special exhibition special exhibition Porcelain, No Simple Matter Arlene Shechet and the Arnhold Collection

May 24, 2016, through April 2, 2017 michael michael bodycomb

or this special exhibition, The Frick outside of Dresden. The factory has see mine. In the late 1980s, the art historian F Collection invited New York–based remained there, in continuous production, Maureen Cassidy-Geiger came up with the artist Arlene Shechet to select about one hun- ever since. idea of publishing a catalogue of my col- dred eighteenth-century pieces of Meissen Henry Arnhold’s parents, Lisa and lection; and at that point, I became very porcelain from the renowned collection Heinrich, began collecting involved again, a real activist in terms of my of Henry Arnhold and install them in the in 1926, when they lived in Dresden, acquir- collecting. I also took Maureen on trips to Portico Gallery, along with sixteen of her ing mostly tablewares, vases, and objects of what was called Leningrad at the time and own porcelain sculptures. Shechet’s inventive royal or noteworthy provenance. Henry fol- to Prague, Florence, Paris, Dresden, and installation richly extends the context of both lowed in their footsteps, becoming a patron Munich—everywhere. Well, l’appetit vient the eighteenth-century pieces and her work. of the arts and an avid Meissen collector. en mangeant [appetite comes with eating]— Although porcelain was manufactured in In a recent interview with exhibition that’s what the French taught me.” China as early as the seventh century, its pro- curator Charlotte Vignon and Arlene Not only does Mr. Arnhold have a great duction remained a mystery in Europe until Shechet, Mr. Arnhold recalled: “By the time appetite, he also has an unfailing eye—one 1709, when the alchemist Johann Friedrich we left [in 1937], the Meissen col- that guided the acquisition of each of the Böttger succeeded in producing white por- lection was quite substantial. Shortly after I pieces in his collection, including the objects celain. Until then, porcelain had been known came back from the army after World War II, illustrated below, which are included in the as “white gold,” as it was available in Europe I got married and started to set up a home. exhibition. only through imports from China and Japan. By then, my mother had moved to an apart- By contrast, Arlene Shechet’s interest In 1710, Böttger’s patron, August II, elector ment in New York, and she was quite happy in Meissen porcelain came completely by of and king of Poland, established a to share things with both me and one of my chance, when a few years ago the curator and porcelain manufactory in Dresden, the seat sisters who also had moved to New York. I art dealer Peter Nagy, who knew Shechet’s of the Saxon court. So determined was he to made myself a little collection at home, and work and its relationship with historical keep the formula a secret that he relocated when professionals—whether artists, collec- material, recommended her for an artist’s clay, she had no previous experience work- came into being. It was the beginning of his manufactory to the secure clifftop castle tors, or museum people—came to see my residency at the Meissen factory. Although ing in porcelain and was excited by the figuring out that I needed to be an artist. I’m of Albrechtsburg in Meissen, fifteen miles mother’s collection, they also came over to Shechet had worked for many years with All works illustrated were made at the Meissen Porcelain opportunity to explore this very technical still deeply interested in the process of how Manufactory. Unless otherwise indicated, works are medium onsite at the Meissen manufactory. things grow. I grow things in my studio and on loan from the Arnhold Collection. Those by Arlene Shechet are courtesy of the artist. “The allure of spending time inside a func- also in my gardens. I believe art and nature tioning factory [was] extremely compelling. are very aligned.” this page Exhibition display with Arlene Shechet’s Big Dragon As a child in New York, I used to tell my Made during her residency at Meissen (bottom, center) and Three Hundred Years (far right and parents there were two things I wanted to be in 2012 and 2013, Shechet’s unique composi- far left), juxtaposed with Meissen porcelain, ca. 1725–35 when I grew up: a farmer or a factory worker. tions reflect her fascination with the process opposite page, left to right Thinking about that in recent years as I work of making porcelain. For example, she cre- Saucer and Tea Bowl, ca. 1720, decorated outside in my studio, I realize that being an artist is, ated Mix and Match, one of the exhibition’s the Meissen factory, ca. 1745, promised gift from the Arnhold Collection in many ways, like being both a farmer and featured works, by using eighteenth-century a factory worker. I’m growing things and molds from the Meissen archives. Each ele- Freemason Couple Taking Chocolate, model by Johann Joachim Kändler (1706–1775), ca. 1745 generating a vision. I’m not completely in ment of the fanciful sculpture was cast sepa- control and am always aware of a process rately then decorated with a different color or Small Two-Handled Bowl with Cover, 1735 or 1738, model by Johann Joachim Kändler and/or Johann that’s bigger than me. As a child, I always pattern. After her first few weeks at Meissen, Friedrich Eberlein (1696–1749) wanted to know how things were made or Shechet realized that the molds were the

10 The Frick Collection Members’ Magazine Spring/Summer 2016 11 special exhibition special exhibition Porcelain, No Simple Matter Arlene Shechet and the Arnhold Collection

May 24, 2016, through April 2, 2017 michael michael bodycomb

or this special exhibition, The Frick outside of Dresden. The Meissen factory has see mine. In the late 1980s, the art historian F Collection invited New York–based remained there, in continuous production, Maureen Cassidy-Geiger came up with the artist Arlene Shechet to select about one hun- ever since. idea of publishing a catalogue of my col- dred eighteenth-century pieces of Meissen Henry Arnhold’s parents, Lisa and lection; and at that point, I became very porcelain from the renowned collection Heinrich, began collecting Meissen porcelain involved again, a real activist in terms of my of Henry Arnhold and install them in the in 1926, when they lived in Dresden, acquir- collecting. I also took Maureen on trips to Portico Gallery, along with sixteen of her ing mostly tablewares, vases, and objects of what was called Leningrad at the time and own porcelain sculptures. Shechet’s inventive royal or noteworthy provenance. Henry fol- to Prague, Florence, Paris, Dresden, and installation richly extends the context of both lowed in their footsteps, becoming a patron Munich—everywhere. Well, l’appetit vient the eighteenth-century pieces and her work. of the arts and an avid Meissen collector. en mangeant [appetite comes with eating]— Although porcelain was manufactured in In a recent interview with exhibition that’s what the French taught me.” China as early as the seventh century, its pro- curator Charlotte Vignon and Arlene Not only does Mr. Arnhold have a great duction remained a mystery in Europe until Shechet, Mr. Arnhold recalled: “By the time appetite, he also has an unfailing eye—one 1709, when the alchemist Johann Friedrich we left Germany [in 1937], the Meissen col- that guided the acquisition of each of the Böttger succeeded in producing white por- lection was quite substantial. Shortly after I pieces in his collection, including the objects celain. Until then, porcelain had been known came back from the army after World War II, illustrated below, which are included in the as “white gold,” as it was available in Europe I got married and started to set up a home. exhibition. only through imports from China and Japan. By then, my mother had moved to an apart- By contrast, Arlene Shechet’s interest In 1710, Böttger’s patron, August II, elector ment in New York, and she was quite happy in Meissen porcelain came completely by of Saxony and king of Poland, established a to share things with both me and one of my chance, when a few years ago the curator and porcelain manufactory in Dresden, the seat sisters who also had moved to New York. I art dealer Peter Nagy, who knew Shechet’s of the Saxon court. So determined was he to made myself a little collection at home, and work and its relationship with historical keep the formula a secret that he relocated when professionals—whether artists, collec- material, recommended her for an artist’s clay, she had no previous experience work- came into being. It was the beginning of his manufactory to the secure clifftop castle tors, or museum people—came to see my residency at the Meissen factory. Although ing in porcelain and was excited by the figuring out that I needed to be an artist. I’m of Albrechtsburg in Meissen, fifteen miles mother’s collection, they also came over to Shechet had worked for many years with All works illustrated were made at the Meissen Porcelain opportunity to explore this very technical still deeply interested in the process of how Manufactory. Unless otherwise indicated, works are medium onsite at the Meissen manufactory. things grow. I grow things in my studio and on loan from the Arnhold Collection. Those by Arlene Shechet are courtesy of the artist. “The allure of spending time inside a func- also in my gardens. I believe art and nature tioning factory [was] extremely compelling. are very aligned.” this page Exhibition display with Arlene Shechet’s Big Dragon As a child in New York, I used to tell my Made during her residency at Meissen (bottom, center) and Three Hundred Years (far right and parents there were two things I wanted to be in 2012 and 2013, Shechet’s unique composi- far left), juxtaposed with Meissen porcelain, ca. 1725–35 when I grew up: a farmer or a factory worker. tions reflect her fascination with the process opposite page, left to right Thinking about that in recent years as I work of making porcelain. For example, she cre- Saucer and Tea Bowl, ca. 1720, decorated outside in my studio, I realize that being an artist is, ated Mix and Match, one of the exhibition’s the Meissen factory, ca. 1745, promised gift from the Arnhold Collection in many ways, like being both a farmer and featured works, by using eighteenth-century a factory worker. I’m growing things and molds from the Meissen archives. Each ele- Freemason Couple Taking Chocolate, model by Johann Joachim Kändler (1706–1775), ca. 1745 generating a vision. I’m not completely in ment of the fanciful sculpture was cast sepa- control and am always aware of a process rately then decorated with a different color or Small Two-Handled Bowl with Cover, 1735 or 1738, model by Johann Joachim Kändler and/or Johann that’s bigger than me. As a child, I always pattern. After her first few weeks at Meissen, Friedrich Eberlein (1696–1749) wanted to know how things were made or Shechet realized that the molds were the

10 The Frick Collection Members’ Magazine Spring/Summer 2016 11 special exhibition special exhibition michael michael bodycomb left) paired with her Scallop Bowl (opposite page, right), a mold work that was created by casting the Fluted Bowl’s original plaster mold in porcelain. Her fascination with the process of making porcelain can be seen in the visible seams, cracks, and drips that are often found on cast and hand-painted works, as well as her inclusion of the mold’s inventory numbers on the surface of her sculptures. Shechet painted and gilded each piece at Meissen according to traditional manufactory techniques, but fused her works with her own language and sensibility as seen in her interpretation (page 11, bottom center) of the painted decoration of dialogue between the contemporary and the depictions of nature, an important source of For Shechet, as for Arnhold, these beautiful Meissen’s famous “Red Dragon” service. historical. Her installation is inspired by the inspiration for artists working at the Meissen objects are not simply dishes or figurines Although Shechet’s compositions are domestic setting of The Frick Collection’s factory as well as for Shechet. or painted knickknacks—they are carefully undeniably linked to eighteenth-century galleries, which are characterized by a com- The integration of Shechet’s work with considered works of art. By exploring the Meissen production through the historic bination of objects, textures, colors, and porcelain from Mr. Arnhold’s collection cre- complex history of the making, collect- molds and traditional techniques used to cre- materials. Shechet turned to objects from ates a kind of tableau vivant in which the ing, and display of porcelain, the exhibition ate and decorate them, they also differ radi- the permanent collection when designing objects—figures, cups, teapots, and vases— offers a unique opportunity to reevaluate and cally from their earlier counterparts. Since its the display cases for the installation, taking seem to come to life, a direct reference to ­reexamine a medium, a matter, often taken founding, the Meissen factory has produced as her inspiration, for example, the early the eighteenth-century European concept for granted.—Charlotte Vignon, Curator of pieces that are cast and painted by hand but eighteenth-century French desk by André- of animating inanimate objects. The dis- Decorative Arts are produced as unlimited multiples. The Charles Boulle that is currently in the Living play also references late seventeenth- and artists and craftsmen working in the factory Hall. Likewise, the green damask behind the eighteenth-century European gardens that make only minor decisions about the pieces’ exhibition’s display cases evokes the muse- invited contemplation of art and nature, as “Porcelain, No Simple Matter: Arlene Shechet final appearance, which is predetermined by um’s fabric-covered walls. well as contemporaneous “porcelain rooms,” and the Arnhold Collection” was organized the existing molds and traditional painting The exhibition’s location in the Portico in which walls were covered with hundreds by Charlotte Vignon, Curator of Decorative core of all the porcelain produced at the fac- techniques. In contrast, each of Shechet’s Gallery, overlooking the museum’s historic of pieces of porcelain, often arranged by Arts, The Frick Collection. Major support tory since the eighteenth century—“almost sculptures is unique, conceived and created Fifth Avenue Garden, reflects Shechet’s wish color. As in these historical settings, surprise for the exhibition is generously provided by like the factory’s DNA.” To communicate entirely by her. However, since Shechet made to extend the exhibition into the garden and delight are at the core of the installation; Chuck and Deborah Royce, Melinda and this page this idea in her works, she attempted to link these sculptures at the Meissen factory, they while simultaneously bringing the natural look for porcelain birds mounted overhead Paul Sullivan, Margot and Jerry Bogert, and Installation display with Shechet’s Bug Plate (2013) the molds’ industrial imagery with the very are all signed with the factory’s blue crossed world indoors. For this reason, plexiglass in the Portico’s rotunda and large Meissen Monika McLennan. and a mounted group (ca. 1728–30), model attributed to George Fritzsche (ca. 1697–1756), with gilt-bronze refined aesthetic of porcelain. To accomplish swords, the mark of the Meissen factory since was chosen for the two pedestal-tables near animals outside, their stark white a dramatic Ms. Vignon would like to acknowledge mounts, probably French, promised gift from the this, she made molds of the factory’s three- the eighteenth century. the Portico Gallery’s floor-to-ceiling win- contrast to the garden’s greenery. Stephen Saitas, Joseph Godla, Patrick King, Arnhold Collection hundred-year-old plaster originals then cast Shechet’s installation eschews the typi- dows in order to offer an unobstructed view The exhibition’s title, “Porcelain, No Arthur Fowler, Adrian Anderson, Chelsea opposite page, left to right them in porcelain, turning industrial objects cal chronological or thematic order of most of the garden. The theme of the exhibition Simple Matter,” was chosen by Shechet and Maruskin, Catherine Feck, Henry McMahon, Fluted Bowl, ca. 1730 into fine works of art. The exhibition includes installations in favor of a personal approach also derives from its location, with the fea- is meant as an entreaty to the viewer to look and Lucas Ruggieri for their help in creating Arlene Shechet (b. 1951), Scallop Bowl, 2012 Henry Arnhold’s Fluted Bowl (opposite page, that opens an intriguing visual and technical tured pieces selected for their evocations and more closely and prepare to be surprised. this unique installation.

12 The Frick Collection Members’ Magazine Spring/Summer 2016 13 special exhibition special exhibition michael michael bodycomb left) paired with her Scallop Bowl (opposite page, right), a mold work that was created by casting the Fluted Bowl’s original plaster mold in porcelain. Her fascination with the process of making porcelain can be seen in the visible seams, cracks, and drips that are often found on cast and hand-painted works, as well as her inclusion of the mold’s inventory numbers on the surface of her sculptures. Shechet painted and gilded each piece at Meissen according to traditional manufactory techniques, but fused her works with her own language and sensibility as seen in her interpretation (page 11, bottom center) of the painted decoration of dialogue between the contemporary and the depictions of nature, an important source of For Shechet, as for Arnhold, these beautiful Meissen’s famous “Red Dragon” service. historical. Her installation is inspired by the inspiration for artists working at the Meissen objects are not simply dishes or figurines Although Shechet’s compositions are domestic setting of The Frick Collection’s factory as well as for Shechet. or painted knickknacks—they are carefully undeniably linked to eighteenth-century galleries, which are characterized by a com- The integration of Shechet’s work with considered works of art. By exploring the Meissen production through the historic bination of objects, textures, colors, and porcelain from Mr. Arnhold’s collection cre- complex history of the making, collect- molds and traditional techniques used to cre- materials. Shechet turned to objects from ates a kind of tableau vivant in which the ing, and display of porcelain, the exhibition ate and decorate them, they also differ radi- the permanent collection when designing objects—figures, cups, teapots, and vases— offers a unique opportunity to reevaluate and cally from their earlier counterparts. Since its the display cases for the installation, taking seem to come to life, a direct reference to ­reexamine a medium, a matter, often taken founding, the Meissen factory has produced as her inspiration, for example, the early the eighteenth-century European concept for granted.—Charlotte Vignon, Curator of pieces that are cast and painted by hand but eighteenth-century French desk by André- of animating inanimate objects. The dis- Decorative Arts are produced as unlimited multiples. The Charles Boulle that is currently in the Living play also references late seventeenth- and artists and craftsmen working in the factory Hall. Likewise, the green damask behind the eighteenth-century European gardens that make only minor decisions about the pieces’ exhibition’s display cases evokes the muse- invited contemplation of art and nature, as “Porcelain, No Simple Matter: Arlene Shechet final appearance, which is predetermined by um’s fabric-covered walls. well as contemporaneous “porcelain rooms,” and the Arnhold Collection” was organized the existing molds and traditional painting The exhibition’s location in the Portico in which walls were covered with hundreds by Charlotte Vignon, Curator of Decorative core of all the porcelain produced at the fac- techniques. In contrast, each of Shechet’s Gallery, overlooking the museum’s historic of pieces of porcelain, often arranged by Arts, The Frick Collection. Major support tory since the eighteenth century—“almost sculptures is unique, conceived and created Fifth Avenue Garden, reflects Shechet’s wish color. As in these historical settings, surprise for the exhibition is generously provided by like the factory’s DNA.” To communicate entirely by her. However, since Shechet made to extend the exhibition into the garden and delight are at the core of the installation; Chuck and Deborah Royce, Melinda and this page this idea in her works, she attempted to link these sculptures at the Meissen factory, they while simultaneously bringing the natural look for porcelain birds mounted overhead Paul Sullivan, Margot and Jerry Bogert, and Installation display with Shechet’s Bug Plate (2013) the molds’ industrial imagery with the very are all signed with the factory’s blue crossed world indoors. For this reason, plexiglass in the Portico’s rotunda and large Meissen Monika McLennan. and a mounted group (ca. 1728–30), model attributed to George Fritzsche (ca. 1697–1756), with gilt-bronze refined aesthetic of porcelain. To accomplish swords, the mark of the Meissen factory since was chosen for the two pedestal-tables near animals outside, their stark white a dramatic Ms. Vignon would like to acknowledge mounts, probably French, promised gift from the this, she made molds of the factory’s three- the eighteenth century. the Portico Gallery’s floor-to-ceiling win- contrast to the garden’s greenery. Stephen Saitas, Joseph Godla, Patrick King, Arnhold Collection hundred-year-old plaster originals then cast Shechet’s installation eschews the typi- dows in order to offer an unobstructed view The exhibition’s title, “Porcelain, No Arthur Fowler, Adrian Anderson, Chelsea opposite page, left to right them in porcelain, turning industrial objects cal chronological or thematic order of most of the garden. The theme of the exhibition Simple Matter,” was chosen by Shechet and Maruskin, Catherine Feck, Henry McMahon, Fluted Bowl, ca. 1730 into fine works of art. The exhibition includes installations in favor of a personal approach also derives from its location, with the fea- is meant as an entreaty to the viewer to look and Lucas Ruggieri for their help in creating Arlene Shechet (b. 1951), Scallop Bowl, 2012 Henry Arnhold’s Fluted Bowl (opposite page, that opens an intriguing visual and technical tured pieces selected for their evocations and more closely and prepare to be surprised. this unique installation.

12 The Frick Collection Members’ Magazine Spring/Summer 2016 13