I love spending Winter days in the Frick museum. It’s a lovely escape from the cold & nice to sit, relax, & enjoy the warmth, water, and flowers. It’s a little oasis on Madison Ave. The art & Interior is spectacular from the Bouchers, Vermeers, to the exhibits, it’s a visual feast. I learned so much about artist Giovanni Battista Moroni.
The museum is exhibiting his portraiture from the 1500’s. This is the only exhibition of his to date in America (I believe) swipe to see more. I highly recommend a day on Madison Ave window shopping, with coffee at Ralph Lauren (the popup is still there & it’s so charming), a visit to The Frick museum, followed by dessert nearby at Laduree (when your downtown, a must is Laduree in SoHo, the garden is gorgeous) I hope you enjoyed my little tour of Madison Ave, scroll down to see my Ralph Lauren post & have a lovely day xo
Amazing collection. Had not visited since I lived here in the 1980’s. It is quiet and free of crowds. Titian, Gainsborough, Turner, Corot, Rembrandt, and Vermeer residing in a beautifully appointed 5th Avenue mansion.
experienced yet another great @jeremyoharris play yesterday and visited the frick today for my french philosophy class. this has highlighted even more what I’ve been reeling over a lot recently; artistic value in regards to western capitalism and how the white perspective for hundreds and hundreds of years has created a vacuum for success for all art forms and has undeniably shaped our current view on what is considered worthy and what is not. what does that mean for poc artists? does it mean we yearn to change that landscape by getting affirmation from white curators, collectors, theatre critics, movie reviewers? or do we redefine our definition of success and worth void of the white affirmation? how? I need to figure that out for myself. interesting times we live in.
Checking out the Frick Collection today. Two paintings by Hans Holbein the Younger that I have seen in so many Tudor history books are here—one of Thomas More, the other of Thomas Cromwell. It’s a little crazy to see the originals, and to see them here. There are also several Vermeers, Gainsboroughs, and a Titian... What a wonderful collection. Fritz is a fan (we can only take photos in the Garden Court, so here you go). #meldoesnyc#viewfromahedgie
Каждый раз меня раздражает одна и та же ситуация, в ней нет ничего абсолютно страшного или то, что мне мешало бы наслаждаться окружающим, но почему то внутри меня это вызвало бурю негативных эмоций. Итак, начнём с того, что вчера я посетила один из самых красивых музеев Нью Йорка - Коллекция Фрика( берём на заметку). Это бывшее поместье Генри Фрика, которое он завещал в качестве музея. Фактов интересных много, но это на потом. В музеях всего мира я не была, но такое встречала только в Стамбуле. Объясните, пожалуйста,почему нельзя фотографировать в музеях без вспышки, штатива и команды помощников? От части, это немного несправедливо и мой внутренний революционер не может успокоиться, а уж тем более принять. Может кто-то протрезвит меня холодной водой в качестве ответа, либо подкрепит мои догадки?)
NOW OPEN: Moroni: The Riches of Renaissance Portraiture. #frickcollection#moroniatthefrick#moroni
This is the first major exhibition in the United States to focus on the portraiture of Giovanni Battista Moroni (1520/24–1579/80), an essential figure in the northern Italian tradition of naturalistic painting. The Frick presents about twenty of the artist’s most arresting portraits together with a selection of complementary objects — jewelry, textiles, armor, and other luxury items — that evoke the material world of the artist and his sitters and reveal his inventiveness in translating it into paint.
This sunny #nyc day has us thinking about ‘The Harbor of Dieppe,’ 1826, by JMW Turner. #frickcollection#jmwturner
In this picture, Turner elevates the scene through the monumental scale of the canvas - the painting is almost 7.5 feet wide - and the compositional format borrowed from the grand seaport paintings of Claude Lorrain. Here, as in Claude’s works, a central core of sun reflected on the water draws the eye back in space, while two arms of the city, with its building and boats, reach around it.
Next stop: the fabulous Frick Collection!! No photography allowed... and even a specific call out about selfie sticks... wow, this is what we’ve become 🤣 🤳🏾 despite all of the mystery, I was still able to capture a few black and white stills that show the beauty of the location itself and the central courtyard... the rest you will have to discover on your own 😁 #bwphotograpy#bwphotooftheday@frickcollection#nycmuseums#exploringnyc#uppereastside
Happy #valentine’s Day from ‘The Spini’s’ to you! Enjoy these His and Hers portraits as a sneak peek of the upcoming exhibition Moroni: The Riches of Renaissance Portraiture, on view beginning February 21. #funfact: the portrait of Mrs. Spini is arguably the first known independent standing full-length portrait of a woman in the Italian Renaissance. #frickcollection#moroniatthefrick
Image: Moroni, Bernardo Spini, ca.1573-75, oil on canvas, Accademia Carrara, Bergamo, AND Moroni, Pace Rivola Spini, ca. 1573-75, oil on canvas, Accademia Carrara, Bergamo. @accademia_carrara
Share your love of art this #valentines Day with a membership to the Frick… unlimited free admission, access to members-only programs, discounts in the Museum Shop, and more! Gift memberships start at $75 and can be purchased online, at the museum, or by phone at 212.547.0707. frick.org/membership. #frickcollection#frickmembership
English poet and playwright Sir John Suckling, was born #onthisday in 1609. We celebrate with his portrait painted by Anthony Van Dyck, ca. 1638, purchased by Mr. Frick in 1918. Suckling is depicted here displaying Shakespeare’s First Folio, which contains a visual reference to Hamlet! #frickcollection#vandyck#johnsuckling#shakespeare
Museo de arte decorativo y una colección de pinturas importante. A escala humana. Agradable visita. No se pueden tomar fotos de los cuadros. Insólito.
Frick Collection. A beautiful building, furniture and paintings. No photos allowed. Unbelievable!!
#tbt to one of our favorite moments from @bdelcastle Instagram Takeover during last week’s #frickfirstfridays... where she pointed out it looks like Bellini’s St. Francis is standing on a giant hand! What other hidden items have you noticed in your favorite works at the Frick? #frickcollection#bellini
To see the full takeover, check out the Story Highlights on our profile page!
Did you know that this eighteenth-century Secrétaire, by Jean-Henri Riesener, was once owned by Marie-Antoinette? In the early 1780s, he made this secretaire for one of the many residences she was refurnishing, possibly the Château de Saint-Cloud, west of Paris. Several years later, Riesener reworked this piece for her new apartment at the Tuileries, where the royal family was forced to reside after the revolution began in 1789. This required reducing its scale to better suit the humbled queen’s new abode. #frickcollection#riesener
Jean-Henri Riesener (1734–1806) Secrétaire, ca. 1780 and 1790, oak veneered with various woods including ash, bloodwood, and amaranth, gilt-bronze, leather, marble.
One of the highlights in the Frick’s permanent collection is Jacob van Ruisdael’s Landscape with a Footbridge, 1652. The painting demonstrates the artist’s special gift for rendering subtle effects of light, evident in the pale sun that filters through the clouds to dapple the landscape and reflect from the surface of the stream. The realistic treatment of the gnarled oak tree at left is typical of his close observation of nature. #frickcollection#ruisdael
By the middle of the seventeenth century, Nevers potters and painters were exploring new types of decoration, probably with the hope of forging a new artistic identity and attracting a broader clientele, while also responding to the artistic revolution taking place in France under Louis XIV (r. 1643–1715). At the forefront of the new production of faience was the use of a dark blue background, often referred to as “Nevers blue,” as seen on this large oval platter, ca. 1660–70, painted in white, yellow, and ochre with birds and bouquets of tulips, roses, daisies, and carnations, reminiscent of the Iznik tiles made in western Anatolia during the sixteenth century. #frickcollection#faienceatthefrick
Last night the Frick and @victoriabeckham joined @sothebys to celebrate the opening of The Female Triumphant – an exhibition of 21 paintings by 14 groundbreaking female artists of the 16th – 19th centuries, which will be included in their annual Masters Week auctions this month. Guests enjoyed a special preview of exhibited works by artists including Fede Galizia, Angelika Kauffmann, Elisabeth-Louise Vigée Le Brun and Marie-Victoire Lemoine, followed by an intimate dinner at the Frick! Works from The Female Triumphant are now on public exhibition, which is free and open to the public through February 1 in their galleries at 72nd & York Avenue. #frickcollection#sothebysmasters#vbxomp
Image 1: Calvine Harvey, Sotheby’s Specialist in Old Master Paintings, Xavier F. Salomon, Chief Curator at The Frick Collection, Victoria Beckham, and Aimee Ng, Associate Curator at The Frick Collection @bfa
⭐️ A celebration of VBxOMP and The Female Triumphant ⭐️ drinks at Sotheby’s and dinner in the private dining room upstairs at the Frick, followed by some pretty low quality bowling that in no way did justice to Henry Clay Frick’s beautiful bowling alley. The alley and billiard room was built in 1916, several floors below the mansion, and is not often open to the public - such a treat! Thank you thank you Xavier! 🎳 🎳 .
Celebrating @sothebys The Female Triumphant last night at the upstairs of NYC’s @frickcollection hosted by @victoriabeckham 🔥 SUCH an amazing sale spotlighting the most incredible works by Female Old Masters including Elisabeth Vigée Le Brun, Artemisia Gentileschi, Angelica Kauffman, Fede Galizia and more. So rare and amazing to see these works all in one room (makes me wish there was a major female Old Master exhibition...as there seriously should be!). Each work is made with such precision and pioneering techniques, proving that the women were so groundbreaking for their time, especially considering the setbacks they had to even BECOME artists in the first place ✨ The sale is free to see and is on view until next Thursday! Don’t miss if you’re in town 🗽 Congratulations @chloestead and team !! • #thefemaletriumphant#sothebysmasters#womenartists
During the first half of the eighteenth century, Rouen was a major center of faience production in Europe with up to fourteen manufactories operating simultaneously. The signature of Rouen faience at this time was a type of intricate decoration imitating embroidery, called lambrequins. The tradition evolved from the practice of late sixteenth- and seventeenth century Chinese potters, who adorned finished porcelain objects with a piece of embroidery. Later, Chinese potters painted export porcelain with motifs reminiscent of the embroidered decorations, inspiring Dutch, Nevers, and Rouen potters to do the same. It was in Rouen, however, that this style of painted decoration became the most elaborate. #faienceatthefrick#frickcollection#faience
Happy Birthday John Singer Sargent, born on this day in 1856. Let's celebrate with an image of Sargent's painting “Spanish Dancer,” made between September 1880 and Spring 1881 in Paris, from the #frichphotoarchive! frickcollection #sargent#fricklibrary
The Photoarchive contains more than one million photographs of works of art in the Western tradition from the fourth to the twentieth centuries. Have a look online, digitalcollections.frick.org, or visit our library-- open to the public for FREE.
A watercolor study for “Spanish Dancer” (private collection) is in the collection of the @dallasmuseumart.
Did you know… that while the Frick does not own his work, we know that Henry Clay Frick had hoped that Sargent would have be able to paint his portrait. Unfortunately, it never happened.
Join us as we bid farewell to Luigi Valadier and The Charterhouse of Bruges during our members-only hour THIS SUNDAY, January 13, from 10-11am. BONUS: Visit the #frickmuseumshop to receive 20% off your purchase during this hour! Not a member, no problem… you can join onsite, or online anytime at Frick.org/membership! #frickcollection #valadieratthefrick #frickjanvos
The object in slide 1 is called Bacchus and Ariadne. In 1780, Valadier mounted a collection of ancient cameos for Pope Pius VI, which had originally belonged to Cardinal Gaspare Carpegna before they entered the papal collection. This particular cameo is made of glass, not stone, and it is an exceedingly rare object. Valadier conceived for it a grand frame into which he inserted small cameos and ancient fragments. One of the two bronze goats at the top is ancient, while the other was created by Valadier to match it.
Luigi Valadier (1726–1785), Bacchus and Ariadne, 1780–85, alabastro d’Orta, bronze and gilt bronze, ancient intaglios and cameos, crystal, ancient glass paste, sculpted fragments; @museelouvre
Winged monopodial lions support these two small marble bowls (tazza in Italian), made by Valadier ca. 1780. The interior of each tazza is decorated with a Medusa head. The design for these objects was used by Valadier a number of times, including for containers in the first deser of the Bailli de Breteuil. These two were probably made about the same time Valadier was at work on the Madrid deser, which is also featured in the exhibition. Take a closer look at this and other works by the artist on view during #valadieratthefrick, through January 20. #frickcollection
FINAL DAYS… Don’t miss your chance to see The Charterhouse of Bruges, on view through January 13! #frickcollection#frickjanvos
This prayer-nut, by Adam Dircksz and workshop, ca. 1517-21, is the only surviving boxwood micro-carving associated with the Carthusian order. It exemplifies the variety of devotional objects used by the monks, especially in the order’s upper echelons. Depicted across its two hemispheres is the prior-general of the order, François du Puy, introduced by the order’s founder, St. Bruno, to the Virgin and Child. Du Puy holds a scroll petitioning the Virgin — and the viewer — for remembrance and protection. This imagery replicates that of the Frick Virgin on a miniature scale. The outer shell of the prayer-nut depicts a scene from the foundation myth of the order.
Not in New York… take the virtual tour on our website at frick.org/exhibitions/charterhouse_bruges.
It’s the final day to celebrate the #frickcollection with a tax deductible gift to the #annualfund
The magic of a masterpiece is found in the details. These inticrate passages, discovered with close looking, give meaning to the entire work. At the Frick, YOU are an integral part of our big picture. Your generosity celebrates the details while helping us preserve the entire collection for future generations. Donate by midnight tonight and your contribution will be matched dollar for dollar by Trustee Stephen A. Schwarzian. Thank you for being a part of our masterpiece. frick.org/annualfund. #supportthearts
As 2018 draws to a close, take a closer look at the impact you’ve made here at The Frick Collection. Your continued support makes it possible for us to educate and inspire the public every day. Thank you for your generosity... and we look forward to seeing you in the galleries in 2019! #frickcollection#yearinthelife
Save the date! Artists’ Night at the Frick—Thursday, January 17, from 6 to 9 p.m. Join us for a special FREE night of sketching from artworks and costumed models inspired by the exhibition Luigi Valadier: Splendor in Eighteenth-Century Rome. Enjoy after-hours access to the exhibition, live music, and gallery talks throughout the evening. Online registration is required. frick.org/artistsnight. #frickartistsnight#frickcollection#frickprograms#valadieratthefrick
NOTE: There will be no #frickfirstfridays event in January. First Fridays resumes February 1.
what a “frick”ing fantastic morning!
I woke up this morning a quarter after 10 — the first time since I’ve had time to sleep in since Fall Break — and even though our hot water isn’t working and there’s a funny smell in the apartment (probably from dropping some cauliflower on the side of the stove while I was cooking), whit and I got to go shower at the yoga studio she works at on Allen Street under waterfall shower heads before we started our day. From there, we went to buy bagels from Davidovich Bakery [ @bestbagel ] in the colorful Open Market down on Essex Street which we proceeded to eat on the train up to 68 Street where we wondered through the Frick Collection. There, I got to see paintings that I studied in class this past semester and smell the flowers that I will have at my wedding someday and on the way home we stopped in the coffee/bookshop, Shakespeare&Co. where we sipped coffee and were gifted unreleased books.
Today was such a New York day, reminding me of all the reasons of why I love this little city and why I moved to this beautiful metropolis in the first place.
These amazing holiday cards were created by Frick staff member, Lorenzo De Los Angeles III, and were featured in yesterday’s festive edition of our FB Live “Librarians’ Choice”. To hear about Lorenzo artistic process and inspiration check out the video on our Facebook page. #fricklibrary#frickcollection#holidaycards#happyholidays
This ewer and recently-discovered basin, on view in #faienceatthefrick, are two of the most beautiful known pieces of 17th-century French faience made with the famous dark blue background known as “Nevers blue.” Their shapes recall silver pieces used at the court of Louis XIV while their painted decoration — with figures wearing turbans, a shepherdess spinning a distaff, and peddlers — is inspired by early seventeenth-century French literature, including the novel L’Astrée by Honoré d’Urfé, published between 1607 and 1627. These two exceptional pieces were originally intended for display during a banquet on a credenza, temporarily set up either inside a royal or princely residence, or outside, in a lavish jardin à la française. #frickcollection#faience
The Frick Collection's app—now featuring audio tours of our acclaimed exhibitions The Charterhouse of Bruges and Luigi Valadier—offers access to more than 1,000 works of art in the museum’s collection. Download for FREE (via iTunes and Google Play). Tours are also available on our website. #frickcollection#valadieratthefrick#frickjanvos#frickcollectionapp
The majority of Valadier’s most important commissions came from the Church. For a number of ecclesiastical institutions—in Rome but also elsewhere in Italy and Europe—he designed altars, candlesticks, and lamps. Many of the objects he created for churches were destroyed during the Napoleonic Wars. However, a small number of them still exist, such as the altar of the Borghese Chapel (also known as Cappella Paolina) in the Basilica of Santa Maria Maggiore in Rome. A preparatory drawing for the altar can be seen here, made ca. 1760 by the workshop of Antonio Asprucci, the Borghese family architect. It was probably used as a presentation model for the altar. #frickcollection#valadieratthefrick
Workshop of Antonio Asprucci (1723–1808), Design for the Altar of the Cappella Paolina, ca. 1760, pen, black ink, and watercolor over black chalk on paper, @cooperhewitt
Today is #christmascard day! To celebrate we share images of a card Adelaide Frick received from her brother, Howard Childs, on December 24, 1881. The card was sent as both a Merry Christmas and an acknowledgement of her recent nuptials. Adelaide and Henry Clay Frick were married on December 15, 1881. #frickcollection#frickarchives#frickmas
The card reads (slide 2): “Hoping your love may be one continuous honeymoon. Brother Howard”.
THIS JUST IN: Next spring, The Frick Collection will exhibit a selection of paintings, drawings, prints, and photographs related to Giambattista Tiepolo’s first significant project outside of Venice, a series of ceiling frescoes for Palazzo Archinto in Milan. The frescoes were painted between 1730 and 1731 and commissioned by Count Carlo Archinto, one of the most prominent patrons and intellectuals in Milan during the late seventeenth and early eighteenth centuries. Tragically, Palazzo Archinto was bombed during World War II and its interior was completely destroyed.
Tiepolo in Milan will present about fifty objects from collections in the United States and Europe to tell the story of this important commission. Six preparatory works by Tiepolo will be featured: three paintings (among them, the Frick’s oil sketch Perseus and Andromeda) and three drawings. Complementary drawings and several books of illustrations by the artist will be on view, alongside black-and-white photographs taken between 1897 and the late 1930s, the only surviving records of the finished frescoes in situ. On view April 16 through July 14. #frickcollection#tiepoloinmilan
Giambattista Tiepolo, Perseus and Andromeda, ca. 1730–31. Oil on canvas.
The Alysia behind the Alysia! Flats or heels? “For years, when I ran my gallery, I wore a lot of heels, but I have always embraced the loafer and the Lauren Bacall inspired look. I don’t think Sarah knew that about me when she designed the Alysia - or that I absolutely love tartan, so when she paired the flat with the plaid - together they are a perfect match for me. For everyone actually.” #walklikeawoman#madeinitaly
“I can only hope that the public will get one-half the pleasure that has been afforded me in the enjoyment of these masterpieces.” —Henry Clay Frick, 1919
Your #givingtuesday contribution enables thousands of visitors each year to delight in the Frick’s treasured collection. We are grateful to count you among our loyal friends and appreciate your participation in the current matching grant from Trustee Stephen A. Schwarzman. No gift is too small. Thanks for making it count! support.frick.org/givingtuesday. #frickcollection#supportthearts
Happy #museumstoresunday! Looking for that special something… be sure to visit the #frickmuseumshop and online store for a wide selection of Frick-inspired and holiday gift items for everyone on your list! Every purchase supports the museum. Today also kick’s off our annual Members Holiday Shopping Week. Members enjoy double the discount with 20% off all full-priced items in the Museum Shop and online, through December 2. frick.org/shop #frickcollection#frickmas#happyholidays
This is a fine copy after a work painted by Jan van Eyck in 1439, today in the Museum of Fine Arts, Antwerp (@kmska_museum). The composition was immensely popular in Bruges, and at Genadedal in particular, until the first decades of the sixteenth century. The figures of the Virgin and Child, along with the oak-leaf motif in the Cloth of Honor behind them, are adapted in the Frick Virgin. Painted in Van Eyck’s workshop about the same time as the Frick Virgin, the two panels bear witness to the quality of the workshop’s output before and shortly after the master’s death. #frickjanvos#frickcollection
Workshop of Jan van Eyck, The Virgin and Child by a Fountain (detail), ca. 1440, oil on panel, Private collection
When he first saw Rembrandt's Polish Rider in 1910, Henry Clay Frick sent his art advisor a single-word telegram: “ENCHANTED.” This painting, with its mysterious and romantic subject, has continued to captivate visitors since the museum opened in 1935. This #givingtuesday, November 27, help the Frick conserve and present masterworks like this now and into the future. Make a gift to the #annualfund by December 31 and your contribution will be matched dollar for dollar by Trustee Stephen A. Schwarzman. Please give generously! www.frick.org/annual_fund #frickcollection#supportthearts
This small vase by Valadier is of exquisite quality and made with an exotic and seldom used marble, rosso Appennino. This is the only known marble object by the artist to have gilt-silver mounts. The acorn on the top suggests that the vase may have been commissioned by the Chigi family of Rome, whose coat of arms included oak branches. Take a closer look during #valadieratthefrick, on view through January 20. #frickcollection#valadier
Luigi Valadier (1726–1785), Vase, ca. 1775–80, Rosso Appennino marble and gilt silver, The Frick Collection, New York
French Impressionist Claude Monet was born #onthisday in 1840. We celebrate with his painting, Vétheuil in Winter, 1878-79, on view in the North Hall of the museum.
In 1878 Monet moved down the Seine from Argenteuil to Vétheuil, a small town on a bend in the river. Over the next few years he would paint Vétheuil from different points of view and in every season, as seen from the riverbanks, from the meadows, and from a boat he had arranged as a kind of floating studio. It was during the winter of 1878/79 that Monet executed this picture, looking back across the ice floes of the Seine toward Vétheuil’s medieval church tower. On December 12, 1879, Dr. de Bellio, an avid collector of Monet’s work, wrote to the artist that this was one canvas that would never leave his possession.
Fans of the Frick’s painting Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos, ca. 1441–43, by Jan Van Eyck, may have noticed it went on view in our current exhibition with a new frame. Why the change? The former frame was a bit oversized and heavy for the picture, so we created a new frame that was more appropriate to the painting's scale and brought the subject it into tighter focus. Also, the new frame’s design was created following a thorough survey of paintings by Van Eyck with original frames, making it more historically accurate as well. Be sure to take a closer look on your next visit! The Charterhouse of Bruges: Jan van Eyck, Petrus Christus, and Jan Vos, on view through January 13. #frickcollection#frickjanvos#frames
Good luck to all those running the @nycmarathon today! To celebrate the 26.2 miles of the race... we highlight another important 26... 1926... the year the Frick purchased Lady with a Bird-Organ, ca. 1753, by Jean-Siméon Chardin! #frickcollection#chardin#tcsnycmarathon
Happy Birthday to the French artist Jean-Siméon Chardin, who was born #otd in 1699. Did you know that this work, Still Life with Plums, ca. 1730, was the only still life painting in the Frick’s collection until the museum acquired another as a gift 2012. #frickcollection#chardin#stilllife
Celebrate The Frick Collection with a donation to the #annualfund! Thanks to your participation, this year the Frick presented over 1,000 educational sessions to more than 27,000 visitors. Now through December 31, when you make a gift, Trustee Stephen A. Schwarzman will match your contribution, dollar for dollar—doubling your impact— and ensuring the highest caliber of programming now and into the future! Make your gift online today at frick.org/annualfund! #frickcollection#supportthearts
The majority of Valadier’s most important commissions came from the Church. For a number of ecclesiastical institutions — in Rome but also elsewhere in Italy and Europe — he designed altars, candlesticks, and lamps. Most of the objects he created for churches were destroyed during the Napoleonic Wars, melted down to provide cash for the struggling Papal States. A few surviving works of this kind are shown in this exhibition, including these six silver statues from the high altar of the Cathedral of Monreale. The saints, all closely associated with the city— St. Louis, St. Castrense, St. Peter, St. Paul, St. Benedict, and St. Rosalia, were created between 1768 and 1773. This is the first time these works have been on display outside of the church. #frickcollection#valadieratthefrick#valadier
Want to see #valadieratthefrick? Join us today for Member Preview Day from 10a-6p! Not a member, no problem… you can join onsite, or online anytime at Frick.org/membership! Luigi Valadier: Splendor in Eighteenth-Century Rome, on view October 31, through January 20. #frickcollection#valadier
Faience is the term for tin-glazed earthenware produced in France during the sixteenth through eighteenth century. The production of tin-glazed earthenware in France is directly related to the arrival in Lyon, during the second half of the sixteenth century, of several Italian maiolica potters and painters who were seeking opportunities outside Italy. Many Italian ceramists are known to have established themselves there, although their work has not yet been identified.
The only recorded objects with signatures are those painted by Gironimo Tomasi. Stylistic comparison suggests that three (possibly four) pieces in the Knafel collection were possibly made by Tomasi in Lyon, sometime between his arrival in the city, in 1581, and his death, in 1602. These rare objects, among them this plate, are painted in the tradition of those produced a generation earlier by the Fontana workshop in Urbino, Italy where Tomasi received his early training. #frickcollection#faienceatthefrick#faience#tomasi
Painting attributed to Gironimo Tomasi, Plate, Lyon, ca. 1582−85, Faience (tin-glazed earthenware), D. 17 3/4 inches, Sidney R. Knafel Collection, Photo: Michael Bodycomb
There has been several theories about the meaning of the fly in Petrus Christus’s Portrait of a Carthusian Lay Brother, 1446. One theory might be the fly is a demonstration of artistic virtuosity that goes back to antiquity: in his Natural History, the Roman writer Pliny described how the Greek painter Apelles painted a fly so realistic that viewers attempted to brush it off. Artists of the Renaissance appropriated the motif in order to flaunt their own skills, showing they could rival the Ancients. The fly has also been thought to symbolize the devil, a symbol of death and decay referring to the transience of life and the sitter's mortality. The exhibition’s curator, Emma Capron, has also suggested that it might be a play on the sitter's name (for the Flemish for fly vlieg could refer to the common Flemish patronym De Vliegher or a variation thereof). #frickjanvos#frickcollection#petruschristus
The Charterhouse of Bruges: Jan van Eyck, Petrus Christus, and Jan Vos through January 13.
Petrus Christus, Portrait of a Carthusian Lay Brother, 1446, oil on wood, The Jules Bache Collection, 1949 @metmuseum
IN ONE WEEK… the Frick presents the first monographic exhibition devoted to one of the important figures of eighteenth-century Italian decorative arts, Luigi Valadier (1726–1785). He was a talented draftsman, designer, goldsmith, silversmith, and bronze founder, using precious stones as well as enamel, wood and glass, to create whimsical and elegant works of art for noble clients. Learn more during ‘Luigi Valadier: Splendor in Eighteenth-Century Rome,’ on view October 31, through January 20. #frickcollection#valadieratthefrick#valadier
Egyptian Clock, 1785 Hardstones, various marbles, gilt bronze, and mosaic, Private Collection; photo: Mauro Magliani
Enjoying the “Dordrecht: Sunrise,” ca. 1650, and celebrating the artist of this painting, Aelbert Cuyp, who was born #otd in 1620. #frickcollection#notonview#cuyp
This early morning scene, with its golden expanse of sky and water, is one of Cuyp’s most ambitious attempts to render light and atmosphere. The painting may ultimately reflect the influence of Claude Lorrain, whose landscapes impressed many Dutch artists. Cuyp depicts the port city of Dordrecht as seen from the north, looking across the river Merwede. Most prominent among the recognizable buildings is the Groote Kerk, the church on the horizon to the left of the large boat in the foreground.
Get excited for the next #fricklibrary Book Club!!! This season we are featuring “The Hare with Amber Eyes,” by writer and artist Edmund de Waal. Grab your copy and join us at the Library on Friday, October 26 from 4-6p to discuss this fantastic book. Sign up at frick.org/programs/library. #frickcollection#bookclub#edmunddewaal
This non-fiction work traces the history of the prominent Ephrussi family through the author’s inheritance of more than 200 netsuke, miniature Japanese wood or ivory carvings. The book offers a fascinating and original look at the second half of the nineteenth century through the mid-twentieth century, which was a period defined by modernization and war.
NOW OPEN… Masterpieces of French Faience: Selections from the Sidney R. Knafel Collection. #frickcollection#faienceatthefrick
The exhibition presents seventy-five objects from the collection of Sidney R. Knafel — the finest collection of French faience in private hands — to tell the fascinating and complex history of this particular art form.
A feat of great technical achievement, French faience was introduced to Lyon in the second half of the sixteenth century by skilled Italian immigrants — the French word “faience” derives from the northern Italian city of Faenza. Over the next two centuries, production spread throughout the provinces of metropolitan France. The fine decoration of French faience draws inspiration from multiple sources, including Italian maiolica, Asian porcelain, and contemporary engravings. The forms of its platters, bowls, plates, and ewers derive mostly from European ceramics and silver. These influences comes together in works of great originality.
Join us TOMORROW (10/16) at 6pm for the 2018 Artists, Poets & Writers Lecture at the Frick! Known for his monumental—sometimes mechanical—sculptures, artist Conrad Shawcross will explore the breadth of his practice intersecting science and philosophy. Lecture is FREE! Can’t make it… watch the livestream frick.org/live. #frickcollection#frickprograms
This lecture is made possible by the Drue Heinz Trust.
IMAGE: Shawcross Fracture Detail (R24W4), 2018
Henry Clay Frick’s beautiful collection of art in the building that was his previous home @frickcollection. First room features wall panels by Boucher (1703-1770), third room features wall panels by Fragonard (1732-1806).
Celebrating #globaldayofclay, a worldwide celebration of ceramics in all its forms, connecting institutions, professional ceramicists, artists, academics and everyday ceramics lovers with new ideas, innovations and works that are shaping the art form. Enjoy Houdon’s Diana, on view in the east gallery. #frickcollection@92ndstreety
Conrad Shawcross features in the Frick Collection’s upcoming Artists, Poets, and Writers lecture series. Shawcross's lecture, Exploding Paradigms and Parallax Disruptions, will take place on 17 October from 6–7pm and will outline the breadth of his practice, focusing specifically on recent works from his two series, Paradigms and Optics.⠀
Image: Conrad Shawcross, Exploded Paradigm, 2018. This major site-specific sculpture has been commissioned for the new Comcast Technology Center building in Philadelphia, designed by Foster + Partners. The artist’s largest Paradigm work to date (18m tall) occupies the lobby of the building, its complex mirrored surfaces enhancing the visitor’s experience of the surrounding architecture. Photography: Chuck Choi⠀
It’s New York Comic Con! In honor of this most AMAZING weekend... I share with you the little known fact that The #frickcollection was the inspiration for the Avengers Mansion! Watch Stan Lee discuss how he cast the Frick as the home base for these beloved heroes and find out what other NYC landmarks play major roles in your favorite comics by checking out the 2004 documentary "Marvel Superheroes Guide to NYC!” vimeo.com/50060114 #nycc#avengers#avengersmansion#tbt@newyorkcomiccon@marvel
In April 1441, the Carthusian monk Jan Vos was elected prior of the Charterhouse of Bruges — known as Genadedal in Flemish — an important monastery patronized by the dukes of Burgundy and the city’s foremost patricians. Carthusians were revered for their strict commitment to solitude, silence, and seclusion. Their charterhouses (monasteries of the Carthusian order) were rich in works of art, but these came mostly from lay patrons. By contrast, Vos himself, over the course of his nine years at the helm of the charterhouse, commissioned a painting from each of Bruges’s two leading artists: Jan van Eyck and Petrus Christus. The Frick Collection’s Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos was commissioned from Van Eyck shortly before his death and executed by a talented member of his workshop. The Virgin and Child with St. Barbara and Jan Vos (known as the Exeter Virgin after its first modern owner) was painted by Christus a few years later. #frickcollection#frickjanvos
Look what’s now on view in the South Hall... #bronzino! #frickcollection
Lodovico Capponi, 1550–55, oil on canvas
This proud young aristocrat is Lodovico Capponi (b. 1533), a page at the Medici court. As was his custom, he wears black and white, his family's armorial colors. His right index finger partially conceals the cameo he holds, revealing only the inscription sorte (fate or fortune) — an ingenious allusion to the obscurity of fate. In the mid 1550s Lodovico fell in love with a girl whom Duke Cosimo had intended for one of his cousins. After nearly three years of opposition, Cosimo suddenly relented, but he commanded that their wedding be celebrated within twenty-four hours.
Tour the #fricklibrary on October 13 and 14 during NYC’s annual Open House New York (OHNY)! Registration opens September 25 at 11am... spots will go fast. For more information visit OHNY.org/weekend. #frickcollection@openhousenewyork#ohnywknd
FUN FACTS: The Frick Art Reference Library, 1934 French revivial building by John Russell Pope, boasted many innovative features for its day, including air-conditioned stacks and dumb-waiters to move books between floors in conjunction with a Telautograph system. On this tour, these otherwise non-public spaces and features will be shared and discussed.
On October 31, the Frick presents the first monographic exhibition devoted to one of the important figures of eighteenth-century Italian decorative arts, Luigi Valadier (1726–1785). He was a talented draftsman, designer, goldsmith, silversmith, and bronze founder, using precious stones as well as enamel, wood and glass, to create whimsical and elegant works of art for noble clients. Valadier and his workshop were particularly well known for the creation of substantial centerpieces for dining tables, known in Rome as desers. These ensembles were decorated with miniature temples, obelisks, and triumphal arches. Valadier would scale down monuments from antiquity and reproduce them in precious materials: marbles, stones, and metal. Learn more about these objects and others on view during Luigi Valadier: Splendor in Eighteenth-Century Rome, on view through January 20. #frickcollection#valadieratthefrick#valadier
Reduction of the Temple of Mercury, ca. 1778, lapis lazuli, amethyst, garnet, red porphyry, portasanta, green porphyry, and gilt bronze, Museo Arqueológico Nacional, Madrid
Opening October 10, the Frick will present an exhibition of seventy-five objects from the collection of Sidney R. Knafel — the finest collection of French faience in private hands — to tell the fascinating and complex history of this particular art form. A feat of great technical achievement, French faience was introduced to Lyon in the second half of the sixteenth century by skilled Italian immigrants — the French word “faience” deriving from the northern Italian city of Faenza. Over the next two centuries, production spread throughout the provinces of metropolitan France. The fine decoration of French faience draws inspiration from multiple sources — Italian maiolica, Asian porcelain, and even contemporary engravings. The forms of its platters, bowls, plates, and ewers derive mostly from European ceramics and silver. This complex interplay of influences comes together in works of great originality. #faienceatthefrick#frickcollection#faience
1: Plate, Rouen, ca. 1725, Faience (tin-glazed earthenware), D. 9 5/6 inches, Promised Gift of Sidney R. Knafel; photo: Michael Bodycomb
2: Orange Tree Planter, Nevers, ca. 1680, Faience (tin-glazed earthenware), H. 25 inches, W. 27 inches, D. 21 1/8 inches, Promised Gift of Sidney R. Knafel Photo: Christophe Perlès
3: Painting attributed to Gironimo Tomasi, Dish, Lyon, ca. 1582−1600, Faience (tin-glazed earthenware), D. 18 7/8 inches, Promised Gift of Sidney R. Knafel, Photo: Michael Bodycomb
IN ONE MONTH… The #frickcollection reunites for the second time in their history (and the first time in almost 25 years), two masterpieces of early Netherlandish painting commissioned by the Carthusian monk Jan Vos. These works, the Frick’s Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos (image 1), commissioned from Jan van Eyck and completed by his workshop, and The Virgin and Child with St. Barbara and Jan Vos (image 2- known as the Exeter Madonna, after its first recorded owner), painted by Petrus Christus and now in the Gemäldegalerie, Berlin, will be shown with a selection of objects that place them in the rich monastic context for which they were created. The show will explore the works’ patronage, function, reception, and spiritual environment, offering a focused look at devotional practices in Bruges during the mid-fifteenth century. The Charterhouse of Bruges: Jan van Eyck, Petrus Christus, and Jan Vos, will be on view at the Frick beginning September 18. #frickcollection#frickjanvos#vaneyck#petruschristus
This summer, the Frick hosted the “Forum on Canova and the Presidential Image,” a three-part series examining the construction of the presidential image in light of the special exhibition #canovaswashington. Each after-hours conversation was led by a noted scholar with a distinct perspective on the commemoration of public figures, from antiquity through the twenty-first century. For more information on related programs, visit frick.org/programs. #frickcollection#washingtonwednesday
July 25, “Interrogating the Presidential Image in the 21st Century”
Annette Gordon-Reed, Charles Warren Professor of American Legal History at Harvard Law School and Professor of History in the Faculty of Arts and Sciences at Harvard University
July 11, “Gilbert Stuart and a Presidential Image for a New Nation”
Carrie Rebora Barratt, President of the New York Botanical Garden and former Curator of American Paintings and Sculpture at the Metropolitan Museum of Art
June 27, “The Presidential Image and the Legacy of Antiquity”
Kenneth Lapatin, Curator of Antiquities at the J. Paul Getty Museum
Monet’s Vétheuil in Winter, 1878−79, has returned from a visit to the @national_gallery! Happy to have this snowy painting on view in the galleries on this hot summer day. be sure to cool off in front this picture on your next visit. #frickcollection#monet
Notice something similar in this installation? #frickcollection#boucherroom
Bust of a Young Girl, After Jacques François Joseph Saly, 19th century, marble
The Arts and Sciences: Painting and Sculpture, François Boucher and Workshop, ca. 1760, oil on canvas
For today’s #washingtonwednesday, we continue to look at Canova’s process of creating the statue. The objects surviving from this process— drawings and three-dimensional sketches— demonstrate how Canova developed his ideas for the sculpture.
In December 1817, Canova produced the sketch in slide one and two. It is the second of four he would make in preparation for the life-size modello. He described this version as “much superior to my first idea.” The body is more upright and the position of the legs reversed. Instead of a toga, the president wears ancient armor. He is shown writing, as in the two drawings, and with a crown and scepter on the floor, having relinquished his command.
In the final sketch (slide three) for the sculpture, Canova created a more finished model. Here, the figure’s armor is highly decorated. The artist replaced the crown and scepter, seen in the second bozzetto, with a sword and baton more appropriate for a republican statesman.
The life-size modello. #canovaswashington#frickcollection
Images 1-3 by Fabio Zonta @museocanova
To celebrate the newest episode of @antiquesmag’s #curiousobjectspodcast, they have nominated us to share a curious object from our collection... and nominate some of our friends to do the same. #mycuriousobject is a pair of porcelain and gilt-bronze candelabra by Pierre Gouthière, the great French eighteenth-century chaser-gilder, who worked for an elite clientele, including Marie Antoinette; the Duke of Aumont and his daughter-in-law, the Duchess of Mazarin; as well as Louis XV’s mistress, the Countess Du Barry. @cooperhewitt@themorganlibrary@thejewishmuseum@museumofcityny@nyhistory@neuegalerieny@nypl what treasures from your collections can you share??
These candelabra, among Gouthière’s last commissions for the Duke of Aumont, are a true tour de force. The extremely detailed chasing lends a naturalistic appearance to the swirling ivy and grapevines decorating the vases’ shoulders, as well as to the individual pomegranates, pears, and other fruits that spill from the cornucopias that form each candleholder. At the same time, the rough texture of the goats’ ridged horns contrasts with the silky appearance of their wool. Gouthière’s superb chasing was embellished by his unique gilding techniques, which included dorure au mat, or matte gilding, that can be seen here on the goat’s heads and on the many leaves on the candleholders.
What distinguishes these candelabra is the contrast of the bronzes made by Gouthière—whose craftsmanship is comparable to that of a goldsmith—with the simplicity of the white vases. These were considered in the Aumont sale catalogue to be of Meissen porcelain, although they appear in the section titled “old white Japanese porcelain.” Regardless of what Aumont knew about the porcelain, he valued these vases highly enough to have commissioned such exquisite mounts for them.
The candelabra will be the subject of an upcoming volume in the Frick Diptych series.
We’re kicking off our #museuminstaswap tour of the Frick mansion with a stop in the Living Hall. With striking works by Holbein, El Greco, and Titian alongside pieces of French eighteenth century furniture, the installation of paintings and furniture in the Living Hall appears today almost exactly as it did in Mr. Frick’s lifetime. Swipe to see a view of the Living Hall from 1935, courtesy of @frickcollection.
Fun fact! Each of The Frick Collection's sixteen permanent galleries offers a unique presentation of artworks arranged for the most part without regard to period or national origin, akin to the way Mr. Frick enjoyed the art he loved before bequeathing it to the public. #frickcollection#metbreuer