[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-417627-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-417627-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","la-pausa-and-its-collections-foreword","La Pausa and Its Collections - Foreword","","Foreword to a publication on La Pausa and the Wendy and Emery Reves Collection at the Dallas Museum of Art, describing how the collection has shaped the museum’s European art program since 1985. It highlights the 1984 recognition of donors and the docents’ role, traces scholarly rediscovery of La Pausa’s history after its Chanel connection in 1953, and outlines the journey from France to Dallas. The foreword also credits curatorial scholarship, editorial and design work, and museum staff who enabled the catalogue’s production.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/la-pausa-and-its-collections-foreword/417627/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/la-pausa-and-its-collections-foreword/417627.png","ImageObject",300,407,{"name":42,"@type":43},"Putri","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-11-03","2026-09-28",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",7,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What is the purpose of the foreword in this publication?","Question",{"text":63,"@type":64},"It introduces the Wendy and Emery Reves Collection at the Dallas Museum of Art and explains the publication’s focus on the history and significance of La Pausa and the collection’s journey.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How is La Pausa connected to Gabrielle Chanel?",{"text":68,"@type":64},"The foreword states that Emery bought La Pausa from Gabrielle Chanel in 1953, and the collection was first showcased there.",{"name":70,"@type":61,"acceptedAnswer":71},"Which individuals and teams are credited for the work behind this catalogue?",{"text":72,"@type":64},"The foreword acknowledges curators, editors, designers, imaging and digital rights staff, and many other museum contributors, as well as CHANEL’s heritage direction team for support.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},417627,1791462953,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":89,"slug":90},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":96,"doc_module":4,"doc_module_name":25,"category_name":97,"show_sort_weight":98,"slug":99},5,"Comic",60,"comic",{"id":101,"doc_module":4,"doc_module_name":25,"category_name":102,"show_sort_weight":103,"slug":104},6,"Technology",50,"technology",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},"Healthcare",40,"healthcare",{"id":110,"doc_module":4,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},8,"Research & Report",30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":96,"slug":129},19,"General","general",{"code":4,"msg":82,"data":131},{"doc_id":79,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":139,"language":140,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":12,"update_tm":144,"read_time":145},962085571259,"https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0","FROM CHANELTO REVES  \na Pausa ane its ColeDallas Museum of A  \naNV7VsnVd  \nFROM CHANELTO REVESLa Pausa and Its Collectionsat the Dallas Museum of Art  \nOlivier Meslay  \nand Martha MacLeodDALLAS MUSEUM OF ART  \nFOR HARRY S.PARKERIII AND THE MEMBERS OF THEBOARD OF TRUSTEES IN 1984,IN THANKFULRECOGNITION FOR BRINGING ABOUT THE DONATION OFTHE WENDY AND EMERY REVES COLLECTION  \nAND FOR THE DOCENTS,WHO TIRELESSLY SHARE THE TREASURESOF THE DALLAS MUSEUM OF ART WITH OUR VISITORS  \n# FOREWORD\n\nSince 1985,the Dallas Museum of Art has been the home of the Wendy and EmeryReves Collection,which includes masterpieces of Impressionism,Post-Impressionism,anddecorative art.Obtained for the Museum thanks to the foresight of then-director Harry S.Parker III,the Reveses'transformative gift greatly enhanced the collection of European artat the Museum and gave a powerful boost to its European art program.Today,thirty yearslater,we extend our renewed gratitude and admiration to Harry Parker,the late BoardPresident George Charlton,and former Board Chairman Irvin L.Levy for their leadershipand vision,and to the late Gerard van der Kemp,who first presented this idea to them.  \nAlthough Wendy and Emery Reves assembled a collection of art that was thoroughlyimpressive in its own right,scholars have recently begun uncovering an added layer offascination and richness in the history of La Pausa,the villa Emery bought from GabrielleChanel in 1953,and where the Reves Collection was first showcased.Spanning someeighty years,and casting new light on such luminaries as Chanel,Winston Churchill,andSalvador Dalí,this volume traces the evolution of La Pausa and the implausible journeyof the Reves Collection,which traveled more than five thousand miles from the South ofFrance to a dedicated wing in the Dallas Museum of Art.  \nA debt of gratitude is owed,of course,to Wendy Reves for her selfless act of generosity infacilitating the gift of this remarkable collection to the Dallas Museum of Art,thus makingit available for residents of Dallas and out-of-town visitors alike.In addition—and in par-ticular—we would like to offer our heartfelt thanks to Olivier Meslay,Associate Directorof Curatorial Affairs,Senior Curator of European and American Art,and The BarbaraThomas Lemmon Curator of European Art,for his meticulous scholarship in studying theReves Collection;for discovering the part played in this history by Chanel,including herownership of all of the original furniture and decor at La Pausa;and above all for the freshperspective and aesthetic appreciation he brings to a trove of objects that share an excep-tional provenance.We would also like to thank Martha MacLeod,Curatorial AdministrativeAssistant for the Department of European and American Art,for her role in conductingextensive research on the history of the Reves Collection and the Villa La Pausa,and forcoauthoring this publication with Olivier Meslay.  \nA project of this scope and ambition necessarily relies on the skills of a talented groupof professionals.Queta Moore Watson,the DMA's Senior Editor,is to be commendedfor her attentive and perceptive copyediting of the text,and we are grateful to RebeccaWinti,Director of Creative Services at the DMA,for the volume's elegant design  \nGiselle Castro-Brightenburg,the DMA's Imaging Manager,helped shepherd the imagesto the design department,and Alison Schwartzstein,the Museum's Manager of DigitalRights and Intellectual Property,handled the complicated logistics of copyright and imagepermissions.Eric Zeidler,the DMA's Publications Manager,kept the book on schedule andoversaw every aspect of the publication's production.  \nOther DMA staff without whom this publication would not have been possible includeJacqui Allen,Jill Bernstein,Hillary Bober,Katie Cooper,Kimberly Daniell,Brad Flowers,Tamara Wootton Forsyth,John Lendvay,Anne Lenhart,Brian MacElhose,Alison Silliman,Neil Sreenan,Isabel Stauffer,Jenny Stone,Nicole Stutzman-Forbes,and Joni Wilson-Bigornia;former volunt","cbCaiuxwR2R9fOdJ","https://ap.wps.com/l/cbCaiuxwR2R9fOdJ","pdf",7461200,72,"English","# FOREWORD","[{\"question\":\"What is the purpose of the foreword in this publication?\",\"answer\":\"It introduces the Wendy and Emery Reves Collection at the Dallas Museum of Art and explains the publication’s focus on the history and significance of La Pausa and the collection’s journey.\"},{\"question\":\"How is La Pausa connected to Gabrielle Chanel?\",\"answer\":\"The foreword states that Emery bought La Pausa from Gabrielle Chanel in 1953, and the collection was first showcased there.\"},{\"question\":\"Which individuals and teams are credited for the work behind this catalogue?\",\"answer\":\"The foreword acknowledges curators, editors, designers, imaging and digital rights staff, and many other museum contributors, as well as CHANEL’s heritage direction team for support.\"}]","La Pausa and Its Collections - Foreword | PDF",1790609861,111]