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Living Histories: Queer Views and Old Masters is an exciting volume
featuring the work of four New York based artists, each presenting
a single new work in conversation with celebrated paintings in The
Frick Collection, with particular emphasis on issues of gender and
queer identity typically excluded from narratives of early modern
European art. The idea of commissioning four works to display at
Frick Madison emerged when four masterpieces by Vermeer, Holbein,
and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon,
Doron Langberg, Toyin Ojih Odutola and Salman Toor were
commissioned to replace them, alongside other works by these
artists. This book is the result of the four New York artists'
responses to the Frick's collection, and the conversations their
work engendered. Written contributions are provided by Jonathan
Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds,
Legacy Russell, and Russell Tovey. SELLING POINTS: . Queer art for
the Old Masters . Ties in with a series of ongoing installations of
works by contemporary LGBTQ+ artists produced in response to
selected works at the Frick . Contributions by artists, writers and
curators bring a diverse and rich perspective . Featured artists
Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, and Salman Toor
allow us to see long-familiar works in the Frick's collection in
new ways . Doron Langberg's Lover is paired with Hans Holbein's Sir
Thomas More;; Jenna Gribbon's What Am I Doing Here? I Should Ask
You the Same with Holbein's Thomas Cromwell Salman Toor's Museum
Boys with Johannes Vermeer's Officer and Laughing Girl and Toyin
Ojih Odutola's The Listener with Rembrandt's Self-Portrait 45
colour illustrations
Painted by Agnolo Bronzino (Agnolo di Cosimo) (Italian,
1503–1572) ca. 1550–55, the 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.
This beautiful publication presents for the first time the
Eveillard Gift of drawings to The Frick Collection, the most
important gift of drawings and pastels in its history. It
accompanies an exhibition at the Frick and includes a catalogue of
the works and commentaries by noted scholars. Twenty-six works of
art promised to The Frick Collection by Elizabeth and Jean-Marie
Eveillard dramatically advance the museum's commitment to the
research and display of European drawings. Included in this
transformative gift from two longtime supporters of the Frick are
exquisite drawings, pastels, prints, and one oil sketch by Francois
Boucher, Gustave Caillebotte, Edgar Degas, Eugene Delacroix,
Jean-Honore Fragonard, Thomas Lawrence, Francisco de Goya y
Lucientes, John Singer Sargent, Elisabeth Vigee Le Brun, and
Jean-Antoine Watteau, among others. The works include figurative
sketches, independent studies, portraits, and landscape scenes,
each either deepening the museum's celebrated holdings or bringing
the work of an artist who is not face=Calibri>- but should be -
represented in the collection. This lavishly illustrated
publication, which accompanies an exhibition at the Frick, includes
a catalogue of the works, as well as comprehensive commentaries on
each of promised gifts written by noted scholars in their field.
American artist Barkley L. Hendricks (1945 2017) revolutionized
contemporary portraiture with his vivid depictions of Black
subjects beginning in the late 1960s. This book contextualizes
Hendricks s portraits at different stages of the country s history
and places him in the pantheon of innovative twentieth-century
artists. Hendricks developed his signature style at a time of
significant social and cultural change in the United States,
especially with regard to Black artists, and amid a perceived
bifurcation between abstraction and representation. He produced
portraits from the late 1960s through the early 1980s. Following a
hiatus during which he made landscapes, basketball paintings, works
on paper, and photographs, he resumed his portraiture practice from
2002 until his death in 2017. Hendricks s portrait paintings, often
derived from photographs of friends and family, hired models, or
figures he encountered on the street, were inspired by the artist s
research, international travels, and visits to museums like The
Frick Collection, where he studied centuries-old European paintings
by artists such as Rembrandt, Van Dyck, Bronzino, and others. This
publication presents some of the most inventive and striking
examples from Hendricks s first period of portrait painting,
including 'limited-palette' canvases featuring Black figures
dressed in white against white backgrounds a self-portrait, and
boldly colorful works that spotlight their subjects spectacular
styles and poses. An assessment of this great artist acknowledges
his significant contributions to the canon of American art and
portraiture in general.
Based on the critically acclaimed video series of the same name,
Cocktails with a Curator presents a lively, relaxed, and
informative mini-lecture on a single work in the Frick s
collection. Most of the works discussed are paintings, but
sculpture, drawings, and decorative arts objects are also subjects.
Each commentary is accompanied by a recipe for a cocktail that ties
in with the work presented. For instance, a Jaded Countess
(absinthe, vodka, lemon juice, and simple syrup) is the cocktail
paired with Ingres s beautiful portrait Comtesse d Haussonville.
The Bloody Mary joins the intriguing story of the painting of Sir
Thomas More by Hans Holbein the Younger, and a classic Pimm s Cup
accompanies Thomas Gainsborough s lovely depiction of Grace
Dalrymple Elliott. The inspiring and knowledgeable personalities of
the curators come out with each of the sixty-five tales, all edited
with an eye toward maintaining the tone of the videos.
The White Horse (1819) by John Constable (1776-1837) depicts a
tow-horse being ferried across the river Stour in Suffolk, just
below Flatford Lock at a point where the tow-path switched banks.
Constable, who described the scene as as placid representation of a
serene, grey morning, summer, went on in later years to comment:
There are generally in the life of an artist perhaps one, two or
three pictures, on which hang more than usual interest-- this is
mine. A scholarly essay by Frick curator Aimee Ng, is paired with a
piece by artist William Kentridge, who writes about finding
inspiration in Constable's nostalgic world. The painting was well
received when it was shown at the Royal Academy exhibition of 1819,
and it was purchased by Constable's friend Archdeacon John Fisher.
Constable bought back the painting in 1829 and kept it the rest of
his life.There is a full-scale oil sketch for The White Horse in
the National Gallery of Art, Washington, DC.
An exploration of Turner as an artist-traveler, in relation to two
important European harbor scenes This publication marks the return
to the United Kingdom, for the first time in over a century, of two
groundbreaking oil paintings by J. M. W. Turner (1775-1851), on
loan from The Frick Collection in New York: Harbour of Dieppe:
Changement de Domicile and Cologne, the Arrival of a Packet-Boat:
Evening. They were acquired by wealthy American industrialist Henry
Clay Frick in 1914 and have remained in the USA ever since. Painted
in the mid-1820s, Dieppe and Cologne exemplify Turner's lifelong
fascination with the subject of ports and harbors -past and present
-as dynamic, transitional places. Exhibited at the Royal Academy in
1825 and 1826 respectively, they represent in powerfully visual
terms the outcomes of Turner's regular sketching tours within
Europe that were central to his fame as an artist-traveler, as well
as his radical approach to color, light, and brushwork. This
sumptuously illustrated publication examines Turner's creative
process, and his use of sketchbooks and watercolors to capture his
ideas as he traveled. Published by National Gallery
Global/Distributed by Yale University Press Exhibition Schedule:
The National Gallery, London November 3, 2022-February 19, 2023
The Stephen K. and Janie Woo Scher Collection of portrait medals is
unparalleled among those in private hands. Noted for its
comprehensiveness and outstanding quality, it includes medals
dating from the fifteenth to the nineteenth centuries. This new
volume, the result of a the Schers' gift of 450 medals to The Frick
Collection in 2016, brings to life these masterpieces of
small-scale sculpture, conveying the circumstances of their
creation and their historic significance. Beginning in the Italian
Renaissance, medals were made to commemorate individuals and to
acknowledge specific events or milestones, such as marriages,
deaths, coronations, and military victories. They were precious,
portable, and popular among the wealthy and powerful. This book
provides a concise, fascinating introduction to their artistry.
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