The frick Collection Reopens: A Glimpse into Gilded Age opulence Meets Modern Sensibilities
Table of Contents
- 1. The frick Collection Reopens: A Glimpse into Gilded Age opulence Meets Modern Sensibilities
- 2. From Private Residence to Public Treasure: The Frick’s Evolution
- 3. A new Era: Upper rooms Unveiled
- 4. Personal Touches: Art in the Frick’s Footsteps
- 5. Expanded Collection: New Displays and Special Exhibitions
- 6. Preserving the Past: Downstairs Rooms Retain Their Charm
- 7. Frick’s Vision: Beauty and Elegance
- 8. The Robber Barons and Today’s Tech Titans
- 9. How do you think the Frick Collection balances ancient preservation with modern accessibility in its recent reopening and renovations?
- 10. A Conversation with Isabella Rossi: exploring the Reopened Frick Collection
- 11. the Evolution of the Frick: A Change
- 12. Art and the frick Family’s Footsteps
- 13. Preserving History and Embracing the Future
- 14. The Legacy of the ‘Robber Barons’
- 15. Looking Ahead: The Future of the Frick Collection
Axel Rüger, the new director of the Frick collection, captures the museum’s unique allure, stating, “If I could have a pound for every person who’s told me that the Frick is their favorite museum, I’d be able to retire already.” Rüger, formerly of London’s Royal Academy of Arts, highlights the Frick’s distinctive quality: a grand museum that avoids feeling like one. This sensation, reminiscent of London’s Wallace Collection, stems from its origin as a private residence, curated by the discerning eye of industrialist Henry Clay Frick.
From Private Residence to Public Treasure: The Frick’s Evolution
Originally the home of Henry Clay Frick, a titan of the American steel industry, the Frick Collection offers a window into the Gilded Age. Frick, a key figure in the U.S. Steel consolidation, amassed a fortune that allowed him to acquire an unparalleled collection of art. his mansion, completed in 1914, served as both a residence and a gallery for his growing collection.
While the Frick is steeped in history, it’s not a static monument. As Frick’s death in 1919, the collection has doubled, and the building itself underwent notable transformations.After remaining the frick family home until 1931,it was adapted and expanded,opening as a museum in 1935.These renovations, including recent expansions designed by Selldorf Architects, carefully balance preservation and modernization, ensuring the Frick remains relevant for contemporary audiences.
A new Era: Upper rooms Unveiled
The recent renovations mark a significant change, opening up the upstairs rooms – once the private domain of the Frick family – to the public. These spaces, formerly bedrooms, boudoirs, guest rooms, and a breakfast room, were converted into offices in the 1930s. Now, with the offices relocated to new, modern quarters, these rooms have been transformed into intimate galleries. Access is now available via the mansion’s original grand staircase or Selldorf’s new marble steps.
With the exception of frick’s former sitting room, which remains the director’s office, the upper rooms now showcase the Frick’s collection in a new light.
One highlight is the return of the Boucher panels to Mrs. Frick’s boudoir. “Originally the panels were upstairs in Frick’s wife Adelaide’s boudoir. But in 1935, when the upstairs rooms were designated offices, they were moved down to what had been a butler’s pantry. Piece by piece they have now been reinstalled in their original upper room, with its airy views over Central Park.”
Personal Touches: Art in the Frick’s Footsteps
The arrangement of art in the frick now bears an intimate relationship with the Frick family’s personal history. Frick’s bedroom now displays George Romney’s portrait of Emma Hamilton. According to Salomon,it is “the last picture he saw at night and the first he saw in the morning,and since he died here,probably the last he ever saw in his life.”
Helen Clay Frick’s passion for early Italian gold-ground pictures is also highlighted. Previously located at the end of the West Gallery, these works by artists like Cimabue and Duccio now reside in Helen Clay Frick’s former bedroom.Furthermore, the breakfast room has been restored to its original ambiance with French landscapes by Corot and millais. Though, the museum is careful not to become a mere period recreation. “We didn’t want to do Downton Abbey,” says Salomon, emphasizing the focus remains on the art itself.
Expanded Collection: New Displays and Special Exhibitions
The expansion allows for a greater portion of the Frick’s collection to be on display. The former space for gold-ground Italian paintings in the West Gallery is now dedicated to enamels. A special exhibitions gallery, located in what was previously known as the Boucher room, hosts rotating shows. The inaugural exhibition features drawings, including a Pisanello drawing and a Goya of men fishing.
Preserving the Past: Downstairs Rooms Retain Their Charm
While the upper floors have undergone significant changes, the downstairs rooms largely maintain their original character. The living hall, deemed “the holy of holies” by Salomon, remains a focal point with its Holbein portraits of Sir Thomas More and Sir Thomas Cromwell. The meticulous restoration efforts included reweaving velvet and silk wall coverings,often using the same French ateliers that produced the originals 90 years ago.
Frick’s Vision: Beauty and Elegance
The bellini painting of St Francis, “arguably the greatest painting in the collection,” is displayed in the same room as the Holbeins. Salomon emphasizes that while this is a rare religious painting for Frick, it exemplifies his preference for gentle, conversational, and elegant art. Frick favored “pictures pleasant to live with,” as his daughter Helen Clay Frick stated,showcasing stunning women and handsome men rendered by master artists.
The Robber Barons and Today’s Tech Titans
Reflecting on Frick’s legacy, it’s tempting to draw parallels between the “robber barons” of his era – figures like Mellon and Carnegie – and today’s tech billionaires. Both groups wielded immense power and shaped American culture, but their philanthropic endeavors and artistic tastes offer a glimpse into their values and motivations.
| Gilded Age Titans | Modern Tech Titans |
|---|---|
| Steel, railroads, finance | Software, e-commerce, social media |
| Philanthropy focused on arts, education, and infrastructure | Philanthropy focused on technology, global health, and climate change |
| Built opulent mansions and amassed art collections | Invest in technology, space exploration, and other innovative ventures |
How do you think the Frick Collection balances ancient preservation with modern accessibility in its recent reopening and renovations?
A Conversation with Isabella Rossi: exploring the Reopened Frick Collection
By Archyde News
Welcome,Isabella rossi,too Archyde news. It’s a pleasure to have you.As an art historian specializing in gilded Age collections, your insights into the recently reopened Frick Collection are invaluable. What initially drew you to study the Frick, and what makes it so unique compared to other museums?
Isabella Rossi: Thank you for having me. The Frick has always fascinated me. Its history is deeply intertwined with the rise of American industrialism, a period of immense wealth and artistry. The fact that it was a private residence,designed to showcase a personal collection,gives it an intimacy and charm that many grand museums lack. It’s like stepping into a meticulously curated world.
the Evolution of the Frick: A Change
The Frick has undergone significant changes in recent years. What do you see as the most impactful of these changes, notably with the opening of the upstairs rooms?
Isabella Rossi: The opening of the upstairs rooms is a game-changer. It allows the public to experience the Frick in a new way, offering a glimpse into the family’s private life and the collection’s intimate display. Seeing the Boucher panels returned to Mrs. Frick’s boudoir, for instance, really enhances the sense of a private residence.
Art and the frick Family’s Footsteps
The article mentions the arrangement of art now reflects the Frick family’s personal history. Do you see this as an effective approach for engaging visitors?
Isabella Rossi: Absolutely. Placing George Romney’s portrait of Emma Hamilton in Frick’s bedroom or early Italian paintings in Helen Clay fricks’s former bedroom creates a stunning narrative. This approach makes the art more approachable and personal, inviting visitors to connect with the family’s story as well as the artworks themselves. It’s about making the past alive.
Preserving History and Embracing the Future
Preserving the original character of the downstairs rooms while opening the upper floors presents a delicate balance. How triumphant do you think the Frick has been in achieving that balance?
Isabella Rossi: I believe they’ve struck an excellent balance. The downstairs rooms, with their historical integrity, provide a sense of continuity. Adding the expanded gallery and new exhibitions adds freshness and variety to the experience, and the inaugural exhibition has garnered great reviews.
The Legacy of the ‘Robber Barons’
The article draws parallels between the Gilded Age titans and modern tech billionaires. What do you think the enduring legacy of figures like Henry Clay Frick tells us about the relationship between wealth, power, and the arts?
Isabella Rossi: The frick’s legacy shows how immense wealth can shape cultural landscapes. While those fortunes were often built in complex and sometimes controversial ways, their impact on the arts is undeniable. Their collections and philanthropic efforts laid the groundwork for many of the cultural institutions and legacies we appreciate today. It’s a intricate story, but an crucial one to understand.
Looking Ahead: The Future of the Frick Collection
With the reopening, what do you hope the Frick Collection will achieve in the coming years? What long-term impact do you see for this new york City institution in the art world?
Isabella Rossi: I hope it remains a place of inspiration. I hope it encourages more people from all walks of life to engage with art and history. The Frick has the unique prospect to connect with a broad audience. I hope it continues to evolve, bringing in new audiences while preserving its unique historical character. It’s a beacon of art history, and I hope it continues to shine in the years to come.
Thank you, Isabella, for sharing your expertise with us. It’s been a fascinating conversation.
Isabella Rossi: Thank you for having me.
What are your thoughts on the Frick’s evolution, and how do you think it balances historical preservation with modern accessibility? Share your opinions and comments below!
