Images of Interest

Analog Facial Recognition

Beginning in 1925, Helen Clay Frick hired the Italian photographers Mario Sansoni and Oreste Nesti to traverse Italy documenting in situ sculptures, paintings, and frescoes that other firms such as Anderson, Alinari, and Brogi had neglected to capture. On several occasions, staff of the Frick Art Reference Library requested photography of objects specifically related to works in The Frick Collection. - See more at: http://www.frick.org/photoarchive/discoveries/analog_facial_recognition_technology#sthash.lZxHZipQ.dpuf
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A Byzantine Madonna in Italy

The third and final entry in a series of three blog posts focusing on conservation "interventions" as recorded in the holdings of the Frick Art Reference Library Photoarchive is this mysterious devotional image in the church of San Martino in Velletri, Italy.
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Lost and Found

The second of a series of blog entries focusing on conservation “interventions” as recorded in the holdings of the Frick Art Reference Library Photoarchive is this problematic portrait of an engaging young woman, her son, and their serene spaniel attributed to Sir William Beechey (1753–1839).
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Art and Fashion

The first in a series of blog entries focusing on conservation “interventions” as recorded in the holdings of the Frick Art Reference Library Photoarchive is this elegant portrait of Mrs. William Bedlow Crosby attributed to Eliab Metcalf (1785‒1834), which underwent substantial restoration before 1940.
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Piero della Francesca's St. Julian In Situ

In 1956, Thomas Hoving, the former director of the Metropolitan Museum of Art, New York, traveled to Sansepolcro, Italy, to study and photograph works by Piero della Francesca (ca. 1415–1492), including a recently discovered fresco in the church of Santa Chiara (formerly Sant’Agostino).
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The Allegorical Frescoes of the Palazzo della Ragione, Padua

The theme of this extensive fresco cycle—which is comprised of more than 300 scenes—is human life as regulated by the heavens.
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The Parthenon in 1667

This detailed sketch, based on George Wheeler’s topographical drawing of 1667, documents the appearance of the Parthenon just a few years before Venetian forces shelled the Acropolis during the Republic’s struggle to take the city from the Ottomans in 1687.
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