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Epoch Times
06-05-2025
- General
- Epoch Times
Fantastical Porcelain Florals at The Frick Collection
The Frick Collection's reopening after a five-year renovation has been heralded as a triumph. One of the wondrous things about visiting the museum right now is its special exhibition 'Porcelain Garden: Vladimir Kanevsky at The Frick Collection,' on view through Oct. 6, 2025. Installed throughout the museum's premises, including galleries on both the first and second floor and the Garden Court, are 19 breathtakingly intricate floral installations by the Ukrainian-born Kanevsky. Cohesively installed alongside diverse fine and decorative arts from the institution's permanent collection, these sculptures range in scale, form, and color. Each one enchants the viewer with its special blend of botanical accuracy and artistry. Kanevky's Floral Displays "Lemon Tree," 2024–2025, by Vladimir Kanevsky is installed in the Garden Court. Soft-paste porcelain, parian body, glazes, and copper. The Frick Collection, New York City. (Joseph Coscia Jr.) Kanevsky was born in 1951 in Kharkiv, Ukraine, then part of the Soviet Union, but now lives and works in Fort Lee, New Jersey. While living in Russia, he studied architecture and sculpture, which proved to be integral foundations for his later porcelain practice. In 1989, he immigrated to New York—he had only $100 and spoke no English. Kanevsky took another leap of faith when he responded to a job ad for an artist who could produce an 18th-century porcelain tureen in the shape of a melon. He attempted the commission, which came from a prominent interior designer with a shop on Manhattan's Upper East Side. The piece was a success. Then, Kanevsky explored porcelain flowers, as he had been fascinated by botany since childhood. Detail of Vladimir Kanevsky's "Lemon Tree," 2024–2025, in the Frick's Garden Court. (Joseph Coscia Jr.) He compares floral structures to architecture, and he enjoys the technical challenges inherent in his work, which has been exhibited internationally, from Saint Petersburg's State Hermitage Museum to Washington's Hillwood Estate, Museum & Gardens. Tastemakers and style icons, including Jacqueline Kennedy Onassis, Oscar de la Renta, Valentino, and Martha Stewart have collected his work. Kanevsky says that 'Flowers are arguably the most prevalent topic in the history of art and architecture. Their cultural and symbolic significance offered infinite possibilities for artists.' His work is greatly inspired by traditional European porcelain dating to the 18th century, of which the Frick has a superb collection. The museum possesses examples from the leading French, German, and Viennese makers. An exquisite tableau in the exhibition inserts three Kanevsky tulips with delicate petals into a Du Paquier Manufactory vase. Each flower the artist makes is meticulously sculpted and hand-painted. Related Stories 4/30/2025 4/20/2025 "Tulip Stems," 2024–2025, by Vladimir Kanevsky is installed in the Du Paquier Passage. Soft-paste porcelain, glazes, overglaze, and copper. The Frick Collection, New York City. (Joseph Coscia Jr.) A Tribute to Helen Frick The exhibition, the culmination of a three-year collaboration between the artist and the Frick's curatorial team, is an homage to the museum's floral displays from its original 1935 opening. At that time, Henry Clay Frick's daughter, Helen, chose each room's fresh floral arrangement. "Lilies of the Valley," 2024–2025, by Vladimir Kanevsky are installed in the Boucher Room. Soft-paste porcelain, parian body, and copper. The Frick Collection, New York City. (Joseph Coscia Jr.) Xavier F. Salomon, the Frick's Deputy Director and Peter Jay Sharp Chief Curator, commends Kanevsky's tribute to the museum's 1935 inaugural floral displays. He says that the Contemporary artist's 'porcelain creations allow us to honor this tradition—along with the museum's important collections of historic porcelain and ceramics. His artistry bridges past and present, echoing the museum's longstanding dedication to beauty and innovation.' In two of the galleries, Kanevsky has repeated Helen's selections with his installation of camellias in the Library and lilies of the valley in the Boucher Room, part of the newly opened second-floor family rooms. "Lilies of the Valley," 2024–2025, by Vladimir Kanevsky are installed in the Boucher Room. Soft-paste porcelain, parian body, and copper. The Frick Collection, New York City. Joseph Coscia Jr. The other porcelain works honor Helen's intentions while juxtaposing different plants and flowers with the displayed art, inspiring reflection and conversation among viewers. One poignant tribute is the vibrant and ripe 'Pomegranate Plant' in the Gold-Grounds Room. After her father's death, Helen pursued acquiring religious Early Italian Renaissance paintings with gold leaf surfaces to add to t he Frick's holdings. Post-renovation, these works have been assembled together for display in her former bedroom. "Pomegranate Plant," 2024–2025, by Vladimir Kanevsky is installed in the Gold-Grounds Room. Soft-paste porcelain, glazes, copper, and terracotta. The Frick Collection, New York City. Joseph Coscia Jr. 'Pomegranate Plant' is dramatically situated in front of the room's mantle. The Frick writes that the sculpture 'is a tribute to a plant whose fruits are frequently represented in early Italian paintings and would have been well known by the artists represented in this gallery.' Above the mantle is a small but sumptuous picture by Gentile da Fabriano (circa 1370– 1427), who is considered among the greatest painters of his era. Born in the Marches region, he worked throughout Italy, from Milan and Rome to Venice and Tuscany. Patrons included the pope and the doge. His lyrical, highly detailed paintings are characterized by delicate brushwork, rich colors, and elaborate textile patterns. Additionally, Gentile was highly skilled in the application and tooling of gold leaf backgrounds. The Frick's ' ' dates from 1423 to 1425 and may have been made for a private patron's family chapel. At its center is the Madonna with the Christ Child, rendered in elegant, flowing lines. Gentile's advanced interest in naturalism is visible in the realistic, portrait-like heads of Saint Lawrence at left and Saint Julian the Hospitaler at right. Fragonard Room The Fragonard Room on the museum's first floor displays 14 panels by the French artist Jean-Honoré Fragonard. Joseph Coscia Jr. In contrast to the Gold-Grounds Room, the first floor Fragonard Room was assembled during Henry Clay Frick's lifetime and has been a visitor favorite at the museum since its opening. Initially, Mr. and Mrs. Frick used the space as their Drawing Room. A year after their mansion was finished in 1914, they acquired a set of lovely panels by the French artist Jean-Honoré Fragonard (1732–1806), which required the reconfiguration of the room. These panels are considered among the most romantic explorations of love in all of art history. Specifically selected furniture and objets d'art were subsequently added to enhance Fragonard's artworks. The Rococo artist Fragonard was born in Grasse, located in southern France. He trained in Paris under the distinguished painters Je an-S iméon Chardin and François Boucher and became one of the most important French artists of the second half of the 18th century. Fragonard produced a large body of work that included easel paintings and large-scale decorative panels often of genre scenes. "The Progress of Love: Love Letters," 1771–1772, by Jean-Honoré Fragonard. Oil on canvas; 124 7/8 inches by 85 3/8 inches. The Frick Collection, New York City. Joseph Coscia Jr. The Frick's Fragonard Room collection features 14 pictures, with the series referred to as 'The Progress of Love.' The four principal scenes—'The Pursuit,' 'The Meeting,' 'The Lover Crowned,' and 'Love Letters'—date to a 1771 to 1772 commission. The patroness was the infamous Madame du Barry, King Louis XV of France's last mistress, and the intended setting for the works was the music pavilion of her château west of Paris. However, perhaps due to society's changing artistic tastes, she declined the finished works. Instead, they were kept, probably rolled up, by Fragonard in Paris for 20 years. Upon his move to a cousin's villa in Grasse, the canvases were finally installed. Fragonard created an additional 10 pictures to fill the house's main salon. Over 100 years later, the series passed through the hands of English dealers before selling to American financier J.P. Morgan. After his death, the powerful art dealer Joseph Duveen purchased them for $1.25 million (over $31 million today) and sold them in turn to Henry Clay Frick at cost. Kanevsky has created a lush assemblage of cascading roses for this room, as well as displays of white hyacinths. "Cascading Roses," 2024–2025, by Vladimir Kanevsky are installed in the Fragonard Room. Parian body, copper, and terracotta. The Frick Collection, New York City. Joseph Coscia Jr. The sculptures in 'Porcelain Garden: Vladimir Kanevsky at The Frick Collection' induce awe and wonder. They help physically define the museum's spaces, both old and new, and enhance communication with the permanent collection. The flowers are so lifelike that one can almost smell the bouquets, and careful examination reveals imitation insect holes on some of the leaves. Kanevsky says, 'There is everything in flowers—history, drama, structure, beauty, and fragrance.' The same can be said about the Frick Collection and its special exhibition. "Cherry Blossoms," 2024–2025, by Vladimir Kanevsky are displayed in the Oval Room alongside James McNeill Whistler's 1871–1874 Joseph Coscia Jr. 'Porcelain Garden: Vladimir Kanevsky at The Frick Collection' exhibition runs through Oct. 6, 2025 in New York City. To find out more, visit What arts and culture topics would you like us to cover? Please email ideas or feedback to
Epoch Times
30-04-2025
- General
- Epoch Times
The Visionary Creation and Restoration of The Frick Collection
The magnolias are in bloom again at New York's The Frick Collection. The spring rebirth of these beloved trees, among the largest in the city, coincided with the April 17 reopening of the museum after a comprehensive five-year renovation to the tune of $ These sympathetic enhancements merge seamlessly with the original structure, the 1914 home of Gilded Age industrialist Henry Clay Frick (1849–1919) and his family. It was designed in the Beaux-Arts style by architectural firm Carrère and Hastings. A Lifetime of Art By working with the leading advisors, decorators, and dealers of his era, Frick amassed one of the most spectacular private art collections in America. It is resplendent with works by the leading artists of Western civilization from the Renaissance through the late 19th century. European paintings, bronzes, Limoges enamels, porcelains, antique furnishings, and other decorative arts are displayed side-by-side. It is an unusual curatorial choice for a museum, but one that evokes the atmosphere that the Frick family enjoyed when in residence. In his will, Frick bequeathed the mansion and its contents to the public for its enjoyment and education, and it has continued to be graced by exceptional stewards. The collection has grown to number around 1,800 works, requiring more gallery space and better infrastructure, which the renovation addresses. Almost half of the objects were acquired in Frick's lifetime, while the rest were purchased by the museum or donated by philanthropists. Recent gifts including Meissen and Du Paquier porcelain, significant works on paper, and its first Renaissance portrait of a woman, a Before the current reopening, the last major renovation of the Frick was completed in 1935. That year, the building and collection opened as a public museum. The necessary structural transformation to facilitate this was overseen by Helen Clay Frick, Henry's daughter, and was engineered exquisitely by classical architect John Russell Pope. He created the main floor galleries, the stunning interior Garden Court, and an adjacent nine-story building for the Frick Art Research Library, among other contributions. The Garden Court at The Frick Collection. Joseph Coscia Jr./The Frick Collection Now, the museum and library are connected internally, facilitating easy access between the two spaces for staff, scholars, and other visitors. The Frick's Main Floor Related Stories 11/13/2023 5/8/2023 The Frick Art Research Library Reading Room. Joseph Coscia Jr./The Frick Collection The library, free and open to the public, was founded by Helen in 1920 as a tribute to her father; originally, it was located in the house's basement bowling alley. Its collection of materials related to Western fine and decorative arts goes beyond the scope of the museum's holdings, spanning the 4th through the 20th century. The Reading Room's elegant, tranquil environment is enhanced by the adornment of studded red leather doors, historic lighting fixtures, painted oak beams, and a golden fresco. The James S. and Barbara N. Reibel Reception Hall at the Frick Collection. (Nicholas Venezia/The Frick Collection Murano glass lighting, a stunning staircase in calming Italian marble hues, and welcoming visitor service assistants greet guests in the freshly enlarged Reception Hall, a core feature in the museum's overall renovation and enhancement project as designed by Selldorf Architects. The firm is led by the eponymous Annabelle Selldorf, recognized for international cultural projects and recently named one of Grand staircase leading up to the Frick Collection's newly opened and renovated second floor galleries. Joseph Coscia Jr./The Frick Collection The pièce de résistance of the improved museum is the opening of this original second floor, which were the private family rooms of the Fricks before the building became a museum and the level was converted to offices. For decades, many a visitor would look longingly at the roped off Grand Staircase of the ground floor's South Hall and daydream about what treasures resided above. Now, visitors can ascend and discover the refurbished rooms curated with antique furniture, restored and recreated textiles, and, of course, artistic masterpieces. A Sneak Peak at the Second Floor The Small Hallway on the second floor is newly opened to the public and features a 1914 ceiling mural by Alden Twachtman. Joseph Coscia Jr./The Frick Collection A giddiness grips one while navigating the array of new galleries—each unfamiliar room beckons with enticing doorway glimpses. The visitor's progression is halted in the Small Hallway. What could be an ordinary passageway is made enchanting with a painted blue ceiling decorated with chinoiserie scenes of monkeys and birds, pagodas, and further whimsical motifs. Little is confirmed about the artist or the inspiration for this mural, which dates to 1914, but it is one of the joyful discoveries on this unchartered floor. Breakfast Room on the new second-floor gallery at The Frick. Joseph Coscia Jr./The Frick Collection Some of these new galleries are arranged in keeping with how they appeared during the Fricks' residency, such as the Breakfast Room. Others have been created anew. An example of this is the Medals Room, which is a display space for recent acquisitions in this genre. It includes a painting formerly not viewable by the public—a 15th-century Gentile Bellini portrait of a doge. Medals Room on the new second-floor gallery at the Frick. Joseph Coscia Jr./The Frick Collection Some fan favorites from the museum's ground floor galleries have been relocated up above. The Walnut Room, formerly Frick's own bedroom, showcases two of its signature female portraits. The depiction by the 18th-century British society portraitist George Romney of his muse Emma Hart, later the infamous Lady Hamilton, is given pride of place over the mantle and flattered by the wall's elaborately carved wooden garland. This placement is the same as it was in Frick's time. Across the room is the French Neoclassical artist Jean-August-Dominque Ingres's mesmerizing 'Louise, Princesse de Broglie, Later the Comtesse d'Haussonville.' The Walnut Room, formerly Frick's own bedroom, is now on view in the second-floor gallery. Joseph Coscia Jr./The Frick Collection Through Aug. 11, 2025, visitors have the rare opportunity to see one of The Gold-Grounds Room is a poignant tribute to Helen. Housed in her former bedroom, it displays a small, special group of Italian Early Renaissance paintings with gold backgrounds. This groundbreaking style was of particular interest to Helen, although her father preferred the High Renaissance. She was instrumental in the museum's acquisition of this assemblage. Highlights of this gallery, indeed, masterpieces of the Frick and museums in New York as a whole, are the Duccio and Cimabue panels. Both works are currently on loan to blockbuster European exhibitions: 'Siena: The Rise of Painting, 1300–1350' at London's National Gallery and 'A New Look at The Gold-Grounds Room, a new second-floor gallery, features Italian Early Renaissance paintings. Joseph Coscia Jr./The Frick Collection The most heralded area on this floor is the former boudoir of Adelaide Childs, Frick's wife and Helen's mother. In her lifetime, it was decorated with panels by the French Rococo artist François Boucher and his workshop. The panels were commissioned by Madame de Pompadour. The Boucher Room has been relocated to the former boudoir of Adelaide Childs, Frick's wife, on the second floor. Joseph Coscia Jr./The Frick Collection Until now, most of this tableau, including the marble fireplace, had been displayed on the museum's ground floor. The massive undertaking to disassemble what was called the Boucher Room, take it back up the Grand Staircase, and reinstall it to its original form was a massively complex undertaking spearheaded by Xavier F. Salomon, the museum's deputy director and Peter Jay Sharp Chief Curator. His concept has become a showstopper. The Boucher Room features decorated panels by the French Rococo artist François Boucher and his workshop and a collection of Sèvres porcelain. Joseph Coscia Jr./The Frick Collection The charming painted scenes of children engaged in various occupations of the arts and sciences are complimented by a collection of Sèvres porcelain, parquet flooring from an 18th-century château, and original silk upholstery, not to mention a wonderful view of the museum's Fifth Avenue Garden with the magnolias and Central Park. The Frick's 'Old Acquaintances' The ground floor Dining Room displays the Frick's 18th-century art collection. Joseph Coscia Jr./The Frick Collection For repeat Frick visitors, the revelatory second floor is stabilized by the familiar arrangements of 'old acquaintances' on the ground floor. The Dining Room has been maintained as an ode to Frick's 18th-century collection of British portraits, Chinese vases, and English silver. The handsome Library resumes the display of English portraiture, including the much admired 'Julia, Lady Peel' by Sir Thomas Lawrence, as well as landscapes, small Italian bronze sculptures, and even one of the quintessential American portraits of George Washington by Gilbert Stuart. Library Gallery on the main floor of the Frick. Joseph Coscia Jr./The Frick Collection The pictures in the Living Hall continue to be hung exactly as Frick arranged them in his lifetime. A religious El Greco portrait sits over the mantle, sandwiched between The main floor Living Hall displays pictures exactly as Frick arranged them in his lifetime. Joseph Coscia Jr./The Frick Collection The West Gallery is a heady runway display of additional treasures, which include one of the museum's three Vermeers, the last picture ever bought by Frick; Turner port scenes; a Rembrandt self-portrait; a royal Velázquez; and allegorical Veroneses. Like much of the ground floor, at first glance it appears unchanged. Of course, every original Frick gallery has been cleaned and touched up, from paint, plaster, and polish to critical state-of-the-art infrastructure updates. All of the skylights, including those in the West Gallery were replaced. The new windows have ultraviolet-protected glass, improving significantly the lighting conditions. The West Gallery is a main floor attraction at the Frick Collection. Joseph Coscia Jr./The Frick Collection The room's distinctive green silk velvet wall coverings have been reproduced, hand-loomed by the historic Prelle firm based in Lyon, France. The same company made the original fabric, which consists of three shades woven together, in 1914. Another example of a feature that may appear initially the same but is actually greatly improved is the small 70th Street Garden, viewable from the Reception Hall, the street, and several newly built vantage points. This cherished green space was created in 1977 by the legendary British garden designer and landscape architect Russell Page after the demolition of an adjacent townhouse opened the lot. It is unusual on several accounts, including that it is a viewing garden only and not meant to physically host visitors. East 70th Street façade of The Frick Collection. Nicholas Venezia/The Frick Collection The Frick's original renovation plans would have superseded this space, but public outcry led to its preservation and revitalization by celebrated public landscape designer Lynden Miller. In a Frick Collection video, Miller says that she is 'always thinking about seasons and texture and form, but also the spaces in between. Russell Page was very determined that the trees were not lined up the way you would think they'd be. They're all a little bit off, so he wanted you to see the verticals of the trunks, and so they're meant to make a beautiful shape against the walls.' The visionary Page was preoccupied with new ways of seeing, just like all of the talented architects, conservators, curators, gardeners, and other experts involved in the monumental, sensitively executed renovation. The renewal has created a palpable and enthusiastic energy that radiates from the friendly guards to the eager visitors. This project will allow The Frick Collection to continue to be a beacon of beauty and serenity for future generations. What arts and culture topics would you like us to cover? Please email ideas or feedback to
Yahoo
19-04-2025
- Entertainment
- Yahoo
Frick Collection reopens after $220M renovation: ‘An incredible museum'
NEW YORK (PIX11) – To some, it's the best museum in New York City. The Frick Collection just reopened after a $220 million, five year renovation. Among the highlights are the porcelain flowers created by a Ukrainian sculptor named Vladimir Kanevsky More Local News Inside one of the grandest mansions on Fifth Avenue, alongside Rembrandts, Turners, and Titians, 19 installations resemble gorgeous flower arrangements but are crafted from porcelain and metal by Vladimir Kanevsky. The Ukrainian-born sculptor lovingly and painstakingly created these lilacs, artichokes, a lemon tree, blueberries, pomegranates, and many more to complement the masterpieces in each room. 'It means everything, it's like landing on Mars,' Kanevsky, the sculptor, told PIX11 News. 'And I never in my dreams thought I would have such a large show in such an incredible museum, which was my favorite before the reconstruction, and now it's my relative.' The director of The Frick Collection found the Porcelain Garden created by Kanevsky breathtaking. 'We cannot use real flowers for conservation reasons in the galleries, but we found Vladimir Kanevsky who makes these incredibly beautiful and lifelike flowers made of porcelain and metal,' Axel Ruger, the director of The Frick Collection, told PIX11 News. 'And it now replicate that atmosphere at the Frick when it first opened its doors to the public.' For 90 years, the second floor of the Frick was closed to the public. They were the private rooms where the family lived, but now these ten rooms are open for viewing. And in the last room, where Kanevsky worked with the curators to add his porcelain flowers, he made an unusual yet inspired choice. 'Let's put black poppies here,' Kanevsky told PIX11 News. 'They said he died here. They meant Mr. Frick,' he added. At this packed reopening weekend, Kanevsky was applauded by museumgoers who had so many questions. One from Szilard Kiss, a museum goer: 'Where did you get inspiration to combine metal and porcelain in flowers?' Kanevsky was happy to answer: 'It's an old European tradition. They started porcelain flowers in 18th century. I'm based on that tradition, but I do completely different things,' he added. Another enthusiastic museum goer, Karen Krenis added: 'We've been going from room to room and ignoring the masters because this is so incredible,' she said. And there's only one request from the sculptor. 'Don't smell it. Don't touch it because they are fragile,' Kanevsky said. Vladimir Kanevsky's porcelain garden will be at The Frick Collection until October 6. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
17-04-2025
- Entertainment
- Yahoo
The Frick Collection reopens to the public in NYC
UPPER EAST SIDE, Manhattan (PIX11) — After almost five years art masterpieces are back on display at The Frick Collection on the Upper East Side. The art museum and library is unveiling its revitalized spaces after a $330 million renovation that has made way for renewed viewing areas of its iconic collection, as well as, a new suite of recently acquired works. Things To Do Around NYC 'Following this long-awaited unveiling, we look forward to giving our audiences the opportunity to experience several newly constructed spaces through signature Frick initiatives, namely a classical concert series and a focused presentation…,' said Elizabeth M. Eveillard, Chair of the Board of Trustees. Among The Frick's new offerings include music, performances and education programs that kick off with a week long festival. More Local News The festival runs from April 26 through May 8 and will showcase concerts of Classical, Baroque, twentieth century music, and contemporary works in the museum's new 220-seat auditorium. The Frick will also open its new Education Room for courses, seminars, art making, activities, workshops and more. The renovation marks the first upgrade to The Frick Collection in nearly 90 years and allowed for the restoration of the mansion's Gilded Age design. Dominique Jack is a digital content producer from Brooklyn with more than five years of experience covering news. She joined PIX11 in 2024. More of her work can be found here. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
South China Morning Post
30-03-2025
- Entertainment
- South China Morning Post
The Frick Collection in New York to reopen its doors after US$330 million renovation
New York's storied Frick Collection will reopen its doors on April 17 after five years closed to the public for a major renovation that curators hope will future-proof the collection of former coal and steel magnate Henry Clay Frick. Advertisement 'The Frick is back!' proclaimed Axel Rüger, director of the museum – a 20th century mansion filled with paintings, sculptures and decorative pieces dating from the Renaissance to the 19th century. The collection of around 1,800 works includes pieces by Rembrandt, Vermeer, Whistler and Fragonard. The top-to-bottom renovation, which cost US$330 million and saw the collection temporarily transferred to another Manhattan location, features 10 new rooms on the first floor, where the family's private quarters used to be. Rembrandt's Portrait of Nicolaes Ruts is displayed at The Frick Collection. Photo: AFP A view of the Boucher Room at The Frick Collection. Photo: AFP A porcelain lemon tree by sculptor Vladimir Kanevsky is displayed at The Frick Collection. Photo: AFP It also includes a new 218-seat auditorium built below the garden, and direct access to the Frick Art Research Library, founded a century ago by Frick's daughter, Helen Clay Frick, and converted into a global hub for art history research.
