting in October. For hours and ticketing information, visit http://www.sdc-arts.org.

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Beer

Fresh pressed: Cider comes to Colorado’s Apple Valley

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A long, winding drive through the mountains on the way back from Grand Junction gave Kevin Williams time to reflect and think about his future. Inspired by a brewery he had recently visited, Williams was racking his brain for a way to incorporate a location or aspect related to Pueblo into a nano brewery he had long planned to open. And as the winding roads continued to clear Williams’ thoughts, it hit him: Penrose is known as Apple Valley. Why not open a cidery there?

Kevin Williams, former brewmaster at Walter’s Brewery in Pueblo, wants to put Penrose on the beer map with his Apple Valley Cider.

A week later he mentioned the random idea to his dad, who a few days later had a building picked out for him just off of Highway 115 next door to Broadway’s Bar & Grill. Starting with a blank space, the building owner worked with Williams and has built the location to fit the needs of a cidery.

Floor drains have been installed, a large walk-in cooler has been constructed, and an office is in place. A few more finishing touches and Williams will begin making cider under the aptly named brand Apple Valley Cider. His current plan is to have bottles of his three ciders: a semi-sweet, peach, and black currant on store shelves near the beginning of February.

No stranger to what it takes to come up with craft recipes, execute on the tasty ideas, and then market and sell, William’s started his professional brewing career at Walter’s Brewing in Pueblo. He has since moved on, citing the desire to move from employee to owner of his own business as the main reason.

Williams has been experimenting and making cider almost from day one of his homebrewing days, and has continued to do so even when he moved on to brewing professionally. It has been a learning process, but one that he feels has led up to the point where he’s ready to share with the outside world.

Brewing beer and making cider are similar in a few ways, namely starting with a sugary substance that you add yeast. However, the process is vastly different when it comes to the amount of labor required during the brewing process itself. Instead of long, hot, and heavy brewing sessions where larger burners and heavy bags of grain are required, making cider consists of mixing juice with water, adding some yeast, and waiting for nature to do its thing. That may be a bit simplified, but you get the point.

The more intense part of the process is going to be bottling and kegging cider for distribution. Currently, Williams plans to distribute everywhere he can within an hour drive of Penrose. So, that means Pueblo County, El Paso County, and Fremont County. Salida and Buena Vista will potentially be included in the first round of cities he will self-distribute in.

As a member of the Steel City Brewers homebrew club, I’ve known Williams for a couple of years now. During that time, I’ve had the chance to taste some of his ciders. More recently, he started asking the club to taste what (unknown to us at the time) would soon become his first three cider variations for Apple Valley Cidery. Over the course of several months and several iterations, I tasted ciders that went from decent to OMG YOU NEED TO SELL THIS.

Apple Valley Cider

The semi-sweet cider has plenty of apple flavor with a pleasant amount of sweetness. The peach cider is, in not so many words, delicious. It tastes exactly like the peach candy rings you can get from a convenience store—only better. It’s not overly sweet, and the peach is clearly present from start to finish. As for the black currant cider, there’s a notable tartness to the cider that’s rather enjoyable.

Apple Valley Cider won’t have a formal taproom. Instead, the Broadway’s Bar & Grill next door will serve as an informal taproom where you can try out any of the currently available ciders. Williams will have a grand opening party and special tastings as new flavors are released in the front room of Apple Valley Ciders.

Speaking of special tastings, Williams is working with Jenkins Farms to create a special release Apple Valley Cider made with apples from the Jenkins’ orchard. Exact details and timing are still being worked out, but I could tell by the excitement on his face that it’s going to be big.

If you want to keep tabs on Apple Valley Cider, like the Facebook page where Williams will post more details about his impending launch and release party.

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Books

Crouch’s ‘Dark Matter’ and our ever-present what ifs

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Colorado author, Blake Crouch, in his most recently published novel, “Dark Matter,” explores and aims to answer one of humanity’s most pressing existential questions: what if? Crouch writes on the dedication page of his newest novel, “For anyone who has wondered what their life might look like at the end of the road not taken.” And indeed it is.

The story follows the journey of a man named Jason Dessen – a brilliant physicist living in Chicago with his wife and son. Although Jason had the opportunity at one point in his life to achieve his career dreams and become a star in his field, he chose to lead a more family-focused life as a local community college professor.

One night, he is abducted and drugged while walking home. He awakes in a world where his wife doesn’t know him, his son doesn’t exist, and he has achieved that professional success that eluded him in his previous life. Jason’s quest to return to his reality leads him on a thrilling and psychologically probing goose chase through the multiverse that, as Crouch writes in an afterword of the novel, “forces him and the reader to reckon with the quantum-mechanics principles that make our universe tick.”

Science fiction is not uncharted territory for Crouch. He is most well known for his “Wayward Pines” trilogy, which was adapted for television and premiered on FOX in May of 2015. Like the “Wayward Pines” series, “Dark Matter” weaves elements of the fantastic and the actual, with themes of love and family truly making up the core of the story. Crouch is already working on the screenplay for the film adaptation of “Dark Matter” – this time on the big screen. Sony bought the movie rights for the film, and will begin production in the near future.

Crouch was inspired to write the novel by his interest in quantum mechanics, despite his limited scientific background. In an afterword of his book, Crouch writes: “I wrote ‘Dark Matter’ so if you’d never heard of quantum mechanics, it wouldn’t matter.” And he is true to his word. Crouch’s narration weaves in the scientific aspects nearly seamlessly, and makes even the more complicated points understandable to his readers by being concise with his language and clear in his analogies.

A common error among sci-fi stories is piling information on the reader to make the author sound more credible. Crouch avoids this error, striking the right balance of factual information that applies to the narrative with the more fictitious elements that are then bridged effortlessly in the reader’s mind.

While Crouch’s novel does dwell heavily in the science-fiction genre, it is a love story as much as it is an existential thriller. Rather than highlighting the ecstasy of being able to trade a life you’re dissatisfied with for another, Crouch’s approach is more to point out how shallow the reasons are that create that sense of dissatisfaction. His main character, Jason, is motivated throughout the story purely by the love he has for his wife and son – and the realization that his biggest mistake is taking that love for granted.

Detailing Jason’s grappling between his family life and his professional life is where Crouch really hits home with so many of his readers. Detailing that struggle on a larger existential scale where virtually every choice creates another competing life, and that these lives aren’t just possible separately, but also simultaneously, is what lends so much ingenuity to Crouch’s entire premise.

Every single one of us wonders what would have happened if we’d taken another job, gone to a different college, moved somewhere different, married someone different, didn’t marry at all; the list goes on and on. “Dark Matter” is an intelligent proposition of an answer to our ever-present what-ifs. Not to mention an altogether riveting and touching tale.

Originally from North Carolina, Crouch currently lives in Durango, Colorado and has ever since he received his Bachelor’s degree in English from the University of North Carolina. When asked in an interview what drew him to Colorado, Crouch said: “I love everything about the West. The wide-open space. The history. The mentality. Rain curtains over the desert. How much deeper and more rattling thunder sounds as opposed to everywhere else. Sage brush. Mountains. Desert. Snow. But most important, a serene, contemplative place to write.”

Crouch is currently working on a new novel from his home in Durango. In addition to “Dark Matter” and the “Wayward Pines” trilogy, he has written more than a dozen other novels and short stories; most of which can be found for sale on his personal website: www.blakecrouch.com. His other television projects include the TNT television show “Good Behavior” starring Michelle Dockery, which is based off of a series of three interlinked novellas Crouch previously wrote and published.

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Arts & Culture

Her Paris

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When we open an art history book or go to a major art museum, male artists dominate the narrative. A woman may be represented here and there, but the overall impression given is that women were negligible players in the history of art, outliers and curiosities.

In fact, nothing could be further from the truth, especially in 19th-century Paris. From the French Revolution on, women were a major presence on the Parisian art scene. They may not have been allowed into l’Ecole des Beaux-Arts, France’s largest art school, until 1897, but they were allowed to exhibit in the Paris Salon, Europe’s preeminent art exhibition–and did, in great numbers. Women studied art under private tutors or at smaller art academies like the Académie Julian, all while pushing for greater equality in the art world and, by extension, society as a whole. They were also major contributors to independent exhibitions, including those of the French Impressionists.

Her Paris goes a long way toward bringing more attention to these “forgotten” artists with an exhibit devoted entirely to women painters from the latter half of the 19th century. This huge exhibition is divided into seven sections covering portraiture, genre scenes, fashion, childhood, landscape, history painting, and “jeunes filles,” or young women.

The exhibit opens with portraiture, which seems a straightforward subject. But this section is more than just a series of portraits. It’s the perfect way to start the conversation about female artists in Paris because it demonstrates they weren’t a negligible presence on the Parisian art scene: they were part of an entire community. They were friends, sisters, roommates, neighbors, and rivals who lived, studied, socialized, and worked together to gain recognition for their artistic talents–not just individually, but as a group. From Berthe Morisot and her sister, Edna; once-famous Marie Bashkirtseff and the only person she considered her artistic equal, Louise Breslau; to Anna Elizabeth Klumpke, an American painter who was friends with Rosa Bonheur and later wrote her biography. These portraits show that women artists didn’t just come to Paris because it was the epicenter of European art; they came because in Paris they could find encouragement and support amongst other women.


The next section of Her Paris continues that theme, with scenes from everyday life, also known as genre. The theme may seem innocuous at first, until one looks closer. Between moments of eating dinner and pouring tea are women smoking (scandalous!), reading–which for a woman at the time was still a revolutionary act, underscoring they were human beings with an intellect and interior “life of the mind,” as the exhibition puts it–and performing the commonplace tasks and chores that formed the underpinning of Parisian society.

The grandest painting in this section is Lunch in the Greenhouse by Louise Abbéma, which dominates the wall at the far end of the gallery. When it was first exhibited in public, it was criticized for being “flat” and “emotionless.” But its rich color and high level of detail make it nearly irresistible: you feel like you can step right into the piece and sit down at the table.

There’s also a very modern rejection of narrative or moralizing in Lunch in the Greenhouse; it’s merely a snapshot of a moment, although Abbéma couldn’t resist adding the charm of the little girl with the big pink bow or the dog beside her. The other figures are friends and family of Abbéma, most notably the famous actress Sarah Bernhardt, with whom Abbéma is rumored to have had an affair. If true that makes Abbéma’s expression in the painting as she reclines behind Bernhardt all the more intriguing.

Abbéma also painted one of the stand-out pieces in the next section, devoted to fashion. Among the Flowers shows a woman in a gorgeous flower-printed white dress, whose form is mirrored by the black urn overflowing with flowers beside her. Abbéma’s association of a woman with a decorative object (indeed, the woman seems to be greeting the plant as if it were a person) sums up the theme of this section: that by focusing on fashion, these female artists weren’t just conflating fashion with art, but rejecting the idea that decoration of themselves and their homes should be their only creative outlet.

The next section focuses on paintings of children. While the idea that women artists are innately better able to depict children is patently stupid (men had been doing it perfectly well since the Renaissance), it can perhaps be said that women had greater access to child models. In fact, female artists of the 19th century usually used friends and family as models exclusively, since models for hire tended to have unsavory backgrounds (cough prostitutes cough).

The childhood section introduces the most unique artist by far included in Her Paris, German painter Paula Mendersohn-Becker. One of the earliest expressionist painters, Mendersohn-Becker is frequently referred to as the first female modernist and with good reason. Her paintings look like something out of the 1930s rather than the 19th century. Becker’s figures are flatly modeled, with a limited palette and expressive facial features. Far from pretty, there’s no denying the irresistible charm of Becker’s work in her use of line and her focus on the emotions, rather than the appearance, of her sitters.

The landscape section serves as the lynchpin of the whole exhibition because it’s here where you can really see how 19th-century women were pushing painting forward in new directions.

One of the most unique pieces is Waterfall by Fanny Churberg, which was described as abnormal and “strange” by contemporaries. It is unusual, but in an intriguing way. Churberg’s painting is highly naturalistic and textured, almost as if one is looking at it through a stereoscope (a way to combine two images into one to create a 3D effect). Anna Bilińska-Bohdanowicz’s atmospheric Unter den Linden in Berlin is another standout piece, as is Helen Schjerfbeck’s The Door, which captures a church door in Brittany. It’s a landscape, but could just as easily be called a still life, one that uses light and color to suggest a spiritual and symbolic component.

The last two sections of Her Paris–history painting and jeunes filles–are not as tightly themed as the previous sections, although they contain some of the exhibition’s best pieces. One of these is Plowing in the Nivernais by Rosa Bonheur, by far the most famous female painter of the 19th century, or any century before it. A child prodigy, she was the first woman to be awarded the Legion d’Honneur, France’s highest artistic award, which the Empress Eugenie herself pinned to Bonheur’s breast at her chateau outside of Paris.

Plowing in the Nivernais is one of Bonheur’s most well-known works, painted just after the 1848 Revolution that instituted the Second Republic. The stars of the painting are the Nivernais oxen clomping across the canvas, rendered in exquisite and loving detail. But Plowing in the Nivernais doesn’t just demonstrate Bonheur’s skill as an animal painter: her treatment of the soil, atmosphere, and sunlight is the height of realism. You can almost feel the heat of the sun, smell the turned earth, and feel the soft ground beneath your feet. Indeed, the very solidity of the oxen and landscape conveys a sense of permanence and on the grand scale of a history painting. Bonheur may not have been painting history as such, but she was undoubtedly commenting on the endurance of France, despite the ups and downs of political changes.

Other artists of note include Anna Archer, whose paintings are quiet, yet luminous; Eva Gonzalès, the only pupil of Edouard Manet, who has several charming pieces; Marianne Stokes, with gorgeously rich canvases inspired by the Pre-Raphaelites; and Julie Delance-Feurgard, whose Le marriage exudes an intense feeling of movement and suspense, despite the rather staid subject matter.

Her Paris is an extraordinary exhibition that introduces art lovers to the best painters they’ve never heard of. The sheer volume of work in this exhibit is staggering, especially when one considers it covers just 35 female painters who trod Paris’ cobblestoned streets for a mere fifty years. Her Paris, along with The Women of Abstract Expressionism that took place earlier this year, marks the DAM as an institutional leader and innovator. This show is definitely not one to be missed.

Her Paris: Women Artists in the Age of Impressionism will be on view through January 14th, 2018. Advanced tickets are highly recommended. For more information, visit denverartmuseum.org.

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