Margaret Iacono, Associate Research Curator, writes about Vermeer’s Mistress and Maid, the second diptych in the Frick's ongoing series.
The Frick Collection was the final American venue of a global tour of paintings from the Royal Picture Gallery Mauritshuis in The Hague, the Netherlands.
In honor of the spring 2001 exhibition at The Metropolitan Museum of Art,Vermeer and the Delft School, The Frick Collection installed its three paintings by the artist in a special manner. For the first time in over fifty years, the works by Johannes Vermeer (1632-75) Mistress and Maid, Officer and Laughing Girl, and Girl Interrupted at her Music were hung together in one gallery at the Collection, the South Hall, offering visitors an opportunity to consider these treasures side by side.
Frick’s Vermeers Reunited
Particularly beloved among the paintings at The Frick Collection are its three works by Johannes Vermeer (1632– 1675), Officer and Laughing Girl(left), Mistress and Maid (center), and Girl Interrupted at Her Music (right).These rare canvases were purchased by Henry Clay Frick before his death in 1919. This summer, the institution offers visitors their first opportunity in nearly ten years to examine the paintings together on one wall.
In this week’s episode of “Cocktails with a Curator,” get up close to one of the Frick’s three beloved Vermeer paintings, “Officer and Laughing Girl,” with Curator Aimee Ng. While enjoying your Kopstootje—a shot of jenever (a traditional Dutch liquor) paired with a pint of beer—join Aimee in examining the artist’s masterful skill at portraying light and exploring the complex histories behind a seemingly simple hat.
The interiors of Danish painter Vilhelm Hammershøi reveal an understanding of light and its play in space comparable to that of Vermeer and Whistler, while his methods relate to those of Van Gogh. This lecture illustrates the surprising methodological approaches and techniques used by these artists in creating spatial illusions in seemingly unrelated artistic expressions.
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.