Susan Grace Galassi

Color print of female clown seated on red bench with legs apart
The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark March 12, 2013 to June 16, 2013

This exhibition presented a selection of nineteenth-century French drawings and prints from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts. Sheets by Millet, Courbet, Degas, Manet, Pissarro, Gauguin, Toulouse-Lautrec, and other masters are on view. Ranging widely in subject matter and technique and spanning the entire second half of the nineteenth century, these works represent the diverse interests of Realist, Impressionist, and Post-Impressionist artists in a rapidly changing world.

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oil painting of man from shoulders up in green coat and yellow hat with blue background
Vincent van Gogh's Portrait of a Peasant (Patience Escalier)October 30, 2012 to January 20, 2013

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.

painting of green and purple fruits on branch with leaves
A Passion for Drawings: Charles Ryskamp's Bequest to The Frick CollectionFebruary 14, 2012 to April 8, 2012

The Frick Collection celebrated the generosity and discerning taste of former Director Charles A. Ryskamp (1928–2010) with an exhibition of works on paper from his bequest. Dr. Ryskamp's generous gift transformed the museum's holdings in drawings, enlarging them by nearly a third, while complementing the permanent collection's focus on the landscape and figural subjects favored by Henry Clay Frick. The works were exhibited for the first time at the Frick in the Cabinet, a space created by Dr. Ryskamp during his tenure as Director from 1987 to 1997 and intended especially for the display of works on paper.

pen and wash drawing of Jesus praying in a garden with a mountain and fallen tree
Domenico Tiepolo (1727-1804): A New Testament October 24, 2006, through January 7, 2007
Link to introductory video for the exhibition 'The Spanish Manner: Drawings from Ribera to Goya'

Introduction to the exhibition The Spanish Manner: Drawings from Ribera to Goya by Susan Grace Galassi, Senior Curator at The Frick Collection. The exhibition will be at The Frick Collection from October 5, 2010, through January 9, 2011.

Painting of woman in black dress with red necklace and white gloves

Goya’s Last Works

February 22, 2006 to May 14, 2006

Goya’s understated portrait of the woman known as María Martínez de Puga, acquired by Henry Clay Frick in 1914, was the inspiration for The Frick Collection’s special exhibition Goya’s Last Works. It was the first show in the United States to concentrate exclusively on the final phase of Goya’s long career — the years of the artist’s voluntary exile in Bordeaux from 1824 to 1828. Fifty-one examples of Goya’s final production were borrowed from public and private European and North American collections.

Catalogue:
pen and wash drawing of Jesus praying in the Garden of Gethsemane, with mountain and fallen tree

Domenico Tiepolo (1727–1804): A New Testament

October 24, 2006 to January 7, 2007

The eighteenth-century Venetian painter and draftsman Domenico Tiepolo is best known for his drawn narrative cycles of thecommedia dell’ arte character Punchinello and engaging scenes of everyday life in the Veneto. He reserved his greatest passion, however, for sacred subjects.

cover of the catalogue for the exhibition The Unfinished Print with a print of a man with a long white beard and wearing a black hat, which he touches with his left hand

The Unfinished Print

June 2, 2004 to August 15, 2004

When is a work of art complete? And when do further additions detract from the desired result? These questions lie at the heart of aesthetic theory and have preoccupied artists, critics, and collectors for centuries. The problem of "finish" is particularly relevant in the graphic arts, in which images are developed in stages and often distributed at various points in their making.

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