The French painter Eva Gonzalès, much like her mentor, Édouard Manet, did not personally identify as an Impressionist, nor did she participate in the group’s exhibitions.  Her velvety brushstrokes were faithful to the human form, indulged no illusion of perspective, and stated a belief that the female mind was a landscape in its own right—wild, deep, and worthy of veneration. In her 1874 A Loge at the Théâtre des Italiens, an operagoer, one glove missing, leans over a banister, fair skin radiant against the void.   Related Articles Yet search Gonzalès online and she is almost always grouped with three female contemporaries—Mary Cassatt, Marie Bracquemond, and Berthe Morisot—as painters of unmistakably Impressionist sensibility. They were even billed as the “Four Grandes Dames” in a major 2024 survey tied to the anniversary of the movement at the National Gallery of Ireland. The misnomer has defined, and confined, the painter’s legacy in the nearly two centuries after her death.  Maybe it’s a willful misreading, driven by museum sales or the consequences of woefully outdated scholarship, since Gonzalès’s sole catalogue raisonné appeared in 1990. An update is long overdue, according to the Wildenstein Plattner Institute (WPI), a leading publisher of digital catalogues raisonnés specializing in European artists active from the 18th through the 20th centuries. Last month, …