still be able to bring great art exhibitions to Louisville. Te Speed-Dixon partnership is a perfect example of that effort." Te borrowing is two-way, because the
Speed is sending 72 paintings out on tour that represent one of its strengths, Old Masters. Te traveling exhibition titled "Rembrandt, Rubens, Gainsborough and the Golden Age of Painting in Europe From the Speed Museum" will be at the Dixon Gallery concurrent with the Im- pressionist exhibition here, each museum's strengths complementing the other's com- parative weakness. Te Dixon's Sharp thinks this is a his- torical event that may not recur. "When the Speed expansion is completed, their Old Masters will go on permanent dis- play and not be so available to us," Sharp says. "On the other hand, we are sending a number of fragile works on paper that we don't want to send wandering about the country." He says that he and Venable have been in conversation for two years about the show and "from the start we agreed to send each other the very best we had – things that have never traveled." "Te great thing is," Sharp adds, "we both believe we are getting the better of the agreement."
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Opposite: Intermission. On Stage, Jean-Louis Forain (1879); The Picnic, Georges Seurat (c. 1885). Above (clockwise from top left): The Visitor, Mary Cassatt (c. 1880); Dancer Adjusting Her Shoe, Edgar Degas (1885); Ramón Subercaseaux in a Gondola, John Singer Sargent (1880).
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