May 16, 2007
Why François Du Quesnoy Should Have “Dy’d Mad”: The Intentions of Roman Baroque Sculptors
Jennifer Montagu, Honorary Fellow, The Warburg Institute, London
 When executing their works, Roman baroque sculptors took into account both the placement of the finished object — in niches, above eye level, or on the sidewalls of chapels — and the available light. The lecturer discussed how they adapted their art to fit a specific site, and how we should look at it.
This lecture is the fifth in an annual series sponsored by the Council of The Frick Collection and is available in published form at the Museum Shop.
April 13, 2006
Dürer’s Hands
Joseph Leo Koerner, Professor of Art History, Courtauld Institute of Art
 From his first extant sketch through his late-career investigations of human proportion, Albrecht Dürer often used himself as a model. The lecturer, the author of a landmark book on self-portraiture, will focus on the earliest sketches Dürer made of his hands, examining the emergence of a quintessentially modern concept in art: the artwork as personal expression of its creator.
This lecture is the fourth in an annual series sponsored by the Council of The Frick Collection
March 30, 2005
Manet's Incident in a Bullfight
Theodore Reff, Columbia University
 Manet's haunting Dead Toreador (National Gallery of Art, Washington, D.C.) and the Frick's Bullfight were once part of a larger canvas painted in 1864 exhibited as An Incident in the Bullring. The lecturer reconstructed the painting's original composition, analyzed its historical and pictorial sources, and related it to representations of bullfighting and other works by Manet with Spanish subjects. He also speculated on its implicit political content.
This lecture was the third in an annual series sponsored by the Council of The Frick Collection and is available in published form at the Museum Shop.
March 24, 2004
Roger Fry and the Reevaluation of Piero della Francesca
Caroline Elam, National Gallery of Art, Washington, D.C.
 Owing in large part to the advocacy of critics such as Roger Fry and Roberto Longhi, in the twentieth century Piero della Francesca became the most admired of all fifteenth-century Italian artists, regarded as the forerunner of Cézanne and Seurat. Drawing on unpublished material, the lecturer explored Fry's development of a new critical language to analyze Piero's art and his pioneering discussion of Piero's artistic evolution in terms of techniques and media.
This lecture wasthe second in a series of annual lectures sponsored by the Council of The Frick Collection and is available in published form at the Museum Shop.
March 5, 2003 Giorgione or Titian? The History of a Controversy
Charles Hope, Warburg Institute, London
 The speaker discussed the strange story of the confusion that arose around 1870 (and persists to this day) about the distinction between the works of Giorgione and those of Titian. One example involves the Titian portrait of a young man in The Frick Collection, which was once thought to be by Giorgione.
This lecture was the first in a series of annual lectures sponsored by the Council of The Frick Collection and is available in published form at the Museum Shop. |
