Popular Diptych Book Series Continues

Four New Books On Titian, Riccio, Bronzino, And Rosalba Carriera Published By The Frick Collection

The Frick Collection expanded its popular Diptych series with four new titles, two already available, two to be published this summer. The books focus on “Titian’s Portrait of a Man in a Red Hat,” a bronze “Oil Lamp” modeled by Riccio, Bronzino’s “Lodovico Capponi,” and the recently acquired pastel “Portrait of a Man in Pilgrim’s

Philadelphia

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Costume” by Rosalba Carriera, all from the Frick’s permanent collection. These 2023 publications, bringing the number of titles in the Diptych series to 13, provide fresh perspectives on Frick artworks by pairing art historical essays with contributions from contemporary cultural figures.

Currently available in the museum shop at Frick Madison and online, “Titian’s Man in a Red Hat” focuses on an exquisite Italian Renaissance portrait from the 1510s. The book pairs an essay by the Frick’s assistant curator of sculpture, Giulio Dalvit, with a selection of portraits by artist Elizabeth Peyton that traces her engagement with Titian over it is interesting as a picture of my mother, but what can or ought the public to care about the identity of the portrait?” It turned out that the public cared greatly about the connection between painter and sitter, and the painting, known today as “Whistler’s Mother,” is among the most recognizable in the world. many decades. Pairing an engrossing essay by Ian Wardropper, the Frick’s Anna-Maria and Stephen Kellen director, with a new poem by renowned English poet and critic James Fenton, Riccio’s “Oil Lamp” spotlights a Renaissance masterpiece in bronze. Bronzino’s “Lodovico Capponi” examines an enigmatic Renaissance portrait, pairing an essay by Frick curator Aimee Ng with a moving piece by acclaimed author, critic, and essayist Daniel Mendelsohn.

To celebrate this exceptional loan to the Philadelphia Museum of Art, the first time in 142 years that it will be seen in this city, the exhibition will explore the circumstances surrounding the portrait’s creation and its legacy in Philadelphia. Just as Whistler was inspired by Rembrandt’s etchings of his own mother, so too were local artists spurred by Whistler and their own ambitions to make depictions of their mothers. Some would respond directly to “Whistler’s Mother” while others took an entirely different approach. The installation will bring Whistler’s iconic portrait into dialogue with paintings, drawings, and etchings by artists associated with Philadelphia, Cecilia Beaux (1855–1942), Henry Ossawa Tanner (1859–1937), Dox Thrash (1893–1965), Alice Neel (1900–84), and others, and invite consideration of the individual women represented and the relationship between artist and sitter, child and parent.

“The Artist’s Mother: Whistler and Philadelphia” will be on view from June 10 to Oct. 29 in the Colket Gallery (251) at the Philadelphia Museum of Art. The exhibition is generously supported by the Laura and William C. Buck Endowment for Exhibitions and other generous donors.

For further information, visit www.philamuseum.org.

Finally, with an essay by Xavier F. Salomon, deputy director and Peter Jay Sharp chief curator, and text by Swiss artist Nicolas Party, Rosalba Carriera’s “Man in Pilgrim’s Costume” explores a spectacular 18th-century pastel bequeathed to the museum in 2020 by Alexis Gregory, the founder of Vendome Press.

To learn more, visit www.frick.org.

Clockwise from top left is Titian (1488–1576), “Portrait of a Man in a Red Hat,” from the 1510s, oil on canvas; Riccio (1470–1532), “Lamp,” ca. 1516–24, bronze; Rosalba Carriera (1673–1757), “Portrait of a Man in Pilgrim’s Costume,” ca. 1730, pastel on paper, laid down on canvas; and Agnolo Bronzino (1503–72), “Lodovico Capponi,” ca. 1550–55, oil on poplar panel. Objects are from The Frick Collection, New York; photographs by Joseph Coscia Jr.

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