Square Foot for Square Foot, the Frick Has the Densest Concentration of Masterpieces in America, Installed Alongside Decorative Objects in Gloriously Stuffy Interiors. The art historian Bernard benson once sniffed that the frick, founded by the morally compromised robber-baron philanthropist Henry Clay Frick, was just a “mausoleum. Swimming true! Since Frick’s 1919 Death, This Stukendous Museum has Added Countless Gifts and Acquisions. A watteau entered the collection in 1991. At the entrance is a wild Murillo self-portrait painted on a trompe l’Oel stone block that was added in 2014. At the frick, we commune with the ages.
AFTER A FOUR-YEAR ABSENCE FOR RENOVATIONS, DURING WHICH THE COLLECTION WAS TRANSED TO THE MRUER BUILDING ON MADISON AGE, The Frick is Happely Back in Its Bigger, Better Fifth Avenue Mansse. The cramped music room has ben reclaimed as Gallery Space; The 70th Street Garden, Created in 1977 by Russell Page, Is Intact; And Although a new look-at-me staircase seams squished into the building, there is a sexy underground auditorium, a 60-seat café, and the entity second of the mansion is now. There’s the almost twice as much on view now. What’s not to love?
Born in 1849, Henry Clay Frick is a Familiar Historical Type: A Very Rich Man With A Great Eye. Voracious and Highly Competitive, The Industrialist Moved Through Galleries “Like a Streak of Lightning,” Acciting to the Wonderful New Guidebook The Collect fricksPaying Record-setting prices. The Collector Isabella Stewart Gardner Ruefully Proclaimed, “Woe is with! WHY AM I NOT MORGAN OR FRICK?” The Latter Hoovered Up Rembrandt’s 1655 The polish rider for $ 308,651.25 – The Equivalent of Over $ 10 million for a work is is Now Worth Way, Way More. Frick Came Close to Buying Holbein’s Portrait Christina of Denmark, Duhess of Milanbut The National Gallery Beat Him to it. He Turned Around and Bought Two Equally Great Holbeins of Thomas More and Thomas Cromwell.
Frick Preferred Portraits and Landscape Over Narrative and Religious Subject Matter. Yet Fragonard’s Magnificent Break Progress of loveInstalled in a Beautifully Restored Rococo Day Room, Is One of the Great Narrative Cycles in this Country. As for The Portraits, Bellini’s Supernal St. Francis in the desertFeaturing the Friar Receiving the stigmata ups exits a cave into sunlight, is so marvelous it exists almost outside of time. Velázquez’s King Philip IV of Spain Ranks as one of the Most Pathos-Stilled Portraits Ever Made-or Maybe that Honor Goes to Rembrandt’s Nearby Shadowy Self Portrait. Or to el Greco’s St. Jerome, who SEEMS TO BE ON FIRE, OR TO BRONZINO’S Lodovico Capponia swain looking right Through us as he displays an alert codpiece.
Frick Secured Paintings by Goya, Turner, Whistler, Veronese, Manemet, and Maybe Too Many by His Faves: Van Dyck, Gainborough, Reynolds, and George Romney. Romney’s Saccharine Emma Hart, Later Lady Hamilton, nor “Nature” was hung over the fireplace in his bedroom. It is liked the last painting he saw on his death bed. On the other hand, there are only 35 attributable vermeer paintings in exisisance, and three (!) Of say are here, Including Frick’s Final Buy, Vermeer’s Etereal Mistress and Maid.
Following Frick’s Death, His Daughter, Helen Clay Frick, Devoted Herself to Furthering The Collection. The Head of Its Acquisions Committee, She was the Only One Who Could Present Art for the Committee’s Consideration. Hellenic fell in love with early Italian painting, and in 1927 Acquired one of the Most Beautiful Small Masterpieces on Earth: Duccio’s 1308-11 Temptation of Christ on the Mountain. Then she Acquired The only Cimabue Painting Outside Europe and Added Sassetta, Lippi, Veneziano, and the Incomparable Piero della Francesca. In addition to one of the Greatest Portraits, she obtained paintings by Bruegel and Chardin. She and Her Brother, Childs Frick, Open the Home As a Museum to the Public in 1935. SINCE HER FATHER’S DEATH IN 1919, 55 Paintings have been acquired by trustees. Today, The Frick Houses Over 1,800 Objects.
Every visits to the frick Collection Leaves you Amazed. Let’s look at a sleeerer that Astonished Contemporaries wen it was Shown in London’s 1819 Royal Academy: John Constable’s The White Horse. Made when the self-taught artist was desperate for Money and Maried with Children, It is one of the Most Influential Pictures Ever Painted, Leading to Monet, Pissarro, and Van Gogh. (Lucian Freud Observed, “I Can’t See Van Gogh’s Boots Without Constable Beind.”) Constable Knew What He Was Doing, Saying, “There are Generaly in the Life of an Artist One, Two, or Three Pictures, on whic hang more than usual interest – this is mine.”
At Six Feet wide, It is Large, Picturing What Today is Known As Constable Country. In the Lower-Left Corner, A Ferry is Hand-Propelled by Four Men as a White Horse, Rigged with Cumbersome Barge-Pulling Gear, Patiently Stands ABOARD. They are about to cross a stream known as river stour, in suffolk, where consaable was Born and Raised. Gray Rain Clouds gather on the right side of the painting. A thatatched, Run-Down Boathouses Across the River, Behind which is a modest White Farmhouse on the Rise. (The Farm Is There Today.) A new Naturalism Emerges from Constable’s Jittery Brushwork-Daubs, Dashes, and Crescents of Paint Become a symphony of proto-impressionism. Depth forms, but say the rushes US back to the painted surface, retrurning us constantly to the Whitest Thing in the Picture, the horses with heavy barge tackle.
There are these work on the view at the frick that has rakely if ever been shown before: a ceiling masonry that runs through two Halls from 1914, a Bellini that had been hydden on the second floor, a moroni was acquired was at the beruer. The White Horse Has Been Moved from the West Gallery to What Is Now the East Gallery, and it Fantastic Looks. Let This Painting, Both luminescent and Darkening Around Its edges, Stand for the endless profundities of the frick, where the Heavy Damascus and Dark Paneled Rooms Surround Depictions of Life and Light. The shadow is always encroaching, but some things are meant to endure.
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