A single loan exhibition of Edgar Degas's Violinist, a study for The Frick Collection'sThe Rehearsal, in memory of Harry D.M. Grier (1914–1972), former director of The Frick Collection. The loan was extended after the drawing's initial display in the H.D.M. Grier Memorial Loan Exhibition (November 1972).
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Single Picture Loan Exhibition
Vincent van Gogh's luminous landscape, Flowering Garden, executed by the artist at Arles in the summer of 1888, was placed on loan by a private foundation for a two-year period. Flowering Garden is a large vertical canvas depicting the flat expanse of a field of flowers, framed on the right by the wall of a farmhouse and trees, and at the high horizon by a line of low farm buildings with red-tiled roofs.
On loan from the National Gallery of Art in Washington, D.C., Joseph Mallord William Turner's Mortlake Terrace, Summer’s Evening of 1827 hung for six months beside its companion piece, The Frick Collection's Mortlake Terrace: Early Summer Morning, executed a year earlier. Both were painted for William Moffatt and depict The Limes, Moffatt's home overlooking the Thames at Mortlake, near Kew Gardens to the west of central London.
Born in Parma and known as Parmigianino after his native city, Francesco Mazzola (1503–1540) lived only thirty-seven years, yet his eloquent, innovative art inspired his contemporaries to name him “Raphael reborn” and praise him as one of the greatest painters of his age. During his short life, Parmigianino was especially esteemed for his portraits. Today his Schiava Turca, an exquisite depiction of a young woman, is an icon in the city of Parma and admired as an expression of ideal female beauty in the tradition of Leonardo’s Mona Lisa.
Vincent van Gogh (1853–1890) painted his Portrait of a Peasant (Patience Escalier) in August 1888 during a highly productive fifteen-month stay in Arles in southern France. The opportunity to display this work in New York was the result of a special exchange program between the Norton Simon Museum, Pasadena, and The Frick Collection and marked the first time in forty years that the painting had left its home institution.
Paul Cézanne (1839 – 1906), Bouilloire et Fruits (Pitcher and Fruit)
A magnificent late still life painting by Paul Cézanne (1839–1906) entitled Bouilloire et Fruits (Pitcher and Fruit) was lent from a private collection and remained on view in the North Hall for approximately one year. Painted around 1888–90, it hung with other Impressionist and post-Impressionist works in The Frick Collection including Claude Monet's Vétheuil in Winter and Edgar Degas's recently cleaned Rehearsal, both dating from 1878–79.
From December 2004 through January 2005, in collaboration with the Foundation for Italian Art & Culture, The Frick Collection displayed La Fornarina by Raphael Sanzio (1483-1520) from the National Gallery of Art at the Palazzo Barberini in Rome. Painted around 1518 and signed by the artist, this celebrated work has never before been exhibited in the United States.
Special Loan: Portrait of a Man with a Book by Parmigianino
Frick Collection visitors had the extended opportunity to view a painting by the Renaissance artist Parmigianino (1503–40), Portrait of a Man with a Book. The work was on loan from the York Art Gallery, and took its place as part of the highly praised special exhibition A Beautiful and Gracious Manner: The Art of Parmigianino, which closed to the public on April 18 after setting winter attendance records.
In another of its ongoing series of single-picture exhibitions, The Frick Collection presented Raeburn's celebrated skating minister on loan from the National Gallery of Scotland, Edinburgh. Completed by Sir Henry Raeburn (1756-1823) around 1784, this image of the Rev. Robert Walker — minister of the Canongate Kirk and an avid member of the Skating Society — is one of the Gallery's most beloved works.
Between 1820 and 1826, John Constable (1776–1837) executed three oil sketches and three finished paintings depicting Salisbury Cathedral from the south side, rising over the green expanse of the bishop's grounds. All are linked to a commission of 1822 from Constable's friend and patron Bishop John Fisher, who asked him to develop one of the sketches into a finished work. Instead, Constable set out afresh, producing a canvas for the bishop that he exhibited to critical acclaim at the Royal Academy in 1823.