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Up Close with Paul Cezanne

Panel Discussion


Included in the cost of general admission, reservation required

Barbara Buckley is the Senior Director of Conservation and Chief Conservator of Paintings at the Barnes Foundation. She joined the Barnes in 1992 and has overseen conservation treatments of works in the collection, including the recent treatment of Paul Cezanne’s Large Bathers, uncovering new information on the artist’s creative processes. She has published on the materials and techniques of artists Amedeo Modigliani, Paul Cézanne, Henri Matisse, Pierre-Auguste Renoir, Horace Pippin, and Joshua Reynolds and has a special interest in the history of artist stretchers. She is an active participant in the American Institute for Conservation and was recently honored with the Paintings Award from the Paintings Specialty Group of the American Institute for Conservation. She received her M.A. in Art Conservation from the Cooperstown Graduate Program at the State University of New York.

Retired after forty years as Senior Conservator of Paintings at the National Gallery of Art, Ann Hoenigswald’s main focus has been the treatment of paintings, but out of this has emerged a particular interest in artists’ process, the question of finish and the choice and handling of materials to achieve specific surface effects.  Much of her research has addressed paintings from the 19th and early 20th centuries. Publications and lectures based on research, frequently in collaboration with curators, have been devoted to the history of conservation, colormans’ catalogues and the materials, equipment and handling of paint used in plein air paintings.  In addition to publishing on these topics she has written widely on Manet, Cezanne, Degas, Cassatt, Van Gogh, Picasso and Malevich among others, frequently as essays in exhibition catalogues. Her most recent work has been the compilation of a technical bibliography on Cezanne for the Société Cezanne. Among other honors, Hoenigswald was named a Fellow at the Center for the Advanced Study in the Visual Arts at the National Gallery of Art, and was invited to present a series of lectures at the Courtauld Institute in London. Most recently she returned from the Getty where she was named the Visiting Museum Scholar in Painting Conservation. Her research topic there explored the development of a reworked painting by Degas, its complex conservation history and the philosophical and ethical decisions related to its further treatment. 

Nancy Ireson, PhD, is Deputy Director for Collections and Exhibitions & Gund Family Chief Curator at the Barnes Foundation. A noted scholar of late 19th- and early 20th-century European art, Ireson has held curatorial positions at institutions including Tate Modern, the National Gallery, London, and the Art Institute of Chicago. Exhibitions she has curated or co-curated in her specialist area include  Modigliani Up Close (Barnes, 2022), Suzanne Valadon: Model, Painter, Rebel (Barnes, 2021), Picasso 1932: Love, Fame, Tragedy  (Tate Modern, 2018), Modigliani (Tate Modern, 2017), Temptation! The Demons of James Ensor (Art Institute of Chicago, 2014), Jane Avril and Toulouse Lautrec: Beyond the Moulin Rouge (Courtauld Gallery, 2011), and Cézanne’s Card Players (Courtauld Gallery, 2010). At the Barnes, she manages the teams responsible for Collections and Exhibitions, including Curatorial, Conservation, Registration, Publications, and Design. Ireson studied at the Courtauld Institute of Art, where she earned a BA in the History of Art, an MA in European Art 1907–1945, and a PhD on the work of Henri Rousseau.

Jayne Warman is an independent art historian, international lecturer, consultant and author, all linked to her four-decade study of the French painter Paul Cezanne. She worked with the late John Rewald from 1979 until his death in 1994 on two of his catalogues raisonnés: Paul Cézanne: The Watercolors (1983) and Paul Cézanne: The Paintings (1996).  More recently Ms. Warman and her colleagues, Walter Feilchenfeldt and David Nash, launched an online catalogue raisonné of Cezanne’s paintings in November 2014 and added in January 2019 the artist’s works on paper. Ms. Warman has been Vice President of the Société Paul Cezanne since its inception in 1998

This exhibition is organized by The Phillips Collection and sponsored by Bank of America.

Funding for the conservation of Cezanne’s Mont Sainte-Victoire and Self-Portrait was generously provided through a grant from the Bank of America Art Conservation Project

IMAGE: Paul Cezanne, Mont Sainte-Victoire, 1886-87, Oil on canvas, 23 ½ x 28 ½ in., The Phillips Collection, Acquired 1925