The Rubens Society comprises individuals and representatives from businesses whose annual Flint Institute of Arts membership contribution is $1,000 or above. By joining the Rubens Society, members provide valuable support for FIA operations.
The Rubens Society members are invited to three exclusive events each year. These include opportunities to meet internationally known figures from the art world, attend elegant dinners in Isabel Hall, and learn about remarkable private and public collections. Members have the opportunity to explore the visual arts in-depth in an interesting and informative way, enjoy stimulating discussions, and meet with those who share their abiding interest in the FIA and its place in this community. Rubens Society members receive all the benefits of membership including the FIA Magazine; free admission to temporary exhibitions, invitations to special events; discounts on classes, ticketed events, The Palette Café, Museum Shop purchases, and in the Art Sales and Rental Gallery; facility rental privileges, and inclusion in two reciprocal membership programs.
Salvador Salort-Pons was appointed director, president and CEO of the Detroit Institute of Arts (DIA) on October 15, 2015. He was hired at the DIA in 2008 as the Elizabeth and Allan Shelden Curator of European Paintings. In 2011, he became director of the DIA’s European Art Department and in 2013 added the role of director of collection strategies and information.
Prior to coming to Detroit, he was senior curator at the Meadows Museum at Southern Methodist University in Dallas, assistant professor at the University of Madrid and exhibition curator at the Memmo Foundation/Palazzo Ruspoli in Rome. Salort-Pons has been the recipient of a Rome Prize Fellowship at the Spanish Academy of Rome and a research fellow at the Royal College of Spain in Bologna, the Getty Grant Program, the Medici Archive Project in Florence and Bibliotheca Hertziana in Rome, among others.
He holds a master’s in geography and history (University of Madrid), a master’s in business administration (Cox School of Business, SMU) and a doctorate in the history of art (University of Bologna).
New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict.