PSA

‘The Goldfinch’ Is Nearly Gone

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If you’ve attempted to take a stroll down Fifth Avenue on weekends, during the recent holidays or really any time since Oct. 22, you will have had to dodge the long, snaky line wrapping around Henry Clay Frick’s old home. Though some patient visitors might just be waiting for the chance to see Johannes Vermeer’s famous Girl With A Pearl Earring, intrepid literary fans are queuing up for another traveling treasure: The Goldfinch by Carel Fabritius. The tiny panel is enjoying new celebrity thanks to Donna Tartt’s novel of the same name, and fans of the book shouldn’t miss the chance to see the painting in person. The Royal Picture Gallery Mauritshuis in the Hague doesn’t lend its treasures out all that often, and these paintings, plus 13 others comprising the Frick Collection’s “Vermeer, Rembrandt and Hals: Masterpieces of Dutch Painting from the Mauritshuis” show haven’t left the Netherlands in nearly 30 years.  Read More

Review

The Women in His Life: ‘Renoir, Impressionism and Full-Length Painting’ at The Frick Collection

"Dance at Bougival" (1883) by Picasso. (©2012 Museum of Fine Arts, Boston)

Just as Fashion Week swept over New York, with lithe girls in tomorrow’s ensembles dropped on nearly every downtown block, an exhibition uniting for the first time nine large-scale figure paintings by Pierre-Auguste Renoir made its debut at the Frick Collection. The show highlights not only Renoir’s interest in the full-length, nearly life-size format, but is also a neat grouping of his depictions of the modern young woman of his time. Made between 1874 and 1885, these images capture her habits and costumes, from patent leather shoe to pleated cap, as well as the vision Renoir had of women and their role in the modern world. Read More

Review

Portrait of the Artist as a Young Man: ‘Picasso’s Drawings, 1890-1921’ at the Frick Collection

"Pierrot and Harlequin" (1920) by Pablo Picasso. Pen and black ink with gouache on cream paper, 10 3/4 x 8 3/8 inches. (© 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

Like one of his Cubist creations, Picasso would seem to have as many faces as his curators require. Despite several Picasso solo shows this year (the intellectual collage artist at MoMA, the adulterous powerhouse painter at Gagosian Gallery), the Frick has, in the early drawings, discovered yet another facet to the 20th century’s favorite artist: precocious turn-of-the-twentieth-century draftsman. Looking at Picasso through the lens of drawing, and positioning him in relation to his engagement with artists of the past during the first three decades of his career, is a clever trick for the Frick, a museum of old masters; the result is a portrait of youthful ability and intense ambition. Read More