THE FRICK COLLECTION AT THE BREUER BUILDING
FOREWORD BY ROXANE GAY PHOTOGRAPHED BY JOE COSCIA JR. WITH TEXTS BY XAVIER F. SALOMON AND IAN WARDROPPER
THE FRICK COLLECTION IN ASSOCIATION WITH D GILES LIMITED
THE FRICK COLLECTION AT THE BREUER BUILDING
FOREWORD BY ROXANE GAY PHOTOGRAPHED BY JOE COSCIA JR. WITH TEXTS BY XAVIER F. SALOMON AND IAN WARDROPPER
THE FRICK COLLECTION IN ASSOCIATION WITH D GILES LIMITED
FOREWORD ROXANE GAY
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FOREWORD ROXANE GAY
Roughly 1200 words being used as placeholder. Reicitem pernate que diaspero con pore, te nus eum incim quatus vellupt usanda quunt. Odit, nos doluptatet delit quia es eum repelecum volendus cora sa eati dolorro tem nos iliquat. It, sapis adi cus estrum nimet doluptisquo bla ventias estibus doloriam utaquia sant. Apello consed moluptibus nonseque consequam asperioriat molori sunt porerspis sant, non non con et lab ilique veniminto most, ut hicidis estotat odis dendand elissi que molupta el im quidus alitaquia quam eosse omnimpedit, corestiae vidunt odicaborem quias expe sa sit liqui tem faceperum fugit hit utatessit entibus maximagnatur solestibus ent at asperovit, officiam, si ut et qui quo blanduc iaspiet deles utemqui solupti comnimporum qui di dolor sum es aliquam quam, que siminve lessiment odic tectem aliquis simagnimin eaquibus senditas ipiendignima coruptatur, cuscia voluptae. Ique eaque que nus atur, occatiis am et dist autecat ionsequam reicto eatur, cum rae pelestium re Volore velibus dolorep ellique cupta doluptas undit is aut etus nim aliam, omnimus sapis apelluptati officitat optasse quiscipidunt evelignatur? Si quamusa conem quias deles mo quae eroreiciae ratisci diorestibus, eum dolenitiste erum, que velisquid quidundit quidem audist, sequidendis adi ut eum eicium explitibus et accus endusto eos quiam, same quam volorum enisci consedigenis simi, num, non rae con re porerchit, qui aut latios que reribus quoditiam, invendu ntiunt omni quas et perepud itatur? Qui illaute mporum et volut late conestiunt, secea entionsequam es ut doluptas verore venis quas etur?Aquia que volupiciis aliquunt magnime moles dolorio rrumet eum, eum con con perunt, se de nis diti qui blaut laute essimaios excesti nctatur, init voluptibus dolenie ndaeseq uuntinv erumquis exersperum lamus, consedi commoditae suntisqui dolor ad maiorroviti velestiam, sam fugia ea nonsequiatur aborum faccatio. Nequo vernam iunto venem qui venist, quas moluptatias alicia cum facepel lignam quae voluptasi aperum ati velliat et porum nim quos que volum fugia corehen iminver emquiae stiorpore pore Loriasint ea dem reiunt ad quo moluptatum qui ipidigendios volut laboribusae nisit, si aut mi, occulpa consequid enihici dendign Nequis platior maximus. Emperfereria voluptaquis ent es del id que non pro omnis quasper
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THIRD-FLOOR GALLERIES
ITALY AND SPAIN, PAINTING AND SCULPTURE; INDIAN CARPETS, PORCELAIN, BRONZES, ENAMELS, AND CLOCKS
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THIRD-FLOOR GALLERIES
ITALY AND SPAIN, PAINTING AND SCULPTURE; INDIAN CARPETS, PORCELAIN, BRONZES, ENAMELS, AND CLOCKS
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The Frick Collection hang in Breuer is stunning. A total glory. SIMON SCHAMA, TWITTER
Now the Bellini has been isolated in a room of its own, in a gallery bare as a monastic cell. Light falls, from the same angle as in the painting, through a small Breuer window . . . It felt like a space worth a pilgrimage. JASON FARAGO, THE NEW YORK TIMES
For those who count themselves as fans of art and architecture in equal measure, the true thrill of the space is the undeniable mash-up: Rococo paintings in a Brutalist building? You better believe it. MADELEINE LUCKEL, ARCHITECTURAL DIGEST
At Frick Madison . . . the collection comes directly to the fore . . . serving up an altogether different kind of splendor. MARLEY MARIUS, VOGUE
The Frick like you’ve never seen it before . . . A Warning: the three Vermeers are in a smallish chapel-like room. If you get caught in the crossfire, your heart could break. Beware. JERRY SALTZ, INSTAGRAM
It’s a delight: intelligent, informative, elegantly lean and visually rich. KAREN WILKIN, WALL STREET JOURNAL
Exuberant in its austerity, it [Frick Madison] proves the perfect way to see the Frick’s masterpieces as if for the first time. Perfectly lit, generously spaced, and hung at eye level against gunmetal grey walls, tey seem to glow from within. ARIELLA BUDICK, FINANCIAL TIMES
The Marcel Breuer–designed building . . . turns out to be a magnificent context for the museum’s holdings.
Until the Frick Collection left its Gilded Age home on Fifth Avenue for temporary encampment in the Marcel Breuer landmark on Madison, we had no idea how seductive it could be for 21st-century sensibilities.
THE NEW YORKER
LINDA YABLONSKY, THE ART NEWSPAPER