A museum curator since she was 20, Dominique de Font-Réaulx came into her own surrounded by the world’s most celebrated works of art. Rembrandt, Cézanne, Ingres, Courbet – the glorious masters of canvas are her life’s work. No doubt influenced by the compelling presence of these paintings, the Parisian-based curator and historian began exploring the effect on painters of a new medium that exploded onto the 1800s art scene: photography.
Photograph by MANDERSSON & MASSAUX the Interview: At what point did you recognize that you were a visual artist? When I was told by an elementary school teacher that I was a “a fresh little boy” when during a word problem exercise, you know… a car is traveling to the nearest city […]
I am so grateful that I get to spend my time pursuing a career that is thoroughly rewarding on so many levels that I really don’t know what else could offer this kind of satisfaction in my life.
Where did you work prior to the Metropolitan Museum and what prompted your move from that position? After college, I traveled through Europe and parts of North Africa for a year as a Thomas J. Watson Fellow—the backpack, Eurorail pass, and youth hostel thing—looking at art and architecture and, I think, learning to be independent. […]
Iké Udé: How did this project come about?
George Pitts: The work in the Eros gallery was done over the last 5 years or so, and represents the different Women who have come forward to be photographed, often for more than one shoot.