NYC Day 41: In Which I Visit Henry Clay Frick's Gilded Age Mansion and Museum

The Frick Collection (click images to view full sized)

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FRICK COLLECTION: PAY WHAT YOU WISH DAY
I made a welcome return to the Frick Collection (at East 70th Street & Fifth Avenue). Every Wednesday the Frick has a pay-what-you-wish policy, and I was happy to pay five dollars instead of the usual $17 Seniors price.

The Frick Collection is housed in the former Gilded Age mansion of Henry Clay Frick, a man who made his money mining coke (no, not that kind of coke!). Frick was an avid collector of art, and left a will that ensured that on his death the mansion and its collection would be turned into a public museum. The building, that is to say, the mansion, has remained almost completely unchanged since it was built, although a courtyard with fountain, and a couple of other rooms have been added to an area that was originally set aside for carriages and the horses that pulled them.

Apart from the rare opportunity to walk through a former Gilded Age mansion, the collection, or at least those works that are on display, can been enjoyed in full in a couple of hours. Along with the permanent collection, the Frick generally has two or three small exhibitions running concurrently

Currently there are three exhibitions taking place at the Frick:

Above: Abraham Entertaining the Angels, by Rembrandt.

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Divine Encounter: Rembrandt’s Abraham and the Angels
Now through August 20, 2017

On loan from a private collection, Rembrandt's Abraham Entertaining the Angels of 1646 is the centerpiece of a small exhibition dedicated to the artist's depictions of Abraham and his various encounters with God and his angels, as recounted in the book of Genesis. In the painting and in the other works included in the show — a tightly focused selection of prints and drawings and a single copper plate — Rembrandt explored, in different media, the nature of divine presence and the ways it was perceived.

(Image: A colorful porcelain deep covered dish with handles, decorated with flowers  and figurine at top)

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Fired by Passion: Masterpieces of Du Paquier Porcelain from the Sullivan Collection
Now through August 12, 2018

This installation in the Portico Gallery was inspired by the generous gift of fourteen pieces of Du Paquier porcelain given to the Frick in 2016 by Paul Sullivan and Trustee Melinda Martin Sullivan. Although in operation for only twenty-five years, the Du Paquier manufactory left an impressive body of inventive and often whimsical work, forging a distinct identity in the history of European porcelain production. The exhibition features about forty tureens, drinking vessels, platters, and other objects produced by Du Paquier between 1720 and 1740.

Above and below: both sides of a medal by Pisanello showing portrait bust of Leonello d'Este.

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The Pursuit of Immortality: Masterpieces from the Scher Collection of Portrait Medals
Now through September 10, 2017

Celebrating the largest acquisition in the Frick’s history, a gift of approximately 450 portrait medals from the incomparable collection of Stephen K. and Janie Woo Scher, the exhibition explores one of the most important artistic inventions of the Renaissance. The selection showcases superlative examples by masters of the medium — many of whom were also celebrated painters, sculptors, and printmakers — from Pisanello in the Italian Renaissance to Pierre-Jean David d’Angers in nineteenth-century France, honoring medals as integral to the history of portraiture in Western art and as a triumph of sculpture on a small scale.

In the music room/theatre visitors can watch a short film that provides some historical details about Henry Clay Frick and his collection. Currently a second short film examines Rembrandt's Abraham Entertaining the Angels, which packs an enormous amount of detail into a work that is just nine inches wide.

The beautiful courtyard and fountain at the Frick.

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IF YOU GO
Adults, $22; Seniors (65+), $17; Students (with valid ID) $12.
Free First Friday evening of the month, (except January) from 6 p.m. to 9 p.m.
Pay-what-you-wish: Wednesdays, 2 p.m. to 6 p.m.
NOTE: Children under ten are not admitted.
Online at Frick Collection...

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Wednesday 26, July | Expenses $22.10 ($27.45)

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Note: Current Frick Collection exhibition details are sourced from the Frick Collection website, as are images associated with those exhibitions. My thanks to the Frick Collection for the use of this information and images.

Any questions, comments or suggestions? How about complaints or compliments? Let me know via the comments box below.

NYC Day 37: In Which I Rest and Immerse Myself in the Wide Sargasso Sea

The elderly Jean Rhys (at left) at her home in Cheriton Fitzpaine, Devon

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With the temperature across New York City heading for the 90 degree mark, the humidity levels not far behind, and city authorities issuing heat warnings and opening local cooling centers, I decided the smart thing to do would be to stay in. Even the promise of chilly air-conditioning at Brookfield Place could not entice me to descend into what would have been a stifling subway system for the 40 minute ride downtown.

There was nothing for it but to crank up the portable air-con unit in the apartment, and engage in some writing, reading, and account balancing. And since I have been making good use of my commuting time over the past few weeks reading several of the books I have purchased thus far, I thought I might add some comments about one of those titles in today's post.

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WIDE SARGASSO SEA*
Wide Sargasso Sea, by Jean Rhys tells the story of the 'mad woman in the attic' who is apparently an unseen figure in Charlotte Bronte's, Jane Eyre (a book I have not read), and what a sad and melancholy -- but beautifully written tale it is.

The dust jacket notes: Set in the Caribbean, it's heroine is Antoinette Cosway, a sensual and protected young woman who is sold into marriage to the prideful Rochester. Rhys portrays a society so driven by hatred, so skewed in its sexual relations, that it can literally drive a woman out of her mind.

[Jean] Rhys was born in Roseau, the capital of Dominica, an island in the British West Indies. Her father, William Rees Williams, was a Welsh doctor and her mother, Minna Williams, nee Lockhart, was a third-generation Dominican Creole of Scots ancestry. ("Creole" was broadly used in those times to refer to any person born on the island, whether they were of European or African descent or both.) [Source: Wikipedia]

In the introduction, written by Francis Wyndham we learn:

For many years, Jean Rhys has been haunted by the figure of the first Mrs. Rochester  - the mad wife in Jane Eyre. The present novel ... is her story. Not, of course, literally so: it is in no sense a pastiche of Charlotte Bronte and exists in its own right, quite independent of Jane Eyre. But the Bronte book provided the initial inspiration for an imaginative feat almost uncanny in its vivid intensity. From her personal knowledge of the West Indies, and her reading of their history, Miss Rhys knew about the mad Creole heiresses in the early nineteenth century, whose dowries were only an additional burden to them: products of an inbred, decadent, expatriate society, resented by the recently freed slaves whose superstitions they shared, they languished uneasily in the oppressive beauty of their tropical surroundings, ripe for exploitation. It is one of these that [Jean Rhys] has chosen for her...heroine.

Among other things, the book is quite open about the resentment and racism that 'the recently freed slaves' (mentioned by Francis Wyndham in her introduction), express towards the expat British. Terms like 'white cockroach,', 'white nigger' and other epithets are hurled by the local children at their white counterparts, and the understandable resentment that many former slaves feel towards their former owners and overseers, bubble along beneath the surface of all their post-colonial relationships.

From time to time these resentments boil over, leading to one of the key incidents early in the book when the family home is attacked by a mob of angry villagers. This incident results in the death of a minor, but important character in terms of the arc of the book, and without giving more of the story away, let me just say it's all downhill from there. However, the writing is so evocative of time and place, so infused with detailed descriptions of landscape and the natural beauty of the island settings, that it was impossible to turn away and not look at the horror that was slowly smothering Antoinette and the increasingly poisonous relationship with her new husband, Rochester.

It is a relationship that begins to sour soon after their wedding, even as they settle in to their honeymoon in a remote location along with several servants and other staff. Antoinette's newly minted British-born husband has no understanding of the norms, mores, and culture of the islanders he has landed amongst, and even less interest in learning about or understanding them, thus setting the scene for conflict and misunderstanding that spirals increasingly out of control.

I was reading the book on the subway a couple of days ago, and as I closed the book and began putting it away in my bag, I heard a female voice say, "Sir, I love that book!"

When I looked up at the young woman who had spoken, I agreed that the book was a great read, and replied to the effect that although I had not yet finished it, this was a book that I would want to read again. She agreed and said that she had read it three times herself, and that it was one of her favorite books. I added that this was a book that had been on my 'radar' for many years, and that I was only now getting to read it, and that I was very happy that I had finally gotten around to doing so.

It was a brief conversation if only because I was about to get out at the next subway station, but I could see that other commuters were showing interest in what we were saying. Unfortunately, it didn't occur to me to hold the book up so they could see what we were talking about. If something like this were to happen again with another book (unlikely), I will make sure I do just that.

This book is definitely a 'keeper'. The writing borders on the poetic much of the time, and despite the overall mood of dread I had as I progressed through the story, I knew this would be a book I will keep and read again at some future date. I even thought I might read Jane Eyre, but Rhys's book may have spoiled any pleasure I may derive from doing that. If you have read Jane Eyre and wondered about the mysterious woman in the attic, this is definitely the book for you. I recommend it highly.

More information
Wikipedia entry for Jean Rhys... 
Wikipedia entry for Wide Sargasso Sea...

*Wide Sargasso Sea becomes book number 28 in my self-imposed 52-Book-Year Challenge, in which I aim to read an average of one book per week throughout the year.

Any questions, comments or suggestions? How about complaints or compliments? Let me know via the comments box below.

Jean Rhys at her cottage in Devon. 

WEEK FIVE EXPENSES*

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ONGOING WEEKLY EXPENSES

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Museum Memberships $19.15 ($25.15)

AT&T SIM card $16.25 ($25.38)

MTA Pass $30.25 ($39.92)

Accommodation $152.00 ($200.00)

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Total Ongoing: US$217.65 (AU$290.45)

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ADDITIONAL DAILY EXPENSES

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Sunday, 16 July | Expenses $41.75 ($53.40)

Monday 17, July | Expenses $53.10 ($66.95)

Tuesday 18, July | Expenses $85.53 ($111.05)

Wednesday 19, July | Expenses $16.85 ($21.15)

Thursday 20, July | Expenses $86.50 ($114.95)

Friday 21, July | Expenses $23.00 ($29.05)

Saturday 22, July | Expenses $0.0

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TOTAL: US$306.73 | AU$396.55

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Total Expenses Week 5: US$524.38 (AU$687.00

*Figures in brackets are Australian dollar amounts

NYC Day 36: In Which I Go In Search of Frank Lloyd Wright

Click on images to view full sized

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Yesterday I decided it was time I took a long, detailed look at the major Frank Lloyd Wright at 150: Unpacking the Archive, exhibition at the Museum of Modern Art. Wright was one of the most influential American architects of the last century.

Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer, and educator, who designed more than 1,000 structures, 532 of which were completed. Wright believed in designing structures that were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by the Fallingwater house (1935), which has been called "the best all-time work of American architecture". [Source: Wikipedia...]

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I have had an interest in architecture for many years, and the more I travel the more I like to seek out great examples of the profession. Having said that, I have little interest in the smooth modern glass and steel buildings that are dominating the New York City skyline more and more as this century progresses. My favorite buildings, whether cloud busting skyscrapers or four and five storey walk-ups, tend to be survivors from the past two centuries. They invariably have features and facades that stop you in your tracks, and force you to pause and examine, and marvel at the skills of the masons, engineers, steel workers, and other tradespeople who laboured to construct these beautiful buildings. So it was with much interest that I devoted a couple of hours to Frank Lloyd Wright.

The exhibition presents hundreds of drawings, models, film, letters, documents and other memorabilia from the vast FLW archives that are now in the possession and care of the museum. And when I write vast, I mean vast:

Unpacking the Archive refers to the monumental task of moving across the country 55,000 drawings, 300,000 sheets of correspondence, 125,000 photographs, and 2,700 manuscripts, as well as models, films, and building fragments. It also refers to the work of interpretation and the close examination of projects that in some cases have received little attention. [Source: Info panel at the exhibition]

Above: A longitudinal section in ink and pencil for the Imperial Hotel, Tokyo, and below a detailed image for the peaked roof seen in the image above.

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As you might imagine, with so much material to select from, to say the current exhibition barely scratches the surface of Wright's massive archive is to state the bleeding obvious. The curators probably had no choice other than to present some of the better known works from among a collection that may stretch back to the beginning of Wright's architectural career. A period of some 70 years.

I was particularly interested in his initial concept for one of his most famous buildings, The Solomon R. Guggenheim Museum on Fifth Avenue. Early sketches show a building similar in design to the building as it stands today, but instead of rising to the equivalent of a six storey building, the early drawings show one that might rise as high as nine or ten storeys.

Above and Below: Early design concepts for the Guggenheim Museum.

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Always one to think big, in 1956 Wright presented a concept drawing that was eight feet high! Executed in colored pencils and gold ink on tracing paper, Wright was proposing to build the Illinois, a 'mile-high' skyscraper on the lakefront at Chicago. His initial concept may not have been much more than a clever marketing exercise by Wright for his architectural practice, but it go plenty of attention when he unveiled his drawings and ideas back in 1956/'57.

Above: This image does not do the concept of a mile-high building any justice whatsoever. Try to imagine the picture being eight feet high, 

Above: other design ideas for Wright's mile-high Illinois building.

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I very much appreciated the chance to examine the many drawings and renderings (such as the 'mile-high' building), at the exhibition. Modern architects use state of the art software to design their buildings which also allows them to spit out drawings and renderings with a few clicks of a mouse button. What gets lost in that process are the beautifully hand drawn designs one sees in Unpacking the Archive. While many of these drawings were almost certainly made by Wright's assistants, they stand as beautiful works of art in the own right.

Above and detail below: Marin County Civic Center and Fairgrounds, San Rafael, California (1957). 

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There is much to enjoy at Frank Lloyd Wright at 150: Unpacking the Archive, even if you only have a passing interest in architecture. Children will enjoy looking at the models, while adults will gain a greater appreciation for Frank Lloyd Wright, and hopefully for all architects who design the homes and buildings we almost certainly could not live without in the 21st century.

IF YOU GO
Now through until October 1, 2017
Tickets: Adults $25; Seniors $18; Students $14 (under 16, free)
Exhibition free with museum entry
11 West 53rd Street, Manhattan
Open seven days a week.
MoMA Online... 

More Information
Frank Lloyd Wright at Wikipedia...

Above: Detail of building model for St. Mark's Tower, New York.

Below: unidentified building model. 

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Friday 21, July | Expenses $23.00 ($29.05)

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Any questions, comments or suggestions? How about complaints or compliments? Let me know via the comments box below.