The Frick Collection members' magazine (Fall 2017)

2017·32.5 MB·English

by  The Frick Collection

The Frick Collection
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Murillo: The Self-Portraits
The Frick Collection mb Letter from the Director
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Board of Trustees dy
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ae In 1904, Henry Clay Frick acquired the strik-
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Elizabeth M. Eveillard, Chair mic ing self-portrait by Bartolomé Esteban Murillo
Aso O. Tavitian, Vice Chair
illustrated on the magazine’s cover. Over the
Juan Sabater, Treasurer
years, Frick assembled a formidable collec-
Michael J. Horvitz, Secretary
tion of Spanish paintings, including master
works by Velázquez, Goya, and El Greco. The
Peter P. Blanchard III
self-portrait, painted early in the artist’s career
Margot Bogert
and one of only two known, descended in the Frick family until 2014, when Trustee
Ayesha Bulchandani
Mrs. Henry Clay Frick II generously gave it to the museum. To commemorate the 400th
Thomas J. Edelman
anniversary of Murillo’s birth, we have brought together the two existing self-portraits,
Bradford Evans
as well as complementary oils and engravings, to provide new insight into the creative
Barbara G. Fleischman
process of one of the greatest artists of Spain’s Golden Age.
Emily T. Frick
We will continue our focus on Spanish painting next year, when an exhibition of works
Sidney R. Knafel
by the seventeenth-century Sevillian artist Francisco de Zurbarán opens in February.
Monika McLennan
Zurbarán’s “Jacob and His Twelve Sons”: Paintings from Auckland Castle marks the first
James S. Reibel, M.D.
time the series has traveled to the United States. A number of programs have been planned
Charles M. Royce
to complement both presentations, including four lectures given by Peter Jay Sharp Chief
Stephen A. Schwarzman
Curator Xavier F. Salomon, one devoted to each of the four great Spanish painters repre-
Bernard Selz
sented in the museum’s permanent collection.
Melinda Martin Sullivan
This fall we also feature two recently restored canvases by the celebrated Italian
J. Fife Symington IV
Renaissance artist Paolo Veronese—St. Jerome in the Wilderness and St. Agatha Visited
Ian Wardropper, ex officio
in Prison by St. Peter. The paintings were commissioned in 1566 for a small chapel on
President Emerita Murano, an island in the Venetian lagoon, and have never been seen outside Italy. The
Helen Clay Chace
exhibition provides New York audiences the opportunity to discover these little-known
but important works and compare them with the two monumental Veronese canvases
Trustees Emeriti
painted about the same time and purchased in 1912 by Mr. Frick.
John P. Birkelund
In the Portico Gallery, Fired by Passion continues through August. This installation
I. Townsend Burden III
of forty objects produced by the Du Paquier manufactory in Vienna was inspired by the
L. F. Boker Doyle
fourteen pieces of Du Paquier porcelain generously given to the Frick last year by Paul
Blair Effron
Sullivan and Trustee Melinda Martin Sullivan. In contrast to Meissen porcelain—which
Franklin W. Hobbs
was the focus of last year’s Portico Gallery installation—Du Paquier has a different appeal
Howard Phipps Jr.
characterized by a vivid palette, exuberant painted forms, and inventive shapes.
Whether you visit the Frick to see our acclaimed exhibitions, study in the library, attend
concerts or lectures, or simply to enjoy a favorite work in the serenity of the galleries, I hope
you will consider making a year-end gift to the Annual Fund. As he did last year, Trustee
Stephen A. Schwarzman has generously agreed to match—dollar for dollar—all Annual
Fund gifts made between November 1 and December 31, making this the perfect time to
double your gift’s impact. Unrestricted gifts from our loyal members and friends are vital to
our continuing work, and your contribution helps us to preserve the Frick experience that
you and so many others have come to love. Thank you so much for your ongoing support.
The Members’ Magazine is
With kind regards,
published three times a year by
The Frick Collection as a benefit
for its members.
Volume 17, Number 3
issn: 1534-6412 Ian Wardropper
Editor: Rebecca Brooke Director
The Frick Collection
members’ magazine fall 2017
2 collection news
The Frick Welcomes a New Board Chair:
A Conversation with Betty Eveillard
4 special exhibition
Veronese in Murano: Two Venetian Renaissance
Masterpieces Restored
8 special exhibition
Murillo: The Self-Portraits
14 special loan
Vesuvius in the Shadow of Revolution:
A Rare Landscape by Girodet Comes to the Frick
16 education
The Ayesha Bulchandani Internship: Cultivating the Next
Generation of Museum Professionals
18 community
The Frick Thanks Its Fellows: Spring Garden Party and
Behind-the-Scenes Luncheon
20 calendar
Member Events, First Fridays, Lectures, and Concerts
left
The Garden Court with Marine Nymph, after Stoldo Lorenzi (1534–1583), fifteenth-century bronze
front cover
Bartolomé Esteban Murillo (1617–1682), Self-Portrait (detail), ca. 1650–55, oil on canvas,
The Frick Collection, gift of Dr. and Mrs. Henry Clay Frick II
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co Richard Collin (1626–1698) after Bartolomé Esteban Murillo, Bartolomé Esteban Murillo (detail), 1682,
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od engraving on paper, private collection, New York
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collection news
The Frick Welcomes a New Board Chair
A Conversation with Betty Eveillard
This past June, Elizabeth M. Eveillard we would visit the Frick. I’ve always thought works, several German and Austrian expres-
was elected Chair of the Frick’s Board it was a special place. sionists, a grouping of religious subjects, and
of Trustees, replacing Margot Bogert, who landscapes. A primary part of our collection
RB: You and your husband are avid
retired after leading the board for eleven is faces and figures.
collectors of Old Master drawings, and
years. Mrs. Eveillard, a Trustee since 2015,
you have been generous in your support RB: How do you display such eclectic works?
is a graduate of Smith College and Harvard
of many Frick drawing exhibitions. When
Business School. For more than thirty years BE: Last year, members of the Frick’s
did you start collecting?
she worked as an investment banker, primar- Director’s Circle came to our apartment to
ily as a managing director at Lehman Brothers BE: We bought our first drawing in 1973, but view our collection. It was a lot of fun to talk
and PaineWebber. She has served on a num- didn’t begin to collect seriously until the late about why we display things the way we do.
ber of corporate boards, as well as on the 1980s. We have always enjoyed looking at We don’t always group works from the same
boards of a range of cultural and educational drawings, and we were inspired by the con- school together. For instance, on one wall
institutions, including the Metropolitan noisseurs who collected them. we have a Guercino, a Matisse, and a Rodin.
Opera, Smith College, the Samuel H. Kress It was actually through our love of draw- It’s not something you’d expect, but people
Foundation, and the Glimmerglass Festival. ings that we became more involved with the look at them and say “You know, these look
As longtime supporters of the Frick, she and Frick. We have a pastel that Colin Bailey wonderful together.”
her husband, Jean-Marie (a former Frick [then the Frick’s chief curator] wanted to bor-
RB: That’s how Henry Clay Frick organized
Trustee), have helped fund numerous special row for an exhibition in 2003, The Drawings
his collection. Rather than displaying
exhibitions and important initiatives, includ- of François Boucher. A few years later, we
objects by school or chronologically, he
ing the endowment of the chief conservator’s lent a drawing to Domenico Tiepolo: A New
made decisions based on how pleasing
position. Testament. We were invited to the dinner to
a certain work looked juxtaposed with a
celebrate the show’s opening, and I thought it
Rebecca Brooke, Editor: Your experience particular painting or sculpture.
was going to be a typical museum fundraiser,
serving on non-profit boards—Smith
because over the years we’ve gone to several BE: Exactly. It’s fascinating to see people’s
College and the Met Opera, among
such events at other institutions. When we reactions when they see unexpected things,
others—is quite impressive.
arrived, I was delighted to find curators and but can see the connections.
Betty Eveillard: I am so proud to add the scholars and other lenders. It had less to do
RB: Why do you think art is still relevant
Frick to that group. It’s such an amazing with fundraising and everything to do with
in today’s world?
place! And it’s extraordinary what Margot the art and the exhibition and the individuals
[Bogert] accomplished during her tenure as who had brought everything together. It was BE: Art teaches us about ourselves. It teaches
Board Chair. I am honored to follow in her a magical evening for me. I felt like I was in us about people from different eras, that
footsteps. She has left a strong foundation on another world, and it was very exciting. they may have been different from us, but
which to build. they were also quite similar. At Smith, I was
RB: Do you have a favorite artist?
talking with a young woman from Southeast
RB: What inspired you to become
BE: My husband and I have artists we love, Asia who was an economics and science
involved with the Frick?
of course, but we are more attracted to the major. She was initially hesitant to take
BE: I’ve always been a museum goer. It’s a drawing than to the artist. We are espe- an art history course, but she took a risk
big part of my life. When my family traveled cially interested in the image, the face. We and discovered that seeing and learning
from Boston to New York when I was young, have a number of French eighteenth-century about paintings enabled her to understand
2 The Frick Collection
collection news
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western culture in a way that history courses
hadn’t. For her, the change in styles that had
occurred over the centuries was extraordi-
nary. History is reflected in the way artists
present the world around them.
RB: One challenge currently facing
museums is finding programming to engage
younger and more diverse audiences.
BE: I think First Fridays is accomplishing
that. Experiencing great art is a fabulous way
to spend a Friday evening, and First Fridays
exposes people to the museum in a way that
is fun. The fact that it’s a free program is
wonderful—it makes the museum accessible
to everyone. Not surprisingly, more than
half the people who attend are under age 35. What is the cost of costumes? What is the conservation facilities and add classrooms
What I find particularly interesting is that cost of the orchestra? What is the cost of the to keep pace with the ways our educational
often 60 percent of those who come through sets? Normally, a board shouldn’t have to get programming has grown.
the doors have never before been to the into the nitty gritty, but we could see that
RB: Will the essential character of the
Frick. Whether or not they come back, we’ve Glimmerglass would not survive unless we
Frick be preserved?
opened their eyes to something amazing. took extreme steps. A board’s role is to pro-
vide oversight and to ask the hard questions. BE: These enhancements will not alter the
RB: Recently in the news there have
spirit of the Frick, but will instead give the pub-
been a number of high profile arts RB: What do you envision for the Frick in
lic the opportunity to experience another part
organizations that have struggled with the future?
of the mansion, as well as providing the staff
financial and leadership challenges. What
BE: There’s so much about the Frick that with state-of-the-art facilities to better carry
can we learn from them?
should never change. In order to be vital, out the mission that Mr. Frick envisioned.
BE: When I joined the Glimmerglass board however, an institution needs to evolve. From One of the major projects that I oversaw
in 2003 and later became board chair, the the acquisitions that Miss Frick made after while serving as chair of the board at Smith
organization was going through major her father passed away, to the wonderful gifts College was the renovation of the campus
changes, and we had to figure out how it was we’ve recently received, the collection has library—choosing an architect, evaluating
going to survive financially without its prior maintained a vitality that I think is crucial. the budget. I bring that experience to the
partnership with New York City Opera. The The planned expansion and enhancement table here. We have wonderful people on the
board was very serious about finding ways to will enable us to show off some of our board of the Frick who have been through
make its model work and identifying what recent acquisitions in an intimate setting similar kinds of enhancement projects at
needed to be done managerially and finan- on the mansion’s second floor, a part of the other cultural institutions. I am confident
cially to enable Glimmerglass to not only sur- house that has never before been accessible that the project will preserve the integrity
vive, but thrive. I got into specific numbers: to the public. The project also will update of what Mr. Frick and his daughter created.
Members’ Magazine Fall 2017 3
special exhibition
Veronese in Murano
Two Venetian Renaissance Masterpieces Restored
October 24, 2017, through March 25, 2018
This fall, two important Renaissance scraped against the bare ground. I say noth- on the crucifix, while beating his chest with
paintings by the artist Paolo Veronese ing about food or drink . . . All the company a rock. The bruised ribs are visible, and drops
will travel to the Frick from Murano, an I had was scorpions and wild beasts . . . So it of blood testify to his self-punishment. A
island half a mile northeast of Venice in the was that I wept continually and starved the divine wind rustles the saint’s graying beard,
Venetian lagoon. Murano is today mainly rebellious flesh for weeks at a time. Often I an extraordinary passage of bravura painting.
known for its glassmaking studios and shops, joined day to night and did not stop beating The faithful lion on the left is the only witness
so few tourists visit its striking medieval my breast until the Lord restored my peace to his frenzied state.
churches, among them San Pietro Martire, of mind . . . I plunged alone, deeper and While St. Jerome in the Wilderness was
where these impressive works have been deeper, into the wasteland; . . . from time to a common subject for Italian Renaissance
displayed for the past two hundred years. time and after many tears I seemed to be in paintings and was a theme often treated by
The remote location of the paintings has kept the midst of throngs of angels.” Venetian artists, the second Murano canvas
them known only to specialists, and only While living as a monk in Bethlehem, depicts a less typical narrative: St. Agatha
one has ever been exhibited outside Murano Jerome was visited by what was to become Visited in Prison by St. Peter (page 6). Agatha
(in Venice, in 1939, in the first monographic one of his most frequent iconographic was a third-century martyr from Sicily who
exhibition on Veronese, at Ca’ Giustinian). symbols. As he and the other monks were lived in Catania at the time of the Christian
The two canvases now leave Italy for the first reading the Scriptures, a lion limped into persecution under the Roman emperor
time. Thanks to Venetian Heritage and the the monastery. The men fled in terror, but Decius. Of noble birth, she had pledged her
sponsorship of Bulgari, they have been fully Jerome realized that the animal was injured. chastity to God and therefore would not yield
restored and returned to their original glory. He asked his fellow monks to help him to the advances of Quintianus, a Roman con-
The first of these two works (oppo- remove the thorn that tormented the ani- sul, who was enticed by her beauty.
site page) depicts Saint Jerome, who lived mal’s paw, then dressed the wound. Once Quintianus first tried to bend Agatha to
between the fourth and fifth century in healed, the lion “lost all his wildness, and his will by forcing her to live for a month in
Dalmatia and is known primarily for having lived among [them] like a house pet.” the brothel of a woman named Aphrodisia.
translated the Hebrew and Greek versions of Veronese portrays Jerome in the desert, Firm in her resolve, Agatha left the house
the Bible into Latin. Jerome spent substantial with trees framing the composition. On the untouched. Quintianus then commanded
time in the desert, probably in Syria, where right, wooden beams held together by ropes Agatha to worship pagan idols; when she
he led an ascetic life. In a letter to his friend and covered by a roof of leaves indicate a refused, he sent her to jail and ordered her
Eustochium, Jerome describes his trials: “liv- rudimentary hut, a shelter from the elements. breasts to be cut off. Left in prison without
ing in the wilderness, in the vast solitude that Underneath this structure is a still life of food or water and with no medical aid, she
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provides a horrid, sun-scorched abode to objects traditionally associated with Jerome: suffered greatly. One night she was visited ezi
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monks . . . Tears all day, groans all day—and a crucifix, an hourglass, a skull, and two open by an old man who revealed himself to be St. di v
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if, resist it as I might, sleep overwhelmed me, books. The hourglass and skull refer to the Peter, telling her he had been sent by God to at
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my fleshless bones, hardly holding together, transience of life, while the volumes allude comfort and heal her. When the jailers were ria
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to Jerome’s translation of the Bible. The saint alerted by Peter’s supernatural light, the saint del p
is an isolated figure in this landscape, alone vanished, and Agatha knelt in prayer, finding ali
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in his grueling devotion. His muscular body that her wounds were gone. Quintianus, how- ultu
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is tense, covered only by a red cloth secured ever, did not desist. He had her placed naked ni
opposite page be
by a cord. Toothless and haggard, his face is over burning coals, but she was saved by a o
Paolo Veronese (1528–1588), St. Jerome in the Wilderness, ci
1566–67, oil on canvas, San Pietro Martire, Murano transfixed as he focuses his tear-filled eyes heaven-sent earthquake. Finally, having been uffi
4 The Frick Collection
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sent back to jail, she prayed to God to end her world. Below the window is a bed, a simple clear that Agatha is a prisoner in this room.
torture, and she peacefully died in prison. wooden frame covered by a thin mattress; With her left hand, she draws a white, blood-
Veronese sets the scene in Agatha’s dark underneath it is a chamber pot. A candle stained cloth to her wounded breasts. She
prison cell, which he describes in detail. at left illuminates a wooden shelf on which steadies herself against the bench, surprised
A high, barred window and a door to the Veronese has created a modest, yet exqui- by the two visitors that have burst into her
right are the only portals to the outside site, still life: a glass pitcher with red wine, cell. A glorious blond angel dressed in light
a bowl, and a loaf of bread. Agatha has blue holds a long taper, bringing light into
been interrupted during her prayers in the the shadowy room. He precedes St. Peter,
semi-darkness. She is clothed in a green who stands by the open door, dominating
above
dress and clutches a pink drapery around the right part of the picture. The monumen-
Veronese, St. Agatha Visited in Prison by St. Peter,
1566–67, oil on canvas, San Pietro Martire, Murano her. A heavy chain below the bench makes tal saint is dressed in blue and burnt orange.
6 The Frick Collection
special exhibition
In his left hand he holds the keys to heaven relating to him: his deed of gift of the chapel wall of Santa Maria degli Angeli, presumably
(one gold, one silver), his standard attribute. to the nuns of Santa Maria degli Angeli, embedded there since the mid-nineteenth
With his right hand he gestures upward, in 1566, and the priest’s will, written soon century.
referring at once to his celestial mission and before his death, in 1579. Few examples of free-standing chapels
to Agatha’s imminent healing, and possibly In 1667, after hanging for a century in created for single patrons are known to
to her death and heavenly reward. the chapel for which they had been cre- have existed in Venice. The chapel built for
The two paintings were not originally ated, Veronese’s canvases were removed. On Francesco degli Arbori must have been an
intended for San Pietro Martire, but for a August 1 of that year, the nuns of Santa exceptional structure, and its destruction has
small chapel built near the church of Santa Maria degli Angeli, having determined that meant the loss to subsequent generations of
Maria degli Angeli, on another part of the the paintings were “notably suffering dam- a fascinating site for Veronese’s work. The
island. In 1566, a priest named Francesco age from the injuries of time” had them island of Murano, however, has retained
degli Arbori, the chaplain of the Augustinian relocated to the main church of Santa Maria its enchanting character, and the humble
nuns of Santa Maria degli Angeli, was given a degli Angeli. The nuns were also worried monastic cemetery of Santa Maria degli
plot of land in the nuns’ cemetery, adjoining about possible theft. Angeli still remains in its forsaken north-
the church, to construct a chapel dedicated From the second half of the seven- western corner of the island. After his death,
to St. Jerome, and it was for this chapel teenth century to the early nineteenth cen- Degli Arbori was buried in the cemetery,
that Veronese’s two canvases were commis- tury, the works were frequently described and his body presumably still lies there in
sioned. Contemporary descriptions indicate by Veronese’s biographers and guidebook the small plot of land adjacent to the church.
that the chapel was simply decorated, with authors, who consistently gave their loca- Although the details of Degli Arbori’s pres-
the two canvases being the main images in tion as Santa Maria degli Angeli. With the tigious commission remain shrouded in the
its interior: the St. Jerome hung over the altar Napoleonic invasion of Italy and the fall fog of the past, Veronese’s compositions
with the St. Agatha facing it, on the counter- of the Venetian Republic, most religious can be appreciated for their outstanding
façade, over the main door. institutions were suppressed, and, in the late originality and skillful execution. The recent
At the time these works were commis- spring and summer of 1810, the majority of restoration of both canvases, as well as the
sioned, Veronese was one of the most highly monasteries and convents in Venice were technical analysis that accompanied their
paid painters in Venice, creating magnifi- closed. Such was the fate of the nun’s mon- treatment, will enable future scholars to bet-
cent images for the European aristocracy. astery at Santa Maria degli Angeli, which ter understand these paintings and, perhaps,
(About 1565, he had painted The Choice was officially suppressed in July of that year. the nature of their commission.—Xavier F.
between Virtue and Vice and Wisdom and By 1815, St. Jerome in the Wilderness and Salomon, Peter Jay Sharp Chief Curator
Strength for an unknown patron. Both can- St. Agatha Visited in Prison by St. Peter had
vases now hang in the West Gallery of The been moved to a neighboring Dominican
Frick Collection; Wisdom and Strength is church, San Pietro Martire, where they have “Veronese in Murano: Two Venetian Renais-
illustrated on the inside back cover.) How a remained. The chapel for which they were sance Masterpieces Restored” is organized
priest on a small island met such a promi- originally painted was left empty, aban- by Xavier F. Salomon, Peter Jay Sharp Chief
nent painter and came to commission such doned, and eventually demolished, in 1830. Curator, The Frick Collection. The exhibition
costly paintings remains a mystery. Little is The chapel’s stone door, recently identified is made possible thanks to the generous sup-
known about Degli Arbori’s life, but research during research for this exhibition, is the port of BVLGARI. The accompanying cata-
conducted in preparation for this exhibition sole architectural element of the structure logue is underwritten by the Robert H. Smith
has uncovered two important documents known to survive. It is visible in the right Family Foundation.
Members’ Magazine Fall 2017 7
special exhibition
Murillo: The Self-Portraits
November 1, 2017, through February 4, 2018
In the final days of 1617, Bartolomé to The Frick Collection and the other from Mrs. Henry Clay Frick II generously gave
Esteban Murillo was born in the pros- The National Gallery in London—will be it to the museum. The painting was sensi-
perous city of Seville, Spain, at the time one reunited first in New York, then in London, tively restored by Dorothy Mahon at The
of the most important and cosmopolitan together with a group of other works by Metropolitan Museum of Art, and technical
urban centers in Europe. He was baptized on Murillo that will provide a larger context for analysis was carried out at the same time
January 1, 1618, in the parish church of Santa these rare canvases. by the Met’s staff. A splendid seventeenth-
María Magdalena. The boy would grow up to Murillo’s career was a successful one, and century Spanish gilt frame was donated by
become one of his country’s most significant he painted canvases for the most important Colnaghi and has significantly enhanced the
painters, during the so-called Golden Age of patrons and churches in Seville. While the appearance of the painting.
Spanish painting. majority of his production was for reli- Murillo presents himself in a black jacket
Both of Murillo’s parents died when he gious institutions—he is celebrated for his typical of the Spanish upper class. His sleeves
was a child, and he was brought up by his images of saints and of the Immaculate are slashed and reveal his white shirt under-
older sister, Ana. About 1630, he entered the Conception—he also created allegorical and neath, and he wears a rigid white collar,
workshop of the painter Juan del Castillo genre scenes. His paintings of urchins in the known in Spanish as a golilla. The painter’s
and, apart from a documented trip to Madrid streets of Seville are particularly well known hair is long, over his shoulders, and he
in 1658, he lived and worked for the rest of and, together with his religious images, sports a fashionable moustache and slender
his life in the city of his birth and the sur- remain his signature works. Less familiar goatee. No attributes or objects in the paint-
rounding region. In February 1645, Murillo are a number of portraits, both full- and ing identify the sitter as an artist; however,
married Beatriz de Sotomayor y Cabrera. half-length, that he painted of his patrons a long inscription in red letters declares
The couple had nine children, only four of and friends. Biographers and scholars have him a famous painter. Because the inscrip-
whom survived to adulthood: José, Francisca paid little attention to this aspect of Murillo’s tion incorrectly gives his birth date as 1618
María, Gabriel, and Gaspar. Murillo died in career, and this is the first exhibition dedi- (instead of 1617) and states his death date,
April 1682, at the height of his career, from cated exclusively to the subject. His first we know that it was added posthumously.
the injuries sustained after a fall from a scaf- biographer, Antonio Palomino, described Murillo’s face is surrounded by a trompe
fold, while he was working on a series of the artist in 1724 as “an eminent portrait l’oeil frame, a hollowed-out stone block,
paintings for the Capuchin convent in Cádiz. painter,” although only about fifteen por- chipped and eroded by time. The block, in
This year marks the four-hundredth traits by or attributed to him (including the turn, sits on top of a stone ledge. This fictive
anniversary of Murillo’s birth. To celebrate two self-portraits) have survived. Five of frame is unique in concept and is not found
the occasion, the painter’s only known self- these are included in the exhibition. in any other work by the painter or by his
portraits will be shown together for the first The self-portrait illustrated on the oppo- followers.
time since they were documented in the 1709 site page and on the magazine’s cover is In 1843, the young German art historian
inventory of his son Gaspar’s art collection. among Murillo’s earliest known works. It Jacob Burckhardt memorably described the
These two self-portraits—one recently given dates from the first half of the 1650s, when painting after seeing it at the Louvre, in
the artist was in his mid-thirties, and was Paris: “Murillo is still one of the greatest who
probably painted for his own collection, ever lived. Here hangs his portrait (by his
as suggested by its later documentation own hand). It is the key to all his works. . . .
opposite page in his son’s collection. It was acquired in Look at these splendid, slightly pouting lips!
Bartolomé Esteban Murillo (1617–1682), Self-Portrait,
1904 by Henry Clay Frick and remained in Do they not reveal the man of action! These
ca. 1650–55, oil on canvas, The Frick Collection, gift of
Dr. and Mrs. Henry Clay Frick II the Frick family until 2014, when Trustee slightly retracted nostrils, these flashing eyes
8 The Frick Collection