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This exhibition presents a remarkable promised gift of European works on paper. Along with figurative sketches, independent studies, and portraits are two vivid landscape scenes. Artists include Boucher, Caillebotte, Degas, Fragonard, Goya, Sargent, and Vigée Le Brun.
The Frick Collection presented the first-ever exhibition on the Florentine sculptor Bertoldo di Giovanni (ca. 1440–1491), a renowned student of Donatello, a teacher of Michelangelo, and a great favorite of Lorenzo “il Magnifico” de’ Medici, his principal patron.
The Frick Collection presented a selection of paintings, drawings, prints, and photographs related to Giambattista Tiepolo’s first significant project outside of Venice, a series of ceiling frescoes for Palazzo Archinto in Milan that were destroyed during World War II.
Of the many artists who flourished in Rome during the eighteenth century, the silversmith Luigi Valadier (1726–1785) was particularly admired by popes, royalty, and aristocrats across Europe. Luigi Valadier: Splendor in Eighteenth-Century Rome, curated by Alvar González-Palacios, brought together more than sixty extraordinary works by the renowned silversmith in celebration of his unsurpassed technical expertise and avant-garde aesthetic.
Celebrating the largest acquisition in the Frick’s history, a gift of approximately 450 portrait medals from the incomparable collection of Stephen K. and Janie Woo Scher, the exhibition explored one of the most important artistic inventions of the Renaissance. The selection showcased superlative examples by masters of the medium — many of whom were also celebrated painters, sculptors, and printmakers — from Pisanello in the Italian Renaissance to Pierre-Jean David d’Angers in nineteenth-century France, honoring medals as integral to the history of portraiture in Western art and as a triumph of sculpture on a small scale.
On loan from a private collection, Rembrandt's Abraham Entertaining the Angels of 1646 was the centerpiece of a small exhibition dedicated to the artist's depictions of Abraham and his various encounters with God and his angels, as recounted in the book of Genesis. In the painting and in the other works included in the show — a tightly focused selection of prints and drawings and a single copper plate — Rembrandt explored, in different media, the nature of divine presence and the ways it was perceived.
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