A bronze frog spits water into a fountain.

The atrium at today’s museum #TheFrick art Fricktag

Resurrection | The Frick | NYC

#thefrick #newyorkcity #art

Lady Valerie Susan Meux stands, poised yet assertive, her porcelain-pale face framed by dark hair under a sweeping hat trimmed in soft feathers. She wears a floor-length gown of pale silvery gray satin, its sheen gently reflecting the rose-pink interior lining that gives the painting its chromatic “harmony.” Behind her, the background dissolves into an atmospheric haze of gray, creating a tonal field that makes her appear to emerge from mist. Light ripples across the satin folds and subtle pink highlights, lending to a sense of hushed luxury. The portrait’s quiet balance mirrors Whistler’s belief that painting should be composed like an arrangement of musical notes rather than narrative. When American artist James Abbott McNeill Whistler met Lady Meux in 1881, she was one of London’s most talked-about social figures. Born Valerie Susan Langdon, she had worked as an actress and reportedly a barmaid before marrying Sir Henry Meux, heir to a brewery fortune. Their marriage scandalized Victorian high society, but Lady Meux used art and architecture to shape a bold new identity. She commissioned Whistler to paint three portraits that would place her among the aristocracy’s cultural elite. She posed proudly, unrepentant about her past. Whistler’s refined aestheticism transformed her public image: instead of portraying her as an outcast, he bathed her in harmony and grace. Yet their relationship was volatile as she found his pace infuriating and he found her demands extravagant. Only two portraits survived their disagreements. For Whistler, “Harmony in Pink and Gray” came during his mature “harmony” period, after public clashes over his painting “Nocturne in Black and Gold.” The portrait reveals his devotion to tone over story and his mastery of restraint. For Lady Meux, it was self-reinvention of a woman who refused to be confined by class or gossip. Together, they created a portrait of grace, defiance, and the subtle music of color.

Harmony in Pink and Gray: Portrait of Lady Meux by James Abbott McNeill Whistler (American) – Oil on canvas / 1881 – The Frick Collection (New York) #WomenInArt #art #artText #artwork #Whistler #JamesAbbottMcNeillWhistler #pink #TheFrick #TheFrickCollection #OilPainting #BlueskyArt #portraitofawoman

I've been to both the Getty and Getty Villa, the Met and the Cloisters, the Morgan Museum and Library... #art #religiousart #paintings #theFrickCollection #theFrick

The Frick Collection has done a fantastic job with the new presentation and restoration.

Absolutely a MUST!

#NYC #TheFrick

Me in the entrance hall of The Frick

Garden court with fountain in The Frick

Orientalist painting on barrel ceiling in The Frick

Here I am in my strawberry tshirt at The Frick Collection #thefrick. #nyc

The Frick
(April 2025)
#newyorkcity #thefrick #art #gildedage #fifthavenue #architecture #photography

Spotted in @hatchardspiccadilly and @piccadillywaterstones - thanks to our London reps 🙏

#Books #FrickDiptychs @frickcollection.bsky.social #artbooks #fragonard #vermeer #TheFrick #bookaholic #bookstore #booksbooksbooks

What The Frick Changed? The Manhattan museum’s Gilded Age mansion reopens next month, bringing its world-famous collection of works by the likes of Vermeer and Rembrandt back on public view.

She's back April 17th!!!

hyperallergic.com/998638/what-...

#thefrick #nyc #nycmuseums @frickcollection.bsky.social

The Frick Glows With a Poetic, $220 Million Renovation The museum, based in Henry Clay Frick’s 1914 Fifth Avenue mansion, reopens with a deft expansion worthy of a New York treasure.

The Frick Glows With a Poetic, $220 Million Renovation
#TheFrick
www.nytimes.com/2025/03/15/a...

1/12/2022 The Frick House, Frick Museum Pittsburgh, PA
#thefrick #pittsburgh #pgh #blackandwhite #eastcoastkin #architecture #frick #mansion #pennsylvania

Julia Floyd (1795–1859) was married in 1820 to the British statesman Sir Robert Peel, who twice served as Prime Minister of England and was an avid patron of Lawrence. The Frick portrait apparently was inspired by Rubens’ painting of Susanna Fourment known as the Chapeau de paille, which Peel had acquired in 1823. When Lawrence’s Lady Peel was first exhibited at the Royal Academy in 1827, a critic claimed it to be among “the highest achievements of modern art.” Lawrence’s flamboyant and virtuoso style has come to epitomize the spirit of the Regency period. Julia looks directly at the artist wearing a black wide brim hat with large brilliant vermillion feathers and a heavy elaborate crimson coat with white fur trim covering her elegant cream colored gown with large red flower pinned to the chest. Her left arm is folded against her stomach giving viewers a clear display of a large fancy gold bracelets and a giant ring on her wedding finger.

Portrait of Julia, Lady Peel (Julia Ford) by Sir Thomas Lawrence (English) - Oil on canvas / 1827 - The Frick Collection (New York, NY) #womeninart #portrait #thefrick #art #sirthomaslawrence #artwork #englishart #frickcollection #painting #thomaslawrence #artoftheday #fineart #bskyart #bsky.art