Exhibition | Le Petit Salon
Now on view at the Middlebury College Museum of Art:
Le Petit Salon: The Journey of an 18th-Century Room from Paris to Vermont
Middlebury College Museum of Art, 8 July — 7 December 2025
The Middlebury College Museum of Art possesses a jewel of French neoclassicism, Le Petit Salon, a delicately painted, paneled room made around 1776 for a Parisian mansion. It was designed by Pierre-Adrien Pâris ( 1745–1819), subsequently the architect of court fêtes for Louis XVI and Marie-Antoinette. His client was the duc d’Aumont, a renowned collector and patron of the arts, who had the panels installed in his Paris home, now the Hôtel de Crillon on Place de La Concorde. Gifted to Middlebury in 1959, but held in storage since the 1990s, the room will be reassembled for the first time in three decades.
The exhibition follows the journey of Le Petit Salon from Paris to Middlebury via Manhattan, where for fifty years it formed part of the decor of the Bliss family’s Gilded Age mansion. At Middlebury, the Petit Salon became part of Le Château, the college’s French language dorm, itself a fanciful recreation of a 16th-century Norman manoir. The exhibition incorporates Pâris’s 1776 exquisite watercolor elevations of Aumont’s mansion, as well as studies from his long educational sojourn in Rome and Naples. Included in the exhibition are loans from Bowdoin College, the Metropolitan Museum of Art, the Cooper-Hewitt National Design Museum, and the Fine Arts Museum of Besançon.
Gabriel Wick, Le Petit Salon: The Journey of an 18th-Century Room from Paris to Vermont (Saint-Remy-en-l’Eau: Monelle Hayot, 2025), 192 pages, €35.
Exhibition | Valkenburg — Willem de Rooij
Dirk Valkenburg, Study of Cashews, Maracujas, a Tropical Chicken Snake, and an Ameiva Lizard from Suriname, detail, 1706–08, oil on canvas, 40 × 48 cm (Musée des Beaux-Arts de Quimper).
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Now on view at Utrecht’s Centraal Museum:
Valkenburg — Willem de Rooij
Centraal Museum Utrecht, 13 September 2025 — 25 January 2026
Dirk Valkenburg (1675–1721) was one of the first Europeans to depict Indigenous and enslaved people on Surinamese plantations, while also painting hunting still lifes and portraits of Dutch elites. The breadth of his oeuvre makes it particularly relevant for research into colonial image production and the ‘white gaze’. In this installation, Willem de Rooij displays 30 works in idiosyncratic combinations, inviting reflection on how these 18th-century Dutch elites used art to support and legitimise colonial ideology.
Since the early 1990s, Willem de Rooij (b. 1969) has created temporary installations in that explore the politics of representation through appropriation and collaboration. In 2005, he represented the Netherlands at the Venice Biennale and has since exhibited in leading museums worldwide. A distinctive feature of his practice is the reuse and rearrangement of existing images and objects, often based on in-depth art-historical and cultural research. In doing so, he creates new meanings between diverse visual elements. Recent exhibitions include King Vulture (Akademie der Künste, Vienna) and Pierre Verger in Suriname (Portikus, Frankfurt). De Rooij teaches in Frankfurt, Berlin, and Amsterdam and lectures internationally.
The exhibition will be accompanied by the first comprehensive publication on Dirk Valkenburg’s oeuvre: a catalogue raisonné developed in collaboration with the RKD–Netherlands Institute for Art History. This volume, edited by Willem de Rooij and Karwan Fatah-Black—historian and expert in Dutch colonial history, (Leiden University)—includes new essays by international scholars and thinkers from various disciplines, including art history, anthropology, postcolonial, and queer studies.
Print Quarterly, September 2025
David Lucas, after John Constable, A Mill, 1829, mezzotint, 182 × 250 mm
(Cambridge, Fitzwilliam Museum, inv. P.145-1954)
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 42.3 (September 2025)
a r t i c l e s
• Elenor Ling and Harry Metcalf, “John Constable’s Working Relationship with David Lucas on the English Landscape Series,” pp. 272–85. This article examines the collaborative partnership between John Constable (1776–1837) and his engraver David Lucas (1802–81) using the mezzotint print series English Landscape as a case study, based particularly on the technical examination of various impressions and plates.
• Niklas Leverenz, “Lithographs from Shanghai of the East Turkestan Engravings, 1890,” pp. 301–06. This short article examines the popularity of the East Turkestan engravings depicting the 1755–60 Qianlong Emperor’s conquest. Leverenz specifically discusses a set of 34 photolithographs printed in 1890 by the photographer Herman Salzwedel (active c. 1877–1904) in Shanghai.
n o t e s a n d r e v i e w s
Claude Gillot, The Speculator Raised by Fortune to the Highest Degree of Wealth and Abundance, 1710–11, counterproof of engraving, with additions in red chalk, 255 × 220 mm (Paris, Private collection).
J.-Louis Darcis, after Guillaume Lethière, Portrait of Jean Jacques Rousseau, 1795, engraving, platemark 355 × 305 mm, page 440 × 320 mm (Paris, Bibliothèque Nationale de France).
• Dagmar Korbacher, Review of Andaleeb Badiee Banta, Alexa Griest and Theresa Kutasz Christiensen, eds., Making Her Mark: A History of Women Artists in Europe, 1400–1800 (Goose Lane Editions, 2023), pp. 307–10.
• Daniel Godfrey, Review of Gwendoline de Mûelenaere, Early Modern Thesis Prints in the Southern Netherlands: An Iconological Analysis of the Relationship between Art, Science, and Power (Université Catholique de Louvain, 2022), pp. 310–12.
• Meredith M. Hale, Review of Julie Farguson, Visualising Protestant Monarchy: Ceremony, Art and Politics after the Glorious Revolution, 1689–1714 (The Boydell Press, 2021), pp. 313–15.
• Rena M. Hoisington, Review of Jennifer Tonkovich, Claude Gillot: Satire in the Age of Reason (Paul Holberton, 2023), pp. 315–17.
• Michael Snodin, Review of Orsola Braides, Giovanni Maria Fara, and Alessia Giachery, eds., L’arte di tradurre l’arte: John Baptist Jackson incisore nella Venezia del Settecento (Leo S. Olschki, 2024), pp. 317–19.
• Benito Navarrete Prieto, Review of Ana Hernández Pugh and José Manuel Matilla, Del lapicero al buril. El dibujo para grabar en tiempos de Goya (Museo del Prado, 2023), pp. 320–24.
• Giorgio Marini, Review of Ilaria Miarelli Mariani, Tiziano Casola, Valentina Fraticelli, Vanda Lisanti, and Laura Palombaro, eds., La storia dell’arte illustrata e la stampa di traduzione tra il XVIII e il XIV secolo (Campisano Editore, 2022), pp. 324–28.
• Julie Mellby, Review of Roberta J. M. Olson, Audubon as Artist: A New Look at The Birds of America (Reaktion Books, 2024), pp. 328–29.
• Thea Goldring, Review of Esther Bell and Olivier Meslay, eds., Guillaume Lethière (Clark Art Institute, 2024), pp. 347–52.
Exhibition | William Blake: Burning Bright
William Blake, The Tyger (Plate 42, from Songs of Innocence and of Experience), detail, 1794, color-printed relief etching with hand coloring in watercolor (New Haven: Yale Center for British Art, Paul Mellon Collection).
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Now on view at YCBA:
William Blake: Burning Bright
Yale Center for British Art, New Haven, 26 August — 30 November 2025
Curated by Elizabeth Wyckoff and Timothy Young
One of the most compelling figures in the history of British art and poetry, William Blake (1757–1827) developed an idiosyncratic worldview during a tumultuous era that witnessed the American and French Revolutions. He expressed his radical perspectives on religious belief, politics, and society through highly original illuminated books, watercolors, paintings, and poetry. This exhibition showcases the Yale Center for British Art’s impressive collection of works by Blake, with special focus on the inventive hand-printed publications that bring to life his poetry and prophecies.
The YCBA’s extensive holdings include Blake’s most innovative and celebrated books, such as Songs of Innocence and of Experience (1789–94) and The First Book of Urizen (1794). Blake’s mastery of watercolor painting and his phenomenal imaginative powers are evident in the one-of-a-kind illustrations for The Poems of Thomas Gray (between 1797 and 1798) and in the only fully hand-colored version of his culminating poem, the 100-page Jerusalem (1804–20). This stunning presentation highlights the artist’s ambitious vision and skill, as well as his unparalleled contributions to art, literature, and spirituality.
Born in London at a time of major social change and upheaval, Blake aspired to be an artist and a poet from a young age. During his apprenticeship, he developed an elegant black-and-white engraving style that he deployed in both commissioned and original prints and book illustrations. He is best known for devising an unorthodox technique to create colorful illuminated books that merged his poetry and his art. His most notable innovation was a method for printing text and image from a single copper plate. Blake’s work was largely unacknowledged during his lifetime, yet today his striking imagery and stirring words are widely celebrated.
Blake, the second volume in the YCBA’s Collection Series, examines the art and methods of William Blake through the lens of one of the great collections of his work. Written by Elizabeth Wyckoff, with an essay by Sarah T. Weston, the book features exquisite reproductions of his paintings, watercolors, prints, and illustrated books, including the only hand-colored copy of his epic poem Jerusalem.
Elizabeth Wyckoff, Blake (New Haven: Yale Center for British Art, 2025), 136 pages, ISBN: 978-0300284577, $40. With an essay by Sarah Weston.
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Programs exploring multiple dimensions of Blake’s life, work, and legacy will accompany the exhibition. Please visit britishart.yale.edu for the most up-to-date information.
Opening Celebration
Thursday, September 4, 4pm
A conversation with exhibition curators Elizabeth Wyckoff, Curator of Prints and Drawings, and Timothy Young, Curator of Rare Books and Manuscripts, followed by gallery talks and a reception.
The Enduring Influence of William Blake
Thursday, October 30, 5pm
Author John Higgs will talk with Timothy Young, Curator of Rare Books and Manuscripts.
Songs from the Imagination: Music Inspired by the Poetry of William Blake
Thursday, November 20, 5pm
Yale Voxtet, the Institute of Sacred Music’s select group of graduate student singers, will perform in the Library Court.
Create Community: Imagined Worlds in the Art of William Blake and Hew Locke
Thursdays, October 2, 16, and 23, 5:30pm
This three-part workshop will explore William Blake: Burning Bright and Hew Locke: Passages through a close investigation of material and process. Enrollment is limited to twelve people, and preregistration is required.
Curator Tours
Thursdays, September 18, October 30, and November 20, 4pm
Docent Tours
Saturdays, 3pm
Exhibition | Nusantara: Six Centuries of Indonesian Textiles
Ceremonial Weaving (Palu), late 18th–early 19th century, cotton, warp-faced plain weave, warp ikat, made in Sulawesi, Indonesia, 195 × 154 cm (New Haven: Yale University Art Gallery, Gift of Robert J. Holmgren and Anita E. Spertus, 2017.48.4).
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From the press release for the exhibition:
Nusantara: Six Centuries of Indonesian Textiles
Yale University Art Gallery, New Haven, 12 September 2025 — 11 January 2026
Organized by Ruth Barnes with the assistance of Arielle Winnik
Celebrating the largest collection of Indonesian textiles in the Western Hemisphere
The Yale University Art Gallery is pleased to present Nusantara: Six Centuries of Indonesian Textiles, a sweeping exhibition that celebrates the elaborate textile heritage of Indonesia and explores the ancient interisland links found in this vast maritime region. Presenting more than 100 examples of unparalleled craftsmanship and artistic innovation, the exhibition offers a singular opportunity to dive deep into the cultural and historical significance of one of the finest collections of Indonesian textiles in the Western Hemisphere.
The wide array of textiles from the 14th to the 20th century displayed in the exhibition are drawn from the Gallery’s holdings. Central to the Gallery’s Department of Indo-Pacific Art, the textile collection boasts approximately 1200 examples from Indonesia and Sarawak (Malaysia). Significant pieces include over 600 textiles originally acquired by Robert J. Holmgren and Anita E. Spertus, later presented to the Gallery by Thomas Jaffe. This group features weaving from maritime Southeast Asia, where textiles are not just artistic creations but serve an important role in ceremonies and rituals. They also embody gender roles and social status, reflecting the wearer’s identity and heritage.
The Indonesian islands of Sumatra and Sulawesi hold an important place within the Gallery’s collection, counting more than 200 and 100 examples each, respectively. The remainder of the collection encompasses textiles from regions throughout Indonesia, showcasing the country’s rich cultural diversity.
Indonesia has historically been at the crossroads of major trade routes, resulting in a blend of Indigenous and foreign influences. In the 10th and 11th centuries, Indonesian textiles began to show the Influence of Indian designs. The impact of Chinese and later Islamic cultures is also evident, yet these borrowed motifs were transformed into distinctively Indonesian traditions. Drawing its title from the original name for the Indonesian archipelago, Nusantara, the exhibition offers an unprecedented opportunity to view the full range of rich imagery and technical mastery of this remarkable art form.
The exhibition is made possible by Hunter Thompson, the National Endowment for the Arts, the Helen Frankenthaler Foundation, and the Robert Lehman, B.A. 1913, Endowment Fund. It was organized by Ruth Barnes, the Thomas Jaffe Curator of Indo-Pacific Art, with the assistance of Arielle Winnik, the Donna Torrance Assistant Curator of Indo-Pacific Art.
Exhibition | Thomas Patch and the British Grand Tour
Opening this week at the Lewis Walpole Library:
Caricatures, Campagna, and Connoisseurs:
Thomas Patch and the British Grand Tour in Eighteenth-Century Italy
Lewis Walpole Library, Farmington, CT, 10 September — 15 December 2025
Curated by Hugh Belsey
Known primarily as a caricature artist, Thomas Patch (1725–1782) in fact engaged in a much wider array of activities. He was a landscape painter, experimental printmaker, and a dealer of antiquities and old master paintings. He was also among the first scholars of early Renaissance art. This exhibition will explore the many aspects of Patch’s art, life, and associations with the British community of diplomats, tourists, artists, and collectors in Italy.
Hugh Belsey, a graduate of the Universities of Manchester and Birmingham, has lectured to groups in Europe, America, Australia, and Britain. For twenty-three years he was the curator of Gainsborough’s House in Sudbury (UK) where he formed one of the largest collections of the artist’s paintings and drawings. In 2004 he was awarded an MBE in recognition of his museum work. His long-awaited catalogue of portraits by Thomas Gainsborough was published by Yale University Press in February 2019, and was awarded the William W.B. Berger Prize for British Art History in 2020.
The exhibition brochure is available at the Library’s website»
Exhibition Lecture | Caricatures, Campagna, and Connoisseurs
Presented by Hugh Belsey, guest curator and independent scholar
Thursday, October 16, 7pm
Space is limited and advance registration is required.
Exhibition | Women Artists from Antwerp to Amsterdam, 1600–1750
Opening this month at the NMWA:
Women Artists from Antwerp to Amsterdam, 1600–1750
National Museum of Women in the Arts, Washington, DC, 26 September 2025 — 11 January 2026
Museum voor Schone Kunsten, Ghent, 7 March — 31 May 2026
Curated by Virginia Treanor and Frederica Van Dam
Maria Schalcken, Self-Portrait in Her Studio, ca. 1680, oil on panel, 17 × 13 inches (Museum of Fine Arts, Boston, 2019.2094).
Women Artists from Antwerp to Amsterdam, 1600–1750 showcases a broad range of work by more than forty Dutch and Flemish women artists, including Gesina ter Borch, Maria Faydherbe, Anna Maria de Koker, Judith Leyster, Magdalena van de Passe, Clara Peeters, Rachel Ruysch, Maria Tassaert, Jeanne Vergouwen, Michaelina Wautier, and more. Presenting an array of paintings, lace, prints, paper cuttings, embroidery, and sculpture, this exhibition draws on recent scholarship to demonstrate that a full view of women’s contributions to the artistic economy is essential to understanding Dutch and Flemish visual culture of the period.
Women were involved in virtually every aspect of artistic production in the Low Countries during the seventeenth and early eighteenth centuries. During this period, colonial exploitation and the international slave trade enriched Europe’s upper and middle classes, fueling demand for art and other luxuries. From celebrated painters who excelled in a male-dominated field to unsung women who toiled making some of the most expensive lace of the day, to wealthy patrons who shaped collecting practices, women created the very fabric of the visual culture of the era. Within a thematic presentation that considers the intertwined influences of status, family, and social expectations on a woman’s training and career choices, this exhibition demonstrates the many ways in which women of all classes contributed to the booming artistic economy of the day. Whether their work was circulated within aristocratic social circles, sold on the open market, or commissioned by patrons, women shaped and molded the world around them from Antwerp to Amsterdam.
Women Artists from Antwerp to Amsterdam, 1600–1750 is organized in partnership with the Museum of Fine Arts in Ghent, Belgium.
The press release is available here»
Virginia Treanor and Frederica Van Dam, eds., Women Artists from Antwerp to Amsterdam, 1600–1750 (Veurne: Hannibal Books, 2025), 304 pages, ISBN: 978-9493416277, $60. With contributions by Klara Alen, Frima Fox Hofrichter, Elena Kanagy-Loux, Judith Noorman, Catherine Powell-Warren, Inez De Prekel, Marleen Puyenbroek, Oana Stan and Katie Altizer Takata. Available in English and Dutch editions.
Frederica Van Dam is the Curator of Old Masters at MSK Ghent. Specializing in early modern Flemish painting, Dr. Van Dam co-curated Van Eyck: An Optical Revolution and led the first monographic show on Theodoor Rombouts (1597–1637). Virginia Treanor is the Senior Curator at the National Museum of Women in the Arts in Washington, D.C. She earned her PhD in 17th-century Dutch and Flemish art from the University of Maryland. Since joining NMWA in 2012, Dr. Treanor has curated numerous exhibitions, including multiple installments of the Women to Watch series.
Exhibition | Encounters
Cornelis Ploos van Amstel after Samuel van Hoogstraten, Boy with a Hat in a Front Door, detail, 1763, etching, roulette in brown and red (Berlin: Kupferstichkabinett, Christoph Müller Stiftung / Kilian Beutel).
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From the Staatliche Museen zu Berlin:
Encounters: ‘I Am All That!’ | Christoph Müller’s Gift, Part 2
Begegnungen: Das alles bin ich! | Die Schenkung Christoph Müller II
Kupferstichkabinett at the Gemäldegalerie, Berlin, 26 August — 30 November 2025
The exhibition I Am All That! presents the generous gift of some 200 works that art collector Christoph Müller has made to the Kupferstichkabinett (Museum of Prints and Drawings). The works on paper—drawings, prints, and watercolours—not only show a broad panorama of visual themes spanning five centuries, but also reflect the influences on the collector and his interests. One aspect of the collection at a time will be featured in four successive presentations. Opening on the 26 August 2025, the presentation focusses on people, interpersonal relationships, and encounters.
Anton Graff, Portrait of Provost Johann Joachim Spalding, ca. 1800, pastel (Berlin: Kupferstichkabinett, Christoph Müller Stiftung).
Portraits and plant studies, harbours and history paintings, landscapes and genre scenes: this exhibition shows the entire spectrum of an extraordinary collection. A fascinating cross-section of European art history unfolds within works from early modern history to the present. The exhibited works on paper originate from Germany, Italy, the Netherlands, and France—telling of people and nature, history and everyday life, beliefs, feelings, and the power to create. Representations of figures and nudes are on view, as well as seascapes, nature studies, animals, forests, and quite a lot more.
A selection of Müller’s generous gift will be presented to the public from 20 May 2025 to 14 June 2026 in four changing displays in the ‘Kabinett in der Galerie’ space at the Gemäldegalerie (Old Masters Paintings). The first presentation, A World of Words and Images (on view from 20 May to 24 August 2025), referenced Müller’s endeavours as a publisher and critic, as well as his passion for art and collecting.
The second presentation, Encounters, focuses on depictions of people and interpersonal relationships. Some of the featured artworks show moments of togetherness, such as social events, mutual exchange, or shared glances. The images depict romantic liaisons, domestic scenes, and social interactions, and reflect the personality of a tireless collector who nurtured numerous friendships and loved parties. These are juxtaposed with portraits, figurative representations, and detailed studies that centre the individual. Whether pictured in silent contemplation or facing the viewer, these subjects are a testament to the reality that human existence is constantly oscillating between proximity and seclusion, between moments of shared experience and periods of solitude..
Future Presentations
On Travelling and Being at Home
2 December 2025 — 8 March 2026
Leaf by Leaf: A Life with Art
10 March — 14 June 2026
Christoph Müller (1938–2024) was a German publisher, theatre and art critic, art collector, and patron, who made many generous gifts to public museums during his lifetime. As the editor-in-chief and co-publisher of the Schwäbisches Tagblatt, he shaped the German media landscape from 1969 to 2004. Müller’s passion for art is reflected in an impressive collection of works from various epochs and regions. He collected across the board, led by individual and personal preferences, as well as sound connoisseurship. His penchant was for 16th- and 17th-century Dutch art. In 2007, he gave the Kupferstichkabinett a significant collection of 370 Dutch and Flemish drawings and prints from the 16th to 18th centuries. With the current gift all collection areas of the Kupferstichkabinett’s holdings are being appreciably enhanced and enriched. Christoph Müller died in Berlin in 2024, at the age of 86. The exhibition should be understood as recognition of his impact in supporting the arts, as a sign of gratitude and an invitation to share his joy in art—a thought that continually motivated him.
Exhibition | Chardin and the Marcille Family
Opening soon at the Musée des Beaux-Arts Orléans:
The Marcille Chardin Family: A Passion from Orléans
Les Chardin des Marcille: Une passion orléanaise
Musée des Beaux-Arts, Orléans, 9 September 2025 — 11 January 2026
Rarely has a painting aroused so much passion as Le Panier de fraises des bois (1761) by Jean Siméon Chardin, the quintessential work of French painting, put up for sale in 2022 and acquired for a record price by the Musée du Louvre after having remained in the prestigious collection of the Orléans-born Eudoxe Marcille (1814–1890) since the mid-19th century.
His name alone evokes that of Chardin. His father, François Marcille (1790–1856), from a family of seed brokers in the Beauce region, had taken a visionary interest, as early as 1822, in all those artists from the time of Louis XV that nobody looked at anymore, to the point of assembling the largest collection of his time, with 4,500 works including dozens of Bouchers, Fragonards, Greuze, Prud’hon and Géricault… and, above all others, thirty Chardin. This consuming passion was passed on with his collection to his two sons, Eudoxe and Camille. Camille, who became curator of the Chartres museum, and Eudoxe, director of the Musée d’Orléans from 1870 to 1890, continued to promote Chardin’s work, even buying back after their father’s death, beyond the works he had designated for each, what could continue to be assembled from this ideal nucleus. Quite naturally, the Goncourt brothers, great biographers of 18th-century artists, drew on this reference collection, in which Chardin’s entire career is represented, to write the first biography of the painter of silent still lifes and pantries in 1863.
Chardin was at home in Orléans and, in a way, always had been. His friendship with Aignan Thomas Desfriches (1715–1800), the entrepreneur who had made Orléans an artistic capital in the 18th century, could be seen in the checkered scarf Chardin wears in his self-portrait, which came from Desfriches’ home. Desfriches himself owned numerous paintings by Chardin. He was followed by Casimir de Cypierre (1783–1844), son of the Intendant d’Orléans under Louis XVI, whose name a quay bears, who owned at least three. François Marcille and his son Eudoxe continued to nurture this Orléans passion. Around the exceptional loan of Panier de fraises des bois, five other Chardin paintings from the legendary Marcille collection are brought together for the first time since the 1979 retrospective. They are accompanied by the Self-portrait with bezicles (spectacles), an eventful acquisition which, in 1991, brought this artist, so dear to the heart of Orléans, into the pastel cabinet, but whose memory alone inhabited the collections. Chardin, more than ever, is at home in the Musée d’Orléans, which this family of discreet enthusiasts has helped to elevate, through François’ research and Eudoxe’s twenty years at the service of its collections, into a place of rediscovery and sharing.
With the exceptional participation of the Musée du Louvre. The exhibition benefits from exceptional loans from the Musée du Louvre, the Musée Jacquemart-André, the Musée de Picardie, private collectors, and the Marcille family descendants.
Exhibition | Flora Yukhnovich’s Four Seasons
Flora Yukhnovich in Her London Studio, 2024
(Photo by Kasia Bobula © Flora Yukhnovich)
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Opening this week at The Frick; see the preview by Ted Loos for The New York Times (28 August 2025) . . .
Flora Yukhnovich’s Four Seasons
The Frick Collection, New York, 3 September 2025 — 9 March 2026
Taking inspiration from the French Rococo, Italian Baroque, and Abstract Expressionist movements, Flora Yukhnovich (b. England, 1990) creates works that are at once modern and timeless by translating historic compositions into contemporary abstractions. Using the Frick’s Four Seasons by François Boucher as a point of departure, Yukhnovich’s site-specific mural will cover the walls of the museum’s Cabinet. This project is accompanied by the publication of a new volume in the Frick’s acclaimed Diptych series, which highlights a single masterpiece from the permanent collection by pairing complementary essays by a curator and a contemporary artist, musician, or other cultural luminary. This volume will feature a text by Yukhnovich and an essay by Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator, on the significance of Boucher’s beloved series.
Flora Yukhnovich’s Four Seasons is made possible by Hauser & Wirth and Victoria Miro.
Xavier Salomon and Flora Yukhnovich, Boucher’s Four Seasons (London: D. Giles, 2026), 80 pages, ISBN: 978-1913875732, $30.
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