Exhibition | The Frick Collects: From Rubens to Monet
Arthur Devis, Sir Joshua Vanneck and His Family, 1752, oil on canvas, 146 × 142 cm
(Pittsburgh: Frick Art & Historical Center, 1984.24)
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Now on view at The Frick Pittsburgh:
The Frick Collects: From Rubens to Monet
Frick Art & Historical Center, Pittsburgh, 29 October 2016 — 14 May 2017
Take a look at the Frick in a new way in this exhibition, which, for the first time tells the story of the Frick through its collection. From Henry Clay Frick’s early purchases, to his daughter Helen’s collecting interests, through to the acquisitions that have been made by the museum in recent years, visitors will see and learn about the enduring legacy of the Frick family as art collectors. Objects will be brought together to tell a unified story—a story that doesn’t stop with Henry Clay Frick’s early purchases for Clayton, but continues, looking at both Henry and Helen as the collectors who have shaped the Frick Art & Historical Center’s holdings.
The earliest acquisitions in the collection date to Henry Clay Frick’s bachelor days. Before his marriage (and for the first months after his marriage) he lived in downtown Pittsburgh at the fashionable Monongahela House. He bought his first paintings and decorative objects for his rooms there: an elaborate rococo revival clock and candelabra set purchased through Tiffany’s, an ebonized cabinet, and his first documented painting purchase, a landscape by local artist George Hetzel.
When they moved into Clayton, Henry Clay Frick and his wife furnished it as many young couples do—most of the purchases were new, fashionable and of the period. Frick had met his wife, Adelaide Howard Childs (1859–1931) in February 1881. Adelaide was the sixth daughter of the wealthy Pittsburgh Childs family, who were manufacturers and importers of shoes and boots. For young couples during America’s Gilded Age like the Fricks, art collecting was not simply a way to exercise taste and create a suitable environment—although these were important considerations. More subtly the right objects gave their owner a sense of history and pedigree. Collecting was a personal pleasure and an indicator of status, discernment and good taste.
The rise in American collecting of this period also coincided with the establishment of the first museums in the country, including the Wadsworth Athenaeum of Hartford, Connecticut in 1842, the Museum of Fine Arts, Boston in 1870, New York’s Metropolitan Museum of Art in 1872, and in 1896, Pittsburgh’s Carnegie Institute. As the century progressed, forming collections and bequeathing them to the public became one way to put wealth and the accumulation of a collection to public service.
It was Helen Clay Frick’s vision that led to the restoration of Clayton as a house museum. The Frick Art Museum, which was opened to the public in 1970 just a block south of Clayton, was built primarily for the collection she developed, rather than the one she inherited. Helen even had the family cars and carriages carefully preserved and brought back to Pittsburgh from the family’s Massachusetts summer estate.
The Frick Art Museum opened in 1970 with its main galleries devoted to Helen’s greatest interests: early Italian Renaissance paintings and eighteenth-century French fine and decorative art. Since Helen’s death in 1984, the collection has continued to develop—through generous donations and acquisitions that reflect the same quality as that evinced by the founding collection. Through the foresight of Helen Clay Frick who valued Pittsburgh, and who understood that her youth at Clayton was one of unique privilege—not simply financially, but aesthetically—these collections are the heart of the experience at the Frick Pittsburgh.
The Frick Collects is accompanied by a new, fully-illustrated guide to the collection published by Scala, specialists in working with museums to produce beautiful publications. The publication is generously underwritten by The Richard C. von Hess Foundation.
Robin Nicholson, Sarah Hall, and Dawn Reid Brean, The Frick Pittsburgh: A Guide to the Collection (New York: Scala, 2016), 120 pages, ISBN: 9781785510717, $15.
The collections at The Frick Pittsburgh are the combined legacy of famed art collector and industrialist Henry Clay Frick and his daughter Helen. Two essays tell the story of Frick’s early collecting and his daughter’s interest in continuing his mission to purchase great art and make it publicly accessible. The book also provides a photographic tour of Clayton, the Frick family’s historic Pittsburgh home, which is now a house museum.
Collection highlights presented include fabulous examples of early Renaissance Italian painting, eighteenth-century French painting, furniture, and decorative arts, spectacular Chinese porcelains, and masterpieces by artists like Rubens, Guardi, Boucher, Gainsborough, Fragonard, Millet, and Monet. The entirety of the Frick’s collections—spanning the thirteenth century to the present—are displayed at The Frick Art Museum, Clayton, and the Car and Carriage Museum—all located on the Frick’s five-plus acres of landscaped grounds.
Robin Nicholson has been Director of The Frick Pittsburgh since 2014. Sarah J. Hall began working at The Frick Pittsburgh in 1994 and has been Director of Curatorial Affairs since 2007. Dawn Reid Brean joined the Frick as Associate Curator of Decorative Arts in 2015.
Exhibition | Carlos III: Majestad y Ornato
The exhibition is one of several held to mark the 300th anniversary of the birth of King Charles III of Spain:
Carlos III: Majestad y Ornato en los Escenarios del Rey Ilustrado
Palacio Real de Madrid, 6 December 2016 — 31 March 2017
Curated by María Pilar Benito García, Javier Jordán de Urríes, and José Luis Sancho Gaspar
El próximo 6 de diciembre, en el Palacio Real de Madrid, se abre al público la exposición Carlos III. Majestad y Ornato en los Escenarios del Rey Ilustrado, con la que se conmemora del tercer centenario de este monarca y que permanecerá abierta hasta el 31 de marzo de 2017.
Soberano ilustrado y, como tal, mecenas de las artes, el monarca constituye el referente más indiscutible en la fértil relación que han mantenido la Corona y la Cultura en España durante la Edad Moderna. Su gobierno, además de las grandes obras públicas que promovió, supuso la intervención estatal en aspectos estéticos a una escala amplia y variada. Pero sin duda donde con más claridad se perciben tales innovaciones es en el propio entorno del monarca, en el arte cortesano creado bajo su directo mecenazgo, y que pone en valor esta exposición.
Estas obras artísticas, que servían para la vida cotidiana del rey y su familia, estaban pensadas tanto para fines funcionales, como ornamentales y representativos: su calidad, su magnificencia y suntuosidad, su tono cosmopolita constituían toda una declaración de poder. Expresaban no sólo la majestad del rey, sino la de la vasta monarquía simbolizaba en su persona. En sus palacios –tanto el de Madrid como el de los cuatro sitios reales donde la corte pasaba cada estación del año- se expresaba esta alianza entre el poder y la ilustración mediante todas las bellas artes: la pintura con figuras como Giambattista Tiepolo, el ya mencionado Mengs y todos sus discípulos españoles, entre ellos el incipiente genio de Francisco de Goya; las artes decorativas merced a las Reales Fábricas de tapices, de porcelana y piedras duras, de cristales y de relojes, y a los talleres dirigidos por diseñadores como Mattia Gasparini.
Reconocibles aún en los palacios, pero en gran medida dispersas debido a la misma evolución de la vida cortesana y a los avatares históricos, las obras ornamentales creadas para expresar la magnificencia de Carlos III constituyen uno de los tesoros culturales de España. Patrimonio Nacional plantea aquí una nueva lectura de esta página esencial en el acervo estético español, presentando obras emblemáticas y programas decorativos que no podían verse de forma conjunta desde el siglo XVIII, así como otras obras no mostradas al público en los últimos años o procedentes de colecciones extranjeras de difícil acceso. Asimismo, será la primera vez que se muestre el Retrato de Carlos III, pintado por Mengs y regalado por el monarca al rey Federico V de Dinamarca, que nunca se ha expuesto en España.
Los comisarios de esta exposición son Dña. María Pilar Benito García, D. Javier Jordán de Urríes y D. José Luis Sancho Gaspar.
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The catalogue is available from ArtBooks.com:
Pilar Benito Garcia, et al., Carlos III: Majestad y Ornato en los Escenarios del Rey Ilustrado (Madrid: El Viso, 2016), 392 pages, ISBN: 9788471205216, $62.
To commemorate the 300th anniversary of the birth of King Charles III (1716–1788), Patrimonio Nacional (National Heritage) has organised a show especially focused on studying the courtly art created under his direct patronage at Madrid’s Palacio Real. The catalogue assembles the complete renovation of all of the Royal Sites promoted by Charles III. The works that adorned the Royal Chamber, the mural paintings that decorated the archs of the royal palaces, as well as the most delicate works elaborated by the royal ateliers of workwood, bronze, and embroidery can be admired.
Exhibition | The Art of Law: Three Centuries of Justice Depicted
Now on view in Brugge:
The Art of Law: Three Centuries of Justice Depicted
De kunst van het recht: Drie eeuwen gerechtigheid in beeld
Groeningemuseum, Brugge, 28 October 2016 — 5 February 2017
Curated by Vanessa Paumen
In the fifteenth century, it was customary to decorate courtrooms with works of art that were intended to ‘encourage’ the aldermen and judges to perform their duties in an honest and conscientious manner. These works often depicted the supreme moment of divine justice: the Last Judgement. But other scenes from the Bible were also used, as were images from more profane sources. Together, these are known as the exempla iustitiae (‘examples of fair justice’). In 1498, Gerard David was commissioned by the city council of Bruges to paint just such a work: The Judgement of Cambyses. This remarkably gruesome painting once hung in the courtroom of Bruges town hall and is now one of the finest masterpieces in the Groeningemuseum.
Subjects relating to justice were also depicted outside the courtroom in paintings, prints, drawings, sculpture and stained glass windows. The Art of Law exhibition has brought together some twenty works of art from the collections of Musea Brugge, supplemented by about hundred other pieces on loan from galleries and museums both at home and abroad. They paint a fascinating picture of the way in which justice and the law were represented in art during the Ancien Régime.
Vanessa Paumen works at the Groeningemuseum in Bruges as the coordinator of the Flemish Research Center for the Arts in the Burgundian Netherlands. She earned a BA degree, cum laude and an MA degree in Art History, with a focus on European Art at the University of Texas in Austin. In her master’s thesis, “Judged, Beheaded, Burned: Dieric Bouts, The Justice of Emperor Otto III within the Context of Fifteenth-Century Punitive Practices,” she looked at how justice paintings functioned in fifteenth-century Flemish society.
Vanessa Paumen, et al., The Art of Law: Three Centuries of Justice Depicted (Tielt: Lannoo Publishers, 2016), 208 pages, ISBN: 978 9401440417, £30.
Exhibition | Creating History: Stories of Ireland in Art
Francis Wheatley, The Dublin Volunteers on College Green, 4th November 1779, 1779–80, oil on canvas, 175 × 323 cm
(Dublin: National Gallery of Ireland)
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Now on view at the National Gallery of Ireland:
Creating History: Stories of Ireland in Art
National Gallery of Ireland, Dublin, 8 October 2016 – 15 January 2017
Curated by Brendan Rooney
This exhibition represents the Gallery’s principal contribution to the Decade of Centenaries. It brings together over 50 paintings spanning the seventeenth century to the 1930s, depicting or inspired by episodes in Irish history from the early fifth century arrival of St. Patrick to the establishment of the Free State. A significant number of paintings in the exhibition are drawn from the Gallery’s collection, many of which have undergone extensive conservation in preparation for this show, such as Jan Wyck’s The Battle of the Boyne, Francis Wheatley’s The Dublin Volunteers on College Green, 4th November 1779, and Joseph Patrick Haverty’s The Monster Meeting at Clifden. Other artists represented in the exhibition include James Barry, Charles Russell, John Lavery, Richard Thomas Moynan, Seán Keating, and Jack B. Yeats, complemented by loans from public and private collections in Ireland and overseas.
Brendan Rooney, ed., Creating History: Stories of Ireland in Art (Dublin: Irish Academic Press, 2016), 312 pages, ISBN: 978-1911024286, €25.
Brendan Rooney is Curator of Irish Art at the National Gallery of Ireland, and author/editor of numerous works on Irish art, including Thomas Roberts: Landscape and Patronage in Eighteenth-Century Ireland (2009) and A Time and a Place: Two Centuries of Irish Social Life (2006).
New Book | A Civic Utopia
When we noted the exhibition A Civic Utopia this past summer, we didn’t include information on the catalogue, which is now available from Drawing Matter:
Nicholas Olsberg and Basile Baudez, A Civic Utopia: Architecture and the City in France, 1765–1837 (London: Drawing Matter, 2016), 52 pages, ISBN: 978-0995630901, £20.
This large format, finely illustrated edition is published to coincide with the exhibition A Civic Utopia at The Courtauld Gallery of Art. In addition to the ‘Introduction’, it contains an essay entitled ‘Law, Order and the Beautiful’ by Nicholas Olsberg and ‘Case Studies’ by Basile Baudez. The essay explores the Enlightenment themes: A New Rome, Porta, Ratio, Lex, Sanitas, Spectaculum, Lexicon, and Exemplum. The case studies examine the work of Louis Combes, Pierre-François-Léonard Fontaine, André Sainte-Marie Châtillon, Paul Piot, François-Joseph Bélanger, François-Joseph Bélanger, and Louis-Pierre Baltard. The book expands on a selection of architectural drawings from the exhibition that show public building and public space in Enlightenment-era France. The drawings served as models for the expression of an ordered and open civic life as the foundation of an ideal polity. They responded to the urgings of writers, critics, and philosophes to make a systematic effort toward civic improvement, or what Voltaire entitled the “embellissement de la ville.”
The book traces how, over the next century, a new model of the modern French city emerged, one that deployed a consistent architecture capable of expressing the liberal qualities of the civic life within it: ordered, open, and dignified. These ideal forms, the methods of visualising and realising them through drawing, and the techniques of design and construction developed to build them, were circulated through engravings and compendia throughout the world. With their new emphases on turning their principal face out towards the street and square, on the horizontal line, and on the evident entrance, these models established an international aesthetic for the architecture of public life, and a universal system of architectural training.
Basile Baudez is maître de conférences at Université Paris-Sorbonne, Paris IV and visiting professor at the Ecole nationale des Chartes. His main areas of research are the history of architectural schools and the Beaux-Arts system and the history of architectural representation in the Western world. Recent publications include, Les Hôtels de la Guerre et des Affaires étrangères à Versailles (co-editor), and Chalgrin, architectes et architecture entre l’Ancien Régime et l’Empire as well as numerous journal articles. His current book project addresses the history of colour in architectural representation.
Nicholas Olsberg is an historian, archivist, curator and writer. As Editor of the Colonial and State Records of South Carolina from 1967–74, he published numerous studies on political and civic life in the eighteenth and early nineteenth centuries, and as Archivist of the Commonwealth from 1975 to 1979 produced a major exhibition on the 1790 constitution of Massachusetts. His recent published works in architecture include major monographs on Cliff May, John Lautner, Arthur Erickson, and Ernest and Esther Born; a series of essays on Frank Lloyd Wright; and regular contributions to journals of architecture.
New Book | A Golden Age of European Art
From Yale UP:
Edited by James Clifton and Melina Kervandjian with essays by Barbara Baert, Andrea Bayer, Anne Dunlop, Steven Ostrow, Lisa Pon, Martin Postle, and Arthur K. Wheelock, A Golden Age of European Art: Celebrating Fifty Years of the Sarah Campbell Blaffer Foundation (New Haven: Yale University Press, 2016), 272 pages, ISBN: 978-0300207811, $65.
Marking the 50th anniversary of the acclaimed Sarah Campbell Blaffer Foundation, this commemorative book presents masterpieces from the foundation’s collection. The works span more than 400 years, from the 16th through the early 20th century, and feature a range of media including paintings, prints, and printed books. After a comprehensive introduction to the foundation and its collection, essays by eight scholars present new scholarship on key works. The featured objects include an image of the Madonna and Child by the Florentine painter Giuliano Bugiardini; Richard Wilson’s iconic 18th-century composition The White Monk; printed materials in Venice that bridged Jewish and Christian cultures; and portraits by Paolo Veronese, Simon Vouet, and others. With more than 200 illustrations, this beautiful publication is a rich survey as well as a timely celebration of this exceptional collection.
James Clifton is director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and Baroque painting at the Museum of Fine Arts, Houston.
Exhibition | 350 Years of Creativity
Now on view at the French Academy in Rome:
350 Years of Creativity: The Artists of the French Academy in Rome from Louis XIV to the Present
350 ans de création: Les artistes de l’Académie de France à Rome de Louis XIV à nos jours
Académie de France à Rome – Villa Medici, 14 October 2016 — 15 January 2017
Curated by Jérôme Delaplanche
Founded by Louis XIV in 1666, the Academy is celebrating its 350th anniversary this year with a special series of events retracing its history. This exhibition is one of the program’s high points and is accompanied by two others in Rome, organized by the Accademia Nazionale di San Luca and the Accademia di Belle Arti di Roma and focusing on their relationships with the French Academy. 350 Years of Creativity is a chance for the visitor to discover the creative output of artists at the Academy—both residents and directors—during their stays in Rome. It includes over a hundred works dating from 1666 to the present day, by artists including Fragonard, David, Ingres, Berlioz, Garnier, Carpeaux, Debussy, and Balthus. In the course of a fascinating journey through three and half centuries of French art, visitors are offered a closer look at the Academy and its successive generations of creators.
350 Years of Creativity illustrates the high points of the Academy’s long life with works by its leading artists presented under the following headings: the ancient and modern quest for the ideal; the discovery of picturesque reality; the relationship with the body and the nude; the significance of the move to the Villa Médicis; eclecticism and the value of originality; new life for tradition; and the Academy as a center for creative experiment. The exhibition itinerary brings together paintings, drawings, statues, prints, musical scores, and archival material as testimony to the sheer artistic variety the institution has produced. Some of these works come from the Academy’s own collection, notably portraits by residents and the plaster statues. The exhibition closes with a video of works created by residents over the last few decades. For the visitor all this adds up to an opportunity to survey the history of French art from 1666 to 2016.
350 Years of Creativity will also be accompanied by other events—screenings, encounters, concerts—presented at the Villa Médicis as part of the series ‘Thursdays at the Villa: Art Matters’. It will conclude with a symposium on 11–13 January 2017 with the Accademia Nazionale di San Luca and the Accademia di Belle Arti di Roma, titled Art Academies: Heritage and Contemporary Art Issues.
Jerome Delaplanche, ed., 350 anni di creatività: Gli artisti dell’Accademia di Francia a Roma da Luigi XIV ai nostri giorni (Milan: Officina Libraria, 2016), 224 pages, ISBN: 978 8899765101 (Italian), ISBN: 978 8899765088 (French), 35€.
New Book | The Neapolitan Crèche at the Art Institute of Chicago
Distributed by Yale University Press:
Sylvain Bellenger, Carmine Romano, and Jesse Rosenberg, with a preface by Riccardo Muti, The Neapolitan Crèche at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2016), 176 pages, ISBN: 978 0300222357, $40.
The 18th-century Neapolitan crèche at the Art Institute of Chicago, which contains over 200 figures arranged in a panorama of street life, represents the pinnacle of a rich artistic heritage. This luxurious catalogue is the first to study the crèche in the context of art and music history. Essays explore the Neapolitan crèche tradition and examine the design of Chicago’s example with reference to other important crèches in Europe and the United States. Entries on individual figures identify the characters and types they represent, as well as their social and historical meaning and religious significance. Other entries address groups of figures, animals, and cultural themes present in the creche. Together the essays and entries highlight the astonishing realism and potent symbolism of these figures, which range from heavenly angels and the Holy Family around the manger to street vendors and revelers feasting, drinking, and dancing in a tavern. Nativity scene.
Sylvain Bellenger is director of the Museo de Capodimonte, Naples; Carmine Romano is a PhD student at Paris-Sorbonne University; and Jesse Rosenberg is clinical associate professor, musicology, at the Northwestern University Bienen School of Music.
Exhibition | Robert Adam’s London
Press release (26 October 2016) for the exhibition:
Robert Adam’s London
Sir John Soane’s Museum, 30 November 2016 — 11 March 2017
Curated by Frances Sands
The work of one of the greatest British architects of all time is examined in a new exhibition at Sir John Soane’s Museum. Robert Adam’s London takes an in-depth look at some of the Scottish architect’s work which helped change the landscape of the capital. Some of the famous buildings looked at in the exhibition include Buckingham Palace, the Admiralty Screen on Whitehall and Portland Place. Robert Adam’s London is the first time the architect’s work across the city as a whole has been examined in a London museum. It will showcase his ground-breaking neo-classical style and his desire to unify architecture and interior design. It will also feature both completed buildings alongside those, which were never realised, offering a glimpse into the architect’s ambitious vision for London.
On display will be some of Sir John Soane’s Museum’s most beautiful, influential, and rarely seen designs of Adam’s projects in London, taken from their 9,000-strong Adam drawing collection. The Museum holds 80% of the world’s surviving Adam drawings which are of huge international-significance for our understanding of Georgian architecture and interior design. Projects on show include the famous Admiralty Screen on Whitehall, Portland Place, and six monuments for Westminster Abbey, as well as projects subsequently demolished or never realised, such as the interiors of Buckingham House (before it became Buckingham Palace), 15 Downing Street, Lansdowne House, and Adelphi. A large-scale facsimile of an eighteenth-century map of London will form the centrepiece of the show, plotting Adam’s various projects across the city, creating an ‘in-exhibition’ trail for visitors. Alongside this will be a portrait of Robert Adam by George Williamson, on loan from the National Portrait Gallery, and a pedestal designed by Adam from Kenwood House.
Robert Adam had a long and enduring connection to London, establishing his London practice in 1758 and remaining in the city until his death in 1792. There is a greater density of his work for this city than anywhere else, as he focused on designing complete schemes for the decoration of domestic, public, commercial, speculative and commemorative buildings. His work in London demonstrates how his style evolved past the fashionable Palladian design of the time, into a new, more flexible style, incorporating influences from Roman, Etruscan, and Baroque styles. Adam’s radical style was often attributed to a desire to design everything down to the smallest detail.
Adam regularly favoured large-scale and grandiose designs, many of which remained purely speculative as their ambitions—and cost—were often prohibitive. One such project examined in the exhibition in detail is for Portland Place, where he hoped to construct detached aristocratic palaces which might rival noblemen’s urban homes in Europe. Palaces for the Earls of Kerry and Findlater were designed, but never came to fruition. If they had, central London would have looked significantly different to how it is today.
Bruce Boucher, Director of Sir John Soane’s Museum says: “The Adam Drawings at the Soane Museum is one of our most important collections. Not only is it an invaluable record of the work of one of this country’s most innovative architects, but also a fascinating glimpse into what London could have been had all his projects survived or come to fruition. People have always cared passionately about the architecture of London, as today’s fierce debates testify, so it is wonderful to be able to examine this fascinating chapter in the architectural history of this great city, right in the heart of the city itself.”
Dr Frances Sands, Curator of Drawings and Books at Sir John Soane’s Museum comments: “The Adam office provided designs in deliberate contrast to the more severe neo-Palladian style that had dominated Britain in earlier decades. Adam instigated a fashion for his own recognisable and characteristic style, one not based on dogmatic archaeological accuracy, but rather a creative fusion of all that he had seen abroad. With his distinctive, delicate interior decorative style and bold, rippling architecture, Adam became enormously successful; his practice catered to clients across Britain—and occasionally beyond—but nowhere more heavily than in London. Often remembered as an architect of great country houses, this exhibition celebrates the skill and dexterity of his numerous works here in town.”
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Frances Sands, Robert Adam’s London (Oxford: Archaeopress, 2017), 142 pages, ISBN: 978-1784914622, £18.
The iconic eighteenth-century architect Robert Adam was based in London for more than half of his life and made more designs for this one city than anywhere else in the world. This book reviews a wide variety of his designs for London, highlighting lesser known buildings as well as familiar ones. Each of Adam’s projects explored in this book is plotted on Horwood’s map of London (1792–99), enabling readers to recognise Adam’s work as they move around the city, as well as to envisage London as if more of his ingenious designs had been executed or survived demolition.
Frances Sands is Curator of Drawings and Books at Sir John Soane’s Museum.
Exhibition | Antonio Balestra: Nel Segno della Grazia
Now on view in Verona:
Antonio Balestra: Nel Segno della Grazia / In the Sign of Grace
Museo di Castelvecchio, Verona, 19 November 2016 — 19 February 2017
Il Comune di Verona, Direzione Musei d’Arte e Monumenti honors the painter Antonio Balestra (1666–1740) on the occasion of the 350th anniversary of the artist’s birth with the exhibition Antonio Balestra: In the Sign of Grace, staged in the Castelvecchio Museum. The exhibition presents over sixty works: paintings, drawings, etchings, and volumes of prints, coming from public and private lenders.
Andrea Tomezzoli, Antonio Balestra: Nel Segno della Grazia (Verona: Scripta Edizioni, 2016), 208 pages, ISBN: 978-8898877690, $38.
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