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Observer Arts Interviews Clark Art Institute Director Olivier Meslay | Observer

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class="menu-item menu-item-type-post_type menu-item-object-page menu-item-1321435"><a href="https://observer.com/advertise/">Advertise With Us</a><span class="chevron-toggle"></span><div class="rule"></div></li> </ul> </li> </ul></div> <a href="/subscribe" class="mobile-subscribe">Newsletters</a> </div> </div> </div> </header> <div id="content" class="site-content"> <!-- Hashtag Labs Ad observer_leaderboard_atf --> <div class="ad-wrapper ad-bottom-margin ad-leaderboard ad-has-disclaimer htlad-observer_leaderboard_atf" id="observer_leaderboard_atf"></div> <!--a wrapper to include the content + sidebar--> <div id="single-post-wrapper"> <div id="primary" class="content-area"> <main id="main" class="site-main" role="main"> <div class="article-wrap"> <article id="post-1499859" class="post-1499859 post type-post status-publish format-standard has-post-thumbnail tag-art-collectors tag-clark-art-institute channel-arts channel-museums channel-interviews channel-interviews-with-arts-leaders nyo_person-hans-memling nyo_person-peter-paul-rubens nyo_person-parmigianino nyo_person-elisabeth-louise-vigee-le-brun nyo_person-jean-antoine-watteau nyo_person-gian-lorenzo-bernini nyo_person-aso-o-tavitian nyo_person-olivier-meslay nyo_person-acopo-da-pontormo nyo_person-jan-van-eyck nyo_person-anthony-van-dyck nyo_person-andrea-della-robbia nyo_person-jean-antoine-houdon nyo_person-david-dangers nyo_person-jean-baptiste-carpeaux" data-post="" data-title="European Masters in the Berkshires: An Interview with the Clark&#8217;s Olivier Meslay" data-url="" data-page-url="/2024/11/interview-clark-art-institute-director-olivier-meslay/" data-date="2024-11-27 10:35:17" data-date-iso="2024-11-27T10:35:17-05:00" data-author="Dan Duray" data-coauthors="Dan Duray" data-channels="Arts, Museums, Interviews, Arts Interviews" data-piped-channels="Arts|Museums|Interviews|Arts Interviews" > <header class="entry-header"> <div class="entry-teaser"> <a href="https://observer.com/arts/" aria-label="Read more articles on Arts">Arts</a><span>&nbsp;&nbsp;•&nbsp;&nbsp;</span><a href="https://observer.com/museums/" aria-label="Read more articles on Museums">Museums</a> </div> <h1 class="entry-title" itemprop="headline">European Masters in the Berkshires: An Interview with the Clark&#8217;s Olivier Meslay</h1> <h2 class="dek">Observer caught up with Meslay to chat about the impact of a recent major gift from the foundation of late longtime supporter Aso Tavitian.</h2> <div class="entry-meta nyo-social-comments nyo-social-comments-above"> By <span class="author" itemprop="author"><a rel="author" class="url fn n" href="https://observer.com/author/dan-duray/" title="View All Posts by Dan Duray">Dan Duray</a></span> &bull; <span class="entry-date"><time itemprop="datePublished" datetime="2024-11-27">11/27/24 10:35am</time></span> <svg aria-hidden="true" style="position: absolute; width: 0; height: 0; overflow: hidden;" version="1.1" xmlns="http://www.w3.org/2000/svg" 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.entry-meta --> </header><!-- .entry-header --> <div class="entry-content" itemprop="articleBody"> <figure id="attachment_1499852" aria-describedby="caption-attachment-1499852" style="width: 970px" class="wp-caption aligncenter"><a href="https://observer.com/2024/11/art-review-wild-things-the-art-of-maurice-sendak-denver-art-museum/olivier-meslay/" rel="attachment wp-att-1499852" data-lasso-id="2647335"><img fetchpriority="high" decoding="async" class="size-full-width wp-image-1499852" src="https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?quality=80&amp;w=970" alt="A photo of a middle-aged man with short gray hair wearing an orange sweater under a plaid jacket, standing outdoors with blurred foliage and the corner of a building visible behind him." width="970" height="647" srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg 5472w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=300,200 300w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=768,512 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=635,423 635w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=1536,1024 1536w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=2048,1365 2048w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=970,647 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=320,213 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=1920,1280 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?resize=50,33 50w" sizes="(max-width: 600px) 300px, 620px" /></a><figcaption id="caption-attachment-1499852" class="wp-caption-text">The Clark&#8217;s director, Olivier Meslay. <span class="media-credit">Courtesy of the Clark</span></figcaption></figure> <p>One month ago, the Clark Art Institute in Williamstown, Massachusetts, announced that it had received a major gift worth several hundred million dollars: some 331 artworks from the Renaissance and later, from artists such as <a href="https://observer.com/person/hans-memling/" title="Hans Memling" class="company-link">Hans Memling</a>, <a href="https://observer.com/person/peter-paul-rubens/" title="Peter Paul Rubens" class="company-link">Peter Paul Rubens</a>, <a href="https://observer.com/person/parmigianino/" title="Parmigianino" class="company-link">Parmigianino</a>, Elisabeth Louise Vigée Le Brun, <a href="https://observer.com/person/jean-antoine-watteau/" title="Jean-Antoine Watteau" class="company-link">Jean-Antoine Watteau</a> and <a href="https://observer.com/person/gian-lorenzo-bernini/" title="Gian Lorenzo Bernini" class="company-link">Gian Lorenzo Bernini</a>. The donation comes to the museum from the foundation of the late longtime supporter Aso Tavitian, which also gave the funds for a new wing in which to display the gift. We caught up with the museum&#8217;s director <a href="https://observer.com/person/olivier-meslay/" title="Olivier Meslay" class="company-link">Olivier Meslay</a> to hear more about its impact</p> <section class="wp-block-observer-newsletters observer-newsletters--in-content"> <form class="newsletters-block__container" method="post" action="#" id="newsletter-6747bc22ae4296.64188097" data-form="subscribe-newsletter" data-recaptcha-key="6LexvRggAAAAAF1HvCWrHtG4UAa7m0WIdyIgstAo" data-form-action="https://observer.com/newsletter-subscribe.json"> <div class="observer-newsletters__in-content-icon"> <svg fill="none" xmlns="http://www.w3.org/2000/svg" viewBox="0 0 51 51" width="50" height="50"><path d="M18.124 15.961C23.25 8.783 30.096 4.967 33.682 7.305a4.04 4.04 0 0 1 1.013.97c0 .028 8.3 16.017 8.3 16.017l4.634 2.989a6.39 6.39 0 0 1 1.793 1.732c.472.684.798 1.45.96 2.253.161.804.154 1.63-.02 2.432a6.075 6.075 0 0 1-.995 2.24l-.209.291c-.977 1.355-2.475 2.288-4.17 2.598a6.827 6.827 0 0 1-4.883-.943L32.662 48.32c-1.095 1.285-3.197 2.564-5.792 1.059a3.834 3.834 0 0 1-1.15-1.093 3.63 3.63 0 0 1-.587-1.444 3.763 3.763 0 0 1 .008-1.55 3.85 3.85 0 0 1 .635-1.427l6.556-9.208s-15.5-1.174-15.557-1.196a3.812 3.812 0 0 1-1.35-.552c-1.842-1.19-2.502-3.688-1.865-7.035.573-3.082 2.2-6.572 4.564-9.914Zm29.349 19.182.208-.292c.334-.467.567-.992.687-1.545a4.09 4.09 0 0 0 .012-1.678 4.18 4.18 0 0 0-.665-1.555 4.407 4.407 0 0 0-1.239-1.193l-4.002-2.592-5.282 7.405 4.002 2.592a4.64 4.64 0 0 0 1.624.655c.581.114 1.18.119 1.764.013a4.65 4.65 0 0 0 1.634-.631 4.42 4.42 0 0 0 1.257-1.179Zm-20.03 9.809a1.96 1.96 0 0 0-.324 1.528c.108.53.433.998.904 1.3.472.302 1.05.413 1.608.31A2.158 2.158 0 0 0 31 47.23l7.42-10.405-2.983-1.93-.788-.06-7.205 10.117Zm7.832-12.009 5.757-8.072-5.491-10.657c-.533 2.993-2.091 6.55-4.582 10.04-2.49 3.49-5.386 6.18-8.108 7.758l12.424.931ZM18.188 31.66c2.768-.171 7.275-3.143 11.092-8.497s5.056-10.42 4.205-12.94a2.354 2.354 0 0 0-.877-1.185 2.55 2.55 0 0 0-1.44-.47c-2.746 0-7.42 2.989-11.347 8.497-2.212 3.099-3.823 6.34-4.263 9.175-.863 5.42 2.63 5.42 2.63 5.42Z" fill="#000"/><path d="M25.364 16.165a5.726 5.726 0 0 1 2.148.01c.708.14 1.38.412 1.976.8.11.073.204.166.276.272a.941.941 0 0 1 .14.73.947.947 0 0 1-.158.347.998.998 0 0 1-.285.263 1.047 1.047 0 0 1-.767.133 1.046 1.046 0 0 1-.364-.15 3.572 3.572 0 0 0-1.25-.503 3.648 3.648 0 0 0-1.355-.01 3.574 3.574 0 0 0-1.257.486c-.381.238-.71.546-.966.906s-.436.763-.528 1.189a3.152 3.152 0 0 0-.01 1.29c.086.427.26.834.51 1.197.25.363.574.675.952.92a.972.972 0 0 1 .382.48c.07.194.074.405.01.602a.969.969 0 0 1-.37.49 1.048 1.048 0 0 1-.601.186 1.026 1.026 0 0 1-.58-.165 5.305 5.305 0 0 1-2.01-2.363 4.999 4.999 0 0 1-.29-3.028 5.165 5.165 0 0 1 1.527-2.67 5.592 5.592 0 0 1 2.83-1.412h.04Zm-8.491-6.914h-.098c-.25 0-.493-.088-.679-.248a.95.95 0 0 1-.329-.617l-.782-7.234a.919.919 0 0 1 .21-.725c.083-.1.188-.185.306-.247a1.05 1.05 0 0 1 1.14.105.974.974 0 0 1 .36.668l.776 7.24a.933.933 0 0 1-.222.707c-.17.199-.414.325-.682.351ZM3.771 7.763c.149-.214.38-.363.644-.414.264-.052.538-.002.764.138l7.06 4.41a.974.974 0 0 1 .396.482.922.922 0 0 1 .014.611.969.969 0 0 1-.376.496 1.05 1.05 0 0 1-.613.182 1.07 1.07 0 0 1-.58-.155l-7.06-4.41a.961.961 0 0 1-.415-.622.928.928 0 0 1 .166-.718ZM1.61 19.54l8.214-1.406c.265-.045.538.011.759.158.221.146.372.37.42.622a.93.93 0 0 1-.166.723c-.154.21-.389.354-.654.4l-8.207 1.405h-.18c-.258.007-.51-.08-.703-.243A.933.933 0 0 1 .97 19.88a1.03 1.03 0 0 1 .646-.358l-.005.017Z" fill="#000"/></svg> </div> <div class="observer-newsletters__in-content-inner"> <header class="newsletters-block__header"> <h2 class="newsletters-block__title"> Sign Up For Our Daily Newsletter </h2> </header> <div class="newsletters-block__form"> <input type="hidden" name="action" value="subscribe_newsletter"> <input type="hidden" name="newsletters[]" value="newsletter-daily" id="newsletter-daily"> <div class="newsletters-block__fields wp-block-button"> <input class="newsletters-block__input" aria-label="Email Address" placeholder="Email Address" type="email" name="email" required=""> <button class="wp-block-button__link in_article_single_newsletter_button" type="submit"> Sign Up </button> </div> <p class="newsletter-block__success"> Thank you for signing up! </p> <p class="newsletter-block__error"></p> <p class="newsletters-block__disclaimer"> By clicking submit, you agree to our &lt;a href=&quot;http://observermedia.com/terms&quot;&gt;terms of service&lt;/a&gt; and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime. </p> </div> <a href="https://observer.com/subscribe/" class="newsletters-block__see-all in_article_single_newsletter_see_all_link"> See all of our newsletters </a> </div> </form> </section> <p><b>Congratulations on this major gift. You&#8217;ve described it as the “most transformational gift” since the founding bequest from the collectors Sterling and Francine Clark. Why is it so transformative?</b></p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_1" id="observer_article_instream_mobile_1"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_1" id="observer_article_instream_dsk_1"></div> <p>This donation introduces the works of more than 100 artists to the Clark’s permanent collection, both enhancing and expanding the scope of our collection. The artists whose works are included in the Tavitian gift are among some of the most important in art history, particularly from the Renaissance and early modern eras, including Jacopo da Pontormo, <a href="https://observer.com/person/jan-van-eyck/" title="Jan Van Eyck" class="company-link">Jan Van Eyck</a>, Gian Lorenzo Bernini and <a href="https://observer.com/person/anthony-van-dyck/" title="Anthony Van Dyck" class="company-link">Anthony Van Dyck</a>. And yet, many of the works included in the gift are by artists who are unknown. The gift is also transformational in that nearly half of the works are sculpture, a medium that has not previously been a major strength of the Clark’s collection. The gift adds 130 sculptures to the Clark’s holdings, which quadruples the total number of sculptures in the collection. These include sculptures by <a href="https://observer.com/person/andrea-della-robbia/" title="Andrea della Robbia" class="company-link">Andrea della Robbia</a>, Jean-Antoine Houdon, David d’Angers and <a href="https://observer.com/person/jean-baptiste-carpeaux/" title="Jean-Baptiste Carpeaux" class="company-link">Jean-Baptiste Carpeaux</a>.</p> <p><b>Let&#8217;s talk about Aso Tavitian, who collected the works donated in his gift and had a longstanding relationship with the museum. What was his attitude toward collecting? How did he come to develop such an eye?</b></p> <p>When Aso Tavitian began building his collection, it was for purely personal reasons. Aso enjoyed surrounding himself with beauty but was deeply interested in making personal connections to each object he acquired. You’ll notice that much of the collection is focused on portraiture and that’s a reflection of Aso’s deep interest in people—in their stories and in their humanity. A part of what drove him to continue growing his collection was his belief that seeing these works of art in dialogue with each other enriched your ability to appreciate them in new and interesting ways.</p> <p><b>Part of the reason for the size of this gift is that Tavitian wanted to keep a significant portion of his collection together. Why do you think this was important to him?</b></p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_2" id="observer_article_instream_mobile_2"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_2" id="observer_article_instream_dsk_2"></div> <p>Aso was very engaged with the idea of ensuring that these works would be available for future generations to see and appreciate. He also knew that here at the Clark, these paintings and sculptures would deepen the ways in which students and scholars could learn about the artists, the subjects and the history of our world. Having the opportunity to encounter so many important objects all in one place is a treasure trove for art scholars and is a true delight for art lovers. Imagine making a trip to a small place like Williamstown, Massachusetts, and wandering through galleries filled with works by some of history’s greatest painters and sculptors, and then walking outside of our galleries to take in the great natural beauty of our campus in the Berkshires. It’s a distinctly memorable experience.</p> <figure id="attachment_1499851" aria-describedby="caption-attachment-1499851" style="width: 970px" class="wp-caption aligncenter"><a href="https://observer.com/2024/11/art-review-wild-things-the-art-of-maurice-sendak-denver-art-museum/theclark-rubens_portaityoungman/" rel="attachment wp-att-1499851" data-lasso-id="2647336"><img decoding="async" class="lazyload size-full-width wp-image-1499851" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?quality=80&amp;w=970" alt="A photo of a formal portrait of a young man with fair skin, wearing a black robe with ornate lace cuffs and a large, elaborate ruff collar, painted in a traditional style with a dark background." width="970" height="1233" data-srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg 3328w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=236,300 236w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=768,976 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=472,600 472w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=1208,1536 1208w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=1611,2048 1611w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=970,1233 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=320,407 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=1920,2440 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=39,50 39w" sizes="(max-width: 600px) 300px, 620px" /><noscript><img decoding="async" class="lazyload size-full-width wp-image-1499851" src="https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?quality=80&amp;w=970" alt="A photo of a formal portrait of a young man with fair skin, wearing a black robe with ornate lace cuffs and a large, elaborate ruff collar, painted in a traditional style with a dark background." width="970" height="1233" srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg 3328w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=236,300 236w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=768,976 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=472,600 472w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=1208,1536 1208w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=1611,2048 1611w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=970,1233 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=320,407 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=1920,2440 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/TheClark.Rubens_PortaitYoungMan.jpg?resize=39,50 39w" sizes="(max-width: 600px) 300px, 620px" /></noscript></a><figcaption id="caption-attachment-1499851" class="wp-caption-text">Peter Paul Rubens, <em>Portrait of Young Man</em>, c.1613–15; Oil on panel, 26 x 20 1/2 in. (66 x 52 cm). <span class="media-credit">Courtesy of the Clark</span></figcaption></figure> <p><b>How does the Clark&#8217;s location in the Berkshires enhance this collection of works by European masters?</b></p> <p>Tavitian had a home here in the Berkshires and, like so many others who have discovered this corner of the world, he found particular resonance in living surrounded by the beauty found here in nature. That experience alone is inspirational, but when you then consider the region’s remarkable cultural resources—art, music, theatre, dance—you realize how this rich cultural mélange deepens your ability to appreciate all of the arts. It doesn’t matter where the art was made; the way or place in which you encounter art can influence your perceptions. Looking at art here is very different from walking into a museum in busy urban settings like New York, London or Paris. We think that having the opportunity to look at great art here creates a particularly memorable experience that enriches the ways in which you can think and learn about art.</p> <p><b>Discussions around this gift began in 2019, so that the gift could fill gaps in the museum’s collection or otherwise complement it. Can you speak a little more to those discussions and the gaps this collection is filling?</b></p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_3" id="observer_article_instream_mobile_3"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_3" id="observer_article_instream_dsk_3"></div> <p>The gift wasn’t specifically intended as a means of “filling gaps” in the collection. As we discussed the gift, first with Aso Tavitian and later with the Tavitian Foundation, we made very conscientious decisions about which objects made the most sense to add to our collection. While our existing collection ranges from the Renaissance to the end of the 19th Century, our holdings were more focused in the early period, while the Tavitian Collection was stronger in the latter half of this time. And, the Tavitian Collection has a greater focus on sculpture, which will deeply enrich our holdings in that medium. The objects we selected further enhance our existing collection and, at the same time, extend the scope and balance of our holdings.</p> <p><b>Of the 331 works in this gift, do you have any personal favorites?</b></p> <p>That’s an impossible question for a curator to answer! But I will say that I have been particularly drawn to a marble of Saint Cecilia by the Spanish artist Gil de Siloé. I had seen the sculpture in an auction house catalogue and had been impressed by it, thinking it was a really beautiful object. A few months later, I had the somewhat surreal experience of seeing it in person for the first time—not in a gallery or a museum, but in Aso Tavitian’s kitchen. He had been the successful bidder at auction, and there we were, standing around the kitchen counter admiring his new acquisition. I saw how much he loved this sculpture, and seeing it through his eyes made me appreciate it even more.</p> <p><b>The gift also includes funds to build a new wing to house it all and for a new curator position. Why was it important for the museum to have these benefits alongside the gift?</b></p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_4" id="observer_article_instream_mobile_4"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_4" id="observer_article_instream_dsk_4"></div> <p>The new wing and the funding for two new staff positions again underscore the significance Aso placed on stewarding and caring for these works of art in perpetuity. It was important to Aso to know that at any given time, a large percentage of the works from his collection would be available to the public on view in dedicated gallery space, so making these objects readily accessible was a key consideration in his thinking. The addition of staff positions dedicated to the care and scholarship surrounding such an important group of objects means that future generations of visitors, students and academics will have the unique opportunity of accessing expert resources to assist in providing new insights and new scholarship surrounding these objects. Above all else, these dedicated staff resources will ensure that these works of art are properly maintained for the enjoyment of all.</p> <p>&nbsp;</p> </p> <img itemprop="image" src="https://observer.com/wp-content/uploads/sites/2/2024/11/Olivier-Meslay.jpg?quality=80&#038;w=970" alt="European Masters in the Berkshires: An Interview with the Clark&#8217;s Olivier Meslay" style="display:none;width:0;"> </div><!-- .entry-content --> <footer class="entry-meta"> </footer><!-- .entry-meta --> </article><!-- #post-## --> <div class="breadcrumbs"> <span class="before-text"> Filed Under:</span> <a href="https://observer.com/arts/" aria-label="Read articles filed under Arts">Arts</a>, <a href="https://observer.com/museums/" aria-label="Read articles filed under Museums">Museums</a>, <a href="https://observer.com/interviews/" aria-label="Read articles filed under Interviews">Interviews</a>, <a href="https://observer.com/interviews-with-arts-leaders/" aria-label="Read articles filed under Arts Interviews">Arts Interviews</a>, <a href="https://observer.com/person/peter-paul-rubens/" aria-label="Read articles filed under Peter Paul Rubens">Peter Paul Rubens</a>, <a href="https://observer.com/person/parmigianino/" aria-label="Read articles filed under Parmigianino">Parmigianino</a>, <a href="https://observer.com/person/aso-o-tavitian/" aria-label="Read articles filed under Aso O. Tavitian">Aso O. Tavitian</a>, <a href="https://observer.com/person/olivier-meslay/" aria-label="Read articles filed under Olivier Meslay">Olivier Meslay</a>, <a href="https://observer.com/person/acopo-da-pontormo/" aria-label="Read articles filed under acopo da Pontormo">acopo da Pontormo</a>, <a href="https://observer.com/person/andrea-della-robbia/" aria-label="Read articles filed under Andrea della Robbia">Andrea della Robbia</a>, <a href="https://observer.com/person/david-dangers/" aria-label="Read articles filed under David d’Angers">David d’Angers</a>, <a href="https://observer.com/person/jean-baptiste-carpeaux/" aria-label="Read articles filed under Jean-Baptiste Carpeaux">Jean-Baptiste Carpeaux</a>, <a href="https://observer.com/person/hans-memling/" aria-label="Read articles filed under Hans Memling">Hans Memling</a>, <a href="https://observer.com/person/jean-antoine-watteau/" aria-label="Read articles filed under Jean-Antoine Watteau">Jean-Antoine Watteau</a>, <a href="https://observer.com/person/jean-antoine-houdon/" aria-label="Read articles filed under Jean Antoine Houdon">Jean Antoine Houdon</a>, <a href="https://observer.com/person/gian-lorenzo-bernini/" aria-label="Read articles filed under Gian Lorenzo Bernini">Gian Lorenzo Bernini</a>, <a href="https://observer.com/person/elisabeth-louise-vigee-le-brun/" aria-label="Read articles filed under Elisabeth-Louise Vigée Le Brun">Elisabeth-Louise Vigée Le Brun</a>, <a href="https://observer.com/tag/clark-art-institute/" aria-label="Read articles filed under Clark Art Institute">Clark Art Institute</a>, <a href="https://observer.com/person/anthony-van-dyck/" aria-label="Read articles filed under Anthony Van Dyck">Anthony Van Dyck</a>, <a href="https://observer.com/person/jan-van-eyck/" aria-label="Read articles filed under Jan Van Eyck">Jan Van Eyck</a>, <a href="https://observer.com/tag/art-collectors/" aria-label="Read articles filed under Art Collectors">Art Collectors</a> </div> <div class="next-container"> <ul> <li> <a class="more-from" href="https://observer.com/2024/09/review-art-at-the-kent-vermont-kents-corner-exhibition/"> <strong>SEE ALSO</strong>: In Vermont, a Once-Yearly Exhibition Juxtaposes Contemporary Art With Everyday History </a> </li> </ul> </div> <!-- /.next-article-button-container --> </div> </main><!-- #main --> </div><!-- #primary --> <div id="secondary" class="widget-area" role="complementary"> <div id="nyo-before-sidebar"> </div> <!-- For the Home page --> <!-- For Article pages --> <aside class="widget sticky-ad ad-widget"> <!-- Hashtag Labs Ad observer_river --> <div class="ad-wrapper ad-bottom-margin ad-river ad-mobile ad-has-disclaimer htlad-observer_river" id="observer_river"></div> <!-- Hashtag Labs Ad observer_right_rail --> <div class="ad-wrapper ad-bottom-margin ad-desktop ad-right-rail ad-has-disclaimer htlad-observer_right_rail" id="observer_right_rail"></div> </aside> <div class="nyo-sidebar-desktop" id="nyo-sidebars" 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