Displaying items by tag: The Frick Collection

Anthony van Dyck (1599–1641), one of the most celebrated and influential portraitists of all time enjoyed an international career that took him from his native Flanders to Italy, France, and, ultimately, the court of Charles I in London. Van Dyck’s supremely elegant manner and convincing evocation of a sitter’s inner life—whether real or imagined—made him the favorite portraitist of many of the most powerful and interesting figures of the seventeenth century. This is the most comprehensive exhibition ever organized on Van Dyck’s activity and process as a portraitist and the first major exhibition on the artist to be held in the United States in over twenty years.

Cervantes’s "Don Quixote" is considered by many to be among the greatest works of fiction ever written. From the publication in 1605 of the first of two volumes (the second followed ten years later, exactly 400 years ago), the novel enjoyed immense popularity. Reprints and translations spread across Europe, with the adventures of the knight Don Quixote and his companion, Sancho Panza, captivating the continental imagination and influencing both the performing and visual arts.

"Coypel’s Don Quixote Tapestries: Illustrating a Spanish Novel in Eighteenth-Century France" is devoted to a series of tapestries by Charles Coypel (1694−1752), painter to Louis XV, which illustrates twenty-eight of the novel’s most celebrated episodes and woven at the Gobelins Manufactory in Paris. The exhibition includes three Gobelins tapestry panels from the J. Paul Getty Museum in Los Angeles and two Flemish tapestries inspired by Coypel from The Frick Collection, which have not been on view in more than ten years.

Look carefully at Ingres’s painting of the Comtesse d’Haussonville and you realize that her right arm does not make any sense, it is coming right out of her rib cage. “It was deliberate,” said Emilie Gordenker, who was blown away by the painting as a college student in Connecticut. “He wanted to create this incredibly sinuous line that works perfectly … she makes this beautiful S-shape.”

This week the Comtesse is the poster girl for an unprecedented exhibition at the Mauritshuis in The Hague, where Gordenker is director.

None of them is pristine. From the beginning, they experienced decades of fitful renovation, and their occupants still keep bursting through walls. There’s never enough space. Some institutions wear their history more lightly, or have the luxury of starting fresh.

The monumental exhibition ‘Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Paintings from the Mauritshuis’ has attracted more visitors to the Frick Collection than any other show in the museum’s history. Highlights from the exhibition include Johannes Vermeer’s ‘Girl with a Pearl Earring,’ which has not been displayed in New York since 1984, as well as masterpieces by Frans Hals, Jan Steen and Jacob van Ruisdael.

The Mauritshuis, the Netherlands' Royal Picture Gallery, decided to send 15 of its paintings on an American tour while the museum wraps up a two-year renovation. The Frick is the final venue for the traveling exhibition. 

‘Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Paintings from the Mauritshuis’ will be on view at the Frick through January 19.

The Frick Collection in New York is the final venue of an American tour of paintings from the Dutch museum the Royal Picture Gallery Mauritshuis. Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis includes fifteen of the museum’s most import works, hand-picked especially for the Frick. Together, the paintings represent the remarkable achievements of northern artists in the 19^th century. Works by Rembrandt, Frans Hals, Jan Steen, Jacob van Ruisdael will be on view as well as Johannes Vermeer’s seminal painting Girl with a Pearl Earring, which has not been displayed in New York since 1984.

While the Mauritshuis is undergoing a two-year renovation, it is lending masterpieces that have not traveled in nearly thirty years. The exhibition at the Frick is accompanied by a catalogue and a series of public programs. It will also include select evening hours.

Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis will be on view at the Frick Collection through January 19, 2014.

THURSDAY, May 19, 2011:  Today, the Board of Trustees of The Frick Collection announced the appointment of Ian Bruce Wardropper as the next Director of the institution.  Mr. Wardropper, currently Iris and B. Gerald Cantor Chairman, Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art, will take up the post as of October 3, 2011, with the retirement of the Frick's Director of eight years, Anne L. Poulet.  Wardropper will be responsible for the overall vision of The Frick Collection, which includes the Frick Art Reference Library.  Comments Margot Bogert, Chairman of the Board of Trustees, "We are delighted to welcome Ian Wardropper to The Frick Collection as its next Director.  He comes to the institution with a significant and nuanced combination of experience as a scholar and curator in areas that relate beautifully to the holdings of the Frick.  As an administrator over large collections and staffs at The Metropolitan Museum of Art, and previously at the Art Institute of Chicago, Ian Wardropper played an increasingly involved role-- along with Trustees, Director, and Development colleagues-- in the fundraising efforts required of large-scale projects, among them the multi-million dollar renovation of the former institution's Wrightsman Galleries in 2006-07.  His top-down involvement in such successful and well-received initiatives, his relationships with collectors and donors, and his appreciation for the high standards and values espoused by the Frick, inspire great confidence in us today as we share this wonderful news."
 
Adds Wardropper, "Since my earliest years as an art history graduate student in New York, The Frick for me has represented the highest standards of art display, research, and programs as well as the ideal institutional size in which to experience them.  Decades later, it maintains this exemplary role, while expanding an impressive exhibition program, producing a rich body of publications and educational offerings, and furthering the Library's already rich research initiatives and resources.  With all of these observations in mind, I embrace the opportunity to join the Frick as its Director, all the more so, as I have found great satisfaction over the years in nurturing and supporting the activities of departmental and museum colleagues and in serving the larger agenda and mission.  I look forward to the task of maintaining institutional excellence and the challenge of renewing its programs."
 
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