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The Frick Collection Fall 2013 Programs the Frick Collection 1 East 70Th Street, New York, Ny 10021 212.288.0700

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The Frick Collection Fall 2013 Programs the Frick Collection 1 East 70Th Street, New York, Ny 10021 212.288.0700 The Frick Collection fall 2013 programs The Frick Collection 1 east 70th street, new york, ny 10021 212.288.0700 www.frick.org hours nternationally recognized as a premier museum and Tuesday through Saturday 10:00 a.m. to 6:00 p.m. I research center, The Frick Collection is known for its Sunday 11:00 a.m. to 5:00 p.m. distinguished Old Master paintings and outstanding exam- closed Mondays, New Year’s Day, Independence Day, ples of European sculpture and decorative arts. Thanksgiving, and Christmas The collection was assembled by the Pittsburgh indus- trialist Henry Clay Frick (1849–1919) and is housed in his family’s former residence on Fifth Avenue. One of New York admission City’s few remaining Gilded Age mansions, it provides a tranquil environment for visitors to experience masterpieces General Public $20 by artists such as Bellini, Rembrandt, Vermeer, Goya, and Seniors (65 and over) $15 Whistler. The museum opened in 1935 and has continued to Students $10 acquire works of art since Mr. Frick’s death. Members Free Adjacent to the museum is the Frick Art Reference Library, founded by Helen Clay Frick as a memorial to her On Sundays from 11:00 a.m. to 1:00 p.m., visitors may father. Today it is one of the leading institutions for research pay what they wish. in the history of art and collecting. Children under ten are not admitted. Along with special exhibitions and an acclaimed con- Group visits are by appointment; call 212.288.0700 cert series, the Frick offers a wide range of lectures, symposia, to schedule. and education programs that foster a deeper appreciation of its permanent collection. s p e C i a l e x h i b i T i o n Vermeer, rembrandt, and Hals: Major Funding for the exhibition is provided by The Peter Jay masterpieces of dutcH painting Sharp Foundation, Assael Inc., John and Constance Birke­ from tHe mauritsHuis lund, and Fiduciary Trust Company International. Additional October 22, 2013, through January 19, 2014 support is generously provided by Margot and Jerry Bogert, Michael and Jane Horvitz, Walter and Vera Eberstadt, Agnes Over the course of the seventeenth century, the Dutch nation Gund, Seymour R. Askin, Barbara Fleischman, the Netherland­ rose to become one of the wealthiest and most powerful America Foundation, and an anonymous gift in memory of in the world. With surplus income, Dutch citizens became Melvin R. Seiden. The exhibition is also supported by an indem­ enthusiastic patrons of the arts, and an enormous surge in nity from the Federal Council on the Arts and the Humanities. art production followed. This fall and winter, the Frick will present fifteen extraordinary paintings from this Golden Age. ticketing policy Selected from the famed collection of the Royal Picture Gal- Entrance to the special exhibition is included with paid museum lery Mauritshuis, The Hague, these works represent not only admission. However, timed tickets are required, and purchas­ the remarkable achievements of northern artists during the ing them in advance is strongly advised. Tickets may be pur­ seventeenth century but also the subjects that engaged art- chased at the museum’s admissions desk during regular hours, ists’ and collectors’ imaginations at this time. Included in the online from the Frick’s Web site, or from Telecharge by calling exhibition will be Johannes Vermeer’s Girl with a Pearl Ear­ 212.239.6200. As a benefit of membership, museum members ring (cover), as well as works by Frans Hals, Pieter Claesz, will be given priority access and may view the special exhibition Rembrandt, Gerard ter Borch, Carel Fabritius, Jan Steen, without pre­purchasing timed tickets. Please visit our Web site Jacob van Ruisdael, Nicolaes Maes, and Adriaen Coorte. The for more details about the ticketing policy. paintings reveal prevailing attitudes of the Dutch people, reflecting what they valued—their native land, industrious special friday evening hours labor, modesty in comportment—and what they scorned— Fridays, 6:00 to 9:00 p.m. indolence and disorder. As a fascinating codicil to the exhibition, the Frick will The special exhibition will be open to members only on the eve­ present Transforming Still Life Painting, Rob and Nick Carter’s nings of November 1, December 6, and January 3. The remain­ contemporary rejoinder to the vanitas tradition. The artists’ ing Friday evenings during the show’s presentation will be open digitally rendered film is inspired by Vase with Flowers in a to the public free of charge. We are grateful to Agnes Gund for Window, painted by Ambrosius Bosschaert the Elder about making these free public evenings possible. 1618. Presented in the Multimedia Room, the Carters’ mes- school visits merizing work literally transforms the still-life genre by ani- mating the nature morte. During the presentation of the special exhibition, The Frick Col­ The selection of paintings to be presented was made by lection will offer a limited number of guided school visits for Colin B. Bailey, former Deputy Director and Peter Jay Sharp students in grades 5 through 12 on Monday mornings, when the Chief Curator at the Frick, in consultation with the Maurits­ museum is closed to the public. Reservations must be made at huis. The installation is organized by Margaret Iacono, Assis­ least two weeks in advance; please visit www.frick.org/schools tant Curator at the Frick. for more information. 2 www.frick.org/exhibitions 3 s p e C i a l e x h i b i T i o n daVid d’angers: making tHe modern monument September 17 through December 8, 2013 In 1817 the young French sculptor Pierre-Jean David d’Angers caused a stir at the Paris Salon with his powerful monument to a seventeenth-century general. Its energetic composition and depiction of the hero in historical costume challenged neoclassical norms and helped to usher in the age of Roman- ticism. Lauded by Victor Hugo as the Michelangelo of Paris, David became one of the most important sculptors of the nineteenth century. An ardent Republican and political dis- sident, experimental writer, and confidant to innumerable artists and intellectuals (from Balzac and Paganini to Goethe and Delacroix), he was both celebrated and controversial during his lifetime. Although today he is little known, David produced some of the most iconic portraits and ambitious public monuments of the Romantic era. The Frick’s presenta- tion—the first major exhibition devoted to the artist outside his native France—assembles forty-eight works on paper and in wax, terracotta, plaster, marble, and bronze, as well as rare nineteenth-century books of photographs and engravings; many of these have never before been exhibited. Together, they reveal the ways in which David sought to adapt the notion of a monument to the new social and political land- scape of modernity. The exhibition is organized by Emerson Bowyer, Guest Curator and former Andrew W. Mellon Curatorial Fellow, The Frick Collection. Support is generously provided by Antonio Weiss and Susannah Hunnewell, Margot and Jerry Bogert, and The Andrew W. Mellon Foundation. 4 www.frick.org/exhibitions s p e C i a l e x h i b i T i o n precision and splendor: clocks and WatcHes at tHe frick collection Through February 2, 2014 Today the question “What time is it?” is quickly answered by looking at any number of devices around us, from watches to phones to computers. For millennia, however, determining the correct time was not so simple, and it was not until the late thirteenth century that the first mechanical clocks were made, slowly replacing sundials and water clocks. It would take several hundred more years before mechanical time- keepers became reliable and accurate. Precision and Splendor: Clocks and Watches at The Frick Collection explores the dis- coveries and innovations made in the field of horology from the early sixteenth to the nineteenth century. The exhibition features eleven clocks and fourteen watches from the bequest of Winthrop Kellogg Edey, along with five clocks lent by the collector Horace Wood Brock that have never before been seen in New York City. Together, these objects chronicle the evolution over the centuries of more accurate and complex timekeepers and illustrate the aesthetic developments that reflected Europe’s latest styles. The exhibition is organized by Charlotte Vignon, Asso­ ciate Curator of Decorative Arts, The Frick Collection. Major funding is provided by Breguet. Additional support is gener­ ously provided by The Selz Foundation, Peter and Gail Goltra, and the David Berg Foundation. www.frick.org/exhibitions 7 l e ct u r e s Lectures are free. Seating is on a first­come, first­served basis, clocks, politics, and cHanging times and reservations are not accepted. Selected lectures will be web­ Wednesday, October 16, 6:00 p.m. cast live and made available on our Web site and The Frick Col­ Kevin K. Birth, Professor, Department of Anthropology, lection’s channel on FORA.tv. Please visit our Web site for details. Queens College, City University of New York sculpting History: The clocks in the exhibition Precision and Splendor reflect daVid d’angers and some of the major debates about time that have occurred tHe romantic monument over the last five hundred years. Kevin Birth will discuss the relevance of the clocks on view to our understanding of Wednesday, September 18, 6:00 p.m. some of the great historic changes in timekeeping, including Emerson Bowyer, Guest Curator, The Frick Collection the Gregorian calendar and the Counter-Reformation, the Copernican revolution, the replacement of solar time with In a celebrated passage from his Histoire de la Révolution mean time, and the French Revolution’s failed experiment Française, the French historian Jules Michelet asserts that with decimal time.
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