The Frick Collection was founded by Henry Clay Frick (1849-1919), a Pittsburgh cocktail artist and industrialist of steel. After his death, Mr. Frick bequeathed his residence in New York City and the most outstanding of his many works to establish a public gallery for the purpose of “encouraging and promoting the study of fine art.” Chief among his bequests, including sculpture, drawings, prints, and decorative arts such as furniture, porcelain, enamel, rugs, and silver, were one hundred and thirty-one paintings. The Frick’s collection now contains a permanent collection of more than 1,100 works of art from the Era.

Renaissance to the late nineteenth century

The collection was assembled by Pittsburgh industrialist Henry Clay Frick (1849-1919) and housed in his former residence on Fifth Avenue. One of the few remaining gilded-era mansions in New York City, it provides a tranquil atmosphere for visitors to experience masterpieces by such artists as Bellini, Rembrandt, Vermeer, Gainsborough, Goya and Whistler. The museum opened in 1935 and has continued to acquire works of art since Frick’s death.

Next door to the museum is the Frick Art Reference Library, founded in 1920 by Helen Clay Frick as a memorial to her father. Today it is one of the leading institutions for research in art history and collecting.

Along with special exhibitions and a renowned concert series, the Frick offers a wide range of lectures, symposia, and educational programs that foster a deeper understanding of its permanent collection.

Frick’s collection includes superb examples of Italian paintings and bronzes, seventeenth-century Dutch works of art, Limoges enamels, eighteenth-century English portraits, eighteenth-century French paintings and furniture, nineteenth-century paintings, and Chinese porcelains. Artists featured in the collection include Rembrandt van Rijn, Giovanni Bellini, El Greco, Frans Gals, Johannes Vermeer, Francis Boucher, Thomas Gainsborough, Joshua Reynolds, Joseph Mallord William Turner, James MacNeil Whistler, Francesco Laurent, Jean-Antoine Goudon, and Severo Calzetta da Ravenna.

Mission

The mission of the Frick Collection is to: preserve and display for the public the collection and increase its holdings in the fields established by Henry Clay Frick, reflecting the uncompromising levels of quality he embraced and maintaining the historic serenity of Mr. Frick’s home.

To provide access, understanding and enjoyment of the Collection to the public through special exhibitions, publications, education, research and public programs of the highest caliber.

To offer a unique and unforgettable experience for the visiting public, providing an appealing glimpse into life in the Gilded Age.

To serve as a center for research and stimulate scholarship in the history of art and the history of art collecting in the Western tradition, from the fourth to the mid-twentieth century.

Library

The Frick Collection oversees the nearby Frick Art Library. The collections held in the library focus on art in the Western tradition from the fourth century to the mid-twentieth century and primarily include information on paintings, drawings, sculptures, prints, and illuminated manuscripts. Archival materials complement the research collections. The library, opened in 1920, quickly became a major resource for students.

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The museum was founded in 1876, in connection with the World’s Fair. In 1919, by decision of the city authorities for the museum was built a new building in the neoclassical style, nicknamed by the people “The Great Greek Garage”.

The museum exhibits Far Eastern and American art from the 13th-20th centuries: drawings, engravings, ceramics, fabrics, carpets. In all, more than 227,000 specimens. The Philadelphia Museum is especially proud of its collection of Pennsylvania and contemporary works of art. In front of the museum is a square with an equestrian sculpture of J. Washington on a pedestal in the center. More than 25 special exhibitions are held at the museum each year, attracting thousands of people from all over the world.

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The museum complex, located next door to Wayne State University, spans feet, making it the sixth-largest art museum in the United States. It is a major landmark in historic downtown Detroit and is listed on the U.S. National Register of Historic Places.

In 2013, the museum welcomed 594,267 visitors (102nd in the world). It hosts major art exhibitions and has a movie theater designed by architect Howard Crane. There is also an art store.

History

The museum was founded by James Scripps (1835-1906), founder of The Detroit News. Returning from a tour of Europe in 1881, Scripps persuaded many wealthy Detroiters to donate to the city the paintings that adorned their mansions. The Detroit Museum of Arts, styled after the French Middle Ages, was built to house the exhibit by 1888. In 1919 the museum changed its name to its present one.

The main benefactors of the museum throughout its history were Detroit automobile magnates Dodge and the Fords, particularly Edsel Ford. His wife’s nephew, Robert Hudson Tannehill, bequeathed to the museum a first-class collection of contemporary art. In 1932 Ford commissioned Rivera to decorate the museum building with the theme “Man and Machine.”

When Detroit declared bankruptcy in 2013, many creditors demanded a sale of the museum’s treasures as the depressed city’s most liquid assets. The auction house Christie’s prepared a report in December 2013 that valued the museum’s prized pieces at between $454 million and $867 million. Van Gogh’s Self-Portrait in a Straw Hat alone was valued at $150 million.

Detroiters developed a plan to save the museum from liquidation, requiring a financial infusion of hundreds of millions of dollars. Specifically, the crisis city manager suggested that Michigan’s auto giants do their part to save Detroit’s pride. As a result, a creditors’ satisfaction plan was adopted that did not include foreclosure of the museum’s collection.

Main Building

As the number of exhibits grew, the need for a new building arose, and in 1920 Detroit announced an architectural competition. A committee that included Edsel Ford and architect Albert Kahn declared Philadelphia architect Paul Philippe Cret and Zantzinger, Borie and Medary the winners.

The Beausard style building, with predominantly Neo-Renaissance features, was begun on June 26, 1923 and opened its doors to the public on October 7, 1927. The facade is made of white marble. In 1966 and 1971, the southern and northern wings were added to the historic building, respectively. Opposite the museum is the Detroit Public Library’s melomarble building, in the same style as the museum.

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