{"id":8337558,"date":"2026-02-19T23:09:45","date_gmt":"2026-02-19T23:09:45","guid":{"rendered":"https:\/\/villa-albertine.org\/va\/?post_type=app_professional&p=8337558"},"modified":"2026-02-26T21:34:33","modified_gmt":"2026-02-26T21:34:33","slug":"presenting-our-network-of-french-curators-in-american-museums","status":"publish","type":"app_professional","link":"https:\/\/villa-albertine.org\/va\/professionals\/presenting-our-network-of-french-curators-in-american-museums\/","title":{"rendered":"Presenting Our Network of French Curators in American Museums"},"content":{"rendered":"\n

In the wake of this seminar<\/a>, the creation of a lasting network of French curators in the United States quickly emerged as a natural next step. Conceived as a space for dialogue and collective reflection, this network aims to foster the sharing of experiences, facilitate connections, and promote greater awareness of each member\u2019s professional trajectory, while strengthening the dynamism of cultural exchanges between France and the United States. <\/p>\n\n\n\n

We invite you to discover a selection of curators whose distinctive careers reflect the richness of these transatlantic collaborations and represent just a few of the many profiles within the network.<\/p>\n\n\n\n

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Thomas Busciglio-Ritter<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAssociate Curator of American Art, Milwaukee Art Museum\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Thomas\u00a0Busciglio-Ritter has been Associate\u00a0Curator\u00a0of American Art at the Milwaukee Art Museum<\/a>, Wisconsin,\u00a0since\u00a0January\u00a02025. A\u00a0graduate\u00a0of Sciences Po Paris and the \u00c9cole du Louvre,\u00a0he\u00a0earned\u00a0his\u00a0PhD in art\u00a0history\u00a0from\u00a0the\u00a0University\u00a0of Delaware in 2022.<\/p>\n

He first joined the Joslyn Art Museum in Omaha, Nebraska, where he served as Assistant Curator of\u00a0American Western Art from 2022 to 2025. At the Joslyn, he led a complete reinstallation of the American collections and is currently preparing a similar reinstallation at the Milwaukee Art Museum, scheduled for completion in 2029. His area of expertise and research interests include nineteenth-century American art, landscape painting, transatlantic exchanges, as well as racial and environmental issues in the visual arts of the United States.<\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Sylvain Cordier<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tPaul Mellon Curator and Head of the Department of European Art at the Virginia Museum of Fine Arts\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Sylvain Cordier, PhD in art history from Paris-Sorbonne University, is the Paul Mellon Curator and Head of the Department of European Art at the Virginia Museum of Fine Arts<\/a> (VMFA) in Richmond, Virginia. <\/span><\/span><\/p>\n

Originally a specialist in Neoclassical decorative arts, he has expanded his field of interest and expertise over the course of his career to focus on the dialogue between decorative arts, painting, and sculpture; the relationship between artistic production and discourses of power in the eighteenth and nineteenth centuries; and the art of portraiture in pre-contemporary Europe. Before joining the Virginia Museum of Fine Arts, Sylvain Cordier held various positions in Europe and North America, including at the Palace of Versailles, the Mobilier national, Paris-Sorbonne University, the Metropolitan Museum of Art, and the Getty Research Institute. <\/span><\/span><\/p>\n

From 2013 to 2019, he served as Curator of Early Decorative Arts at the Montreal Museum of Fine Arts, where he notably curated a major international exhibition devoted to the Emperor\u2019s Household under Napoleon. At the VMFA since 2019, he has overseen the reinstallation of the Impressionist, Post-Impressionist, and British and American Sporting Art collections bequeathed by Paul and Bunny Mellon, as well as the installation of the major Old Master collection of Tom and Jordan Saunders.<\/span><\/span><\/p>\n

He is currently preparing a major retrospective exhibition and a book on the work and career of the Franco-American jeweler Jean Schlumberger, as well as a comprehensive reinstallation project of the European art galleries planned for 2028\u201329.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Marie-St\u00e9phanie Delamaire<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCurator of European and American Art at the Carnegie Museum of Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Dr. Marie-St\u00e9phanie\u00a0<\/span>Delamaire<\/span>\u00a0is Curator of European and American Art at the Carnegie Museum of Art<\/a> in Pittsburgh, where she co-leads the reinstallation project of the museum\u2019s permanent galleries (scheduled to open in 2027). She holds degrees in museology and postgraduate studies from the \u00c9cole du Louvre, as well as a PhD in art history from Columbia University in New York.\u00a0<\/span><\/span><\/p>\n

Delamaire<\/span>\u00a0is a specialist of the Atlantic world from the seventeenth to the nineteenth\u00a0<\/span>centuries<\/span>. Among her recent exhibitions,\u00a0<\/span><\/span>\u00ab\u00a0<\/span><\/span>Fault Lines: Art, Imperialism, and the Atlantic World<\/span><\/span><\/a>\u00a0\u00bb<\/span><\/span>\u00a0was organized at the Carnegie Museum of Art in 2025. She is currently preparing the first retrospective devoted to the seventeenth-century Dutch artist Maria van\u00a0<\/span>Oosterwijck<\/span>, which will open at the Carnegie Museum of Art in fall 2028.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Anne-Lise Desmas<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tSenior Curator and Head of the Sculpture and Decorative Arts Department at the J. Paul Getty Museu\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Senior Curator and Head of the Sculpture and Decorative Arts Department at the J. Paul Getty Museum<\/a>, Anne-Lise\u00a0<\/span>Desmas<\/span>\u00a0specializes in European sculpture before 1900, with a focus on France and Italy. She holds a Dipl\u00f4me de Recherche from the \u00c9cole du Louvre and a Ph.D. in art history from Paris IV-Sorbonne Universit\u00e9 (see her book Le\u00a0<\/span>ciseau<\/span>\u00a0et la\u00a0<\/span>tiare<\/span>, 2013) and is a former\u00a0<\/span>pensionnaire<\/span>\u00a0of the French Academy in Rome at the Villa Medici.\u00a0<\/span><\/span><\/p>\n

Desmas<\/span>\u00a0joined the Getty Museum in 2008 and has contributed to numerous exhibitions and catalogues, including Bernini and the Birth of Baroque Portrait Sculpture (2008), Bouchardon: Royal Artist of the Enlightenment (2016), An Enduring Icon: Notre-Dame Cathedral (2019), Camille Claudel (2023\u201324), and Paul\u00a0<\/span>Troubetzkoy<\/span>\u00a0Sculptor (2025\u201326). Currently, she is preparing the catalogue raisonn\u00e9 of the Getty Museum’s French sculpture collection and planning the redisplay of the permanent galleries.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Anne-Elizabeth Dunn-Vaturi <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tSenior Provenance Researcher in the Department of Ancient West Asian Art at The Metropolitan Museum of Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Anne Dunn-<\/span>Vaturi<\/span>\u00a0earned an MA in Art History, Archaeology, and Museum Studies from the \u00c9cole du Louvre, and an MA in Archaeology from the Sorbonne University, Paris. She is Senior Provenance Researcher in the Department of Ancient West Asian Art at The Metropolitan Museum of Art<\/a> in New York. Before joining The Met in 2009, she worked at the\u00a0<\/span>Mus\u00e9e<\/span>\u00a0du Louvre\u00a0as\u00a0<\/span>Charg\u00e9e<\/span>\u00a0<\/span>d\u2019\u00e9tudes<\/span>\u00a0<\/span>documentaires<\/span>\u00a0for an audit of long-term archaeological loans to other museums and for the\u00a0<\/span>Matt\u00e9oli<\/span>\u00a0Mission, a task force researching looted art during the Nazi era. <\/span><\/span><\/p>\n

Her latest research about the looting of antiquities by the ERR was published in a co-authored article \u201cSur les traces de Gudea:\u00a0<\/span>recherches<\/span>\u00a0de provenance\u00a0<\/span>d\u2019antiquit\u00e9s<\/span>\u00a0<\/span>n\u00e9o-sum\u00e9riennes<\/span>\u00a0dans la base de donn\u00e9es des\u00a0<\/span>objets<\/span>\u00a0d\u2019art du Jeu de\u00a0<\/span>Paume<\/span>\u201d in a volume in honor of\u00a0B\u00e9atrice Andr\u00e9-Salvini (<\/span>Archaeopress<\/span>, 2025). Anne is also a specialist in ancient games and a member of the editorial board of\u00a0<\/span>Board<\/span>\u00a0Game Studies Journal.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Natalie Dup\u00eacher<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAssociate Curator of Modern Art at the Menil Collection\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Houston, TX\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Natalie\u00a0Dup\u00eacher\u00a0is the Associate Curator of Modern Art at the Menil Collection<\/a> in Houston. Her recent exhibitions include Joe Overstreet: Taking Flight\u00a0(2025-26); Janet Sobel: All-Over\u00a0(2024); and Meret Oppenheim: My Exhibition, which was\u00a0co-organized by the Menil Collection, the Museum of Modern Art, and the Kunstmuseum Bern. In addition to curating temporary shows, she oversees the museum’s permanent\u00a0collection\u00a0galleries devoted to Surrealism.<\/span>\u00a0<\/span><\/p>\n

She holds a\u00a0PhD from Princeton University and an MA from the Williams College Graduate Program in the History of Art. At Princeton, her dissertation research was supported by a Hyde Academic-Year Fellowship, the Getty Research Institute, the Princeton Institute for International and Regional Studies, and the German Academic Exchange Service (DAAD).<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Clarisse Fava-Piz<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCurator of Modern Art at The Phillips Collection\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Washington, DC\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Clarisse Fava-Piz is Curator of Modern Art at The Phillips Collection<\/a> in Washington, DC. She was previously Associate Curator of European and American Art before 1900 at the Denver Art Museum, where she co-curated\u00a0<\/span><\/span>The Honest Eye: Camille Pissarro\u2019s Impressionism<\/span><\/span>\u00a0(2025-26) in collaboration with the Museum Barberini in Potsdam, Germany. In 2023, she curated\u00a0<\/span><\/span>In the Shadow of Dictatorship: Creating the Museum of Spanish Abstract Art<\/span><\/span>\u00a0for the Meadows Museum, SMU, Dallas, in partnership with the Fundaci\u00f3n Juan March, Madrid. Past cultural institutions where she worked include the\u00a0<\/span>Institut<\/span>\u00a0National\u00a0<\/span>d\u2019Histoire<\/span>\u00a0de\u00a0<\/span>l\u2019Art<\/span>\u00a0(INHA), Paris; the National Gallery of Art, Washington, DC; and the Getty Research Institute, Los Angeles. Fava-Piz holds a PhD from the University of Pittsburgh and is a specialist of nineteenth- and early twentieth-century sculpture in Europe and the Americas. <\/span><\/span><\/p>\n

She recently contributed essays to the exhibition\u00a0<\/span>catalogue<\/span>\u00a0<\/span><\/span>Camille Claudel<\/span><\/span>\u00a0(The J. Paul Getty Museum, Los Angeles, 2023). Her research has been supported by the Andrew W. Mellon Foundation, the Casa de Vel\u00e1zquez, the Smithsonian American Art Museum, and the Terra Foundation for American\u00a0<\/span>Art.\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Anabelle Gambert-Jouan<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tThe Lillian and James H. Clark Assistant Curator of European Art at the Dallas Museum of Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Dr. Anabelle Gambert-Jouan serves as the Lillian and James H. Clark Assistant Curator of European Art at the Dallas Museum of Art<\/a>. In 2024, she was named a U.S. Laureate of the Villa Albertine\u2019s Museums Next Generation program. Her\u00a0<\/span>previous<\/span>\u00a0experience includes curatorial and research roles at the Metropolitan Museum of Art, the Yale Center for British Art, and the Yale University Art Gallery. She earned her Ph.D. from Yale University, her\u00a0<\/span>M.St<\/span>. from the University of Oxford, and her B.A. from the Courtauld Institute of Art.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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C\u00e9cile Godefroy<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tBlanchette Hooker Rockefeller Curator of Painting and Sculpture at the Museum of Modern Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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C\u00e9cile Godefroy joined the Museum of Modern Art<\/a>, New York, in November 2025 as the new Blanchette Hooker Rockefeller Curator of Painting and Sculpture. She formerly served as Deputy Director for Scientific and Collections and Head of Research and Archives at the Mus\u00e9e national Picasso-Paris, where she oversaw the newly inaugurated Centre d\u2019\u00c9tudes Picasso. <\/span><\/p>\n

An art historian, with a PhD specialized in the historical avant-garde and transdisciplinary approaches to art, Cecile Godefroy\u2019s curatorial work includes exhibitions highlighting pioneering women artists, from Sonia Delaunay to Marcelle Cahn, and original thematic exhibitions dedicated to Pablo Picasso.<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tWilliam and Lia Poorvu Curator of the Collection at the Isabella Stewart Gardner Museum\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Diana\u00a0<\/span>Seave<\/span>\u00a0Greenwald is an art historian and economic historian, who is currently William and Lia\u00a0<\/span>Poorvu<\/span>\u00a0Curator of the Collection at the Isabella Stewart Gardner Museum<\/a> in Boston. An expert in nineteenth-century American and French art, she has curated eight exhibitions during her tenure at the Gardner and edited four exhibition catalogs. She is also the co-author (with Nathaniel Silver)of Isabella Stewart Gardner: A Life(2022).Prior to joining the Gardner, she was an Andrew\u00a0<\/span>W.Mellon<\/span>\u00a0Postdoctoral Curatorial Fellow at the National Gallery of Art in Washington,\u00a0<\/span>D.C.<\/span><\/span><\/p>\n

In<\/span>\u00a0addition to being a curator, her academic research uses both statistical and qualitative analyses to explore the relationship between art and broader social and economic change during the nineteenth and early twentieth centuries. Her book,\u00a0<\/span><\/span>Painting by Numbers: Data-Driven Histories of Nineteenth Century Art,<\/span><\/span>\u00a0was published by Princeton University Press in 2021.Shereceived a D.Phil. in History from the University of Oxford. Before doctoral study, Diana earned an M.Phil. in Economic and Social History from Oxford and received a\u00a0<\/span>Bachelor\u2019s degree in Art History<\/span>\u00a0from Columbia University.<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Severine Imbert de Smirnoff<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tChief of Strategic Initiatives and Chief of Staff at Museum of Science\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Severine J. Imbert de Smirnoff is a mission-driven executive with deep\u00a0<\/span>expertise<\/span>\u00a0in science engagement, strategic planning, and institutional transformation. As Chief of Strategic Initiatives and Chief of Staff, she serves as the primary advisor to the President, leading major initiatives that expand access to science and technology. She initially spearheaded the Museum\u2019s digital transformation and\u00a0<\/span>established<\/span>\u00a0the Centers for Public Science Learning to\u00a0<\/span>connect<\/span>\u00a0the public with\u00a0<\/span>cutting-edge<\/span>\u00a0research in life sciences, environmental science, and space exploration. Severine\u00a0<\/span>has worked<\/span>\u00a0for 20 years at the Museum<\/a>, and she was a volunteer at the Museum before joining its team. <\/span><\/span><\/p>\n

A proven leader in governance and operations, Severine has successfully managed the Board of Trustees, strengthened institutional alignment, and overseen large-scale initiatives, including the development,\u00a0<\/span>operations<\/span>\u00a0and programming of the Public Science Common, a 10,000-square-foot convening space. She believes that STEM is essential to solving humanity\u2019s greatest challenges and is committed to making science accessible, relevant, and inspiring for all. Severine holds Mechanical Engineering degrees from EPF E<\/span>ng<\/span>ineering School (France) and the University of Maine and is actively involved in STEM advocacy.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDirector and CEO of the Hispanic Society Museum & Library\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Guillaume Kientz is the Director and CEO of the Hispanic Society Museum & Library<\/a> (HSM&L) in New York, where he is currently leading a major restoration and renovation initiative. A celebrated art historian and curator, Kientz is an expert in Spanish painting (El Greco, Vel\u00e1zquez, Ribera, Goya) and European\u00a0Caravaggism. His curatorial approach is distinguished by a strong focus on the visitor experience, built on extensive travel and academic background in Political Science and Art History.<\/span>\u00a0<\/span><\/p>\n

His career highlights include eight years as a Curator at the\u00a0Mus\u00e9e\u00a0du Louvre, specializing in Hispanic and Latin American art, and serving as Curator of European Art at the Kimbell Art Museum. Kientz is widely recognized for developing and co-curating landmark exhibitions, notably Vel\u00e1zquez (Grand Palais, 2015) and the comprehensive El Greco retrospective (2019). A regular contributor to major art publications, he is also a recipient of honors such as the Daniel\u00a0Arasse\u00a0Fellowship from Villa Medici.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDirector and Chief Curator at the Institute for the Study of Ancient Cultures Museum\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Marc Maillot (PhD in Egyptology, Sorbonne University, 2013) is an associate member of the Orient et\u00a0<\/span>M\u00e9diterran\u00e9e<\/span>\u00a0unit of the Centre National de la Recherche Scientifique. Before his appointment in 2015 as a courtesy assistant professor at the University of Central Florida, he conducted seminars on Late Antiquity urbanism and architecture at Sorbonne University in Paris and Shendi University in Sudan. His research interests include vernacular architecture in both Egypt and Sudan, Meroitic iconography, social anthropology, and urbanism in antiquity. He has worked at archaeological sites since 2007, with a special focus on Middle Nile Valley sites such as\u00a0<\/span>Muweis<\/span>,\u00a0<\/span>el<\/span>-Hassa,\u00a0<\/span>Damboya<\/span>, and Sai Island. His field experience also includes the archaeology of Roman settlements in France, particularly on the shores of the Marne River. <\/span><\/span><\/p>\n

His past research has focused on technical approaches to the study of cultural transmission, and more specifically on the theme of casemate foundations for monumental brick structures along the Nile. His current research focuses on the Osirian cult practice in Meroitic royal pageantry, architectural representations in the iconography of the Middle Nile Valley, and late antique Sudanese towns as production machines for a centralized power at Meroe. He was appointed director and chief curator of the ISAC Museum<\/a> in January 2023.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAssociate Curator for the Arts of the Islamic World at the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian\u2019s National Museum of Asian Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Simon Rettig is the Associate Curator for the Arts of the Islamic World at the Smithsonian National Museum of Asian Art<\/a> in Washington, DC. He received his BA from the \u00c9cole du Louvre in Paris and\u00a0his MA and Doctorate from Aix-Marseille University, France.\u00a0Rettig curated many exhibitions, including\u00a0<\/span><\/span>Nasta\u2018liq<\/span>: The Genius of Persian Calligraphy<\/span><\/span>\u00a0(2014),\u00a0<\/span><\/span>The\u00a0<\/span>Prince<\/span>\u00a0and the Shah: Royal Portraits from Qajar Iran<\/span><\/span>\u00a0(2018), and\u00a0<\/span><\/span>An Epic of Kings: The Great Mongol\u00a0<\/span>Shahnama<\/span>\u00a0<\/span><\/span>(2024). <\/span><\/span><\/p>\n

He was the co-curator with\u00a0<\/span>Massumeh<\/span>\u00a0Farhad of\u00a0<\/span><\/span>The Art of the Qur\u2019an: Treasures from the Museum of Turkish and Islamic Arts\u00a0<\/span><\/span>(2016) and 2020, he served as the in-house curator in charge\u00a0<\/span><\/span>Age Old Cities: A Virtual Journey from Palmyra to Mosul<\/span><\/span>, coming from the\u00a0<\/span>Institut<\/span>\u00a0du Monde Arabe in Paris. His forthcoming exhibition is\u00a0<\/span><\/span>From the Louvre: Masterpieces of Islamic Art<\/span><\/span>\u00a0(opening September 2026). A specialist of the Islamic arts of the book, with a special focus on Iran and\u00a0<\/span>Turkey<\/span>, Rettig has lectured and published extensively.\u00a0<\/span>His latest work is the virtual project entitled\u00a0<\/span><\/span>Beyond Rumi: Sufi Art and Practice<\/span><\/span>.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAssociate Curator in the Department Egyptian Art at the Metropolitan Museum of Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Aude Semat joined the Department of Egyptian Art at The Metropolitan Museum of Art<\/a> in October 2019 and oversees the Second Intermediate Period and early New Kingdom galleries, as well as the Department\u2019s Theban archaeological archives. Aude studied art history and Egyptology at the \u00c9cole du Louvre and the Sorbonne, receiving her PhD in Egyptology in 2017. She has taken part in exhibitions and cataloguing projects in museums in France and the\u00a0<\/span>US, and<\/span>\u00a0taught at the \u00c9cole du Louvre until 2018. <\/span><\/span><\/p>\n

Her research focuses on tomb architecture and painting, landscape, and gardens, as well as the history of collecting and museums in the nineteenth century. Aude is currently preparing a book on architectural painting and landscape in ancient Egyptian\u00a0<\/span>art, and<\/span>\u00a0studying the collection of the first Egyptian museum in Russia.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Pierre Terjanian<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAnn and Graham Gund Director and CEO of the Museum of Fine Arts\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Pierre\u00a0<\/span>Terjanian<\/span>\u00a0is the Ann and Graham Gund Director and CEO of the Museum of Fine Arts<\/a>, Boston, a role he assumed in July 2025. He previously served as the MFA\u2019s Chief of Curatorial Affairs and Conservation. With 28 years of experience in major U.S. museums, he has held senior curatorial positions at the Philadelphia Museum of Art and The Metropolitan Museum of Art prior to joining the MFA. <\/span><\/span><\/p>\n

From 2012 to 2022, he was Arthur Ochs Sulzberger Curator in Charge of Arms and Armor at The Met, where he curated major exhibitions, including\u00a0<\/span><\/span>The Last Knight: The Art, Armor, and Ambition of Maximilian I<\/span><\/span>. Born in Strasbourg, France,\u00a0<\/span>Terjanian<\/span>\u00a0holds degrees in law, management, and history from Universit\u00e9 Paris II Panth\u00e9on-<\/span>Assas<\/span>, HEC Paris, and Universit\u00e9 de Metz. He has been recognized with several distinctions, including the Marica Vilcek Prize in Art History and the title of Chevalier de\u00a0<\/span>l\u2019Ordre<\/span>\u00a0des Arts et de Lettres.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Marina Viallon<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAssistant Curator Arms and armor at the Metropolitan Museum of Art\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Marina Viallon joined the Department in 2025. Following a fellowship at the Met<\/a> in 2016-2017 during which she catalogued the equestrian equipment preserved in the Arms and Armor collection, she held several internships and contract positions in various museums including the mus\u00e9e de l\u2019Arm\u00e9e in Paris. She also worked as an expert and gallery assistant for auction sales and dealers in European, Islamic and Asian arms and armor. She has lectured and published extensively on European armor, equestrian material, and tournaments. She received a BA and a MA in Art History and Museum Studies from the \u00c9cole du Louvre, Paris, and an MA in Medieval Studies from the University of Leeds, before completing a PhD at the EPHE, Paris, studying tournaments at the court of France in the Renaissance.<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Christine Vendredi <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tChief Curator and JoAnn McGrath Executive Director of the Palm Springs Art Museum\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Christine\u00a0<\/span>Vendredi<\/span>\u00a0is an art historian and museum professional who has served as Chief Curator of the Palm Springs Art Museum<\/a> since April 2024, where she oversees exhibitions, publications, and the permanent collection. She was appointed JoAnn McGrath Executive Director of the same museum in October 2025. She previously spent twelve years at Louis Vuitton, most recently as Global Director for Art, Culture, and Heritage. In that role, she supervised international art commissions, programming, and brand content for traveling exhibitions in cities including Tokyo, Shanghai, Hong Kong, Milan, and Los Angeles, and played a key role in aligning the company\u2019s art initiatives with the launch of its foundation in Paris. <\/span><\/span><\/p>\n

She also managed and expanded the Louis Vuitton corporate art collection, displayed across 475 stores worldwide.\u00a0<\/span>Vendredi<\/span>\u00a0holds a PhD in Art History from the \u00c9cole Pratique des Hautes \u00c9tudes (EPHE)\u2013Sorbonne in Paris, a PhD in Architectural History from Charles University in Prague, and an Executive MBA from HEC Paris. She has co-authored two books on architecture, taught art history at Keio University in Tokyo, and speaks French, English, Japanese, and Czech.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Pauline Vermare<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Pauline\u00a0<\/span>Vermare<\/span>\u00a0is the Phillip and Edith Leonian Curator of Photography, Brooklyn Museum<\/a>. She was formerly the cultural director of Magnum Photos in New York, and a curator at the International Center of Photography (ICP). She previously worked at The Museum of Modern Art (MoMA) and at the Henri Cartier-Bresson Foundation, in Paris<\/span>.\u00a0\u00a0<\/span>She sits on the boards of the Saul Leiter Foundation and the Catherine Leroy Fund.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Wilfried Zeisler<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Dr. Wilfried Zeisler is Hillwood<\/a>\u2019s deputy director and chief curator. He is a graduate of Sorbonne University and the Ecole du Louvre, Paris. Wilfried has written extensively on French and Russian decorative arts, collections, and history of fashion including several articles and contributions to books. Wilfried\u2019s dissertation,\u202f<\/span>L\u2019Objet<\/span>\u00a0d\u2019art et\u00a0<\/span>de luxe<\/span>\u00a0fran\u00e7ais\u00a0<\/span>en<\/span>\u00a0Russie\u202f(1881-1917)\u202f[French\u00a0<\/span>Objets<\/span>\u00a0d\u2019art and Luxury Goods in Russia], was published in Paris in 2014. <\/span><\/span><\/p>\n

Since 2009, he has\u00a0<\/span>participated<\/span>\u00a0in and curated exhibitions in Paris, Monaco, and Washington DC. At Hillwood, his most recent exhibitions include Faberg\u00e9 Rediscovered (2018), Bouke de Vries: War and Pieces (2019), Natural Beauties: Exquisite Works of Minerals and Gems (2020), The Porcelain Flowers of Vladimir Kanevsky (2021), Determined Women: Collectors, Artists, and Designers at Hillwood (2023), Glass: Art. Beauty. Design. (2023), Fragile Beauty: Art of the Ocean (2024), From Exile to Avant-Garde: The Life of Princess Natalie Paley (2025) (co-curated with Megan Martinelli), and On Time: Giving Form to the Fleeting (2026). Wilfried co-authored Konstantin Makovsky: The Tsar’s Painter in America and Paris\u202f(2015), and The Houses and Collections of Marjorie Merriweather Post \u2013 The Joy of It (2022). He is the author of Faberg\u00e9 Rediscovered (2018), Les\u00a0<\/span>Youssoupoff<\/span>\u00a0\u2013 Un si\u00e8cle de collections\u00a0<\/span>fran\u00e7aises<\/span>\u00a0(2023) and The Belle Epoque Life in Paris: Olga Paley and Paul of Russia (2025 \u2014 first published in French in 2018).<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n<\/div>\n