Lectures

Much of art history and art education has been devoted to discovering meaning in historical works of art. Holly discusses an alternative critical path, wherein scholars need not always talk about what an artwork represents as much as what it presents. Works of art are about something far more magical, mysterious, and poetic than the transmittal of subject matter. The presence of an historical work of art in our contemporary visual world momentarily shifts the magnetic poles of what is seen and known. 

During the early sixteenth century, rulers and courtiers across northern Italy commissioned portraits that not only captured their appearance but also subtly alluded to their status and accomplishments.

Parmigianino's exquisite Schiava Turca (Turkish slave) is shrouded in mystery. Who is this woman whose elaborate, almost theatrical, costume inspired an early eighteenth-century writer to give the Renaissance beauty her fantastical name? In this lecture, the guest curator of the special exhibition The Poetry of Parmigianino's "Schiava Turca" will present a new interpretation of the work. Ng's new research suggests that the sitter likely held a special status as a poet in the court culture of Northern Italy. ―This lecture is made possible by the Robert H.

In the belief that personal circumstances play an important part in shaping the work of art historians, Jonathan Brown reflects on his career as a specialist in Hispanic art. He will also take a fresh look at Las Meninas (Museo Nacional del Prado, Madrid), discussing how it was understood by Velázquez's contemporaries at the court of Philip IV. The lecture coincides with the publication of Brown's In the Shadow of Velázquez: A Life in Art History.
 

Houdon and Clodion are among the greatest French sculptors of the late eighteenth century, as well as the creators of works featured in the Frick's special exhibition Enlightenment and Beauty. As students in Rome in the 1760s, both were schooled in Greek and Roman culture and studied vast collections of antiquities. Yet what they absorbed from their training and the paths they chose to follow were quite different. This lecture will explore the sculptors' respective sources of inspiration and patronage. 

At the end of the sixteenth century Giambologna dominated the art of the small bronze, and his statuettes were highly prized by rulers and sophisticated collectors across Europe. In principle, the master’s models could be endlessly reproduced in bronze casts. Research undertaken for the upcoming exhibition Renaissance and Baroque Bronzes from the Hill Collection will show how and why replication became a major characteristic of the art of the small bronze and investigate whether multiplicity was considered a virtue.―This lecture is made possible by the Robert H.

This lecture presents an overview of the Hill Collection exhibition, which combines celebrated masterpieces with new discoveries in the field of bronzes. It traces the history of the bronze statuette from the late fifteenth to the eighteenth century in Italy and northern Europe. Particular emphasis is placed on the works of preeminent sculptors such as Giambologna, Tetrode, and Adriaen de Vries. 

―This lecture was made possible by the Robert H. Smith Family Foundation.
 

At the end of the nineteenth century, Vermeer's Girl with a Pearl Earring sold for a pittance, an unknown work by an artist who was only beginning to achieve recognition. Today it is revered as a great masterpiece, so famous that it is recognizable by its title alone, with the name of its maker being almost superfluous. This lecture examines the reasons this image resonates so profoundly with contemporary audiences.
 

October 3, 2013
The Center for the History of Collecting at The Frick Collection celebrates the inauguration of its Fellows Program with a lecture Start Again: Collections and Memory by Edmund de Waal, author of The Hare with Amber Eyes: A Hidden Inheritance.

Pages