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Tickets

Event Details

December 8, 2022
7:00 pm –8:00 pm

Price

Free for Members, $20 for Not-Yet-Members

Location

High Museum of Art
Hill Auditorium

Event Description

Since the founding of the United States, French sculpture has played a role in accompanying key moments of American history. What started as a nation-to-nation relationship focused on portraiture soon became much broader. Interest for French sculpture grew as a number of collectors began working with dealers at home and abroad and with decorators who placed bronze and terracotta works in imported French settings. Taste soon shifted to French modern sculpture, and the new style met its public in the 1920s, echoing the evolution of American society. Join Laure de Margerie, director of the French Sculpture Census, as she discusses how the United States is now the richest repository of French sculpture outside of France and how the High’s collection of French sculpture is a good representation of this interest.

 

About Laure de Margerie

Laure de Margerie, director of the French Sculpture Census, specializes in French sculpture and nineteenth-century sculpture. She was head of the Sculpture Archives at the Musée d’Orsay in Paris from 1978 through 2009. She participated in the installation of the sculpture collection at the opening of the museum in 1986 and co-authored the collection catalogue. She has curated several exhibitions, including La Danse de Carpeaux (1989), Carpeaux peintre (1999–2000), and Facing the Other: Charles Cordier (1827–1905), Ethnographic Sculptor (2004–2005).

De Margerie was awarded a fellowship at the Clark Art Institute, in Williamstown, Massachusetts (2000–2001), and was the Sculpture and Decorative Arts Department guest scholar at the J. Paul Getty Museum in Los Angeles (fall 2011). She has a BA in art history from Ecole du Louvre (1978) and University Paris IV (1979) and a BA in psychology from University Paris V (1977).

In September 2009, de Margerie started the French Sculpture Census (in partnership with University of Texas at Dallas; Nasher Sculpture Center, Dallas; Institut national d’histoire de l’art; Musée d’Orsay; Musée Rodin; and Ecole du Louvre, Paris). Offered both in English and in French, the Census presents in rich detail the breadth, quality, and diversity of nearly five hundred years of French sculpture collected in the United States.