Talks & Conversations

The Art of Looking: Marguerite Gérard, Deserved Sorrows

Register Now
The image shows a woman seated on a chair in a luxurious environment. She has fair skin, delicate features, and wavy light brown hair styled in a partial updo. She wears an elegant cream gown with a red overcoat lined in white fur. A maid holds a tray with a glass, a small loaf, and a gold pitcher, while the woman holds a silver platter. Next to the woman, there are ornate armor and weapons on the floor. A painting of a man in historical attire hangs on the wall. The room features wooden paneling and elegant furnishings.
Marguerite Gérard, Deserved Sorrows, 1788-1789, oil on canvas, Gift of Edwin L. Cox – Ed Cox Foundation, Chester Dale Fund, and Patrons' Permanent Fund, 2025.29.2

Virtual

Marguerite Gérard’s Deserved Sorrows is the inspiration for this interactive conversation. Join us for a one-hour virtual session and share your observations, interpretations, questions, and ideas about this work of art.      

These conversations will encourage you to engage deeply with art, with others, and with the world around you as you hone skills in visual literacy and perspective-taking.  

The program is free, open to the public, and is designed for everyone interested in talking about art. No art or art history background is required. Ages 18 and over.     

You may also like

A sky streaked with azure blue stretches over a gray landscape in this surreal, vertical painting. The sky and land meet halfway up the canvas at a series of short, sharp, charcoal-gray peaks, like canine teeth. Small, diffuse, butter-yellow ovals waft above the peaks. Nine fluffy, cotton-ball like shapes cast narrow shadows across the gray-streaked plane. Three amorphous shapes float over the land closer to us. A ginger-brown, drippy form is to our left, a teal-green, bean-shaped object surrounded with fuzzy white tentacles is to our right, and a peacock-blue, L-shaped drip floats in the distance near the horizon. Thinly painted white and gray lines squiggle or sweep onto the canvas from the left edge. The artist signed and dated the painting in the lower right, “Yves Tanguy 29.”

virtual

Talks & Conversations:  The Art of Looking: Yves Tanguy, The Look of Amber

–
Registration Required
Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Talks & Conversations:  Finding Awe: Thomas Moran’s Green River Cliffs, Wyoming 

–
Registration Required
Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Talks & Conversations:  Finding Awe: Thomas Moran’s Green River Cliffs, Wyoming 

–
Registration Required